On Not Being Someone Else

A captivating book about the emotional and literary power of the lives we might have lived had our chances or choices been different. We each live one life, formed by paths taken and untaken. Choosing a job, getting married, deciding on a place to live or whether to have children—every decision precludes another. But what if you’d gone the other way? It can be a seductive thought, even a haunting one. Andrew H. Miller illuminates this theme of modern culture: the allure of the alternate self. From Robert Frost to Sharon Olds, Virginia Woolf to Ian McEwan, Jane Hirshfield to Carl Dennis, storytellers of every stripe write of the lives we didn’t have. What forces encourage us to think this way about ourselves, and to identify with fictional and poetic voices speaking from the shadows of what might have been? Not only poets and novelists, but psychologists and philosophers have much to say on this question. Miller finds wisdom in all these sources, revealing the beauty, the power, and the struggle of our unled lives. In an elegant and provocative rumination, he lingers with other selves, listening to what they say. Peering down the path not taken can be frightening, but it has its rewards. On Not Being Someone Else offers the balm that when we confront our imaginary selves, we discover who we are.

“To be someone—to be anyone—is about...not being someone else. Miller’s amused and inspired book is utterly compelling.” —Adam Phillips “A compendium of expressions of wonder over what might have been...Swept up in our real lives, we quickly forget about the unreal ones. Still, there will be moments when, for good or ill, we feel confronted by our unrealized possibilities.” —New Yorker We live one life, formed by paths taken and untaken. Choosing a job, getting married, deciding on a place to live or whether to have children—every decision precludes another. But what if you’d gone the other way? From Robert Frost to Sharon Olds, Virginia Woolf to Ian McEwan, Jane Hirshfield to Carl Dennis, storytellers of every stripe consider the roads not taken, the lives we haven’t led. What is it that compels us to identify with fictional and poetic voices tantalizing us with the shadows of what might have been? Not only poets and novelists, but psychologists and philosophers have much to say on this question. Miller finds wisdom in all of these, revealing the beauty, the allure, and the danger of sustaining or confronting our unled lives. “Miller is charming company, both humanly and intellectually. He is onto something: the theme of unled lives, and the fascinating idea that fiction intensifies the sense of provisionality that attends all lives. An extremely attractive book.” —James Wood “An expertly curated tour of regret and envy in literature...Miller’s insightful and moving book—both in his own discussion and in the tales he recounts—gently nudges us toward consolation.” —Wall Street Journal “I wish I had written this book...Examining art’s capacity to transfix, multiply, and compress, this book is itself a work of art.” —Times Higher Education

A READ WITH JENNA BOOK CLUB PICK • INTERNATIONAL BESTSELLER • A contemporary literary classic and "an accomplished psychological thriller ... absolutely chilling" (Village Voice), from the Pulitzer Prize–winning author of The Goldfinch. Under the influence of a charismatic classics professor, a group of clever, eccentric misfits at a New England college discover a way of thought and life a world away from their banal contemporaries. But their search for the transcendent leads them down a dangerous path, beyond human constructs of morality. “A remarkably powerful novel [and] a ferociously well-paced entertainment.... Forceful, cerebral, and impeccably controlled.” —The New York Times

The novel was born religious, alongside Protestant texts produced in the same format by the same publishers. Novels borrowed features of these texts but over the years distinguished themselves, becoming the genre we know today. Jordan Alexander Stein traces this history, showing how the physical object of the book shaped the stories it contained.

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.

#1 New York Times Bestseller Over 10 million copies sold In this generation-defining self-help guide, a superstar blogger cuts through the crap to show us how to stop trying to be "positive" all the time so that we can truly become better, happier people. For decades, we’ve been told that positive thinking is the key to a happy, rich life. "F**k positivity," Mark Manson says. "Let’s be honest, shit is f**ked and we have to live with it." In his wildly popular Internet blog, Manson doesn’t sugarcoat or equivocate. He tells it like it is—a dose of raw, refreshing, honest truth that is sorely lacking today. The Subtle Art of Not Giving a F**k is his antidote to the coddling, let’s-all-feel-good mindset that has infected American society and spoiled a generation, rewarding them with gold medals just for showing up. Manson makes the argument, backed both by academic research and well-timed poop jokes, that improving our lives hinges not on our ability to turn lemons into lemonade, but on learning to stomach lemons better. Human beings are flawed and limited—"not everybody can be extraordinary, there are winners and losers in society, and some of it is not fair or your fault." Manson advises us to get to know our limitations and accept them. Once we embrace our fears, faults, and uncertainties, once we stop running and avoiding and start confronting painful truths, we can begin to find the courage, perseverance, honesty, responsibility, curiosity, and forgiveness we seek. There are only so many things we can give a f**k about so we need to figure out which ones really matter, Manson makes clear. While money is nice, caring about what you do with your life is better, because true wealth is about experience. A much-needed grab-you-by-the-shoulders-and-look-you-in-the-eye moment of real-talk, filled with entertaining stories and profane, ruthless humor, The Subtle Art of Not Giving a F**k is a refreshing slap for a generation to help them lead contented, grounded lives.

How can you face your future when your past it a lie? When Rosie Kenning's mother, Trudie, dies from Huntingdon's disease, her whole world falls apart. Not only does Rosie desperately miss her mum, but now she has to face the fact that she could have inherited the fatal illness herself. Until she discovers that Trudie wasn't her biological mother at all ... Rosie is stunned. Can this be true? Is she grieving for a mother who wasn't even hers to lose? And if Trudie wasn't her mother, whois? But as Rosie delves into her past to discover who she really is, she is faced with a heart-breaking dilemma - to continue living a lie, or to reveal a truth that will shatter the lives of everyone around her...

NOW AN EMMY-NOMINATED HULU ORIGINAL SERIES • NEW YORK TIMES BESTSELLER • LONGLISTED FOR THE BOOKER PRIZE • “A stunning novel about the transformative power of relationships” (People) from the author of Conversations with Friends, “a master of the literary page-turner” (J. Courtney Sullivan). “[A] novel that demands to be read compulsively, in one sitting.”—The Washington Post ONE OF ENTERTAINMENT WEEKLY’S TEN BEST NOVELS OF THE DECADE TEN BEST BOOKS OF THE YEAR: People, Slate, The New York Public Library, Harvard Crimson Connell and Marianne grew up in the same small town, but the similarities end there. At school, Connell is popular and well liked, while Marianne is a loner. But when the two strike up a conversation—awkward but electrifying—something life changing begins. A year later, they’re both studying at Trinity College in Dublin. Marianne has found her feet in a new social world while Connell hangs at the sidelines, shy and uncertain. Throughout their years at university, Marianne and Connell circle one another, straying toward other people and possibilities but always magnetically, irresistibly drawn back together. And as she veers into self-destruction and he begins to search for meaning elsewhere, each must confront how far they are willing to go to save the other. Normal People is the story of mutual fascination, friendship, and love. It takes us from that first conversation to the years beyond, in the company of two people who try to stay apart but find that they can’t. WINNER: The British Book Award, The Costa Book Award, The An Post Irish Novel of the Year, Sunday Times Young Writer of the Year Award BEST BOOKS OF THE YEAR: The New York Times, The New York Times Book Review, Oprah Daily, Time, NPR, The Washington Post, Vogue, Esquire, Glamour, Elle, Marie Claire, Vox, The Paris Review, Good Housekeeping, Town & Country