The first nonfiction work by one of the most distinctive prose stylists of our era, Joan Didion's Slouching Towards Bethlehem remains, decades after its first publication, the essential portrait of America—particularly California—in the sixties.It focuses on such subjects as John Wayne and Howard Hughes, growing up a girl in California, ruminating on the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco's Haight-Ashbury, the heart of the counterculture.

    She wrote it not to a word count or a line count, but to an exact character count.

    The great Irish humorist and writer Flann O'Brien, aka Brian O'Nolan,aka Myles na Gopaleen, also wrote a newspaper column called "CruiskeenLawn." The Best of Myles collects the best and funniest, covering suchsubjects as plumbers, the justice system, and improbable inventions.

    The author of Down and Out in Paris and London, Nineteen Eighty-four, and Animal Farm, he published ten books and two collections of essays during his lifetime -- but in terms of actual words, produced much more than seems possible for someone who died at the age of forty-six and was often struggling against poverty and ill health. His essays, letters, and journalism are among the most memorable, lucid, and intelligent ever written, the work of a master craftsman and a brilliant mind. Taken as a whole they form an essential collection, and read in toto and sequentially, they provide a remarkably literary self-portrait of an engaged, and consistently engaging, writer. Here, in four volumes, is the best selection of his nonfiction writing now available, a trove of letters, essays, reviews, and journalism that is breathtaking in its scope and eclectic passions. An Age Like This collects Orwell's essential early writings, including material that would later emerge in Down and Out in Paris and London, as well as observations on marriage, reviews of Henry Miller and J. B. Priestley, reports from the Spanish Civil War, an examination of the meaning and value of Charles Dickens, and notes on the early years of the Second World War.

    Multicultural and interdisciplinary, this collection of essays and speeches makes an irrefutable case for the centrality of poetry in American life.

    His inimitable style reveals the intricate details of his characters lives.

    Each essay covers a set of issues about growing old. "Existence and the Passage of Time" focuses on the way aging makes the old progressively see time as the essence of their existence. "Stranger to Oneself" is a meditation on the ways the aging are alienated from themselves. "The Look of Others" treats social aging - the realization that it is no longer possible to live according to one's potential or possibilities. "Not to Understand the World Anymore" deals with the loss of the ability to understand new developments in the arts and in the changing values of society. The fifth essay, "To Live with Dying, " argues that everyone compromises with death in old age (the time in life when we feel the death that is in us). Here Amery's intention, as encapsulated by John D. Barlow, becomes most clear: "to disturb easy and cheap compromises and to urge his readers to their own individual acts of defiance and acceptance."

    In this fascinating work of literary and cultural criticism, Kenner seeks the causes and outcomes of man's ability to simulate himself (a computer that can calculate quicker than we can) and his world (a mechanical duck that acts the same as a living one).This intertangling of art and science, of man and machine, of machine and art is at the heart of this book. He argues that the belief in art as a uniquely human expression is complicated and questioned by the prevalence of simulations—or "counterfeits"—in our culture. Kenner, with his characteristically accessible style and wit, brings together history, literature, science, and art to locate the personal in what is an increasingly counterfeit world.

    

    Identifying those trends which she finds most destructive in modern fiction (reportage, the substitution of violence for emotion, and the growing cults of ugliness, toughness, and caricature), Nin offers, instead, an argument for and synthesis of the poetic novel.Drawing upon such related arts as filmmaking, painting, and dance, Nin discusses her own efforts in this genre as well as the development of such writers as D. H. Lawrence, Henry Miller, Lawrence Durrell, Marguerite Young, and Djuna Barnes. In chapters devoted to the pursuit of the hidden self, the genesis of fiction, and the relationship between the diary and fiction, she addresses the materials, techniques, and nourishment of the arts, and the functions of art itself.

    It also happens to bring together some of the world's best writers in one volume, in the company of their peers. 'Evergreen' was more than another literary magazine. It was the voice of a movement that helped to change the attitudes and prejudices of the cuture at large throuhg the language of art -- and succeeded. It was always damn the torpedoes and full speed ahead.

    The Wisdom of Albert Schweitzer explores this core philosophy, which inspired one of the world’s great humanitarians. While traveling in Africa, Schweitzer recognized that all living creatures have a will to live and believed that through a “reverence for life” mankind had an ethical imperative to aid in the welfare of all living things, including the environment. His words have remained an inspiration for generations of humanitarians and environmentalists.

    Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    Like the hazelnut, this book is a reminder of God's love. And like a hazelnut, it can unlock a world.--Lauren F. Winner, author of Girl Meets God and Mudbath Sabbath The resurrection of a good book is always cause for celebration. The Quantity of a Hazelnut is a very good book indeed, neither extremely loud nor incredibly close but quietly unforgettable.--John Wilson, Editor, Books & Culture With beautiful language and a winning confessional style, Malania offers a spiritual vision that is steeped in traditional Catholicism while open to truth in diverse places.--Jana Reiss, author of What Would Buffy Do? The Vampire Slayer as Spiritual Guide As in Julian of Norwich's hazelnut story, the touchstones of Fae Melania's spirituality are ordinary, humble things. Christian life happens in the ordinary--when we do the dishes, when we garden, when we tuck our children into bed, even when we argue with our spouses. Fae Malania recognized this truth half a century ago. In these pages, you'll read about her kitchen epiphanies, and the spiritual insights that come to her while reading the newspaper. "To begin with, never mind pleasure," writes Fae Malania in her account of one woman's discovery of faith, "Search out joy." In this newly revived classic, the image of a hazelnut calls up Julian of Norwich and her vision of a God who holds the smallest thing in being, a hazelnut or a sparrow, by the sheer force of love. Whether reflecting on a pigeon crossing East 36th Street to the ironies of trying to live simply, from Scarlatti on the car radio to the secret life of insects, Malania's voice is unique and her vision clear.

    ForewordIntroductionThe Upanishads --Gautama --Shin Ichi Hisamatsu --The Bible --Heraclitus --Empedocles --Sophocles --Socrates and Plato --Aristotle --Lucretius --Epictetus --Plotinus --Sextus Empiricus --Saint Gregory of Nyssa --Saint Augustine --Saint Thomas Aquinas --Meister Eckhart --Nicolaus Cusanus --Marsillo Ficino --Pietro Popponazzi --Giovanni Pico della Mirandola --Erasmus of Rotterdam --Martin Luther --Thomas More --Juan Luis Vives --Paracelsus --Saint Teresa of Avila --Saint John of the Cross --Michel de Montaine --Rene Descartes --Baruch Spinoza --Blaise Pascal --Gottfried Wilhelm Leibniz --Francis Bacon --Thomas Hobbes --John Locke --David Hume --Giambattista Vico --Jean-Jacques Rousseau --Immanuel Kant --Georg Wilhelm Friedrich Hegel --Johann Gottfrid Herder --Jeremy Bentham --Arthur Schopenhauer --Auguste Comte --Ralph Waldo Emerson --Ludwig Feuerbach --Karl Marx --Soren Kierkegaard --Friedrch Nietzsche --William James --John Dewey --Sigmund Freud --Carl Gustav Jung --Henri Bergson --Edmund Husserl --Alfred North Whitehead --Miguel de Unamuno --Antonio Machado --Max Scheler --Nicolas Berdyaev --Pierre Teilhard de Chardin --Jose Ortega y Gasset --Martin Heidegger --Francisco Romero --Lewis Mumford --Erich Fromm --Jean Paul Sartre --Simone Weil --Edith Stein --Adam Schaff --David RiesmanBibliography

    A basic method of building finger technique, intonation and tonguing through the performance of folk, classical and familiar songs.

    And That's Phil Ochs--Andy WickhamAbout the Author--Judy HenskeEncoresOutside of a Small Circle of FriendsIs There Anybody Here?I've Had HerThe Harder They FallRhythms of RevolutionCannons of ChristianityThe PartyTape From CaliforniaFlower LadyHalf a Century HighSung OutCross My HeartSanto DomingoWhen I'm GoneLove Me, I'm a LiberalThe Floods of FlorenceThe Critics RavedGuitar Chord Chart--Jerry SilvermanCops of the WorldThe Newport Pneumonia Fuzz FestivalChangesWhite Boots Marching in a Yellow LandCobbwebsJoe HillMirandaAn Interview with Phil OchsWhen in RomeI'm Going to Say it NowBraceroThe Torture GardenCrucifixiomThat Was the Year that Weren'tPleasures of the HarborHave You Heard? The War is Over!The War Is OverComing AttractionsCredits & Discography

    

    On Genocide: and a summary of the evidence and the judgments of the International War Crimes Tribunal by Arlette El Kaim-Sartre; copyright 1968 by the International War Crimes Tribunal, originally printed by Ramparts Magazine, Inc.

    S. Eliot lectures delivered at Eliot College in the University of Kent at Canterbury, October, 1967.

    Critical essays probe the works, literary style, and influence of the medieval English poet.

    His idea of the "suspect" in poetry is roughly equivalent to the notion that modern poetry has become "a complicated but learnable (for many have learned) game." "Most of our contemporary poets are writing into a Climate of poetic officialdom. . . based largely on the principles which the New Criticism has espoused. . . . We have lost all sense of personal intimacy between the poet and his reader." This sort of winsome polemic had some relevancy in the Fifties. Poetry today knows no such guidelines or iron-clad rules. Thus, both Dickey's theorizing or individual appraisals of a variety of different poets in this collection of reviews and essays covering the last ten years has about it the peculiar air of combat when the battle appears to be going on elsewhere. Dickey dislikes Ginsberg and Ashbery, as well as Robert Graves that is to say, he condemns both the confessional and experimental, along with the elegant, or what he would call the "autonomous," poem. His admirers praise him for earnestness, lucidity, and critical integrity, and it is true he does have these values. But he is also parochial, unsophisticated, and extremely limited in his literary responses, erudition, and prose style. The best pieces here are the tributes to Roethke, Aiken, Marianne Moore, and the solid analyses of five classics.(Kirkus, 1968)