Yesterday I fell into the black hole that is Great on Kindle. I had never heard of this program before but I was watching SunBeamJess latest video and she was reviewing In The Dream House by Carmen Maria Machado. This book has been on my radar so while I was watching I looked it up on Amazon. It was like $13 or $14 for the Kindle book which I would never normally pay but it came with a $10.49 credit. I decided that it was worth it since I really wanted to read the book. I then got an email linking me to the Great on Kindle page where I could spend my credits. But you guys every single book that you buy on there gives you more credits for other books! Oh my gosh it sent me into an hour long spiral where I was buying books that I have been wanting to read. All the books vary in price and so the credits you get back for the purchase would vary as well. I still have $3.74 in credits but I just couldn’t keep searching anymore. Especially since the last book that I “bought” (it was actually free) was a Kindle Unlimited book so it was a total waste of my credits.
The Great on Kindle program is only for select non fiction books and they are supposed to be more user friendly. To be honest I don’t know what the difference is between these books and regular kindle books other than the discount you get for buying them. But I was excited about these books and I wanted to share with you if you also enjoy nonfiction books.
For years Carmen Maria Machado has struggled to articulate her experiences in an abusive same-sex relationship. In this extraordinarily candid and radically inventive memoir, Machado tackles a dark and difficult subject with wit, inventiveness and an inquiring spirit, as she uses a series of narrative tropes—including classic horror themes—to create an entirely unique piece of work which is destined to become an instant classic.
“The impressive collection of writers here have contributed essays that celebrate knitting and knitters. They share their knitting triumphs and disasters as well as their life triumphs and disasters…These essays will break your heart. They will have you laughing out loud.” —Ann Hood, from the introduction
Why does knitting occupy a place in the hearts of so many writers? What’s so magical and transformative about yarn and needles? How does knitting help us get through life-changing events and inspire joy? In Knitting Yarns, twenty-seven writers tell stories about how knitting healed, challenged, or helped them to grow. Barbara Kingsolver describes sheering a sheep for yarn. Elizabeth Berg writes about her frustration at failing to knit. Ann Patchett traces her life through her knitting, writing about the scarf that knits together the women she’s loved and lost. Knitting a Christmas gift for his blind aunt helped Andre Dubus III knit an understanding with his girlfriend. Kaylie Jones finds the woman who used knitting to help raise her in France and heals old wounds. Sue Grafton writes about her passion for knitting. Also included are five original knitting patterns created by Helen Bingham.
Poignant, funny, and moving, Knitting Yarns is sure to delight knitting enthusiasts and lovers of literature alike.
The prescient, page-turning account of a journey in Silicon Valley: a defining memoir of our digital age
In her mid-twenties, at the height of tech industry idealism, Anna Wiener—stuck, broke, and looking for meaning in her work, like any good millennial–left a job in book publishing for the promise of the new digital economy. She moved from New York to San Francisco, where she landed at a big-data startup in the heart of the Silicon Valley bubble: a world of surreal extravagance, dubious success, and fresh-faced entrepreneurs hell-bent on domination, glory, and, of course, progress.
Anna arrived amidst a massive cultural shift, as the tech industry rapidly transformed into a locus of wealth and power rivaling Wall Street. But amid the company ski vacations and in-office speakeasies, boyish camaraderie and ride-or-die corporate fealty, a new Silicon Valley began to emerge: one in far over its head, one that enriched itself at the expense of the idyllic future it claimed to be building.
Part coming-age-story, part portrait of an already-bygone era, Anna Wiener’s memoir is a rare first-person glimpse into high-flying, reckless startup culture at a time of unchecked ambition, unregulated surveillance, wild fortune, and accelerating political power. With wit, candor, and heart, Anna deftly charts the tech industry’s shift from self-appointed world savior to democracy-endangering liability, alongside a personal narrative of aspiration, ambivalence, and disillusionment.
Unsparing and incisive, Uncanny Valley is a cautionary tale, and a revelatory interrogation of a world reckoning with consequences its unwitting designers are only beginning to understand.
Ali Wong’s heartfelt and hilarious letters to her daughters (the two she put to work while they were still in utero), covering everything they need to know in life, like the unpleasant details of dating, how to be a working mom in a male-dominated profession, and how she trapped their dad.
In her hit Netflix comedy special Baby Cobra, an eight-month pregnant Ali Wong resonated so heavily that she became a popular Halloween costume. Wong told the world her remarkably unfiltered thoughts on marriage, sex, Asian culture, working women, and why you never see new mom comics on stage but you sure see plenty of new dads.
The sharp insights and humor are even more personal in this completely original collection. She shares the wisdom she’s learned from a life in comedy and reveals stories from her life off stage, including the brutal singles life in New York (i.e. the inevitable confrontation with erectile dysfunction), reconnecting with her roots (and drinking snake blood) in Vietnam, tales of being a wild child growing up in San Francisco, and parenting war stories. Though addressed to her daughters, Ali Wong’s letters are absurdly funny, surprisingly moving, and enlightening (and disgusting) for all.
The stunning story of an Alabama serial killer and the true-crime book that Harper Lee worked on obsessively in the years after To Kill a Mockingbird.
Reverend Willie Maxwell was a rural preacher accused of murdering five of his family members for insurance money in the 1970s. With the help of a savvy lawyer, he escaped justice for years until a relative shot him dead at the funeral of his last victim. Despite hundreds of witnesses, Maxwell’s murderer was acquitted–thanks to the same attorney who had previously defended the Reverend.
Sitting in the audience during the vigilante’s trial was Harper Lee, who had traveled from New York City to her native Alabama with the idea of writing her own In Cold Blood, the true-crime classic she had helped her friend Truman Capote research seventeen years earlier. Lee spent a year in town reporting, and many more working on her own version of the case.
Now Casey Cep brings this story to life, from the shocking murders to the courtroom drama to the racial politics of the Deep South.
Author Erik Larson imbues the incredible events surrounding the 1893 Chicago World’s Fair with such drama that readers may find themselves checking the book’s categorization to be sure that ‘The Devil in the White City’ is not, in fact, a highly imaginative novel. Larson tells the stories of two men: Daniel H. Burnham, the architect responsible for the fair’s construction, and H.H. Holmes, a serial killer masquerading as a charming doctor.
Burnham’s challenge was immense. In a short period of time, he was forced to overcome the death of his partner and numerous other obstacles to construct the famous “White City” around which the fair was built. His efforts to complete the project, and the fair’s incredible success, are skillfully related along with entertaining appearances by such notables as Buffalo Bill Cody, Susan B. Anthony, and Thomas Edison.
The activities of the sinister Dr. Holmes, who is believed to be responsible for scores of murders around the time of the fair, are equally remarkable. He devised and erected the World’s Fair Hotel, complete with crematorium and gas chamber, near the fairgrounds and used the event as well as his own charismatic personality to lure victims.
Combining the stories of an architect and a killer in one book, mostly in alternating chapters, seems like an odd choice but it works. The magical appeal and horrifying dark side of 19th-century Chicago are both revealed through Larson’s skillful writing. – John Moe
What is the nature of space and time? How do we fit within the universe? How does the universe fit within us? There’s no better guide through these mind-expanding questions than acclaimed astrophysicist and best-selling author Neil deGrasse Tyson.
But today, few of us have time to contemplate the cosmos. So Tyson brings the universe down to Earth succinctly and clearly, with sparkling wit, in tasty chapters consumable anytime and anywhere in your busy day.
Sex and the City meets Catch Me if You Can in the astonishing true story of Anna Delvey, a young con artist posing as a German heiress in New York City—as told by the former Vanity Fair photo editor who got seduced by her friendship and then scammed out of more than $62,000.
A sublime and seductive reading experience. Brilliantly conceived and masterfully written, this enormously engaging portrait of a most beguiling Southern city has become a modern classic.
Shots rang out in Savannah’s grandest mansion in the misty, early morning hours of May 2, 1981. Was it murder or self-defense? For nearly a decade, the shooting and its aftermath reverberated throughout this hauntingly beautiful city of moss-hung oaks and shaded squares. John Berendt’s sharply observed, suspenseful, and witty narrative reads like a thoroughly engrossing novel, and yet it is a work of nonfiction. Berendt skillfully interweaves a hugely entertaining first-person account of life in this isolated remnant of the Old South with the unpredictable twists and turns of a landmark murder case.
It is a spellbinding story peopled by a gallery of remarkable characters: the well-bred society ladies of the Married Woman’s Card Club; the turbulent young redneck gigolo; the hapless recluse who owns a bottle of poison so powerful it could kill every man, woman, and child in Savannah; the aging and profane Southern belle who is the “soul of pampered self-absorption”; the uproariously funny black drag queen; the acerbic and arrogant antiques dealer; the sweet-talking, piano-playing con artist; young blacks dancing the minuet at the black debutante ball; and Minerva, the voodoo priestess who works her magic in the graveyard at midnight. These and other Savannahians act as a Greek chorus, with Berendt revealing the alliances, hostilities, and intrigues that thrive in a town where everyone knows everyone else.
‘…And then we heard the rain falling, and that was the drops of blood falling; and when we came to get the crops, it was dead men that we reaped.’ Harriet Tubman
In five years, Jesmyn Ward lost five men in her life, to drugs, accidents, suicide, and the bad luck that can follow people who live in poverty, particularly black men. Dealing with these losses, one after another, made Jesmyn ask the question: why? And as she began to write about the experience of living through all the dying, she realized the truth–and it took her breath away. Her brother and her friends all died because of who they were and where they were from, because they lived with a history of racism and economic struggle that fostered drug addiction and the dissolution of family and relationships. Jesmyn says the answer was so obvious she felt stupid for not seeing it. But it nagged at her until she knew she had to write about her community, to write their stories and her own.
Jesmyn grew up in poverty in rural Mississippi. She writes powerfully about the pressures this brings, on the men who can do no right and the women who stand in for family in a society where the men are often absent. She bravely tells her story, revisiting the agonizing losses of her only brother and her friends. As the sole member of her family to leave home and pursue high education, she writes about this parallel American universe with the objectivity distance provides and the intimacy of utter familiarity.
Before Alexandria Marzano-Lesnevich begins a summer job at a law firm in Louisiana, working to help defend men accused of murder, she thinks her position is clear. The child of two lawyers, she is staunchly anti-death penalty. But the moment convicted murderer Ricky Langley’s face flashes on the screen as she reviews old tapes―the moment she hears him speak of his crimes―she is overcome with the feeling of wanting him to die. Shocked by her reaction, she digs deeper and deeper into the case. Despite their vastly different circumstances, something in his story is unsettlingly, uncannily familiar.
Crime, even the darkest and most unsayable acts, can happen to any one of us. As Alexandria pores over the facts of the murder, she finds herself thrust into the complicated narrative of Ricky’s childhood. And by examining the details of Ricky’s case, she is forced to face her own story, to unearth long-buried family secrets, and reckon with a past that colors her view of Ricky’s crime.
But another surprise awaits: She wasn’t the only one who saw her life in Ricky’s.
An intellectual and emotional thriller that is also a different kind of murder mystery, The Fact Of a Body is a book not only about how the story of one crime was constructed―but about how we grapple with our own personal histories. Along the way it tackles questions about the nature of forgiveness, and if a single narrative can ever really contain something as definitive as the truth. This groundbreaking, heart-stopping work, ten years in the making, shows how the law is more personal than we would like to believe―and the truth more complicated, and powerful, than we could ever imagine.
In this collection of personal essays, the beloved star of Gilmore Girls and Parenthood reveals stories about life, love, and working as a woman in Hollywood—along with behind-the-scenes dispatches from the set of the new Gilmore Girls, where she plays the fast-talking Lorelai Gilmore once again.
In Talking as Fast as I Can, Lauren Graham hits pause for a moment and looks back on her life, sharing laugh-out-loud stories about growing up, starting out as an actress, and, years later, sitting in her trailer on the Parenthood set and asking herself, “Did you, um, make it?” She opens up about the challenges of being single in Hollywood (“Strangers were worried about me; that’s how long I was single!”), the time she was asked to audition her butt for a role, and her experience being a judge on Project Runway (“It’s like I had a fashion-induced blackout”).
In “What It Was Like, Part One,” Graham sits down for an epic Gilmore Girls marathon and reflects on being cast as the fast-talking Lorelai Gilmore. The essay “What It Was Like, Part Two” reveals how it felt to pick up the role again nine years later, and what doing so has meant to her.
Some more things you will learn about Lauren: She once tried to go vegan just to bond with Ellen DeGeneres, she’s aware that meeting guys at awards shows has its pitfalls (“If you’re meeting someone for the first time after three hours of hair, makeup, and styling, you’ve already set the bar too high”), and she’s a card-carrying REI shopper (“My bungee cords now earn points!”).
Including photos and excerpts from the diary Graham kept during the filming of the recent Gilmore Girls: A Year in the Life, this book is like a cozy night in, catching up with your best friend, laughing and swapping stories, and—of course—talking as fast as you can.
The author of the Millennium novels laid out the clues. Now a journalist is following them.
When Stieg Larsson died, the author of The Girl with the Dragon Tattoo had been working on a true mystery that out-twisted his Millennium novels: the assassination on February 28, 1986, of Olof Palme, the Swedish prime minister. It was the first time in history that a head of state had been murdered without a clue who’d done it—and on a Stockholm street at point-blank range.
Internationally known for his fictional far-right villains, Larsson was well acquainted with their real-life counterparts and documented extremist activities throughout the world. For years he’d been amassing evidence that linked their terrorist acts to what he called “one of the most astounding murder cases” he’d ever covered. Larsson’s archive was forgotten until journalist Jan Stocklassa was given exclusive access to the author’s secret project.
In The Man Who Played with Fire, Stocklassa collects the pieces of Larsson’s true-crime puzzle to follow the trail of intrigue, espionage, and conspiracy begun by one of the world’s most famous thriller writers. Together they set out to solve a mystery that no one else could.