Presents the life and career of the Irish novelist, including his childhood, his days as a newspaper columnist, his marriage, and his final days.

    Coetzee's Disgrace, Don DeLillo's Underworld, Jonathan Franzen's The Corrections, Mark Haddon's The Curious Incident of the Dog in the Night-Time, Patricia Highsmith's Ripley under Ground, Ian McEwan's Atonement, John le Carr�'s The Constant Gardener, Philip Roth's The Human Stain, Jonathan Safran Foer's Everything Is Illuminated, and Zadie Smith's White Teeth. He highlights how these acclaimed authors use some of the basic elements of fiction. Some topics (like plot, dialogue, or location) will appear familiar to most novel readers, while others (meta-narrative, prolepsis, amplification) will open readers' eyes to new ways of understanding and appreciating the writer's craft. Mullan also excels at comparing modern and classic authors--Nick Hornby's adoption of a female narrator is compared to Daniel Defoe's; Ian McEwan's use of weather is set against Austen's and Hardy's. How Novels Work explains how the pleasures of novel reading often come from the formal ingenuity of the novelist, making visible techniques and effects we are often only half-aware of as we read. It is an entertaining and stimulating volume that will captivate anyone who is interested in the contemporary or the classical novel.

    She married three of them--the composer Gustav Mahler, the architect Walter Gropius, and the writer Franz Werfel--and had a host of admirers andlovers, including the painters Oscar Kokoschka, Egon Schiele, and Gustav Klimpt. The composer Alban Berg dedicated his opera Wozzeck to her and a violin concerto to the memory of her daughter, Manon, who died of polio. In Alma Mahler, Francoise Giroud provides a spirited portrait of one of Europe's great femme fatales, ranging from her childhood (she was raised on a steady diet of Nietzche) to her heyday as a leading figure in Europe's art scene, to her later life as an exile in California and New York. We meeta woman of remarkable beauty and unconventional mind, the possessor of a fine, demanding intelligence, who was highly conscious of herself as a member of the elite, a woman never truly conquered by her lovers. Her last husband, Franz Werfel, called her one of the very few sorceresses of our time.And indeed when she appeared, her presence attracted all eyes as she moved like a queen through a room. And what eyes she drew. Virtually all the great figures of 19th-century Vienna march through these pages, including Sigmund Freud, Richard Strauss, Arnold Schonberg, Hugo van Hofmannsthal, KarlKraus, and Elias Canetti, and Giroud pens striking portraits of each. There are also many memorable scenes: Franz Werfel singing Verdi arias with James Joyce in a Paris cafe; the young Gropius, having an affair with then-married Alma, chased from the Mahler home by guard dogs and taking refuge undera bridge; Kokoschka, after his affair with Alma has died, commissioning a life-sized doll, a faithful reproduction of his former lover. But the heart of the book is Alma's marriage to Mahler. We read Alma's own first impression of Mahler--He is terribly nervous. He paced around the room like a wildanimal. He's pure oxygen. You get burnt if you go too near. Unfortunately for Mahler, his attempt to subjugate his young wife to his will--you have only one profession from now on: to make me happy--led to disaster, and he himself was burnt. Alma Mahler stood at the center of the creative world, the intimate friend (if not lover) of the major artists of her age, and Giroud paints an unforgettable portrait. It was awarded France's Grand Prix litteraire de la femme in 1988.

    The Penguin Classics Book is a reader's companion to the largest library of classic literature in the world.Spanning 4,000 years from the legends of Ancient Mesopotamia to the poetry of the First World War, with Greek tragedies, Icelandic sagas, Japanese epics and much more in between, it encompasses 500 authors and 1,200 books, bringing these to life with lively descriptions, literary connections and beautiful cover designs.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    In the pages of MetaMaus, Art Spiegelman re-enters the Pulitzer prize-winning Maus, the modern classic that has altered how we see literature, comics, and the Holocaust ever since it was first published twenty-five years ago. Does he probe the questions that Maus most often evokes—Why the Holocaust? Why mice? Why comics?—and gives us a new and essential work about the creative process. MetaMaus includes a bonus DVD-R that provides a digitized reference copy of The Complete Maus linked to a deep archive of audio interviews with his survivor father, historical documents, and a wealth of Spiegelman’s private notebooks and sketches. Compelling and intimate, MetaMaus is poised to become a classic in its own right.

    Written with the same probing, analytic control that has long distinguished her poetry, American Originality is Glück’s second book of essays—her first, Proofs and Theories, won the 1993 PEN/Martha Albrand Award for First Nonfiction. Glück’s moving and disabusing lyricism is on full display in this decisive new collection.From its opening pages, American Originality forces readers to consider contemporary poetry and its demigods in radical, unconsoling, and ultimately very productive ways. Determined to wrest ample, often contradictory meaning from our current literary discourse, Glück comprehends and destabilizes notions of “narcissism” and “genius” that are unique to the American literary climate. This includes erudite analyses of the poets who have interested her throughout her own career, such as Rilke, Pinsky, Chiasson, and Dobyns, and introductions to the first books of poets like Dana Levin, Peter Streckfus, Spencer Reece, and Richard Siken. Forceful, revealing, challenging, and instructive, American Originality is a seminal critical achievement.

    S. Eliot, Henry James and E. M. Forster among them. But one of the paper’s defining voices was Virginia Woolf, who produced a string of superb essays between the two World Wars.The weirdness of Elizabethan plays, the pleasure of revisiting favourite novels, the supreme examples of Charlotte Brontë, George Eliot and Henry James, Thomas Hardy and Joseph Conrad: all are here, in anonymously published pieces, in which may be glimpsed the thinking behind Woolf’s works of fiction and the enquiring, feminist spirit of A Room of One’s Own.Here is Woolf the critical essayist, offering, at one moment, a playful hypothesis and, at another, a judgement laid down with the authority of a twentieth-century Dr Johnson. Here is Woolf working out precisely what’s great about Hardy, and how Elizabeth Barrett Browning made books a “substitute for living” because she was “forbidden to scamper on the grass”. Above all, here is Virginia Woolf the reader, whose enthusiasm for great literature remains palpable and inspirational today.

    They showed that “the modern”need not be at war with the past: constructivists and conservatives could work together, and even the Bauhaus émigré László Moholy-Nagy was beguiled into taking photos for Betjeman’s nostalgic An Oxford University Chest.A rich network of personal and cultural encounters was the backdrop for a modern English renaissance. This great imaginative project was shared by writers, painters, gardeners, architects, critics, and composers. Piper abandoned purist abstracts to make collages on the blustery coast; Virginia Woolf wrote in her last novel about a village pageant on a showery summer day. Evelyn Waugh, Elizabeth Bowen,and the Sitwells are also part of the story, along with Bill Brandt and Graham Sutherland, Eric Ravilious and Cecil Beaton.