From a master class in "The Impunity of Power" to a seminar on "The Sacred Car"—with tips along the way on "How to Resist Useless Vices" and a declaration of the "The Right to Rave"—he surveys a world unevenly divided between abundance and deprivation, carnival and torture, power and helplessness.We have accepted a "reality" we should reject, he writes, one where poverty kills, people are hungry, machines are more precious than humans, and children work from dark to dark. In the North, we are fed on a diet of artificial need and all made the same by things we own; the South is the galley slave enabling our greed.

    These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    In these twelve essays, bell hooks digs ever deeper into the personal and political consequences of contemporary representations of race and ethnicity within a white supremacist culture.

    Drawing on photos, anecdotes, and, most important, the way he hears the music, Dyer imaginatively reconstructs scenes from the embattled lives of some of the world's greats: Lester Young fading away in a hotel room; Charles Mingus storming down the streets of New York on a too-small bicycle; Thelonius Monk creating his own private language on the piano. However, music is the driving force of But Beautiful, and Dyer brings it to life in luminescent and wildly metaphoric prose that mirrors the quirks, eccentricity, and brilliance of each musician’s style.

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    These political, philosophical, and literary essays mark the first collection of theoretical writing from the acclaimed novelist and French feminist writer Monique Wittig.

    Especially moving are his descriptions of his children, his wrenching account of the 1986 automobile accident that cost him his leg, and of the ensuing struggle for his spiritual and physical survival. Broken Vessels is a book that, in its scope and sympathy, its grace and courage, never fails to startle with the sudden impact of quiet truths, passionately felt and powerfully expressed.

    With subjects ranging from the writer’s own “migrant childhood” to the need to protect what remains of the great western wilderness (which Stegner dubs “the geography of hope”) to poignant profiles of western writers such as John Steinbeck and Norman Maclean, this collection is a riveting testament to the power of place. At the same time it communicates vividly the sensibility and range of this most gifted of American writers, historians, and environmentalists.

    In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.

    We meet Arlene, Hanff's high-flying friend who's social life (and wardrobe) put Hanff's one-and-one-half room apartment and simple writer's life in perspective. We walk through Nina's garden, 16 stories up and witness famous New York rites of passage from the hysteria of St. Patrick's Day to Shakespeare's Garden and the neighbors who saved it, to block parties, with their 'sizzling Italian sausages and shish kebab and flossy plates of pate and brie,' all told in Hanff's inimitable style. We join Hanff as she flies to London to realize a lifetime dream at the Ambassador Theatre: opening night for the play, '84, Charing Cross Road.' And we witness the elegant Arlene as she meets and falls in love with a New York City cop.

    A collection of six essays, translated from the French, in which Cixous explores how the problematics of the sexes - viewed as a paradigm for all difference, the organizing principle behind identity and meaning - manifest and write themselves in texts.

    Written by one of America's most innovative and articulate feminists, this book illustrates how childhood experience, gender and sexuality, private aspirations, and public personae all assume undeniable roles in the causes and effects of war.

    Traveling from the mountains of Tibet to the jungles of the Amazon, Davis delves into the mysteries of shamanic healing, experiences first-hand hallucinogenic plants, explores the vanishing Borneo rain forests, and describes the ingenuity of the Inuit as they hunt narwhale on the Arctic ice. A compelling and utterly unique celebration of the beauty and diversity of our planet, Shadows in the Sun is about landscape and character, the wisdom of lives drawn directly from the land, and the hunger of those who seek to rediscover such understanding. Davis shows that preserving the diversity of the world's cultures and spiritual beliefs is as important as preserving endangered plants and animals--and vital to our understanding of who we are.

    Yet even as the televised proceedings shocked and galvanized viewers not only in this country but the world over, they cast a long shadow on essential issues that define America.In Race-ing Justice, En-gendering Power, Toni Morrison contributes an introduction and brings together eighteen provocative essays, all but one written especially for this book, by prominent and distinguished academicians—black and white, male and female. These writings powerfully elucidate not only the racial and sexual but also the historical, political, cultural, legal, psychological, and linguistic aspects of a signal and revelatory moment in American history.With contributions by:Homi K. Bhabha, Margaret A. Burnham, Kimberlé Crenshaw, Paula Giddings, A. Leon Higginbotham, Jr., Claudia Brodsky Lacour, Wahneema Lubiano, Manning Marable, Nellie Y. McKay, Toni Morrison, Nell Irvin Painter, Gayle Pemberton, Andrew Ross, Christine Stansell, Carol M. Swain, Michael Thelwell, Kendall Thomas, Cornel West, Patricia J. Williams

    In the sequel to The Essential Earthman, the Washington Post columnist offers a harvest of sharp observations and humorous adventures gathered during a year in his garden, along with much down-to-earth advice on horticulture.

    AD 46 -120) used an encyclopedic knowledge of the Roman Empire to produce a compelling and individual voice. In this superb selection from his writings, he offers personal insights into moral subjects that include the virtue of listening, the danger of flattery and the avoidance of anger, alongside more speculative essays on themes as diverse as God's slowness to punish man, the use of reason by supposedly 'irrational' animals and the death of his own daughter. Brilliantly informed, these essays offer a treasure-trove of ancient wisdom, myth and philosophy, and a powerful insight into a deeply intelligent man.

    In this mind-bending collection of essays, Huxley explores the notion of divinity from a variety of perspectives, including his deep knowledge of Eastern philosophy. Will be of great interest to fans of the East and Huxley's own growing group of followers and devotees.

    Readers will come to know Jesus the Christ in a brand new way as Lucado brings them full circle to the foot of the cross and the man who sacrificed His life on it.Then, in Six Hours One Friday, readers learn that they don't have to weather life's storms alone, but that God promises to be with them no matter what they are facing. He does this because of what happened in only six hours one Friday so many years ago.Finally, come face-to-face with the Savior during His final week on earth and learn about the loving purpose and deliberate intent that went into His every action, His every word in And the Angels Were Silent.

    He examines music, books, newspaper reporting, and more to explore such issues as racism, poverty, sexism, homophobia, and political and economic injustices from a black point of view.

    Artifice of Absorption, a key essay, is written in verse, and its structures and rhythms initiate the reader into the strength and complexity of the argument. In a wild variety of topics, polemic, and styles, Bernstein surveys the current poetry scene and addresses many of the hot issues of poststructuralist literary theory. Poetics is the continuation of poetry by other means, he writes. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, not merely in argument but in form--a poetic language that resists being easily absorbed into the conventions of our culture.Insisting on the vital need for radical innovation, Bernstein traces the traditions of modern poetry back to Stein and Wilde, taking issue with those critics who see in the postmodern a loss of political and aesthetic relevance. Sometimes playful, often hortatory, always intense, he joins in the debate on cultural diversity and the definition of modernism. We encounter Swinburne and Morris as surprising precursors, along with considerations of Wittgenstein, Khlebnikov, Adorno, Jameson, and Pac-Man. A Poetics is both criticism and poetry, both tract and song, with no dull moments.

    Presents selected chapters from the book, a "potpourri of memories from the author's life".

    Now, in Spring Creek, he has created his masterpiece.Spring Creek is one of those rare places where the trout are as long as your arm but also exceedingly difficult to catch. Lyons recounts a month's adventures on this river, a time in which he explores its secrets and confronts its greatest challenges. At first he catches little. Then, slowly, he acquires the various and special skills and disciplines necessary to take the large, wary brown trout of this extraordinary river.Spring Creek is the record of halcyon days astream. It is a fisherman's book, drawing a rare portrait of an angler actually learning to fish more wisely, filled with battles between angler and trout, a few epic victories, and even more epic defeats.Spring Creek is a richly humorous and perceptive account of an angler's passion for his sport - and a book all fishermen will cherish.

    A beautifully-written blend of literature and science, it is here brought back into print in a revised and updated edition which includes the acclaimed essay Sea Burial.

    Exploding the tenets of industrial agriculture, Jackson, a respected advocate for sustainable practices and the founder of The Land Institute, seeks to integrate food production with nature in a way that sustains both.Foreword / Richard C. Edwards --1. The problem --2. Visions and assumptions --3. Science and nature --4. Nature as measure --5. Becoming native to our places --6. Developing the courage of our convictions

    The fifteen pieces collected here range from the history of the Salman Rushdie affair to the dream of Atlantis, from the turf wars among ethnographic filmmakers to the unlikely romance between poetry and espionage, from the pilgrims in Plymouth to the students in Tiananmen Square. Above all, Weinberger's concern is poetry––whether written in medieval Baghdad or by Mexicans in Japan––and the perennially underground yet global network through which it travels. With his modernist sensibility and internationalist perspective, Weinberger's inventive prose transports old myths and texts to the strange realities of contemporary life.

    Distinguished African American poet, activist, essayist, and teacher Jordan presents an extraordinary collection of essays on the American dream, race and class, Martin Luther King and Jesse Jackson, the poverty of American education, Mike Tyson's fall, Anita Hill's testimony, and the 1992 LA riots.

    His songs have enriched his life and his life has filled his songs with every emotion dear to the soul. But his deep understanding of sorrow and injustice have not spoiled a single note. He sings to enliven and encourage, to delight and tell tales. He snatches the riches of folksinging from as many sources as he can find and gives them freely and gladly to any audience that cares to listen.Decades of work and travel have made him famous but he remains forever in tune with the folk. He describes his friends and inspirations, his conflicts with the bosses and the government, his favorite songs, stories, and instruments, and the kind of learning that comes from listening carefully. "Any fool can get complicated," he writes. "We are born in simplicity but die of complications."

    Louis, 1961, who become Rattray's friends.Trained at Harvard and the Sorbonne, Rattray was a poet, translator and scholar, fluent in most Western languages, Sanskrit, Latin, and Greek. Living in Paris during the 1950s, Rattray re-traced the steps of Antonin Artaud and became one of Artaud's first and best American translators. Published by City Lights Books in 1963, Rattray's Artaud translations burned through the aura of transgressive chic that surrounded the poet to reveal the core of his incisive scholarship, technological prophecies, and visionary rage. As Rattray later said of translating Artaud, "You have to identify with the man or the woman. You have to identify with that person and their work. If you don't then you shouldn't be translating it. Why would you translate something that you didn't think had an important message for other people? I wanted to translate Artaud because I wanted to turn my friends on and pass on a message that had relevance to our lives. That's why I was doing it. Not to get a grant, or be hired by an English department..."What Rattray did for Artaud, he went on to do for Friedrich Holderlin, Rene Crevel, and the " In Nomine" music of John Bull, becoming a concert-level pianist to better understand the logic of baroque. He was, as Betsey Sussler wrote in Bomb after his death in 1993, "the most generous of writers."

    Arranged chronologically and containing many pieces restored to the form in which Twain intended them to appear, the volumes show with unprecedented clarity the literary evolution of Mark Twain over six decades of his career.The nearly two hundred separate items in this volume cover the years from 1852 to 1890. As a riverboat pilot, Confederate irregular, silver miner, frontier journalist, and publisher, Twain witnessed the tragicomic beginning of the Civil War in Missouri, the frenzied opening of the West, and the feverish corruption, avarice, and ambition of the Reconstruction era. He wrote about political bosses, jumping frogs, robber barons, cats, women’s suffrage, temperance, petrified men, the bicycle, the Franco-Prussian War, the telephone, the income tax, the insanity defense, injudicious swearing, and the advisability of political candidates preemptively telling the worst about themselves before others get around to it.Among the stories included here are “Jim Smiley and His Jumping Frog,” which won him instant fame when published in 1865, “Cannibalism in the Cars,” “The Invalid’s Story,” and the charming “A Cat’s Tale,” written for his daughters’ private amusement. This volume also presents several of his famous and successful speeches and toasts, such as “Woman—God Bless Her,” “The Babies,” and “Advice to Youth.” Such writings brought Twain immense success on the public lecture and banquet circuit, as did his controversial “Whittier Birthday Speech,” which portrayed Boston’s most revered men of letters as a band of desperadoes.“Against the assault of laughter nothing can stand,” he once wrote. A master of deadpan hilarity, a storyteller who fashioned an exuberant style rooted in the idiom of his western origins, and an enemy of injustice who used scathing invective and subtle satire to expose the “humbug” of his time, Twain, like Franklin, Whitman, and Lincoln, helped shape the American language into a unique democratic idiom that was to be heard around the world.The publishing history of every story, sketch, and speech in this volume has been thoroughly researched, and in each instance the most authoritative text has been reproduced. This collection also includes an extensive chronology of Twain’s life, helpful notes on the people and events referred to in his works, and a guide to the texts.

    Seen by some as simply a gifted buffoon, Ridiculous Theatre: Scourge of Human Folly exposes Ludlam as a clear-eyed, hard-headed thinker and master craftsman. His luminous essays (never widely available in his lifetime) and provocative opinions (drawn from interviews, unpublished papers and notebooks) reveal a complex mind comprehensively focused on theatrical invention.Charles Ludlam: Artistic director, playwright, director, designer and star of New York’s acclaimed Ridiculous Theatrical Company. During his twenty years with the Ridiculous, Ludlam won Obie and Drama Desk awards as well as playwriting fellowships from the Guggenheim, Rockefeller and Ford foundations and the National Endowment for the Arts. His more than thirty plays are among the most thought-provoking entertainments in the modern repertoire and continue to be widely performed throughout the world.

    It's his essential film-score album. Almost all its songs appear in Hollywood films. Relatively accessible, it contains everything from gospel-choruses (title track) to synthesizer ballads (Waiting for the Miracle), to pop-country (Closing Time), to marching band rhythms (Democracy). While not his most commercially successful album internationally, it's one of his most musically diverse outings. However, it was one of his biggest chart successes in his native Canada, where Closing Time & The Future were both Top 40. Cohen, whose singing voice is famously an acquired taste, won the '92 Juno Award for Best Male Vocalist. In his acceptance speech, he quipped that "only in Canada could I win a Best Vocalist award". The Future was his last album produced entirely in analog, then digitised after mixdown. Its working titles were Busted (after a line from Closing Time) & Be for Real. His then-girlfriend, actress Rebecca De Mornay, coproduced Anthem. Tacoma Trailer is one of two instrumentals in the Cohen catalog. The other is Improvisation from Live Songs. The album is silver in the UK & double-platinum in Canada. Almost 60 minutes, it was his longest album to date."The Future" – 6:41 "Waiting for the Miracle" (Cohen, Sharon Robinson) – 7:42 "Be for Real" (Frederick Knight) – 4:32 "Closing Time"– 6:00 "Anthem" – 6:09 "Democracy" – 7:13 "Light as the Breeze" – 7:17 "Always" (Irving Berlin) – 8:04 "Tacoma Trailer" – 5:57

    Also included are Adorno's reflections on a variety of subjects: literary titles, the physical qualities of books, political commitment in literature, the light-hearted and the serious in art, and the use of foreign words in writing, to name a few.

    Each fiction has a terse analytical agenda, surgically dissecting the mundane, forcing quotidian life off the canvas, out of the museum dioramas and into our laps.

    They include Roberto Unger, advocate of plasticity; the historians of antiquity and of revolution, Geoffrey de Ste. Croix and Isaac Deutscher; the philosophers of liberalism, Norberto Bobbio and Isaiah Berlin; the sociologists of power, Michael Mann and W.G. Runciman; the exponents of national identity, Andreas Hillgruber and Fernand Braudel; the ironists of science, Max Weber and Ernest Gellner; Carlo Ginzburg, explorer of cultural continuity, and Marshall Berman, herald of modernity. A concluding chapter looks at the idea of the end of history, recently advanced by Francis Fukuyama, in its successive versions from the nineteenth century to the present, and considers the situation of socialism today in the light of it.

    The introduction presents the author as a “travel agent” on a journey to the spiritual world within us. The essays are metaphorical travel brochures, invitations to take the plunge into self-discovery through the adventure of meditation. Edited from his extemporaneous talks, this inspiring collection of essays gives the flavor of hearing this great spiritual teacher and storyteller in person. Easwaran successfully combines his Eastern and Western wisdom, which includes a thorough knowledge of English literature, into an eight-point program usable by followers of all religious traditions.

    Her subjects are various––poetics, the imagination, politics, spirituality, other writers––and her approach independent minded and richly complex. Here in a single volume are recent essays exploring new ground broken by Levertov in the past decade as well as the finest and most useful prose pieces from The Poet in the World (1973) and Light Up the Cave (1981). This is a book to read and reread. With their combination of sensitivity and practicality, the New Selected Essays will prove enormously helpful to the writer and reader of poetry. As Kirkus Reviews remarked about her prose: "This is humanism in its true sense––her attitude as evidenced (not described) by her writing is such that the reader cannot help but experience life, at least temporarily, with more intensity, joy, and imagination."

    The only trouble with this book is that its covers are too close together.--The New York Times.

    Foreword by Peter Sellars

    She explores the somewhat deflated world of post-revolutionary Prague, guides us through the labyrinthine New York art world of the eighties, and takes us behind the one-way mirror of Salvador Minuchin's school of family therapy.And to each subject she brings the incisive skepticism and dazzling epigrammatic style that are her hallmarks.“Why don’t more people write like [Malcolm]?... She is cast from the mold of the Eastern European intellectual: beholden to modernism. as familiar with Kundera’s exile as she is with Freud’s Vienna. This sensibility must grant her the detachment she sometimes so mercilessly employs, but it also gives her an unassailable passion for getting to the center of things.” —Boston Globe

    In a series of stories, she describes the ordinary people's response to this situation - how it destroys everyday lives, disrupts relationships and turns close friends into bitter enemies. She also wonders if we ourselves are all responsible for allowing this war to start. The collection is filled with stories about her daughter, her friends, about the day her father frightened her with his World War II pistol and about her journey on the Balkan Express which heads southwards from the comparative sanity of Vienna into the heart of the Yugoslavian conflict.

    Roberto Schwarz’s writings have had a profound effect throughout Latin America. This is the first volume of those writings to appear in English. Taking its title from what has probably been Schwarz’s most influential essay, Misplaced Ideas first examines the slave-owning Brazil of the nineteenth century, to show the persistent gap between liberal ideology based on the free market, and the reality of forced labour. The essays which follow range across the nineteenth and twentieth centuries, and across film and fiction, theatre and music. They include four pieces on the great novelist Machado de Assis, and a powerful essay on the sometimes bizarre ways Brazilian culture reacted to the imposition of military rule. Throughout, Schwarz continually demonstrates the wit and sharpness which make his writings both a challenge and a pleasure to read.

    Or stay inside with Quiet Magic and savor Sam Cook's unique blend of sensitive portrayals and gentle humor.Starting with his description of one of nature's wondes -- the simplicity of a stand of reeds against a wide-open sunset -- and ending with a deep appreciation for the never-ending surprises of the outdoors, Cook weaves a tapestry of enchanting images of the North Woods and keeps you smiling and chuckling all the way. In this long-awaited paperback edition, Sam Cook invites you to look outward to discover the North Country and look inward to discover yourself.

    Thecontributors write with philosophical subtlety and wide-ranging scholarship, locating their interpretations firmly within the context of Aristotle's thought as a whole.

    Peter Quartermain suggests that the explosion of noncanonical modern writing is linked to the severe political, social, and economic dislocation of non-English-speaking immigrants who, bringing alternative culture with them as they passed through Ellis Island in their hundreds of thousands at the turn of the century, found themselves uprooted from their tradition and disassociated from their culture. The line of American poetry that runs from Gertrude Stein through Louis Zukofsky and the Objectivists to the Language Writers, Quartermain contends, is not the constructive but deconstructive aspect that emphasized the materiality and ambiguity of the linguistic medium and the arbitrariness and openess of the creative process.

    A contemporary of Apollinaire and Max Jacob, and a friend of Chagall and Modigliani, he must be reckoned with as a prophetic voice. Of all the avant-garde writers, he was the one most attuned to our age; hence the title of this collection of his short prose works.Modernities represents the poet at his most intense. The seven essays consider modern artists, many of them his friends and associates, and their altered relations to a new world of communications technology, advertising, and mass politics. These essays are daring and inventive in their expression of the sense of simultaneity—far more so than the "official" artistic manifestoes of their period, the first quarter of the twentieth century. Because most of the selections have never before been translated and have been hard to find, this volume brings to the English-language reader for the first time an essential part of the European voice of the avant-garde.

    Here is a collection of the south Georgia teacher's finest essays.

    This year Susan Sontag has collected an extraordinary range of talent that includes such notables as Joan Didion, John Updike, Jamaica Kincaid, and Stanley Elkin.

    

    These essays provide an authoritative introduction to Carl von Clausewitz and enlarge the history of war by joining it to the history of ideas and institutions and linking it with intellectual biography.

    Here too are sketches from his penniless bohemian life in Paris, seven "Letters from Morocco" written for the New York Herald Tribune, and Chester's final piece--the half-mad, previously unpublished "Letter from the Wandering Jew," a howl of rage and despair from his hated final home, Jerusalem. Together these pieces are testament to the life and the talent of the Sixties' most memorable literary iconoclasts.

    The author briefly recounts the making of The Wizard of Oz and discusses its plot, music, and themes.

    

    In this collection of essays and reminiscences, written over a span of three decades, the Nobel Prize–winning poet traces an informal autobiography againstthe street map of an extraordinary city—a crossroads of languages, cultures, and beliefs—that lies at the very heart of his internal geography.Beginning with My Streets, available for the first time in paperback, gathers portraits of the writers Aleksander Wat, Dwight MacDonald, and Fyodor Dostoevsky, as well as the great Swedish scientist Emanuel Swedenborg; an exchange of letters from the 1950s with the novelist and diarist Witold Gombrowicz; and a selection of speeches delivered between 1967 and 1987, including Milosz's Nobel Lecture. These diffuse reckonings, distinguished throughout by the flavor of personality and the aura of place, have a cumulative power—they are quintessential Milosz.

    Thoreau, Lewis Hyde gathers thirteen of Thoreau's finest short prose works and, for the first time in 150 years, presents them fully annotated and arranged in the order of their composition. This definitive edition includes Thoreau's most famous essays, "Civil Disobedience" and "Walking," along with lesser-known masterpieces such as "Wild Apples," "The Last Days of John Brown," and an account of his 1846 journey into the Maine wilderness to climb Mount Katahdin, an essay that ends on a unique note of sublimity and terror.Hyde diverges from the long-standing and dubious editorial custom of separating Thoreau's politics from his interest in nature, a division that has always obscured the ways in which the two are constantly entwined. "Natural History of Massachusetts" begins not with fish and birds but with a dismissal of the political world, and "Slavery in Massachusetts" ends with a meditation on the water lilies blooming on the Concord River.Thoreau's ideal reader was expected to be well versed in Greek and Latin, poetry and travel narrative, and politically engaged in current affairs. Hyde's detailed annotations clarify many of Thoreau's references and re-create the contemporary context wherein the nation's westward expansion was bringing to a head the racial tensions that would result in the Civil War.

    His perspective on Eastern Europe in the twentieth century is that of a political dissident, a human rights campaigner, a writer, and a critic. His political writings explore and clarify what it means to belong to a nation, while his analysis of the work of major Russian and Polish writers produces a definite view of what it means to be a poet. Included here are essays published in the New York Review of Books and The New Republic, such as ones on subjects from South Africa to Ivan the Terrible, as well as a famous dialogue between the author and the Polish poet Czeslaw Milosz. Venclova currently teaches Russian and Polish literature at Yale University.

    I cannot think of one so calculated to delight, intrigue, beguile, and inform. To pick up and browse through it . . . is like meeting some venerable old man of letters comfortably ensconced in his library, only to ready to reveal some pear of humor or wisdom about each of the writers he has chosen to deal with."—Kate Wharton, Evening Standard"Powell is one of the great novelists of our time, much more interested in other people than in his own views and ideas. The result is that his extraordinary richness of act and detail also embodies a far more arresting and penetrating quantity of critical judgements on books, authors, fashions, developments, than are to be found in the theoretical pronouncement of modern academic criticism."—John Bayley, The Sunday Times"These delightful reviews could be said to amount to a latter-day Brief Lives."—David Plante, Times Literary Supplement

    Coetzee that his "vision goes to the nerve-centre of being. What he finds there is more than most people will ever know about themselves, and he conveys it with a brilliant writer's mastery of tension and elegance". Doubling the Point takes the reader to the center of that vision. These essays and interviews, documenting Coetzee's longtime engagement with his own culture, and with modern culture in general, constitute a literary autobiography. Centrally concerned with the form and content of fiction, Doubling the Point provides insight into the significance of certain writers (particularly modernists such as Kafka, Musil, and Beckett), the value of intellectual movements (from structuralism and structural linguistics on through deconstruction), and the issues of political involvement and responsibility - not only for Coetzee's own work, but for fiction writing in general. In interviews prefacing each section of the book, Coetzee reflects on the essays to follow and relates them to his life and work. In these interviews editor David Attwell prompts from Coetzee answers of depth and interest. The result is the story of a fiction writer's intellectual development, and of an intellectual's literary development. It is the story of how one writer has moved through the scholarly and political trends of the last 30 years, carefully assessing their applications and limitations, and through this experience forged for himself a unique and powerful literary voice informed in equal parts by life and learning.

    Unique in content, this anthology of 113 short stories encompasses a larger geographical range (both Western and non-western) and greater gender balance than is typical of most short-story anthologies, and includes a diverse representation of ethnic voices from within the United States as well as less-frequently-anthologized stories by well-known writers. It includes both classic and contemporary stories that reflect thematic, aesthetic, and cultural variety: diversity of styles, subjects and points of view as well as diversity of cultural, historical, and gender perspectives. Headnotes and questions for each story provide contextual enhancement and guidelines for critical thinking and reflection.

    Renowned author Tony Hillerman's original essays written for "New Mexico" and "Rio Grande, " plus two new essays, are complemented by the extraordinary images of Muench and Reynolds.

    This is a collection of stories, a libretto, essays and sketches about knife-fights, a stone sphinx in Paris, a painter in Venice, an opera libretto which re-invents Miranda and Caliban and essays that discuss, among other things, fairy tales and Russell Hoban's own childhood in America.

    25 pieces include David Halberstam on Michael Jordan; a tribute to Roger Maris, the Yankee hated for breaking baseball's greatest record; and Dave Barry on the NBA.

    The author of The Lives of a Cell and The Medusa and the Snail now raises challenging questions about some of the major issues of our time—AIDS, drug abuse, and aging.With extraordinary perception, author Lewis Thomas discusses topics such as evolutionary biology, the development of language, the therapeutic aspects of medicine, and his love for his profession.

    Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally unhomely modern condition. The essays are at once historical--serving to situate contemporary discourse in its own intellectual tradition and theoretical--opening up the complex and difficult relationships between politics, social thought, and architectural design in an era when the reality of homelessness and the idealism of the neo-avant-garde have never seemed so far apart.Vidler, one of the deftest and surest critics of the contemporary scene, explores aspects of architecture through notions of the uncanny as they have been developed in literature, philosophy, and psychology from the beginning of the nineteenth century to the present. He interprets the unsettling qualities of today's architecture--its fragmented neo-constructivist forms reminiscent of dismembered bodies, its seeing walls replicating the passive gaze of domestic cyborgs, its historical monuments indistinguishable from glossy reproductions - in the light of modern reflection on questions of social and individual estrangement, alienation, exile, and homelessness.Focusing on the work of architects such as Bernard Tschumi, Rem Koolhaas, Peter Eisenman, Coop Himmelblau, John Hejduk, Elizabeth Diller, and Ricardo Scofidio, as well as theorists of the urban condition, Vidler delineates the problems and paradoxes associated with the subject of domesticity.

    Climbing America's unfriendliest mountain. Dousing fires in the oil fields of Kuwait. Chasing African killer bees. For twenty years, Outside magazine has devoted itself to original and engaging reports on travel, adventure, sports, and the environment. This collection of the best of the stories from the first fifteen years features many of the country's finest writers, in a single volume: EDWARD ABBEY RICK BASS JOHN BRANT CHIP BROWN BILL BRYSON TIN CAHILL E. JEAN CARROLL PHIL GARLINGTON JIM HARRISON DONALD KATZ WILLIAM KITTREDGE JON KRAKAUER BARRY LOPEZ THOMAS MCGUANE BILL MCKIBBEN MICHAEL MCRAE PETER MATTHIESSEN PETER NELSON GEOFFREY NORMAN DAVID QUAMMEN BOB REISS DAVID ROBERTS ROB SCHULTHEIS BOB SHACOCHIS LAURENCE SHAMES GRANT SINS ANNICK SMITH RICK TELANDER BILL VAUGHN CRAIG VETTER RANDY WAYNE WHITE ED ZUCKERMAN Whether you're an armchair adventurer or a true-life trekker, you'll be at once entranced and exhilarated as you go Out of the Noösphere.

    . . . Manea is too profound a witness to place his gift for observation in the service of another sensualist account. . . . What matters for him is the phenomenon of an entire nation's life under this simultaneously grotesque and terrifying rule." -- The New Republic

    Part of the Tuklas Sining essays published by the Cultural Center of the Philippines.

    Arranged chronologically, with a 5,000 word introduction on the role of the critic, these reviews and occasional "think pieces" add up to an authoritative yet highly personal history of British theatre over two vital decades at the end of the 20th century.

    Represented as individual points of view or touched upon in the analysis are the theories of Lacan and Foucault and the tenets of Marxism; the approaches of Feminism, Reader Response Criticism, Deconstructionism, Chaos and Anti-Chaos Theory, Translation Theory, Formalism, Mythology, Perception Theory, and Gender Theory; and the perceptions of Popular Culture, Film History and Theory, Southern Letters, and assorted cultural and regional studies. The volume introduction charts the course of Streetcar criticism from its inception to the present.Each essay begins by articulating the theoretical principles and methods behind the critical approach pursued, then applies these to readings from Streetcar, utilizing and documenting relevant major research. Insightful and challenging, the readings, individually and collectively, advance the study of the play and Tennessee Williams's canon and reputation generally. Each essay offers a fresh, provocative view of a play that has long been discussed in simplistic and dichotomized terms: Blanche as victim/Stanley as predator; Streetcar as a play about a failed southern belle meeting a brutish Pole; or Streetcar as a work of Southern literature. Viewing the play through the lenses of cultural and critical pluralism, the contributors open up the script and expand our awareness of the problems and possibilities offered by this great modern classic.

    Building on the tradition of such writers as W.E.B. Du Bois, James Baldwin, and Ralph Ellison, but with a wisdom and sharp wit uniquely her own, Pemberton moves from the integration of a transient hotel in Chicago to a party on that city's Gold Coast; from journeys by train and the memories they provoke to reflections on race aboard ship in the middle of the Atlantic Ocean; from the Mickey Mouse Club to the ghost of Emmett Till; from Harvard to Hollywood.

    With characteristic intelligence, wit, and insight, she confronts the conservative backlash that has slowly eroded the democratic ideals and advances of the '60s, as well as the internal debates that have frequently splintered the left.

    It arranges 55 essays by 10 of the most widely read and highly regarded writers in the English language today (including Joan Didion, Virginia Woolf, E. B. White, and George Orwell) under 10 classic and provocative themes.

    In Women and Fiction Virginia Woolf considers the reasons why so many educated women began writing novels in the 18th century. In another she discusses the lack of education that women received and the narrowness of conventional education. Also included are some of the book reviews that Virginia Woolf wrote for The Times Literary Supplement.

    Weaving biography, history, and literary criticism together, Cocker explores the lives and works of a dozen major explorer/writers and paints fascinating portraits of the places that have obsessed them. Photographs.

    This book features interviews with 22 major jazz figures, including Art Blakey, Anthony Braxton, Dave Brubeck, Bill Evans, Gil Evans, Tommy Flanagan, Dizzy Gillespie, Chico Hamilton, Lee Konitz, Charles Mingus, Clark Terry and Henry Threadgill.

    The misery of everyday life, and the situationist project to dismantle it, all explained with clarity, wit and verve.

    Combat-style reporting gave way to national debate as officials deplored 'senseless violence' and pundits saw the unravelling of civilization or deplored the shame of the cities. But why was the crisis of South Central Los Angeles visible only when backlit by flames? Amid all the sensationalized accounts of fragmented, chaotic communities, efforts of valour are seldom reported. Neither helpless nor without hope, black Angelenos go about their lives, bolstering their communities from within. Far from giving up or giving in, they persist, using anger, faith and the cold logic of experience to deal with drugs, gangs and unemployment; build churches, schools and community centres; weave together new music, films, stories.

    The reader is encouraged to write poetry, fiction and drama "on your own" and the text includes methods for submission of material for publication and resources for writers. For professional and aspiring writers of poetry, fiction, and drama.

    Drawn from keen, rigorous and empathic observation, these intricately sketched descriptions of various phenomena of our religion, consciousness, and culture, provide the reader with maps, as it were, of the Filipino's outer and inner lives - as citizens of a particular history, on one hand, and on the other, as creature of a timeless, subjective, transpersonal universe.In these essays, Fr. Bulatao is the warm, wise, witty and amiable guide. His maps are richly detailed, filled with examples and anecdotes of ordinary and extraordinary people, mystical places, and strange events, experienced close-up and firsthand by the author-guide, to illuminate the traveler's path. They are maps of the breathing, living reality of the Filipino psychic core.

    Not aimed at excising theological concerns from Dante, this approach instead attempts to break out of the hermeneutic guidelines that Dante structured into his poem and that have resulted in theologized readings whose outcomes have been overdetermined by the poet. By detheologizing, the reader can emerge from this poet's hall of mirrors and discover the narrative techniques that enabled Dante to forge a true fiction. Foregrounding the formal exigencies that Dante masked as ideology, Barolini moves from the problems of beginning to those of closure, focusing always on the narrative journey. Her investigation--which treats such topics as the visionary and the poet, the One and the many, narrative and time--reveals some of the transgressive paths trodden by a master of mimesis, some of the ways in which Dante's poetic adventuring is indeed, according to his own lights, Ulyssean.

    Today, however, this aspect of Mark Twain's career is barely known. His writings on the war have never been collected in a single volume, and a number of them are published here for the first time. Although he was a vice president of the Anti-Imperialist League from 1901 to 1910, until now no thorough study had been made of his relationship with the organized opposition to the war. Drawing upon the unpublished manuscripts of Mark Twain and various leaders of the League, Jim Zwick's Introduction and headnotes provide the most complete account of Twain's involvement in the anti-imperialist movement. Mark Twain's writings sparked intense controversy when they were written. Readers will appreciate the continuing relevance and quotability of his statements on the abuse of patriotism, the "treason" of requiring school children to salute the flag, the right to dissent, the importance of self-government, and the value of America's democratic and anticolonial traditions. This book will prove valuable to all who are interested in Twain and his works as well as to teachers of literature, peace studies, and history.