Stories I Tell Myself


Book Description

Hunter S. Thompson, “smart hillbilly,” boy of the South, born and bred in Louisville, Kentucky, son of an insurance salesman and a stay-at-home mom, public school-educated, jailed at seventeen on a bogus petty robbery charge, member of the U.S. Air Force (Airmen Second Class), copy boy for Time, writer for The National Observer, et cetera. From the outset he was the Wild Man of American journalism with a journalistic appetite that touched on subjects that drove his sense of justice and intrigue, from biker gangs and 1960s counterculture to presidential campaigns and psychedelic drugs. He lived larger than life and pulled it up around him in a mad effort to make it as electric, anger-ridden, and drug-fueled as possible. Now Juan Thompson tells the story of his father and of their getting to know each other during their forty-one fraught years together. He writes of the many dark times, of how far they ricocheted away from each other, and of how they found their way back before it was too late. He writes of growing up in an old farmhouse in a narrow mountain valley outside of Aspen—Woody Creek, Colorado, a ranching community with Hereford cattle and clover fields . . . of the presence of guns in the house, the boxes of ammo on the kitchen shelves behind the glass doors of the country cabinets, where others might have placed china and knickknacks . . . of climbing on the back of Hunter’s Bultaco Matador trail motorcycle as a young boy, and father and son roaring up the dirt road, trailing a cloud of dust . . . of being taken to bars in town as a small boy, Hunter holding court while Juan crawled around under the bar stools, picking up change and taking his found loot to Carl’s Pharmacy to buy Archie comic books . . . of going with his parents as a baby to a Ken Kesey/Hells Angels party with dozens of people wandering around the forest in various stages of undress, stoned on pot, tripping on LSD . . . He writes of his growing fear of his father; of the arguments between his parents reaching frightening levels; and of his finally fighting back, trying to protect his mother as the state troopers are called in to separate father and son. And of the inevitable—of mother and son driving west in their Datsun to make a new home, a new life, away from Hunter; of Juan’s first taste of what “normal” could feel like . . . We see Juan going to Concord Academy, a stranger in a strange land, coming from a school that was a log cabin in the middle of hay fields, Juan without manners or socialization . . . going on to college at Tufts; spending a crucial week with his father; Hunter asking for Juan’s opinion of his writing; and he writes of their dirt biking on a hilltop overlooking Woody Creek Valley, acting as if all the horrible things that had happened between them had never taken place, and of being there, together, side by side . . . And finally, movingly, he writes of their long, slow pull toward reconciliation . . . of Juan’s marriage and the birth of his own son; of watching Hunter love his grandson and Juan’s coming to understand how Hunter loved him; of Hunter’s growing illness, and Juan’s becoming both son and father to his father . . .




Rising Strong


Book Description

#1 NEW YORK TIMES BESTSELLER • When we deny our stories, they define us. When we own our stories, we get to write the ending. Don’t miss the five-part HBO Max docuseries Brené Brown: Atlas of the Heart! Social scientist Brené Brown has ignited a global conversation on courage, vulnerability, shame, and worthiness. Her pioneering work uncovered a profound truth: Vulnerability—the willingness to show up and be seen with no guarantee of outcome—is the only path to more love, belonging, creativity, and joy. But living a brave life is not always easy: We are, inevitably, going to stumble and fall. It is the rise from falling that Brown takes as her subject in Rising Strong. As a grounded theory researcher, Brown has listened as a range of people—from leaders in Fortune 500 companies and the military to artists, couples in long-term relationships, teachers, and parents—shared their stories of being brave, falling, and getting back up. She asked herself, What do these people with strong and loving relationships, leaders nurturing creativity, artists pushing innovation, and clergy walking with people through faith and mystery have in common? The answer was clear: They recognize the power of emotion and they’re not afraid to lean in to discomfort. Walking into our stories of hurt can feel dangerous. But the process of regaining our footing in the midst of struggle is where our courage is tested and our values are forged. Our stories of struggle can be big ones, like the loss of a job or the end of a relationship, or smaller ones, like a conflict with a friend or colleague. Regardless of magnitude or circumstance, the rising strong process is the same: We reckon with our emotions and get curious about what we’re feeling; we rumble with our stories until we get to a place of truth; and we live this process, every day, until it becomes a practice and creates nothing short of a revolution in our lives. Rising strong after a fall is how we cultivate wholeheartedness. It’s the process, Brown writes, that teaches us the most about who we are. ONE OF GREATER GOOD’S FAVORITE BOOKS OF THE YEAR “[Brené Brown’s] research and work have given us a new vocabulary, a way to talk with each other about the ideas and feelings and fears we’ve all had but haven’t quite known how to articulate. . . . Brené empowers us each to be a little more courageous.”—The Huffington Post




The Story I Tell Myself


Book Description

Best known as the writer who introduced French existentialism to English-speaking readers through her translation of Sartre's Being and Nothingness, Hazel E. Barnes has written an autobiography that is both the success story of a professional woman as well as a profoundly moving reflection on growing older. Transcending the personal details of her life, Barnes' memoir stands as an important contribution to the intellectual history of our century. "An intimate record of our times and of the ongoing issues that challenge us to define ourselves over and over again."—Kirkus Reviews "An engaging autobiography that spans not only [Barnes'] self-identified period of 'flourishing' but virtually all the twentieth century."—Library Journal "Thoughtful, gracefully written reflections. . . . Readers will be glad they pursued an unusual woman's intellectual and personal journey."—Booklist "An accessible, wonderfully written book packed with wisdom and insight."—Denver Post "Absorbing and satisfying."—Gertrude Reif Hughes, Women's Review of Books




The Story I Tell Myself


Book Description

You know who you are, right? Of course you do, you’re you! But what if who you think you are is actually holding you back, closing off exciting opportunities that are right in front of you, and preventing you from achieving your best potential? This book explores the concept of self-narrative, or the stories that we tell ourselves about who we are and our place in the world. In this book, I explore how understanding our own self-narratives and challenging them can enable you to change how you think about yourself and open up those opportunities that you could be missing. Using examples from my own journey, I provide a process that you can follow to increase your own self-awareness, understand what your self-narrative says and how it impacts your daily life, and gives a template on how to make changes to your narrative. We are powerful storytellers, telling ourselves our most impactful story of all. By understanding and changing your story you can make real positive change in your life. Use your own story to learn, grow and achieve what you want.




Stories I Tell Myself


Book Description

Hunter S. Thompson, “smart hillbilly,” boy of the South, born and bred in Louisville, Kentucky, son of an insurance salesman and a stay-at-home mom, public school-educated, jailed at seventeen on a bogus petty robbery charge, member of the U.S. Air Force (Airmen Second Class), copy boy for Time, writer for The National Observer, et cetera. From the outset he was the Wild Man of American journalism with a journalistic appetite that touched on subjects that drove his sense of justice and intrigue, from biker gangs and 1960s counterculture to presidential campaigns and psychedelic drugs. He lived larger than life and pulled it up around him in a mad effort to make it as electric, anger-ridden, and drug-fueled as possible. Now Juan Thompson tells the story of his father and of their getting to know each other during their forty-one fraught years together. He writes of the many dark times, of how far they ricocheted away from each other, and of how they found their way back before it was too late. He writes of growing up in an old farmhouse in a narrow mountain valley outside of Aspen—Woody Creek, Colorado, a ranching community with Hereford cattle and clover fields . . . of the presence of guns in the house, the boxes of ammo on the kitchen shelves behind the glass doors of the country cabinets, where others might have placed china and knickknacks . . . of climbing on the back of Hunter’s Bultaco Matador trail motorcycle as a young boy, and father and son roaring up the dirt road, trailing a cloud of dust . . . of being taken to bars in town as a small boy, Hunter holding court while Juan crawled around under the bar stools, picking up change and taking his found loot to Carl’s Pharmacy to buy Archie comic books . . . of going with his parents as a baby to a Ken Kesey/Hells Angels party with dozens of people wandering around the forest in various stages of undress, stoned on pot, tripping on LSD . . . He writes of his growing fear of his father; of the arguments between his parents reaching frightening levels; and of his finally fighting back, trying to protect his mother as the state troopers are called in to separate father and son. And of the inevitable—of mother and son driving west in their Datsun to make a new home, a new life, away from Hunter; of Juan’s first taste of what “normal” could feel like . . . We see Juan going to Concord Academy, a stranger in a strange land, coming from a school that was a log cabin in the middle of hay fields, Juan without manners or socialization . . . going on to college at Tufts; spending a crucial week with his father; Hunter asking for Juan’s opinion of his writing; and he writes of their dirt biking on a hilltop overlooking Woody Creek Valley, acting as if all the horrible things that had happened between them had never taken place, and of being there, together, side by side . . . And finally, movingly, he writes of their long, slow pull toward reconciliation . . . of Juan’s marriage and the birth of his own son; of watching Hunter love his grandson and Juan’s coming to understand how Hunter loved him; of Hunter’s growing illness, and Juan’s becoming both son and father to his father . . .




Speaking From Our Hearts Volume 5: The Stories We Tell Ourselves


Book Description

Apparently, there are very few certainties in life, other than one day we will die. Add-in too, the certainty that change surrounds each and every one of us, every single moment of every single day. But wait, there is a third absolute certainty too! Something that has been with us all from our earliest childhood, and been responsible for creating so much darkness and desperation in our lives - FEAR! What if we became aware though, there is an antidote to this life-limiting emotion? What if we became aware that ‘solution’ starts with the stories we tell, and most importantly, tell ourselves? * * * Through Speaking From Our Hearts, We Become World Game-Changers…




Memoir Ethics


Book Description

Memoir Ethics: Good Lives and the Virtues is a philosophical study of moral themes in memoirs, exploring how memoirists present and defend perspectives on good lives. It pays particular attention to the interplay of the virtues, including their interplay with additional (non-moral) types of values in good lives. More generally, it explores the relevance of memoir to moral philosophy, and in turn how moral philosophy enters into elucidating and critiquing memoirs. Memoirs are understood as non-fiction narratives written by oneself and significantly about oneself (including full-life autobiographies). Mike W. Martin explores perspectives on good lives as they are expressed in memoirs written by both philosophers and non-philosophers. Most of the chapters focus on one of the generic aspects of good lives: moral goodness, authenticity, meaningfulness, happiness, health, and self-fulfillment. The book clarifies how memoirists often employ life-based arguments in defending value perspectives, and it includes a discussion of whether philosophers’ memoirs are distinctive, compared to memoirs by non-philosophers and also compared to other forums for doing philosophy. Martin highlights some parallels between features of good lives and features of memoirs; for example, both can be said to be meaningful, authentic, and having virtues such as wisdom and courage. Demonstrating how memoirs are rich resources in exploring the good lives and exploring ways in which philosophical ethics provide tools for interpreting memoirs, Memoir Ethics will be of interest to a broad audience of students, scholars, and general readers, including anyone interested in ethics or the connections between literature and philosophy.




Stories and Their Limits


Book Description

Narratives have always played a prominent role in both bioethics and medicine; the fields have attracted much storytelling, ranging from great literature to humbler stories of sickness and personal histories. And all bioethicists work with cases--from court cases that shape policy matters to case studies that chronicle sickness. But how useful are these various narratives for sorting out moral matters? What kind of ethical work can stories do--and what are the limits to this work? The new essays in Stories and Their Limits offer insightful reflections on the relationship between narratives and ethics.




Lies I Tell Myself


Book Description

In this “heartfelt, emotionally insightful” (Kirkus Reviews), and funny companion to the acclaimed To Tell You the Truth, Raymond has a life-changing summer when he’s sent to Maine to stay with the grandparents he’s never met. Raymond has always preferred to keep life simple and leave adventuring to other people. But then he’s sent across the country, against his will, to spend the summer before fifth grade with grandparents who think he’s “troubled” and needs to have playdates set up for him. Determined to show everyone how brave, confident, and untroubled he can be, Raymond hatches a three-step plan: 1) Learn to ride a bike. His mom never got around to teaching him before she left. 2) Learn how to swim. 3) Make friends. On his own. But can Raymond really change, or is this whole plan just a bunch of lies he’s telling himself? With the help of his great-grandfather’s old journal, a feral chicken, and a possibly imaginary new friend, Raymond might just overcome his fears and figure out who he really wants to be.




Hopscotch, Blow-Up, We Love Glenda So Much


Book Description

These three groundbreaking works by Julio Cortázar—a major figure of world literature and one of the founders of the Latin American Boom—are published together in one volume for the first time, in honor of the centenary of his birth. With his influential “counternovel” HOPSCOTCH and his unforgettable short stories, Cortázar earned a place among the most innovative authors of the twentieth century. HOPSCOTCH is a nonlinear novel about an Argentinean writer living in Paris; it consists of 155 short chapters that the author advises the reader to read out of order. BLOW-UP and WE LOVE GLENDA SO MUCH bring together the most famous of Cortázar’s short fiction, including “Axolotl,” “End of the Game,” “The Night Face Up,” “Continuity of Parks,” “Bestiary,” and “Blow-Up”. These are stories in which invisible beasts stalk children in their homes, the reader of a mystery finds out that he is the murderer’s intended victim, an injured motorcyclist is pursued by Aztec warriors, and a man becomes a salamander in a Parisian zoo. In Cortázar’s work, laws of nature, physics, and narrative fall away, leaving us with an astonishing new view of the world.