In this selection of essays, he ranges from reflections on his boyhood schooling and the profession of writing to his views on the Spanish Civil War and British imperialism. The pieces collected here include the relatively unfamiliar and the more celebrated, making it an ideal compilation for both new and dedicated readers of Orwell's work.

    Equally at home discussing Charles Dickens and Charlie Chaplin, he moved back and forth across the porous borders between essay and journalism, high art and low. A frequent commentator on literature, language, film, and drama throughout his career, Orwell turned increasingly to the critical essay in the 1940s, when his most important experiences were behind him and some of his most incisive writing lay ahead. All Art Is Propaganda follows Orwell as he demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary."how to be interesting, line after line."Contents:Charles DickensBoys' WeekliesInside the WhaleDrama Reviews: The Tempest, The Peaceful InnFilm Review: The Great DictatorWells, Hitler and the World StateThe Art of Donald McGillNo, Not OneRudyard KiplingT.S. EliotCan Socialists Be Happy?Benefit of Clergy: Some Notes on Salvador DaliPropaganda and Demotic SpeechRaffles and Miss BlandishGood Bad BooksThe Prevention of LiteraturePolitics and the English LanguageConfessions of a Book ReviewerPolitics vs. Literature: An Examination of Gulliver's TravelsLear, Tolstoy and the FoolWriters and LeviathanReview of The Heart of the Matter by Graham GreeneReflections on Gandhi

    Fisher, whom John Updike has called our "poet of the appetites," here pays tribute to that most delicate and enigmatic of foods---the oyster. As she tells of oysters found in stews, in soups, roasted, baked, fried, prepared à la Rockefeller or au naturel--and of the pearls sometimes found therein--Fisher describes her mother's joy at encountering oyster loaf in a girls' dorm in he 1890's, recalls her own initiation into the "strange cold succulence" of raw oysters as a young woman in Marseille and Dijon, and explores both the bivalve's famed aphrodisiac properties and its equally notorious gut-wrenching powers. Plumbing the "dreadful but exciting" life of the oyster, Fisher invites readers to share in the comforts and delights that this delicate edible evokes, and enchants us along the way with her characteristically wise and witty prose.

    Writing “from the heart,” always with a refreshing lack of reticence, Miller involves the reader directly in his thoughts and feelings. “His real aim,” Karl Shapiro has written, “is to find the living core of our world whenever it survives and in whatever manifestation, in art, in literature, in human behavior itself. It is then that he sings, praises, and shouts at the top of his lungs with the uncontainable hilarity he is famous for.”Here are some of Henry Miller’s best-known writings: an essay on the photographer Brassai; Reflections on Writing, in which Miller examines his own position as a writer; Seraphita and Balzac and His Double, on the works of other writers; and The Alcoholic Veteran, Creative Death, The Enormous Womb, and The Philosopher Who Philosophizes.

    Shakespeare, Dostoevski, Cervantes, Thoreau, Melville, Whitman, Rilke, Randolph Bourne (of whom we are so regrettably ignorant in England)--these are the prophets to be expounded, related, excoriated (stripped of accretions of platitude and misunderstanding). But behind them are the original prophets, the great Hebrew prophets, and the greatest prophet of them all, the Galilean.

    In this selection of his essays, first published in 1941 and long out of print, sparkling wit and crystal clarity combine with a profundity and deep humanity that single him out as one of the world's most formative thinkers. Among diverse subjects, this edition includes Russell's thoughts on the value of skepticism, free thought and propaganda, mental health, fascism, insects and comets.

    

    It offers an extensive introduction to the writings that established Turgenev as one of the preeminent literary figures of his time, and reveals the breadth of insight into changing social conditions that made Turgenev a portal to Russian intellectual life.Readers will find complete, exemplary translations of Turgenev's finest novels, Rudin, A Nest of Gentry, and Fathers and Sons, along with the lapidary novella First Love. The volume also includes selections from Sportsman's Sketches, seven of Turgenev's most compelling short stories, and fifteen prose poems. It also contains samples of the author's nonfiction drawn from autobiographical sketches, memoirs, public speeches, plus the influential essay "Hamlet and Don Quixote" and correspondence with Dostoevsky, Tolstoy, and others.

    This welcome re-issue—one of several for this title—testifies to the value publishers put on it and to a reluctance among them ever to let it stay out of print for very long.The subjects Wilson treats—Dickens and Kipling, Edith Wharton and Ernest Hemingway, Joyce and Sophocles, and perhaps most surprising, Jacques Casanova—reveal the range and dexterity of his interests, his historical grasp, his learning, and his intellectual curiosity.Wilson’s essays did not give rise to a new body of literary theory nor to a new school of literary criticism. Rather, he animated or reanimated the reputations of the artists he treated and furthered the quest for the sources of their literary artistry and craftsmanship.F. Scott Fitzgerald called Wilson “the literary conscience of my generation.” Today’s readers of The Wound and the Bow may want to make the claim for their generation as well.