A Self Made Of Words

Confident or fretful, solemn or sassy, tough or tender, casual or formal: the self you project in writing—your persona—is the byproduct of numerous decisions you make about what to say and how to say it. Though any single word or phrase or sentence might make little difference within the scope of an entire essay or book, collectively they create an impression of who you are or seem to be—an impression that’s sure to influence how readers respond to your work. Thus it’s essential to take charge of how you come across on the page, to craft an appropriate persona for whatever you’re writing, whether it’s a personal essay, a blog, a technical report, a letter to the editor, or a memoir. In this wise and ingenious little guide, noted essayist Carl Klaus shows you how to adapt your self to the needs of such varied nonfiction, by varying his own persona to illustrate the distinctive effect produced by each aspect and element of writing. Klaus divides his book into two parts: first, an introduction to the nature and function of a persona, then a survey of the most important elements of writing that contribute to the character of a persona, from point of view and organization to diction and sentence structure. Both parts contain exercises that will give you practice in developing a persona of your choice. Challenging and stimulating, each of his exercises focuses on a distinctly different aspect of composition and style, so as to help you develop the skills of a versatile and personable writer. By focusing on the most important ways of projecting your self in nonfiction prose, you can learn to craft a distinctive self in your writing.

George Horace Lorimer was an American journalist and author best known as the editor of The Saturday Evening Post. During his editorial reign, the Post rose from a circulation of several thousand to over a million. He is credited with promoting or discovering a large number of American writers like Jack London. Lorimer's Letters From A Self-Made Merchant To His Son is a timeless collection of Gilded Age aphorisms from a rich man - a prosperous pork-packer in Chicago to his son, Pierrepont, whom he 'affectionately' calls 'Piggy.' The writing is subtle and brilliant.

George Horace Lorimer's More Letters From A Self-Made Merchant To His Son is a sequel to his widely popular Letters From A Self-Made Merchant To His Son, and offers fourteen more hilarious letters from Old Gorgon Graham, a prosperous pork-packer in Chicago, to his son, Pierrepont, whom he 'affectionately' calls 'Piggy.'

Originally published: New York: Simon & Schuster, 2016.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

The human presence that animates the personal essay is surely one of the most beguiling of literary phenomena, for it comes across in so familiar a voice that it’s easy to believe we are listening to the author rather than a textual stand-in. But the “person” in a personal essay is always a written construct, a fabricated character, its confessions and reminiscences as rehearsed as those of any novelist. In this first book-length study of the personal essay, Carl Klaus unpacks this made-up self and the manifold ways in which a wide range of essayists and essays have brought it to life. By reconceiving the most fundamental aspect of the personal essay—the I of the essayist—Klaus demonstrates that this seemingly uncontrived form of writing is inherently problematic, not willfully devious but bordering upon the world of fiction. He develops this key idea by explaining how structure, style, and voice determine the nature of a persona and our perception of it in the works of such essayists as Michel de Montaigne, Charles Lamb, E. B. White, and Virginia Woolf. Realizing that this persona is shaped by the force of culture and the impress of personal experience, he explores the effects of both upon the point of view, content, and voice of such essayists as George Orwell, Nancy Mairs, Richard Rodriguez, and Alice Walker. Throughout, in full command of the history of the essay, he calls up numerous passages in which essayists themselves acknowledge the element of impersonation in their work, drawing upon the perspectives of Joan Didion, Edward Hoagland, Joyce Carol Oates, Leslie Marmon Silko, Scott Russell Sanders, Annie Dillard, Vivian Gornick, Loren Eiseley, James Baldwin, and a host of other literary guides. Finally, adding yet another layer to the made-up self, Klaus succumbs to his addiction to the personal essay by placing some of the different selves that various essayists have called forth in him within the essays that he has crafted so carefully for this book. Making his way from one essay to the next with a persona variously learned, whimsical, and poignant, he enacts the palimpsest of ways in which the made-up self comes to life in the work of a single essayist. Thus over the course of this highly original, beautifully structured study, the personal essay is revealed to be more complex than many readers have supposed. With its lively analyses and illuminating examples, The Made-Up Self will speak to anyone who wishes to understand—or to write—personal essays.

A Los Angeles Times columnist recounts her eighteen-month undercover stint as a man, a time during which she underwent considerable personal risks as she worked a sales job, joined a bowling league, frequented sex clubs, dated, and encountered firsthand the rigid codes and rituals of masculinity. 80,000 first printing.

WINNER OF THE SCHNEIDER FAMILY BOOK AWARD FOR TEENS! A beautifully realistic, relatable story about mental health—anxiety, perfectionism, depression—and the healing powers of art—perfect for fans of Girl in Pieces and How it Feels to Float. Whatever you struggle with, you are not alone and you are already enough—just the way you are. It's been three months since The Night on the Bathroom Floor--when Lily found her older sister Alice hurting herself. Ever since then, Lily has been desperately trying to keep things together, for herself and for her family. But now Alice is coming home from her treatment program and it is becoming harder for Lily to ignore all of the feelings she's been trying to outrun. Enter Micah, a new student at school with a past of his own. He was in treatment with Alice and seems determined to get Lily to process not only Alice's experience, but her own. Because Lily has secrets, too. Compulsions she can't seem to let go of and thoughts she can't drown out. When Lily and Micah embark on an art project for school involving finding poetry in unexpected places, she realizes that it's the words she's been swallowing that desperately want to break through. "A tender, heartfelt, and realistic look at mental illness, familial love, and finding your voice."—Kathleen Glasgow, New York Times bestselling author of Girl in Pieces