A story of drug and alcohol abuse and rehabilitation as it has never been told before. Recounted in visceral, kinetic prose, and crafted with a forthrightness that rejects piety, cynicism, and self-pity, it brings us face-to-face with a provocative new understanding of the nature of addiction and the meaning of recovery. By the time he entered a drug and alcohol treatment facility, James Frey had taken his addictions to near-deadly extremes. He had so thoroughly ravaged his body that the facilityís doctors were shocked he was still alive. The ensuing torments of detoxification and withdrawal, and the never-ending urge to use chemicals, are captured with a vitality and directness that recalls the seminal eye-opening power of William Burroughsís Junky. But A Million Little Pieces refuses to fit any mold of drug literature. Inside the clinic, James is surrounded by patients as troubled as he is -- including a judge, a mobster, a one-time world-champion boxer, and a fragile former prostitute to whom he is not allowed to speak ó but their friendship and advice strikes James as stronger and truer than the clinicís droning dogma of How to Recover. James refuses to consider himself a victim of anything but his own bad decisions, and insists on accepting sole accountability for the person he has been and the person he may become--which runs directly counter to his counselors' recipes for recovery. James has to fight to find his own way to confront the consequences of the life he has lived so far, and to determine what future, if any, he holds. It is this fight, told with the charismatic energy and power of One Flew over the Cuckoo's Nest, that is at the heart of A Million Little Pieces: the fight between one young manís will and the ever-tempting chemical trip to oblivion, the fight to survive on his own terms, for reasons close to his own heart. A Million Little Pieces is an uncommonly genuine account of a life destroyed and a life reconstructed. It is also the introduction of a bold and talented literary voice.
Is your face suffering from a lack of exercise? Readers rely on John McPherson's Close to Home cartoon to contort their facial muscles into an unstoppable grin each day. Not even Botox can stop you from smiling at this latest collection of Close to Home. How do you measure a cartoon's popularity? The true measure of a comic panel's popularity is how often it is posted on a refrigerator, cubicle, break room bulletin board, or office door. By that standard, Close to Home wins the comic panel popularity contest hands down. Close to Home captures the humor in all facets of life. From home to hospitals, from classrooms to courtrooms, from boardrooms to backyards--there's a Close to Home panel that hits us where we live and work and play. A Million Little Pieces of Close to Home features hilarious panels first published in newspapers in the year 2000, the year of the Y2K scare that never materialized. Of course, that's just the kind of thing you'd expect from a Close to Home world.
(Selected excerpts and outside reviews can be found by clicking on the blue Python Bonkers hyperlink.) This book may share an alphabetical lineage with the Frey book, but there is no melodramatic redemption here -- it is not a parody of that book but its own entity. As one of the characters from the book says, We're still involved in the commission of the acts that will require redemption -- and those stories are always so much more fun. Bonkers and his bizarre team embarks on a gonzo tear through the streets of Los Angeles and across the pop cultural landscape as well. In his satirical quest for truth in journalism, and life, he must navigate through the many odd tiers of social class, in both the Southern California culture and in his Machiavellian office life and its absurd red and blue political divisions. This is no heart-wrenching tale of excess, its destination is hilarity, so it presses the pedal to the metal and takes no prisoners.
A Study Guide for James Frey's "A Million Little Pieces," excerpted from Gale's acclaimed Literary Newsmakers for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Literary Newsmakers for Students for all of your research needs.
Is my ordinary, everyday life actually significant? Is it okay to be fulfilled by the simple acts of raising kids, working in an office, and cooking chicken for dinner? It’s been said, “Life is not measured by the number of breaths we take, but by the number of moments that take our breath away.” The pressure of that can be staggering as we spend our days looking for that big thing that promises to take our breath away. Meanwhile, we lose sight of the small significance of fully living with every breath we take. Melanie Shankle, New York Times bestselling author and writer at The Big Mama Blog tackles these questions head on in her fourth book, Church of the Small Things. Easygoing and relatable, she speaks directly to the heart of women of all ages who are longing to find significance and meaning in the normal, sometimes mundane world of driving carpool to soccer practice, attending class on their college campus, cooking meals for their family, or taking care of a sick loved one. The million little pieces that make a life aren’t necessarily glamorous or far-reaching. But God uses some of the smallest, most ordinary acts of faithfulness—and sometimes they look a whole lot like packing lunch. Through humorous stories told in her signature style, full of Frito pie, best friends, the love of her Me-Ma and Pa-Pa, the unexpected grace that comes when we quit trying to measure up, and a little of the best TV has to offer, Melanie helps women embrace what it means to live a simple, yet incredibly meaningful life and how to find all the beauty and laughter that lies right beneath the surface of every moment.
A kiss, a touch. A smile and a beating heart. Love and sex and dreams, art and drugs and the madness of youth. Betrayal and heartbreak, regret and pain, the melancholy of age. Katerina, James Frey's explosive new novel, is a sweeping love story alternating between 1992 Paris and Los Angeles in 2017. At its centre are a young writer and a young model on the verge of fame, both reckless, impulsive, and deeply in love. Twenty-five years later, the writer is rich, famous and numb, and he wants to drive his car into a tree, when he receives an anonymous message that draws him back to the life, and possibly the love, he abandoned years prior. Written in the same percussive, propulsive, dazzling, breathtaking style as A Million Little Pieces, Katerina echoes and complements that most controversial of memoirs, and plays with the same issues of fiction and reality that created, nearly destroyed, and then recreated James Frey in the global imagination.
Ted Striphas argues that, although the production and propagation of books have undoubtedly entered a new phase, printed works are still very much a part of our everyday lives. With examples from trade journals, news media, films, advertisements, and a host of other commercial and scholarly materials, Striphas tells a story of modern publishing that proves, even in a rapidly digitizing world, books are anything but dead. From the rise of retail superstores to Oprah's phenomenal reach, Striphas tracks the methods through which the book industry has adapted (or has failed to adapt) to rapid changes in twentieth-century print culture. Barnes & Noble, Borders, and Amazon.com have established new routes of traffic in and around books, and pop sensations like Harry Potter and the Oprah Book Club have inspired the kind of brand loyalty that could only make advertisers swoon. At the same time, advances in digital technology have presented the book industry with extraordinary threats and unique opportunities. Striphas's provocative analysis offers a counternarrative to those who either triumphantly declare the end of printed books or deeply mourn their passing. With wit and brilliant insight, he isolates the invisible processes through which books have come to mediate our social interactions and influence our habits of consumption, integrating themselves into our routines and intellects like never before.
Since the early 1990s, tens of thousands of memoirs by celebrities and unknown people have been published, sold, and read by millions of American readers. The memoir boom, as the explosion of memoirs on the market has come to be called, has been welcomed, vilified, and dismissed in the popular press. But is there really a boom in memoir production in the United States? If so, what is causing it? Are memoirs all written by narcissistic hacks for an unthinking public, or do they indicate a growing need to understand world events through personal experiences? This study seeks to answer these questions by examining memoir as an industrial product like other products, something that publishers and booksellers help to create. These popular texts become part of mass culture, where they are connected to public events. The genre of memoir, and even genre itself, ceases to be an empty classification category and becomes part of social action and consumer culture at the same time. From James Frey’s controversial A Million Little Pieces to memoirs about bartending, Iran, the liberation of Dachau, computer hacking, and the impact of 9/11, this book argues that the memoir boom is more than a publishing trend. It is becoming the way American readers try to understand major events in terms of individual experiences. The memoir boom is one of the ways that citizenship as a category of belonging between private and public spheres is now articulated.
Why do Americans read contemporary fiction? This question seems simple, but is it? Do Americans read for the purpose of aesthetic appreciation? To satisfy their own insatiable intellectual curiosities? While other forms of media have come to monopolize consumers’ leisure time, in the past two decades book clubs have proliferated, Amazon has sponsored thriving online discussions, Oprah Winfrey has inspired millions of viewers to read both contemporary works and classics, and novels have retained their devoted following within middlebrow communities. In Reading as Therapy, Timothy Aubry argues that contemporary fiction serves primarily as a therapeutic tool for lonely, dissatisfied middle-class American readers, one that validates their own private dysfunctions while supporting elusive communities of strangers unified by shared feelings. Aubry persuasively makes the case that contemporary literature’s persistent appeal depends upon its capacity to perform a therapeutic function. Aubry traces the growth and proliferation of psychological concepts focused on the subjective interior within mainstream, middle-class society and the impact this has had on contemporary fiction. The prevailing tendency among academic critics has been to decry the personal emphasis of contemporary fiction as complicit with the rise of a narcissistic culture, the ascendency of liberal individualism, and the breakdown of public life. Reading as Therapy, by contrast, underscores the varied ideological effects that therapeutic culture can foster. To uncover the many unpredictable ways in which contemporary literature answers the psychological needs of its readers, Aubry considers several different venues of reader-response—including Oprah’s Book Club and Amazon customer reviews—the promotional strategies of publishing houses, and a variety of contemporary texts, ranging from Khaled Hosseini’s The Kite Runner to Anita Shreve’s The Pilot’s Wife to David Foster Wallace’s Infinite Jest. He concludes that, in the face of an atomistic social landscape, contemporary fiction gives readers a therapeutic vocabulary that both reinforces the private sphere and creates surprising forms of sympathy and solidarity among strangers.
"Examines the role of confession in American culture. Argues that the genre of confession has profoundly shaped (and been shaped by) six of America's most intractable cultural issues: sexuality, class, race, violence, religion, and democracy"--Provided by publisher.