Sylvia Plath's correspondence, addressed chiefly to her mother, from her time at Smith College in the early 1950s up to her suicide in London in February 1963. In addition to her capacity for domestic and writerly happiness, these letters also hint at her potential for deep despair.

Sylvia Plath died in 1963, and even now her outsize persona threatens to bury her poetry—the numerous biographies and studies often drawing the reader toward anecdote and away from the work. It's a relief to turn to the poems themselves and once more be jolted by their strange beauty, hard-wrought originality, and acetylene anger. "It is a heart, / This holocaust I walk in, / O golden child the world will kill and eat." While the juvenilia and poems written before 1960 that Ted Hughes has included here prefigure Plath's later obsessions, they also enable us to witness her turn from thesaurus-heavy verse to stripped-down art as they gather power through raw simplicity. "The blood jet is poetry. / There is no stopping it," she declares in "Kindness."

No other major contemporary American writer has inspired such intense curiosity about her life as Sylvia Plath. Now the intimate and eloquent personal diaries of the twentieth century's most important female poet reveal for the first time the true story behind "The Bell Jar" and her tragic suicide at thirty. They paint, as well, a revealing portrait of the Pulitzer Prize-winning poet whose stature has seldom been equalled.
"A revelation." The New York Times

"What is it about interviews that attracts us?" Margaret Atwood asks in her introduction to this collection of 16 interviews from The Paris Review. "Specifically, what is it about interviews with writers?" Women Writers at Work may not answer that question, but it raises many, many more—and allows the writers included in this volume to speak for themselves. For decades the Paris Review has been interviewing authors of both genders and every literary stripe, and many of these interviews have been collected together in volumes like this one. This, however, is the first time the Writers at Work series has dedicated itself to one gender only. In this volume readers will find insightful interviews with Marianne Moore, Katherine Anne Porter, Rebecca West, Dorothy Parker, P.L. Travers, Simone de Beauvoir, Eudora Welty, Elizabeth Bishop, Mary McCarthy, Nadine Gordimer, Maya Angelou, Anne Sexton, Toni Morrison, Susan Sontag, Joan Didion and Joyce Carol Oates.

The Paris Review is famous for getting authors to open up. The subjects here offer honest, often provocative opinions about themselves (Dorothy Parker on her humorous verses: "I read my verses now and I ain't funny. I haven't been funny for twenty years"); each other (Mary McCarthy on "women writers": "Katherine Anne Porter? Don't think she really is—I mean her writing is certainly very feminine, but I would say that there wasn't the 'WW' business in Katherine Anne Porter"); and writing itself (Toni Morrison: "What makes me feel I belong here, out in this world, is not the teacher, not the mother, not the lover but what goes on in my mind when I'm writing"). The end result is a fascinating glimpse into these writers' minds and works. —Margaret Prior

George Plimpton, that most peripatetic of sporting literati, takes the reins on the latest edition of sportswriting's annual all-star team, and lets these thoroughbreds run. As usual, the smart money is on Roger Angell, Rick Reilly, David Remnick, and Tom Boswell, all of whom are represented, and long-shot David Halberstam makes his comeback with a fascinating profile of a fencer. But the roses go to the real derby winner in this year's group, Pulitzer Prize-winning novelist Richard Ford for his long, lyrical, sometimes funny, sometimes profound meditation from Sports Afield on, of all thought-provoking arenas, hunting with his wife.

A survival manual for the girl who wants it all!

A collection of new fiction exploring the charm and potency of a classic genre . . . the love letter, by some of today’s most celebrated writers including: Margaret Atwood, David Bezmozgis, Douglas Coupland, Michel Faber, A.L. Kennedy, Jeanette Winterson.

The quintessential cautionary tale, Peter Rabbit warns naughty children about the grave consequences of misbehaving. When Mrs. Rabbit beseeches her four furry children not to go into Mr. McGregor's garden, the impish Peter naturally takes this as an open invitation to create mischief. He quickly gets in over his head, when he is spotted by farmer McGregor himself. Any child with a spark of sass will find Peter's adventures remarkably familiar. And they'll see in Flopsy, Mopsy, and Cotton-tail that bane of their existence: the "good" sibling who always does the right thing. One earns bread and milk and blackberries for supper, while the obstinate folly of the other warrants medicine and an early bedtime.

Beatrix Potter's animal stories have been a joy to generations of young readers. Her warm, playful illustrations in soft colors invite children into the world of words and flights of fancy. Once there, she gently and humorously guides readers along the path of righteousness, leaving just enough room for children to wonder if that incorrigible Peter will be back in McGregor's garden tomorrow. (Ages Baby to Preschool)

Relates how the barnyard collie and pups rescued Jemima Puddle-duck from the fox's cooking pot.

new colour reproductions of original edition; 59 pages, paper back copy

While the dolls are away, two curious, naughty mice explore the dolls' house and steal their furniture.

A gift collection of the author's timeless classic works includes the tales of Peter Rabbit, Benjamin Bunny, Squirrel Nutkin, Two Bad Mice, and Jeremy Fisher.

Julie & Julia is the story of Julie Powell's attempt to revitalize her marriage, restore her ambition, and save her soul by cooking all 524 recipes in Julia Child's Mastering the Art of French Cooking, Volume I, in a period of 365 days. The result is a masterful medley of Bridget Jones' Diary meets Like Water for Chocolate, mixed with a healthy dose of original wit, warmth, and inspiration that sets this memoir apart from most tales of personal redemption.

When we first meet Julie, she's a frustrated temp-to-perm secretary who slaves away at a thankless job, only to return to an equally demoralizing apartment in the outer boroughs of Manhattan each evening. At the urging of Eric, her devoted and slightly geeky husband, she decides to start a blog that will chronicle what she dubs the "Julie/Julia Project." What follows is a year of butter-drenched meals that will both necessitate the wearing of an unbearably uncomfortable girdle on the hottest night of the year, as well as the realization that life is what you make of it and joy is not as impossible a quest as it may seem, even when it's -10 degrees out and your pipes are frozen.

Powell is a natural when it comes to connecting with her readers, which is probably why her blog generated so much buzz, both from readers and media alike. And while her self-deprecating sense of humor can sometimes dissolve into whininess, she never really loses her edge, or her sense of purpose. Even on day 365, she's working her way through Mayonnaise Collee and ending the evening "back exactly where we started—just Eric and me, three cats and Buffy...sitting on a couch in the outer boroughs, eating, with Julia chortling alongside us...."

Inspired and encouraging, Julie and Julia is a unique opportunity to join one woman's attempt to change her life, and have a laugh, or ten, along the way. —Gisele Toueg