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"They carried all the emotional baggage of men who might die. Grief, terror, love, longing--these were intangibles, but the intangibles had their own mass and specific gravity, they had tangible weight. They carried shameful memories. They carried the common secret of cowardice.... Men killed, and died, because they were embarrassed not to."

A finalist for both the 1990 Pulitzer Prize and the National Book Critics Circle Award, The Things They Carried marks a subtle but definitive line of demarcation between Tim O'Brien's earlier works about Vietnam, the memoir If I Die in a Combat Zone and the fictional Going After Cacciato, and this sly, almost hallucinatory book that is neither memoir nor novel nor collection of short stories but rather an artful combination of all three. Vietnam is still O'Brien's theme, but in this book he seems less interested in the war itself than in the myriad different perspectives from which he depicts it. Whereas Going After Cacciato played with reality, The Things They Carried plays with truth. The narrator of most of these stories is "Tim"; yet O'Brien freely admits that many of the events he chronicles in this collection never really happened. He never killed a man as "Tim" does in "The Man I Killed," and unlike Tim in "Ambush," he has no daughter named Kathleen. But just because a thing never happened doesn't make it any less true. In "On the Rainy River," the character Tim O'Brien responds to his draft notice by driving north, to the Canadian border where he spends six days in a deserted lodge in the company of an old man named Elroy while he wrestles with the choice between dodging the draft or going to war. The real Tim O'Brien never drove north, never found himself in a fishing boat 20 yards off the Canadian shore with a decision to make. The real Tim O'Brien quietly boarded the bus to Sioux Falls and was inducted into the United States Army. But the truth of "On the Rainy River" lies not in facts but in the genuineness of the experience it depicts: both Tims went to a war they didn't believe in; both considered themselves cowards for doing so. Every story in The Things They Carried speaks another truth that Tim O'Brien learned in Vietnam; it is this blurred line between truth and reality, fact and fiction, that makes his book unforgettable. --Alix Wilber.
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Change can be a blessing or a curse, depending on your perspective The message of Who Moved My Cheese? is that all can come to see it as a blessing, if they understand the nature of cheese and the role it plays in their lives. Who Moved My Cheese? is a parable that takes place in a maze. Four beings live in that maze: Sniff and Scurry are mice--nonanalytical and nonjudgmental, they just want cheese and are willing to do whatever it takes to get it. Hem and Haw are "littlepeople," mouse-size humans who have an entirely different relationship with cheese. It's not just sustenance to them; it's their self-image. Their lives and belief systems are built around the cheese they've found. Most of us reading the story will see the cheese as something related to our livelihoods--our jobs, our career paths, the industries we work in--although it can stand for anything, from health to relationships. The point of the story is that we have to be alert to changes in the cheese, and be prepared to go running off in search of new sources of cheese when the cheese we have runs out.

Dr. Johnson, coauthor of The One Minute Manager and many other books, presents this parable to business, church groups, schools, military organizations--anyplace where you find people who may fear or resist change. And although more analytical and skeptical readers may find the tale a little too simplistic, its beauty is that it sums up all natural history in just 94 pages: Things change. They always have changed and always will change. And while there's no single way to deal with change, the consequence of pretending change won't happen is always the same: The cheese runs out. --Lou Schuler.
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This true story about the love between a spiritual mentor and his pupil has soared to the bestseller list for many reasons For starters: it reminds us of the affection and gratitude that many of us still feel for the significant mentors of our past. It also plays out a fantasy many of us have entertained: what would it be like to look those people up again, tell them how much they meant to us, maybe even resume the mentorship? Plus, we meet Morrie Schwartz--a one of a kind professor, whom the author describes as looking like a cross between a biblical prophet and Christmas elf. And finally we are privy to intimate moments of Morrie's final days as he lies dying from a terminal illness. Even on his deathbed, this twinkling-eyed mensch manages to teach us all about living robustly and fully. Kudos to author and acclaimed sports columnist Mitch Albom for telling this universally touching story with such grace and humility. --Gail Hudson.
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Marcus Buckingham and Curt Coffman expose the fallacies of standard management thinking in First, Break All the Rules: What the World's Greatest Managers Do Differently. In seven chapters, the two consultants for the Gallup Organization debunk some dearly held notions about management, such as "treat people as you like to be treated"; "people are capable of almost anything"; and "a manager's role is diminishing in today's economy." "Great managers are revolutionaries," the authors write. "This book will take you inside the minds of these managers to explain why they have toppled conventional wisdom and reveal the new truths they have forged in its place."

The authors have culled their observations from more than 80,000 interviews conducted by Gallup during the past 25 years. Quoting leaders such as basketball coach Phil Jackson, Buckingham and Coffman outline "four keys" to becoming an excellent manager: Finding the right fit for employees, focusing on strengths of employees, defining the right results, and selecting staff for talent--not just knowledge and skills. First, Break All the Rules offers specific techniques for helping people perform better on the job. For instance, the authors show ways to structure a trial period for a new worker and how to create a pay plan that rewards people for their expertise instead of how fast they climb the company ladder. "The point is to focus people toward performance," they write. "The manager is, and should be, totally responsible for this." Written in plain English and well organized, this book tells you exactly how to improve as a supervisor. --Dan Ring.
Price: $12.94 [Notify me when price goes down.]

Based on his father's bestselling The 7 Habits of Highly Effective People, Sean Covey applies the same principles to teens, using a vivacious, entertaining style. To keep it fun, Covey writes, he "stuffed it full of cartoons, clever ideas, great quotes, and incredible stories about real teens from all over the world... along with a few other surprises." Did he ever! Flip open to any page and become instantly absorbed in real-life stories of teens who have overcome obstacles to succeed, and step-by-step guides to shifting paradigms, building equity in "relationship bank accounts," creating action plans, and much more.

As a self-acknowledged guinea pig for many of his dad's theories, Sean Covey is a living example of someone who has taken each of the seven habits to heart: be proactive; begin with the end in mind; put first things first; think win-win; seek first to understand, then to be understood; synergize; and sharpen the saw. He includes a comical section titled "The 7 Habits of Highly Defective Teens," which includes some, shall we say, counterproductive practices: put first things last; don't cooperate; seek first to talk, then pretend to listen; wear yourself out... Covey's humorous and up-front style is just light enough to be acceptable to wary teenagers, and down-and-dirty enough to really make a difference. (Ages 13 and older) --Emilie Coulter.
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Kim Edwards’s stunning family drama evokes the spirit of Sue Miller and Alice Sebold, articulating every mother’s silent fear: what would happen if you lost your child and she grew up without you? In 1964, when a blizzard forces Dr. David Henry to deliver his own twins, he immediately recognizes that one of them has Down Syndrome and makes a split-second decision that will haunt all their lives forever. He asks his nurse to take the baby away to an institution and to keep her birth a secret. Instead, she disappears into another city to raise the child as her own. Compulsively readable and deeply moving, The Memory Keeper’s Daughter is an astonishing tale of redemptive love. BACKCOVER: “Edwards is a born novelist. . . . Rich with psychological detail and the nuances of human connection.”
—Chicago Tribune

“Unfolds from an absolutely gripping premise, drawing you deeply and irrevocably into the entangled lives of two families and the devastating secret that shaped them both. I loved this riveting story.”
—Sue Monk Kidd

“Anyone would be struck by the extraordinary power and sympathy of The Memory Keeper’s Daughter.”
—The Washington Post

“Kim Edwards has written a novel so mesmerizing that I devoured it. . . . The Memory Keeper’s Daughter has it all.”
—Sena Jeter Naslund

“Kim Edwards has created a tale of regret and redemption, of honest emotion, of characters haunted by their past. This is simply a beautiful book.”
—Jodi Picoult.
Price: $1.75 [Notify me when price goes down.]

"A spectre is haunting Europe," Karl Marx and Frederic Engels wrote in 1848, "the spectre of Communism " This new edition of The Communist Manifesto, commemorating the 150th anniversary of its publication, includes an introduction by renowned historian Eric Hobsbawm which reminds us of the document's continued relevance. Marx and Engels's critique of capitalism and its deleterious effect on all aspects of life, from the increasing rift between the classes to the destruction of the nuclear family, has proven remarkably prescient. Their spectre, manifested in the Manifesto's vivid prose, continues to haunt the capitalist world, lingering as a ghostly apparition even after the collapse of those governments which claimed to be enacting its principles..
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Since his debut in 1951 as The Catcher in the Rye, Holden Caulfield has been synonymous with "cynical adolescent " Holden narrates the story of a couple of days in his sixteen-year-old life, just after he's been expelled from prep school, in a slang that sounds edgy even today and keeps this novel on banned book lists. It begins,

"If you really want to hear about it, the first thing you'll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them."

His constant wry observations about what he encounters, from teachers to phonies (the two of course are not mutually exclusive) capture the essence of the eternal teenage experience of alienation..
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Writing for the screen is quirky business A writer must labor meticulously over his or her prose, yet very little of that prose is ever heard by filmgoers The few words that do reach the audience, in the form of the characters' dialogue, are, according to Robert McKee, best left to last in the writing process. ("As Alfred Hitchcock once remarked, 'When the screenplay has been written and the dialogue has been added, we're ready to shoot.' ") In Story, McKee puts into book form what he has been teaching screenwriters for years in his seminar on story structure, which is considered by many to be a prerequisite to the film biz. (The long list of film and television projects that McKee's students have written, directed, or produced includes Air Force One, The Deer Hunter, E.R., A Fish Called Wanda, Forrest Gump, NYPD Blue, and Sleepless in Seattle.) Legions of writers flock to Hollywood in search of easy money, calculating the best way to get rich quick. This book is not for them. McKee is passionate about the art of screenwriting. "No one needs yet another recipe book on how to reheat Hollywood leftovers," he writes. "We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent." Story is a true path to just such a rediscovery. In it, McKee offers so much sound advice, drawing from sources as wide ranging as Aristotle and Casablanca, Stanislavski and Chinatown, that it is impossible not to come away feeling immeasurably better equipped to write a screenplay and infinitely more inspired to write a brilliant one.--Jane Steinberg.
Price: $19.25 [Notify me when price goes down.]