What is it about J. D. Salinger and his body of work that has left such a lasting mark on American fiction? And who better to answer that question than the current generation of writers?Here are fourteen of the most vital voices in the contemporary American fiction scene pulling no punches in response to a writer who continues to beguile, charm, fascinate, and frustrate generations of readers. Contributors Walter Kirn, Ren? Steinke, Charles D’Ambrosio, Emma Forrest, Aleksander Hemon, Lucinda Rosenfeld, Amy Sohn, John McNally, Karen E. Bender, Thomas Beller, Benjamin Anastas, Aimee Bender, Joel Stein, and Jane Mendelsohn turn themselves inside out as they discuss their personal reactions to reading Salinger classics–not only The Catcher in the Rye but also Franny and Zooey, Raise High the Roofbeams, Carpenters, and the short stories–and explore, with begrudging gratitude, how Salinger helped to form the deepest reaches of their literary imaginations.

    The first ever collection of contemporary Scottish writing on nature and landscape, Antlers of Water showcases the diversity and radicalism of new Scottish nature writing today.Edited, curated and introduced by the award-winning Kathleen Jamie, and featuring prose, poetry and photography, this inspiring collection takes us from walking to wild swimming, from red deer to pigeons and wasps, from remote islands to back gardens.With contributions from Amy Liptrot, Malachy Tallack, Chitra Ramaswamy, Jim Crumley, Amanda Thomson, Karine Polwart and many more, Antlers of Water urges us to renegotiate our relationship with the more-than-human world, in writing which is by turns celebratory, radical and political.

    What the Living Do reflects "a new form of confessional poetry, one shared to some degree by other women poets such as Sharon Olds and Jane Kenyon. Unlike the earlier confessional poetry of Plath, Lowell, Sexton et al., Howe's writing is not so much a moan or a shriek as a song. It is a genuinely feminine form . . . a poetry of intimacy, witness, honesty, and relation" (Boston Globe).

    “Taken together,” as the editor Ignacio Echevarría remarks in his introduction, they provide “a personal cartography of the writer: the closest thing, among all his writings, to a kind of fragmented ‘autobiography.’” Bolaño’s career as a nonfiction writer began in 1998, the year he became famous overnight for The Savage Detectives; he was suddenly in demand for articles and speeches, and he took to this new vocation like a duck to water. Cantankerous, irreverent, and insufferably opinionated, Bolaño also could be tender (about his family and favorite places) as well as a fierce advocate for his heroes (Borges, Cortázar, Parra) and his favorite contemporaries, whose books he read assiduously and promoted generously. A demanding critic, he declares that in his “ideal literary kitchen there lives a warrior”: he argues for courage, and especially for bravery in the face of failure. Between Parentheses fully lives up to his own demands: “I ask for creativity from literary criticism, creativity at all levels.”

    It is divided into three parts: the first is introduced by a powerful prayer for the dead of 9/11; the second by a searching meditation on Martin Luther King Jr., and the last by a heart-wrenching eulogy for James Baldwin. In the writings and speeches included here, Morrison takes on contested social issues: the foreigner, female empowerment, the press, money, "black matter(s)," and human rights. She looks at enduring matters of culture: the role of the artist in society, the literary imagination, the Afro-American presence in American literature, and in her Nobel lecture, the power of language itself. And here too is piercing commentary on her own work (including The Bluest Eye, Sula, Tar Baby, Jazz, Beloved, and Paradise) and that of others, among them, painter and collagist Romare Bearden, author Toni Cade Bambara, and theater director Peter Sellars. In all, The Source of Self-Regard is a luminous and essential addition to Toni Morrison's oeuvre.

    Searching for work, sex and big-city life is Ted Owen, who quickly finds himself swept into the complicated lives of the young and the jaded, people who thrive in a strange world of hip fashion and surreal night-clubs.

    Written by a lady of the court at the height of Heian culture, this book enthralls with its lively gossip, witty observations, and subtle impressions. Lady Shonagon was an erstwhile rival of Lady Murasaki, whose novel, "The Tale of Genji," fictionalized the elite world Lady Shonagon so eloquently relates. Featuring reflections on royal and religious ceremonies, nature, conversation, poetry, and many other subjects, "The Pillow Book" is an intimate look at the experiences and outlook of the Heian upper class, further enriched by Ivan Morris's extensive notes and critical contextualization.

    From a legendary journalist and star writer at "The New Yorker" comes an insider's look at the magazine's tumultuous yet glorious years under the direction of the enigmatic William Shaw.

    . . . The Poetic Species is a wonderful read in its entirety, short yet infinitely simulating.” —MARIA POPOVA, Brain PickingsIn this shimmering conversation (the outgrowth of an event co-sponsored by the American Museum of Natural History and Poets House), Edward O. Wilson, renowned scientist and proponent of “consilience” or the unity of knowledge, finds an ardent interlocutor in Robert Hass, whose credo as United States poet laureate was “imagination makes communities.” As they explore the many ways that poetry and science enhance each other, they travel from anthills to ancient Egypt and to the heights and depths of human potential. A testament to how science and the arts can join forces to educate and inspire, this book is also a passionate plea for conservation of all the planet’s species.Edward O. Wilson, a biologist, naturalist, and bestselling author, has received more than 100 awards from around the world, including the Pulitzer Prize. A professor emeritus at Harvard University, he lives in Lexington, Massachusetts.Robert Hass’ poetry is rooted in the landscapes of his native northern California. He has been awarded the MacArthur “Genius” Fellowship, the National Book Critics Circle Award (twice), the Pulitzer Prize, and the National Book Award. He is a professor of English at University of California-Berkeley.

    Introduction by George Stade.

    Visual Poetry. Long-cherished in out-of-print editions, anthologies and text books, and more recently celebrated on the internet, Aram Saroyan's groundbreaking concrete and minimalist poems of the 1960s are gathered together here in a single, much-needed volume. COMPLETE MINIMAL POEMS includes the entire contents of Aram Saroyan (Random House, 1968), Pages (Random House, 1969), The Rest (Telegraph, 1971), as well as Saroyan's contribution, "Electric Poems," to the anthology All Stars (Goliard-Grossman, 1972), and a sequence, "Short Poems," which hasn't appeared previously. With ties to the work of such writers and artists as e.e. cummings, Andy Warhol, Gertrude Stein, Donald Judd, Ian Hamilton Finlay and Steve Reich, COMPLETE MINIMAL POEMS confirms Aram Saroyan's place among the most daring and engaging figures in modern poetry.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    In this stunningly original book Maureen N. McLane channels the spirits and voices that make up the music in one poet’s mind. Weaving criticism and memoir, My Poets explores a life reading and a life read. McLane invokes in My Poets not necessarily the best poets, nor the most important poets (whoever these might be), but those writers who, in possessing her, made her. “I am marking here what most marked me,” she writes.  Ranging from Chaucer to H. D. to William Carlos Williams to Louise Glück to Shelley (among others), McLane tracks the “growth of a poet’s mind,” as Wordsworth put it in The Prelude. In a poetical prose both probing and incantatory, McLane has written a radical book of experimental criticism. Susan Sontag called for an “erotics of interpretation”: this is it. Part Bildung, part dithyramb, part exegesis, My Poets extends an implicit invitation to you, dear reader, to consider who your “my poets,” or “my novelists,” or “my filmmakers,” or “my pop stars,” might be.

    These pieces thus explore, with quiet grace, the unexpected pleasures that are gleaned from an appreciation of the ordinary - a sleeping cat, a blooming garden, a well-cooked meal. Such familiar - even ostensibly mundane - details of our lives, Steinbach maintains, play a far more important part in shaping our identities and our sense of our relationship to the world than do the exotic encounters or momentous events to which we attach much significance. Alternately poignant and humorous, sedately contemplative and bristling with emotional energy, Steinbach's various musings on the daily rhythms of her own moods and experiences transform everyday life into a rich and meaningful journey.

    Ranging from Prince to Def Leppard, Lucille Clifton to Frederick Seidel, Robbins’s mastery of poetry and popular music shines in Equipment for Living. He has a singular ability to illustrate points with seemingly disparate examples (Friedrich Kittler and Taylor Swift, to W.B. Yeats and Anna Kendrick’s “Cups”). Robbins weaves a discussion on poet Juliana Spahr with the different subsets of Scandinavian black metal, illuminating subjects in ways that few scholars can achieve. Equipment for Living is also a wonderful guide to essential poetry and popular music.