During World War II, he fought with local partisans against the Nazi occupiers of Crete. But in A Time to Keep Silence, Leigh Fermor writes about a more inward journey, describing his several sojourns in some of Europe’s oldest and most venerable monasteries. He stays at the Abbey of St. Wandrille, a great repository of art and learning; at Solesmes, famous for its revival of Gregorian chant; and at the deeply ascetic Trappist monastery of La Grande Trappe, where monks take a vow of silence. Finally, he visits the rock monasteries of Cappadocia, hewn from the stony spires of a moonlike landscape, where he seeks some trace of the life of the earliest Christian anchorites.More than a history or travel journal, however, this beautiful short book is a meditation on the meaning of silence and solitude for modern life. Leigh Fermor writes, “In the seclusion of a cell—an existence whose quietness is only varied by the silent meals, the solemnity of ritual, and long solitary walks in the woods—the troubled waters of the mind grow still and clear, and much that is hidden away and all that clouds it floats to the surface and can be skimmed away; and after a time one reaches a state of peace that is unthought of in the ordinary world.”

    They include introductions for books of avant-garde poets; collaborations with visual artists, and articles for publications such as The New York Review of Books, The London Review of Books, and October.One section focuses on writers and literary works: strange tales from classical and modern China; the Psalms in translation: a skeptical look at E. B. White’s New York. Another section is a continuation of Weinberger’s celebrated political articles collected in What Happened Here: Bush Chronicles (a finalist for the National Books Critics Circle Award), including a sequel to “What I Heard About Iraq,” which the Guardian called the only antiwar “classic” of the Iraq War. A new installment of his magnificent linked “serial essay,” An Elemental Thing, takes us on a journey down the Yangtze River during the Sung Dynasty.The reader will also find the unlikely convergences between Samuel Beckett and Octavio Paz, photography and anthropology, and, of course, oranges and peanuts, as well as an encomium for Obama, a manifesto on translation, a brief appearance by Shiva, and reflections on the color blue, death, exoticism, Susan Sontag, and the arts and war.

    Dick is the magnificent and imaginative final work of an author who dedicated his life to questioning the nature of reality and perception, the malleability of space and time, and the relationship between the human and the divine. Edited and introduced by Pamela Jackson and Jonathan Lethem, this will be the definitive presentation of Dick’s brilliant, and epic, final work. In The Exegesis, Dick documents his eight-year attempt to fathom what he called "2-3-74," a postmodern visionary experience of the entire universe "transformed into information." In entries that sometimes ran to hundreds of pages, Dick tried to write his way into the heart of a cosmic mystery that tested his powers of imagination and invention to the limit, adding to, revising, and discarding theory after theory, mixing in dreams and visionary experiences as they occurred, and pulling it all together in three late novels known as the VALIS trilogy. In this abridgment, Jackson and Lethem serve as guides, taking the reader through the Exegesis and establishing connections with moments in Dick’s life and work.

    As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    From Plato to Christianity, from the Enlightenment to Nietzsche, the Western tradition has been based on arrogant and erroneous beliefs about human beings and their place in the world. Philosophies such as liberalism and Marxism think of humankind as a species whose destiny is to transcend natural limits and conquer the Earth. Even in the present day, despite Darwin's discoveries, nearly all schools of thought take as their starting point the belief that humans are radically different from other animals. John Gray argues that this humanist belief is an illusion. The aim of Straw Dogs is to explore how the world and human life look once humanism has been finally abandoned.Straw Dogs explores philosophical issues such as the nature of the self, free will, morality, progress and the value of truth. Drawing his inspiration from art, poetry, and the frontiers of science as well as philosophy itself, John Gray presents a post-humanist view of the world and of human life. Straw Dogs is an exhilarating, sometimes disturbing book that leads the reader to question their deepest beliefs.

    Here is a delightfully entertaining and enlightening look at the unique sex lives of humans.

    A must for this counterculture idol's legion of fans.

    In the essay, Twain laments the dour ways in which men of America's Gilded Age employ man's "most faithfull friend." He concludes by insisting that: "the wise thing is for us diligently to train ourselves to lie thoughtfully, judiciously; to lie with a good object, and not an evil one; to lie for others' advantage, and not our own; to lie healingly, charitably, humanely, not cruelly, hurtfully, maliciously; to lie gracefully and graciously, not awkwardly and clumsily; to lie firmly, frankly, squarely, with head erect, not haltingly, tortuously, with pusillanimous mien, as being ashamed of our high calling."

    In Unruly Places, Alastair Bonnett goes to some of the most unexpected, offbeat places in the world to reinspire our geographical imagination.Bonnett’s remarkable tour includes moving villages, secret cities, no man’s lands, and floating islands. He explores places as disorienting as Sandy Island, an island included on maps until just two years ago despite the fact that it never existed. Or Sealand, an abandoned gun platform off the English coast that a British citizen claimed as his own sovereign nation, issuing passports and crowning his wife as a princess. Or Baarle, a patchwork of Dutch and Flemish enclaves where walking from the grocery store’s produce section to the meat counter can involve crossing national borders.An intrepid guide down the road much less traveled, Bonnett reveals that the most extraordinary places on earth might be hidden in plain sight, just around the corner from your apartment or underfoot on a wooded path. Perfect for urban explorers, wilderness ramblers, and armchair travelers struck by wanderlust, Unruly Places will change the way you see the places you inhabit.

    Combining memoir with artistic and philosophical musings, the poet and National Book Critics Circle Award winner (for My Alexandria) begins by confessing his obsession with the 17th-century Dutch still life that serves as the title of this book. As he analyzes the items depicted in the painting, he skillfully introduces his thoughts on our intimate relationships to objects and subsequently explains how they are often inextricably bound to the people and places of an individual lifetime. Further defined by imperfections attained from use, each object from an aging oak table to a chipped blue and white china platter forms a springboard for reflection. Doty intersperses personal reminiscences throughout, but he always returns to the subject of still-life painting and its silent eloquence. Doty's observations on balance, grief, beauty, space, love, and time are imparted with wisdom and poetic grace.Books like this, that address the sources of creation and the sources of our humanness, come along once in a decade. -Susan Salter Reynolds, Los Angeles Times"This small book is as wise, sensitive, intense, and affecting as anything I have read in recent years." -Doris Grumbach, author of Fifty Days of Solitude"A gem." -Library Journal"Mark Doty's prose is insistently exploratory, yet every aside, every detour, turns into pertinence, and it all seems effortless, as though the author were wondering, and marveling, aloud." -Bernard Cooper, author of Truth Serum"A dazzling accomplishment, its radiance bred of lucid attention and acute insight. The subject is the profoundly personal act of perception translated into description. Doty succeeds in rendering this most contemplative of arts-the still life-into a riveting drama." -Patricia Hampl, author of I Could Tell You Stories

    Burke contributes an introductory and summarizing remark, "What is involved, when we say what people are doing and why they are doing it? An answer to that question is the subject of this book. The book is concerned with the basic forms of through which, in accordance with the nature of the world as all men necessarily experience it, are exemplified in the attributing of motives. These forms of though can be embodied profoundly or trivially, truthfully or falsely. They are equally present in systematically elaborated or metaphysical structures, in legal judgments, in poetry and fiction, in political and scientific works, in news and in bits of gossip offered at random."

    It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.

    “In an account chock full of real-world examples reinforced by experimental research, Hood’s marvelous book is an important contribution to the psychological literature that is revealing the actuality of our very irrational human nature.” — ScienceIn the vein of Malcolm Gladwell’s Blink, Mary Roach’s Spook, and Dan Ariely’s Predictably Irrational, The Science of Superstition uses hard science to explain pervasive irrational beliefs and behaviors: from the superstitious rituals of sports stars, to the depreciated value of houses where murders were committed, to the adoration of Elvis.

    Or Hillary Clinton, or Steven Spielberg. Clearly they have no trouble getting stuff done. For the great majority of us, though, what a comfort to discover that we’re not wastrels and slackers, but doers . . . in our own way. It may sound counterintuitive, but according to philosopher John Perry, you can accomplish a lot by putting things off. He calls it “structured procrastination”:In 1995, while not working on some project I should have been working on, I began to feel rotten about myself. But then I noticed something. On the whole, I had a reputation as a person who got a lot done and made a reasonable contribution. . . . A paradox. Rather than getting to work on my important projects, I began to think about this conundrum. I realized that I was what I call a structured procrastinator: a person who gets a lot done by not doing other things.Celebrating a nearly universal character flaw, The Art of Procrastination is a wise, charming, compulsively readable book—really, a tongue-in-cheek argument of ideas. Perry offers ingenious strategies, like the defensive to-do list (“1. Learn Chinese . . .”) and task triage. He discusses the double-edged relationship between the computer and procrastination—on the one hand, it allows the procrastinator to fire off a letter or paper at the last possible minute; on the other, it’s a dangerous time suck (Perry counters this by never surfing until he’s already hungry for lunch). Or what may be procrastination’s greatest gift: the chance to accomplish surprising, wonderful things by not sticking to a rigid schedule. For example, Perry wrote this book by avoiding the work he was supposed to be doing—grading papers and evaluating dissertation ideas. How lucky for us.