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A nomad and a swindler embark on an eccentric road trip in this picaresque, philosophical novel by the author of The Man Who Planted Trees.South of France, 1950: A solitary vagabond walks through the villages, towns, valleys, and foothills of the region between northern Provence and the Alps. He picks up casual work along the way, and spends the winter as the custodian of a walnut oil mill. He also picks up a problematic companion: a card sharp and con man, whom he calls "the Artist." The action moves from place to place, and episode to episode, in truly picaresque fashion. Everything is told in the first person, present tense, by the vagabond Narrator, who goes unnamed. He himself is a curious combination of qualities--poetic, resentful, cynical, compassionate, flirtatious, and self-absorbed.While The Open Road can be read as loosely strung entertainment, interspersed with caustic reflections, it can also be interpreted as a projection of the relationship between author, art, and audience. But it is ultimately an exploration of the tensions and boundaries between affection and commitment, and of the competing needs for solitude, independence, and human bonds. As always in Giono, the language is rich in natural imagery. Colourful idiomatic expressions--many of them unfamiliar even in France today--pepper every page."Eh, mister, a novel is a mirror, out strolling along the open road. Sometimes it reflects the azure of the heavens, sometimes the muck of the potholes." Whether Giono took his title and inspiration from this passage in Stendhal's Scarlet and Black, or from Whitman's "Song of the Open Road," both these sources course powerfully along The Open Road.

A story of displacement and resistance during the early days of the Nazi occupation of France.Last Times, Victor Serge’s epic novel of the fall of France, is based—like much of his fiction—on firsthand experience. The author was an eyewitness to the last days of Paris in June 1940 and joined the chaotic mass exodus south to the unoccupied zone on foot with nothing but his manuscripts. He found himself trapped in Marseille under the Vichy government, a persecuted, stateless Russian, and participated in the early French Resistance before escaping on the last ship to the Americas in 1941.Exiled in Mexico City, Serge poured his recent experience into a fast-moving, gripping novel aimed at an American audience. The book begins in a near-deserted Paris abandoned by the government, the suburbs already noisy with gunfire. Serge’s anti-fascist protagonists join the flood of refugees fleeing south on foot, in cars loaded with household goods, on bikes, pushing carts and prams under the strafing Stukas, and finally make their way to wartime Marseille. Last Times offers a vivid eyewitness account of the city’s criminal underground and no less criminal Vichy authorities, of collaborators and of the growing resistance, of crowds of desperate refugees competing for the last visa and the last berth on the last—hoped-for—ship to the New World.

The first complete English translation of the nineteenth-century Austrian innovator''s evocative, elemental cycle of novellas.For Kafka he was “my fat brother”; Thomas Mann called him “one of the most peculiar, enigmatic, secretly audacious and strangely gripping storytellers in world literature.” Often misunderstood as an idyllic poet of “beetles and buttercups,” the nineteenth-century Austrian writer Adalbert Stifter can now be seen as a radical experimenter with narrative and a forerunner of nature writing’s darker currents. One of his best-known works, the novella cycle Motley Stones now appears in its first complete English translation, a rendition that respects the bracing strangeness of the original. In six thematically linked novellas, including the beloved classic “Rock Crystal,” human dramas play out amid the natural cycles of the Alps or the urban rhythms of Vienna—environments so keenly observed that they emerge as the tales’ most indomitable protagonists. Stifter’s human characters are equally haunting—children braving perils, eccentrics and loners harboring enigmatic torments. “We seek to glimpse the gentle law that guides the human race,” Stifter famously wrote. What he glimpsed, more often than not, was the abyss that lies behind the idyll. The tension between his humane sensitivity and his dark visions is what lends his writing its heartbreaking power.

A sweet picture book about a little girl's love for her pet lamb, now back in print.M. B. Goffstein was a master of the art of children's books. With the fewest possible words in the best possible order accompanied by precise line drawings, Goffstein created picture books of elemental simplicity, subtle humor, and undeniable charm. Brookie and Her Lamb is a classic tale of reciprocated love between a little girl and her lamb, as memorable as the nursery rhyme about another little lamb and a girl named Mary. Brookie wants to teach her lamb to sing, but all he sings is Baa, baa, baa; she tries to teach him to read, but all he can read is Baa, baa, baa. A bit discouraged, but undeterred, Brookie takes her lamb for a head-clearing walk. She gazes at the lamb grazing, and a smile returns to her face. Back at home, she reconsiders her lesson plan and arrives at a creative solution, a happy ending for both lamb and girl.An ideal read-aloud for young children, Brookie and Her Lamb is a tender tale of mutual love and appreciation and a lasting achievement in story-telling and illustration.

Selected as a Caldecott Honor Book in 1977, this is a charming picture book about a grandmother and her simple, idyllic daily routine, now back in print for the first time in a decade.Fish for Supper is M. B. Goffstein's Caldecott Honor story of a grandmother and her regular routine in summer: waking at five o'clock in the morning to make the most of a day on the lake, "with cans of worms and minnows, some fruit for lunch, bobbers, lines, hooks, and sinkers." Delightfully and wittily, Goffstein departs from the usual fisherman's tale to give us a day in the life of this no-nonsense, patient fisherwoman who catches "sunfish, crapper, perch, and sometimes a big northern pike," who capably cleans her catch, and who can bake to boot. She relishes every bite of her well-earned supper, and the pleasure she takes in her self-sufficiency and graceful work becomes the reader's as well. Based on Goffstein's own childhood summers at her grandparents' house on Lake Minnetonka, Minnesota, Fish for Supper transforms the author and illustrator's indelible memories into a story that is as honed and gratifying as its heroine's days.

A personal and critical work that celebrates the pleasure of books and reading.Largely unknown to readers today, Sir Philip Sidney's sixteenth-century pastoral romance Arcadia was long considered one of the finest works of prose fiction in the English language. Shakespeare borrowed an episode from it for King Lear; Virginia Woolf saw it as "some luminous globe" wherein "all the seeds of English fiction lie latent." In Gallery of Clouds, Renaissance scholar Rachel Eisendrath has written an extraordinary homage to Arcadia in the form of a book-length essay divided into passing clouds: "The clouds in my Arcadia, the one I found and the one I made, hold light and color. They take on the forms of other things: a cat, the sea, my grandmother, the gesture of a teacher I loved, a friend, a girlfriend, a ship at proud sail, my mother. These clouds stay still only as long as I look at them, and then they change."Gallery of Clouds opens in New York City with a dream, or a vision, of meeting Virginia Woolf in the afterlife. She holds out her manuscript to her--an infinite moment passes--and Woolf takes it and begins to read. From here, in this act of magical reading, the book scrolls out in a series of reflective pieces connected through an association of metaphors and ideas. Golden threadlines tie each part to the next: a rupture of time in a Pisanello painting; Montaigne's practice of revision in his essays; a segue through Vivian Gordon Harsh, the first African-American librarian in the Chicago public library system; a fragment of Spenser; a brief history of prose style; a meditation on the active versus the contemplative life; the story of Sarapion, a fifth-century monk; the persistence of the pastoral; image-making and thought; reading Willa Cather to her grandmother in her Chicago apartment; the deviations of Benjamin's "scholarly romance" The Arcades. Eisendrath's wondrously woven hybrid work extols the materiality of reading, its pleasures and delights, with wild leaps and bounding grace.

An incisive reflection on black electoral politics, disenfranchisement, and the lasting legacy of the civil rights movement-now with a brand-new essay on the Covid-19 pandemic, reparations, and the 2020 George Floyd protests.Blackballed is Darryl Pinckney's meditation on a century and a half of participation by blacks in US electoral politics. In this combination of memoir, historical narrative, and contemporary political and social analysis, he investigates the struggle for black voting rights from Reconstruction through the civil rights movement to Barack Obama's two presidential campaigns. Drawing on the work of scholars, the memoirs of civil rights workers, and the speeches and writings of black leaders like Martin Luther King and Stokely Carmichael, Andrew Young and John Lewis, Pinckney traces the disagreements among blacks about the best strategies for achieving equality in American society as well as the ways in which they gradually came to create the Democratic voting bloc that contributed to the election of the first black president.Interspersed through the narrative are Pinckney's own memories of growing up during the civil rights era and the reactions of his parents to the changes taking place in American society. He concludes with an examination of ongoing efforts by Republicans to suppress the black vote, with particular attention to the Supreme Court's recent decision striking down part of the Voting Rights Act of 1965. Also included here is Pinckney's essay "What Black Means Now," on the history of the black middle class, stereotypes about blacks and crime, and contemporary debates about "post-blackness," as well as a new essay, "Buck Moon in Harlem," which reflects on Juneteenth and the ongoing fight for racial justice, and offers a glimpse of New York City amid the Covid-19 pandemic and the protests following the killing of George Floyd.

A classic, secular history of the prophet Muhammad that vividly recreates the fascinating time in which Islam was born.Maxime Rodinson, both a maverick Marxist and a distinguished professor at the Sorbonne, first published his biography of Muhammad in 1960, and in the last half century the book has been widely read and established as a classic in its field. Rodinson, deeply familiar with the historical record and scholarly research into the Prophet's life, did not seek to add to it here but to introduce Muhammad, first of all, as "a man of flesh and blood" who led a life of extraordinary drama and shaped history as few others have. Equally, he sought to lay out an understanding of Muhammad's legacy and Islam as what he called an ideological movement, similar to the universalist religions of Christianity and Buddhism as well as the secular movement of Marxism, but possessing a singular commitment to "the deeply ingrained idea that Islam offers not only a path to salvation but (for many, above all) the ideal of a just society to be realized on earth." Rodinson's book begins by introducing the specific land and the larger world into which Muhammad was born and the development of his prophetic calling. It then follows the steps of his career and the way his leadership gave birth to a religion and a state. A final chapter considers the world as Islam has transformed. The book as a whole offers a vivid and indispensable account of an extraordinary man and his achievement.

A bilingual collection of poetry, from elegies to poem memoirs, by a revered French master.For more than four decades Claire Malroux has forged a unique path in contemporary French poetry, informed by the French tradition, by poets such as Yves Bonnefoy and Mallarmé, and, more unusually, by the Anglophone tradition, especially Emily Dickinson, Elizabeth Bishop, and Derek Walcott. A preeminent translator of English poetry into French, Malroux claims as a signal event in her literary life her discovery in 1983 of Dickinson's poetry, which she describes as "an encounter with the uncanny" and the awakening of a "personal affinity." Malroux is one of those rare poets whose work is informed by a day-to-day intimacy with a second language in its greatest variations and subtleties. Her poems move between an intense but philosophical and abstract interiority and an acute engagement with the material world. In almost every poem there is a characteristic and unsettling amalgam of past and present that collapses distance and incarnates through metaphor. This bilingual selection by the award-winning poet and translator Marilyn Hacker presents Malroux's oeuvre, from her early lyric poems to an excerpt from A Long-Gone Sun--a poem-memoir of life in southern France before and during World War II--to new and uncollected poems from two sequences of elegies written after the death of her life partner, the writer Pierre Sylvain.

A stunning novel about childhood, marriage, and divorce by one of the most interesting minds of the 20th century, now back in print for the first time since 1969.Dream and reality overlap in Divorcing, a book in which divorcing is not just a matter of marital collapse but names a rift that runs right through the inner and outer worlds of Sophie Blind, its brilliant but desperate protagonist. Can the rift be mended? Perhaps in the form of a novel, one that goes back from present-day New York to Sophie's childhood in pre-World War II Budapest, that revisits the divorce between her Freudian father and her fickle mother, and finds a place for a host of further tensions and contradictions of her life now. The question that haunts Divorcing, however, is whether any novel can be fleet and bitter and true and light enough to gather up all the darkness of a given life. Susan Taubes's startlingly original novel was published in 1969 but largely ignored; after the author's tragic early death, it was forgotten. Its republication presents a chance to rediscover a dazzlingly intense and inventive writer whose work in many ways anticipates the fragmentary, glancing, lyrical novels that Renata Adler and Elizabeth Hardwick would write in the 1970s.

A fantastic and philosophical vision of the apocalypse by one of the most striking Italian novelists of the twentieth century.From his solitary buen retiro in the mountains, the last man on earth drives to the capital Chrysopolis to see if anyone else has survived the Vanishing. But there's no one else, living or dead, in that city of "holy plutocracy," with its fifty-six banks and as many churches. He'd left the metropolis to escape his fellow humans and their striving, but to find that the entire human race has evaporated in an instant is more than he had bargained for.Guido Morselli's arresting post-apocalyptic novel, written just before he died, a suicide, in 1973, depicts a man much like the author himself-lonely, brilliant, difficult-and a world much like our own, mesmerized by money, speed, and machines. He travels around searching for signs of life at the US army base-palm trees, convertibles, and missile bays under the roadway-and scouts the well-appointed kitchens of his alpine valley's grand hotels for provisions, all the while brooding on the limits of human vision: his own, but also that of humankind. Meanwhile, life itself-the rest of nature-is just beginning to flourish now that human beings are gone.A precocious portrait of our Anthropocene world and a philosophical last will and testament from a great Italian outsider.

A classic of alternative biography and feminist writing, this empathetic and witty book gives due to a "lesser" figure of history, Mary Ellen Peacock Meredith, who was brilliant, unconventional, and at odds with the constraints of Victorian life. “Many people have described the Famous Writer presiding at his dinner table. . . . He is famous; everybody remembers his remarks. . . . We forget that there were other family members at the table—a quiet person, now muffled by time, shadowy, whose heart pounded with love, perhaps, or rage.” So begins The True History of the First Mrs. Meredith and Other Lesser Lives, an uncommon biography devoted to one of those “lesser lives.” As the author points out, “A lesser life does not seem lesser to the person who leads one.” Such sympathy and curiosity compelled Diane Johnson to research Mary Ellen Peacock Meredith (1821–1861), the daughter of the famous artist Thomas Love Peacock (1785–1866) and first wife of the equally famous poet George Meredith (1828–1909). Her life, treated perfunctorily and prudishly in biographies of Peacock or Meredith, is here exquisitely and unhurriedly given its due. What emerges is the portrait of a brilliant, well-educated woman, raised unconventionally by her father only to feel more forcefully the constraints of the Victorian era. First published in 1972, Lesser Lives has been a key text for feminists and biographers alike, a book that reimagined what biography might be, both in terms of subject and style. Biographies of other “lesser” lives have since followed in its footsteps, but few have the wit, elegance, and empathy of Johnson’s seminal work.

Peek inside one of New York City''s grandest homes—that of Benjamin Sonnenberg, Sr., the inventor of modern public relations—in this smart and hilarious memoir of privilege and excess, told by the son of a powerful and seductive man. Lost Property is a book of memoirs and confessions. The memoirs are of 19 Gramercy Park, once described by The New Yorker as “the greatest house . . . in private hands in New York.” Much like an ocean liner, it was commanded by the author’s immensely powerful and seductive father, Benjamin Sonnenberg Sr., the man said to have invented the modern business of public relations. The memoirs are also of a son’s aesthetic, sexual, and political education, as he both rejects his father’s influence and strives to be his equal.  The confessions in Lost Property are of Ben Sonnenberg’s sometimes absurd flight into “anarchy and sabotage”; of an infidel life in sex and politics in Europe during the Cold War (at one point he was reporting to both the CIA and East German intelligence) and in New York City in the late 1960s. Lost Property is also about marriage, children, debt, divorce, and multiple sclerosis.  A savage comedy, Lost Property is deepened by reflections upon class, culture, and illness. “At last,” writes James Salter, “a defiant life that does not end in bathos, drugs, or stacks of old newspapers, one that draws its distinction from, and ends up as, art.”

A new collection from one of the most exciting voices in American poetry.For many years, Melissa Monroe has been assembling one of the most distinctive bodies of work in contemporary American poetry, drawing on all different kinds of writing, from technical manuals to books of spells to dictionaries of slang, to explore the many ways-poetry is, after all, one of them-in which we human beings seek to know and control the elusive realities of the world around and within us. Her subject is both the strangeness of things and the strangeness of the things we think, and she has an unsurpassed eye for the wilderness between them that we inhabit. The poems collected in Medusa Beach include "Planetogenesis," recording the life of an imaginary planet; "Whiz Mob," a sequence of haikus composed in the criminal argot of 1940s America; "Frequently Asked Questions About Spirit Photography"; and the title poem, which interweaves an account of the life and thought of the great German philosopher and marine biologist Ernst Haeckel with a meditation on the many historical and natural historical avatars of the figure of Medusa. As formally adventurous as they are rigorous, disconcertingly comic, and deeply strange, the poems in Medusa Beach are the work of a true American original.

Enter the mind of French literary giant Honoré de Balzac through a study of nine of his greatest characters and the novels they inhabit. Balzac's Lives illuminates the writer's life, era, and work in a completely original way.Balzac, more than anyone, invented the nineteenth-century novel, and Oscar Wilde went so far as to say that Balzac had invented the nineteenth century. But it was above all through the wonderful, unforgettable, extravagant characters that Balzac dreamed up and made flesh-entrepreneurs, bankers, inventors, industrialists, poets, artists, bohemians of both sexes, journalists, aristocrats, politicians, prostitutes-that he brought to life the dynamic forces of an era that ushered in our own. Peter Brooks's Balzac's Lives is a vivid and searching portrait of a great novelist as revealed through the fictional lives he imagined.

A star of French comics imagines America--its movie stars, its history, its fashion--in these tantalizing graphic short stories about everything from love to, yes, the actor Robert Mitchum.Blutch is one of the most inventive storytellers in comics, and nothing reveals it like Mitchum. Serialized and collected in the mid-90s and never before available in English, this is Blutch at his most wide-ranging: from Puritan fever dreams to an encounter with a shape-shifting Robert Mitchum, Blutch builds stories out of his dreams, visions of America, and anything else he can get his hands on. Drawn in his unmistakable line that veers in a moment from crude to elegant, blotchy to crisp, horrific to serene, these comics show Blutch searching for new artistic frontiers. What he finds is sometimes surprising, occasionally unsettling, and endlessly fascinating.

A devastating novel about the attrocities of WWII, and the unspeakable things people did to survive, by one of Yugoslavia's great literary voices.Lamian is a survivor, but a survivor of a very special kind. He was a Kapo, a prisoner who served as a camp guard in order to save himself. But has Lamian saved himself?The war over, he resumes life in the Bosnian town of Banja Luka, works in a land-surveying office, rents a room, eats as many hot potatoes as he likes, not even bothering to salt them-the quantity is what matters. If only he could stop looking over his shoulder and flinching on the street in the fear that some stranger will step forward, smack his face, and say in a loud voice, "Here's one!"If only he could stop worrying about Helena Lifka, who turned out to be a Yugoslav, and Jewish too; one of the women he made come naked into the toolshed where he hid the gold, and sit on his lap in exchange for bread and butter and a little warm milk. She could turn up any day, an old woman now, and point an accusing finger.In this masterful novel, Aleksandar Tišma shows step by step how fear can turn an ordinary human being into a monster.

A moving tale about middle age, divorce, modern love, and returning home by one of the great American storytellers.Asher's career as a Hollywood screenwriter has come to a humiliating end; so has his latest marriage. Returning to New York, where he grew up, he takes a room at a hotel and wonders what, well into middle age as he is, he should do next. It's not a question of money; it's a question of purpose, maybe of pride. In the company of the arch young poet Michael, Asher revisits the streets and tenements of the Lower East Side where he spent his childhood, though little remains of the past. Michael introduces Asher to Aurora, perhaps his girlfriend, who, to Asher's surprise, seems bent on pursuing him, too. Soon the older man and his edgy young companions are caught up in a slow, strange, almost ritualized dance of deceit and desire. The End of Me, a successor to Hayes's In Love and My Face for the World to See, can be seen as the final panel of a triptych in which Alfred Hayes anatomizes, with a cool precision and laconic lyricism that are all his own, the failure of modern love. The last scene is the starkest of all.

A vivid coming-of-age tale about a young man trying to make his way as a journalist and band leader in a big Nigerian city.When Chinua Achebe became the editor of the legendary Heinemann African Writers Series, one of the first books he chose was a collection of stories by Cyprian Ekwensi. People of the City, Ekwensi's early masterpiece, is the tale of Amusa Sango, a young man who travels from the country to a great and crazy city that is not named but might well be taken for Lagos, where he means to make a career as a crime reporter for the never less than sensational West African Sensation while leading a dance band whose calypsos and konkomas "delight the heart of city women." Amusa is a man on the make, looking for stories, success, sex, maybe even love, and he finds a lot of what he's looking for, though whether he can hold on to what he has and get what he wants is another story altogether. Ekwensi's delicious novel has the swagger, bravado, and elation of the great bands of West Africa.

Monster is curious about making friends, finding a home, and exploring his city. This book collects six Monster stories-written by educators Ellen Blance and Ann Cook, who worked with children to write the books-brought to life by Quentin Blake's charming illustrations. Have you met Monster? He's not scary or mean like other monsters. He's kind of tall and his head is skinny, and he's purple. He's curious about everything: the city, the river, houses, cars, trains, and what people look like, the park, the kids, the swings, the stores and clothes and stuff. It is all new to him. "Monster thinks the city is fine so he thinks he will live here." So begins the story of gentle, playful Monster, who conducts himself with grace and courtesy, and in short order finds a home, a best friend, and a bunch of kids to play with. First introduced in 1973, Monster returns in this omnibus edition of the first six stories of an extended emerging-reader series written not only for children, but also by them. Educators Ellen Blance and Ann Cook worked with schoolchildren to write stories a child would want, and be able, to read. While most children's books are meant to be read by adults to children, these are stories children can read to themselves or to adults. The book includes illustrations by the illustrious Quentin Blake, and a new letter to children (and one to parents) by the authors.

Experience postwar Europe through the diary of a fascinating and witty twentieth-century writer and artist. Recording his travels in France and Switzerland, Curzio Malaparte encounters famous figures such as Cocteau and Camus and captures the fraught, restless spirit of Paris after the trauma of war. In 1947 Curzio Malaparte returned to Paris for the first time in fourteen years. In between, he had been condemned by Mussolini to five years in exile and, on release, repeatedly imprisoned. In his intervals of freedom, he had been dispatched as a journalist to the Eastern Front, and though many of his reports from the bloodlands of Poland and Ukraine were censored, his experiences there became the basis for his unclassifiable postwar masterpiece and international bestseller, Kaputt. Now, returning to the one country that had always treated him well, the one country he had always loved, he was something of a star, albeit one that shines with a dusky and disturbing light. The journal he kept while in Paris records a range of meetings with remarkable people-Jean Cocteau and a dourly unwelcoming Albert Camus among them-and is full of Malaparte's characteristically barbed reflections on the temper of the time. It is a perfect model of ambiguous reserve as well as humorous self-exposure. There is, for example, Malaparte's curious custom of sitting out at night and barking along with the neighborhood dogs-dogs, after all, were his only friends when in exile. The French find it puzzling, to say the least; when it comes to Switzerland, it is grounds for prosecution!

A lauded American poet's tributes to Walt Whitman and Henry James, now collected for the first time.Richard Howard has long been recognized as one of America's finest poets, celebrated as an author for his keen engagement with other authors, and especially for his sparkling and trenchant dramatic monologues and two-part inventions. Through the years, Howard has, in this way, given voice to all sorts of historical and literary figures, but two of his favorite subjects are two of his favorite writers-Walt Whitman and Henry James-and this book gathers an array of poems in which he responds to these great gay forebears, as well as to two other beloved Americans, Hart Crane and Wallace Stevens. Here Whitman the good gray poet opens his door to Bram Stoker and to Oscar Wilde; Henry James struggles to take stock of Los Angeles, where he is to have lunch with L. Frank Baum; Edith Wharton reminisces about her fraught friendship with the Master; poor Pansy from The Portrait of a Lady broods on her dreadful father; and late in life Wallace Stevens visits Paris-as Stevens never did. Howard's wonderful inventions are as expansive and celebratory and human as Whitman, as deeply and subtly inquiring as James, as sumptuously meditative as Stevens, and as arresting and delightful as Richard Howard himself.

Lust, religious zeal, and heartache come together in this provocative novel about two infatuations, one between a man and his young lover in the late 20th century and another between a 15th-century maiden and Jesus Christ.First published in 1994, Robert Glück's Margery Kempe is one of the most provocative, poignant, and inventive American novels of the last quarter century. The book tells two stories of romantic obsession. One, based on the first autobiography in English, the medieval Book of Margery Kempe, is about a fifteenth-century woman from East Anglia, a visionary, a troublemaker, a pilgrim to the Holy Land, and an aspiring saint, and her love affair with Jesus. It is complicated. The other is about the author's own love for an alluring and elusive young American, L. It is complicated. Between these two Margery Kempe, the novel, emerges as an unprecedented exploration of desire, devotion, abjection, and sexual obsession in the form of a novel like no other novel. Robert Glück's masterpiece bears comparison with the finest work of such writers as Kathy Acker and Chris Kraus. This edition includes an essay by Glück about the creation of the book titled "My Margery, Margery's Bob."