These essays explore and illuminate the roots of Lorde's intellectual development and her deep-seated and longstanding concerns about ways of increasing empowerment among minority women writers and the absolute necessity to explicate the concept of difference—difference according to sex, race, and economic status. The title Sister Outsider finds its source in her poetry collection The Black Unicorn (1978). These poems and the essays in Sister Outsider stress Lorde's oft-stated theme of continuity, particularly of the geographical and intellectual link between Dahomey, Africa, and her emerging self.

    A stunning collection of personal observations that uses images of the American West to probe larger concerns in lyrical, evocative prose that is a true celebration of the region.

    This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless . . . . In our brief mortal lives, we are grinders of these lenses."This brooding, provocative, and almost unbearably lovely book displays one of the great writers of our time at his freest and most direct, addressing the themes that run beneath the surface of all his work, from Ways of Seeing to his Into Their Labours trilogy.In an extraordinary distillation of his gifts as a novelist, poet, art critic, and social historian, John Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He re-creates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today.A work of unclassifiable innovation and consummate beauty, And Our Faces, My Heart, Brief as Photos reminds us of Nabokov and Auden, Brecht and Lawrence, in its seamless fusion of the political and the personal.

    The opening chapter, "Ragman," remains one of Walter Wangerin Jr.'s most beloved works and leads the reader to thirty–three other writings, all bearing the author's trademark poignancy and lyricism. Ranging from gentle reflections to heart–rending invocations, these selections are powerful, thought–provoking explorations of the meaning of faith, the person of Christ, and the communion of believers. Again and again, Wangerin's cries of faith touch our deepest pains with rays of joyful healing.

    Contains delightful explorations of food and cooking, among which are the collection's namesake essay and many other gems; with black-and-white photographs and illustrations.

    That same combination of flamboyance and aesthetic rigor may be found in this collection of Gould's writings, which covers composers from Bach to Terry Riley, performers from Arthur Rubinstein to Petula Clark, and yields unfettered and often heretical opinions on music competitions, the limitations of live audiences, and the relationship between technology and art. Witty, emphatic, and finely honed, The Glenn Gould Reader presents its author in all his guises as an impassioned artist, an omnivorous listener, and an astute and deeply knowledgeable critic.The Glenn Gould Reader abounds with the literary voice of one of the most extraordinary musical talents of our time. Whether Gould's subject is Boulez, Stokowski, Streisand, or his own highly individual thoughts on the performance and creation of music, the reader will be caught up in his intensity, intelligence, passion and devotion. For those who never knew him, this book will be a particular treasure as a companion to his recordings and as the delicious discovery of a new friend.

    Poet Laureate Robert Hass considers some of the twentiethcentury poets who bring him pleasure: Robert Lowll, JamesWright, Tomas Transtromer, Joseph Brodsky, Yvor Winters,Robert Creeley, James McMichael, Czeslaw Milosz, and others,in this, his first collection of essays. Originally published in1984, Twentieth Century Pleasures: Prose on Poetry won theNational Book Critics Circle Award for criticism. A new collection of Robert Hass's essays will be published by Ecco in 1998.

    The selections are arranged not by date of compostion, but in biographical order, such that reading this volume greatly enriches one's understanding of Bishop's life--and thus her poetry as well. "Bishop's admirers will want to consult her Collected Prose for the light it sheds on her poetry," as David Lehman wrote in Newsweek. "They will discover, however, that it is more than just a handsome companion volume to [her] Complete Poems. . . . Bishop's clean, limpid prose makes her stories and memoirs a delight to read. . . . One regrets only that this volume cannot be added to in years to come."

    Glowingly reviewed, What I Saw introduces a new generation to the genius of this tortured author with its "nonstop brilliance, irresistible charm and continuing relevance" (Jeffrey Eugenides, New York Times Book Review). As if anticipating Christopher Isherwood, the book re-creates the tragicomic world of 1920s Berlin as seen by its greatest journalistic eyewitness. In 1920, Joseph Roth, the most renowned German correspondent of his age, arrived in Berlin, the capital of the Weimar Republic. He produced a series of impressionistic and political essays that influenced an entire generation of writers, including Thomas Mann, and a young Christopher Isherwood. Translated and collected here for the first time, these pieces record the violent social and political paroxysms that constantly threatened to undo the fragile democracy that was the Weimar Republic. Roth, like no other German writer of his time, ventured beyond Berlin's official veneer to the heart of the city, chronicling the lives of its forgotten inhabitants: the war cripples, the Jewish immigrants from the Pale, the criminals, the bathhouse denizens, and the nameless dead who filled the morgues. Warning early on of the dangers posed by the Nazis, Roth evoked a landscape of moral bankruptcy and debauched beauty—a memorable portrait of a city and a time of commingled hope and chaos. What I Saw, like no other existing work, records the violent social and political paroxysms that compromised and ultimately destroyed the precarious democracy that was the Weimar Republic.

    His subjects range from the beginnings of scientific speculation in classical Greece to the destructive effects of twentieth century totalitarianism, from major figures of the Enlightenment such as Kant and Voltaire to the role of science and self-criticism in the arts. The essays offer striking new insights into the mind of one of the greatest twentieth century philosophers.

    Here Buechner explores autobiography as theology, offers exhilarating reflections on biblical passages, and leads us into the "room called Remember," that "still room within us all where the past lives on as part of the present,...where with patience, with clarity, with quietness of heart, we remember consciously to remember the lives we have lived."

    Whether reflecting on his won work oir writing about other directors, whether describing his discovery of actress Hanna Schygulla or speaking out in favor of political film making, Fassbinder's perspective is radical, subjective, and challenging. The writing in this volume-nearly all presented here for the first time in English-are an essential part of Fassbinder's legacy, the remarkable body of work in which present-day German reality finds brilliant expression.

    A series of essays including: Stealing Tomorrow, Down the Rabbit-Hole to TV-Land, Rolling Dat Ole Debbil Electronic Stone, Defeating the Green Slime, Fear Not your Enemies, From Albany, With Hate, Centerpunching, Voe Doe Dee Oh Doe, Cheap Thrills on the Road to H*ll, and more.

    This comprehensive collection includes all his most accomplished and best-known works: five novels, short stories, journalism, war correspondence, and his two completed books of poetry.Here are the classic novels he published in a span of five years: The Red Badge of Courage (1895), about a young and confused Union soldier under fire for the first time; Maggie: A Girl of the Streets (1893), a vivid portrait of slum life and a young girl’s fall; George’s Mother (1896), about New York’s Bowery and its effect on a young workingman fresh from the country; The Third Violet (1897), the story of a bohemian artist’s country romance; and The Monster (1899), a novella about sacrifice and rescue, guilt and isolation.Among his short stories are such masterpieces as “The Open Boat,” “The Blue Hotel,” and “The Bride Comes to Yellow Sky.” His prose is at the same time dense and lean, suited to his description of the elusive forces that impinge upon his characters, and suited also to his desire not to circumscribe them with traditional moral and interpretive definition. Included here as well are the Whilomville stories of children and childhood in small-town America and the Sullivan County sketches of turn-of-the-twentieth-century rural life.As a journalist, Crane covered the Spanish-American War and the Greco-Turkish War, traveled through Mexico and the West, and reported on the seamier sides of New York City life; the best of his dispatches are gathered here. Also featured are both of Crane’s collections of epigrammatic free verse—The Black Riders (1895) and War is Kind (1899)—and selections from his uncollected poems. His poetry shows strong affinities to Emily Dickinson, while also anticipating the Imagist movement later in the twentieth century.This is the most substantial gathering of Crane’s work ever made available in one volume; it is an enduring testimony to his heroic achievement.

    For Lewis Grizzard, gallivanting meant hanging out at the store eating Zagnut bars -- the worst thing a kid ever did was slick back his hair in a ducktail and try gyrating like Elvis. But the '60s exploded with assassinations, terrorism, free love, Vietnam and drugs. In place of Elvis, the Pied Piper of his generation, scuzzy Liverpudlians performed half-naked or in costumes straight from Zasu Pitts. ELVIS IS DEAD AND I DON'T FEEL SO GOOD MYSELF is Grizzard's account of coping with a changing world. We may not feel so good ourselves, but Grizzard's commentary and humor help make us feel better." (Publishers Source)

    In the essay "The Psychopathic Racial Personality," Dr. Bobby Wright contends that viewing white behavior towards nonwhites as psychopathic provides a new lens through which to analyze and combat the actions and aims of Europeans. The essay "Black Suicide: Lynching by Any Other Name" positions the phenomenon of Black suicide within the context of centuries of white genocide. In other essays Dr. Wright discusses ways in which to best educate Black children and sheds new light on the evolution of white supremacy.

    An ideal volume for those encountering Woolf for the first time as well as for those already devoted to her work. Edited and with a Preface by Mitchell A. Leaska.

    Personal Essays on Mormon Experience. New Book. Great Buy. We will ship daily. Satisfaction Guaranteed. We sell the best products!

    Something Said collects in a single volume these definitive readings of such major twentieth-century innovators as William Carlos Williams, Edward Dahlberg, Hubert Selby, John Hawkes, Flann O'Brien, William Gaddis, Italo Calvino, John Hawkes, and Robert Creeley, along with critical writings on film, pop culture, and visual art. Featuring seventy-two pieces in all, this new expanded edition includes twenty-five pieces written since the publication of the first edition in 1984, and demonstrates Sorrentino's concern for the craft of writing and the development of an American aesthetic.

    This classic book, expanded from the film of the same title, brings you face to face with Dr. Campolo to hear just such a message: an unashamed proclamation that the Gospel of Christ, when taken seriously, is able to meet every human need-the need for psychological health, emotional well-being, self worth and value, love, purpose in life, miracles, and hope. With passion and humor Campolo challenges us to face life's problems with the hope of the resurrection and shout, "It's Friday, but Sunday's comin' "

    His book, part history of the term melancholy and part analysis of the melancholic disposition, explores many centuries to explore melancholy’s ambiguities. Along the way Földényi discovers the unrecognized role melancholy may play as a source of energy and creativity in a well-examined life. Földényi begins with a tour of the history of the word melancholy, from ancient Greece to the medieval era, the Renaissance, and modern times. He finds the meaning of melancholy has always been ambiguous, even paradoxical. In our own times it may be regarded either as a psychic illness or a mood familiar to everyone. The author analyzes the complexities of melancholy and concludes that its dual nature reflects the inherent tension of birth and mortality. To understand the melancholic disposition is to find entry to some of the deepest questions one’s life. This distinguished translation brings Földényi’s work directly to English-language readers for the first time.

    Although he has since established himself as one of the most influential poets of the twentieth century, his remarkable body of prose work remains an essential part of his oeuvre.In addition to his first book of short stories The Gold Diggers, a novel The Island, a radio play Listen, and Mabel: A Story, this omnibus edition includes two previously uncollected stories.

    Rather, it uses the future as a means of talking about the present and its potentiality. By recognizing a text's specific "difference", we begin to see the quality of its particulars. Through riveting analyses of works by Joanna Russ, Robert Heinlein, Theodore Sturgeon, and Thomas M. Disch, Delany reveals critical strategies for reading that move beyond overwrought theorizing and formulaic thinking. Throughout, the author performs the kinds of careful inquiry and urgent speculation that he calls others to engage in.

    Merwin precedes Chamfort's selected writings, along with an introduction by essayist-critic Louis Kronenberger. A poet and translator, Merwin sheds light on the man while Chamfort (1740-1794) is shedding light on his world.

    Jonathan Swift (1667-1745) is best known as the author of Gulliver's Travels, which alone would have secured his place in the history of English literature. But in addition to this classic fictional satire, Swift wrote numerous works concerning politics, religion, and Ireland, some savage, others humorous, all suffused with his tremendous wit and inventiveness. This anthology includes satirical works such as A Tale of a Tub and The Battle of the Books, political pamphlets, pieces for the popular press, poems, and a generous selection from Swift's correspondence. Presented chronologically, the anthology offers a new and clearer awareness of the unity as well as the complexity of Swift's vision, and the powerful bonds between disparate pieces.

    He scatters bright ideas everywhere, writes The New York Times Book Review, and they are sure to be picked up. This volume presents a rich sampling of Steiner's ideas, including selections from his seminal books The Death of Tragedy, After Babel, Tolstoy or Dostoevsky, and Language and Science. Aside from pointing to work that lies ahead, this anthology offers a rich retrospective of the intellectual ground Steiner has already covered. Whether discussing Marxist literary theory, the significance of Tolstoy, or the problems of treating sexual material in literature, Steiner's writings give us the pleasure of watching an astute and nimble mind constantly at work.

    

    

    

    Collections of interviews with notable modern writers

    The entire Carl Barks Library is thirty volumes in ten slipcases. This is the first set. All comics are in black and white, with the occasional color cover or painting or two-color comic. This collection covers all of Carl Barks's Donald Duck comics from Four Color #9 (1942) - Four Color #223 (1949). There are also numerous essays about the work of Barks, and a few of his oil paintings, as well as early drafts and character sketches of the stories within this volume.

    The World's Only Known Constructively Snotty Computer Science Book: historically, its polemics for TCP/IP and against the international standardsmongers' "OSI" helped the Internet happen; currently, its principles of technoaesthetic criticism are still eminently applicable to the States of most (probably all) technical Arts -- all this and Cover Cartoons, too...but it's not for those who can't deal with real sentences....

    Wind and earth, time, life, body and mind.

    Love, Japan, Paris, exhilarating moments of epiphany, motherhood and adventure are combined in this vivid portrait of existence lived in the search for ecstasy. Nicole Brossard is well-known for her non-fiction, poetry and fiction, and she is one of the earliest and most consistent transgressors of the lines between genres. "Intimate Journal" has been translated from its original French into Japanese (2000) and Spanish (Argentina, 2003).

    Inspiring selections on Knowledge and Discovery, Reverence for Life, Faith, The Life of the Soul and Civilization and Peace.21 photos, chronology.

    Originally published in 1984 and long out of print, One Man’s Christmas highlights the warmth and humor for which this legendary writer is so beloved. Whether Hale is scrambling to put together a new toy for his children on Christmas Eve, racing around to buy last minute, often misguided gifts, or reliving his family’s fraught holiday on a hardscrabble sheep farm during the Great Depression, the unique sensibility that has endeared him to generations of readers shines through every word. These are stories to savor by oneself or to read out loud to loved ones of all ages during the holiday season, when we discover again in our own memories the reasons why this time of year is so special.

    This Library of America volume and its companion are a fitting testimony to his unprecedented achievement. They offer the only comprehensive collection of his critical writings ever assembled, more than one-third of which have never appeared in book form.This first volume focuses especially on his responses to American and English writers; the second volume contains his essays on European literature and the Prefaces to the New York Edition of his fiction.From 1864 until virtually the end of his life, James displayed an astonishing range and catholicity of critical interests, touching on nearly every facet of literature in America, England, and Europe. Here are his most important theoretical essays, including his witty and daring declarations of the novelist’s freedom in “The Art of Fiction,” “The Future of the Novel,” and “The Science of Criticism”—a gently ironic title from a writer who regarded criticism as a form of art.Appreciations of Ralph Waldo Emerson (“I knew he was great, greater than any of our friends”), pungent comments (which he later regretted) on Walt Whitman’s “Drum-Taps,” and assessments of Louisa May Alcott, Edgar Allan Poe, his friend and admirer William Dean Howells, Harriet Beecher Stowe, Francis Parkman, and scores of other American writers are joined, in revealing proximity, to commentaries on nearly every important English writer of fiction (and some poets, such as the Brownings) during the late nineteenth and early twentieth centuries.These reviews of English writers include James’s stunning essay on Charles Dickens’s Our Mutual Friend, his provocative discussions of George Eliot, and his tough but appreciative estimates of Anthony Trollope, Matthew Arnold, Benjamin Disraeli, Elizabeth Gaskell, Rudyard Kipling, Thomas Hardy, William Morris, Rupert Brooke, Ouida, Algernon Charles Swinburne, and Robert Louis Stevenson. Also included here is his great essay on Shakespeare’s The Tempest. All of these pieces are gathered under the author considered, so that James’s supple changes in attitude can be followed across the years.Of particular interest, both critically and biographically, are James’s commentaries on Nathaniel Hawthorne, including his still-controversial book-length study of 1879. His estimates of his predecessor’s work remain highly debatable, but are perhaps more interesting as evidence of his own feelings about being an American writer of a later and, as he assumed, more complex time.Finally, this volume includes two invaluable collections: his “American Letters” and “London Notes,” wherein, with unsurpassed tact and grandeur of mind, he introduces readers of his native and of his adopted country to each other.

    Sentenced to death by Creon, she forestalled him by committing suicide. The theme of the conflict between Antigone and Creon—between the state and the individual, between man and woman, between young and old—has captured the Western imagination for more than 2000 years. George Steiner here examines the far-reaching legacy of this great classical myth. He considers its treatment in Western art, literature, and thought—in drama, poetry, prose, philosophic discourse, political tracts, opera, ballet, film, and even the plastic arts.  A study in poetics and in the philosophy of reading, Antigones leads us to look again at the influence the Greek myths exercise on twentieth-century culture."A remarkable feat of intellectual agility."—Washington Post Book World"[An] intellectually demanding but rewarding book. . . consistently stimulating and sometimes disturbing."—The New Republic"An. . . account of the various treatments of the Antigone theme in European languages. . . Penetrating and novel."—The New York Times Book Review"A tradition of intelligence and style lives in this prolific man."—Los Angeles Times"Antigones triumphantly demonstrates that Antigone could fill several volumes of study without becoming tedious or exhausted."—The New York Review of Books

    It includes preparatory exercises that teach the fundamentals of dance, gives a breakdown of essential exercises, and includes a complete class beginning with floor work and progressing to center exercises and across-the-floor combinations.

    

    It also demonstrates his essential consistency of purpose: from his sharp denunciation of the first Moscow Trial in 1936, through his resistance to the Cold War tides of the fifties, to his sober analysis of the Chinese Cultural Revolution in 1966. His fidelity to the Marxist method and firm grasp of socialist history allowed him to penetrate to the core of events without ever falling into the blind apologetics or feverish disavowals that blighted so many left-wing intellectuals of his generation.Deutscher’s own origins in the Polish communist movement are here reflected in his famous interview on the tragedy of the Polish CP, while his major essay on bureaucracy is one of the few sustained attempts to grapple with this key theoretical and practical problem of the socialist movement.This volume is designed both as a lasting collection of some of Deutscher’s best-known and most powerful texts, and as an introduction for readers approaching his work for the first time. A specially written preface by Perry Anderson assesses this selection in relation to Deutscher’s overall achievement, and Tamara Deutscher’s introduction passes on to the reader the often fascinating personal background to certain of the essays.

    In each John Muir, who founded the Sierra Club in 1892, maintains a careful and subtle balance between the physical and symbolic aspects of ascending or observing the sublimity of his surroundings. Mountains are for him a source of discovery, not merely of new geography, but also of the inner human, and they represent a supreme test and an affirmation of the human spirit.

    

    Originally published: New York: Viking Press, 1984.

    K. Bouwsma weaves through the central topics of Western religion: the rationality of religious belief, the nature of Christianity, the promise of eternal life, the definition of faith, and proofs of the existence of God. When he works with the problems of Descartes or Moore or Wittgenstein, surveying the marketplace of language in which we all have commerce, he has the familiarity of an experienced trader. But in his work with the problems of Anselm or Nietzsche or Kierkegaard, in which the Scriptures move between background and foreground, there is another dimension, a concern with whether the Scriptures have been properly understood, what such an understanding might be, and how it affects someone who so understands them.

    Like reporters, they are fact gatherers whose material is the real world. Like fiction writers, they are consummate storytellers who endow their stories with a narrative structure and a distinctive voice.Literary journalists range from such bestselling authors as Tom Wolfe, Joan Didion, and Sara Davidson, to new writers like Mark Kramer and Richard West. What they share is a complete immersion in their subjects.A DAZZLING COLLECTION OF GREAT WRITINGInterviews with literary journalists conducted especially for this book make this not only a superb collection to read and enjoy but the definitive work on some of the most exciting, influential, and critically acclaimed writing of our time.

    Including Jonathan Raban, James Fenton, Colin Thubron, Martha Gellhorn, Bruce Chatwin, Norman Lewis, Saul Bellow, Jan Morris, Paul Theroux, Redmond O’Hanlon, and others.

    Including his essays from Esquire, his syndicated columns from the Chicago Tribune, and his pieces from ABC’s Nightline, American Beat covers a variety of personal and public problems that will resonate with lovers of all things Americana.

    It is a book of rare and genuine beauty, a celebration of fly fishing, the natural world, and a river valley and the life in it. The first of Wetherell s trilogy lauding his love of a sport and a region, Vermont River is a must for anyone who loves good literature.W. D. Wetherell is a novelist and story writer who is currently the holder of the American Academy of Arts and Letters Strauss Living Award for outstanding achievement. He lives in rural western New Hampshire, close to the prime trout water of the Connecticut River, his home stream.