Early one autumn afternoon in pursuit of an elusive book on her shelves, Susan Hill encountered dozens of others that she had never read, or forgotten she owned, or wanted to read for a second time. The discovery inspired her to embark on a year-long voyage through her books, forsaking new purchases in order to get to know her own collection again. A book which is left on a shelf for a decade is a dead thing, but it is also a chrysalis, packed with the potential to burst into new life. Wandering through her house that day, Hill's eyes were opened to how much of that life was stored in her home, neglected for years. 'Howards End is on the Landing' charts the journey of one of the nation's most accomplished authors as she revisits the conversations, libraries and bookshelves of the past that have informed a lifetime of reading and writing.

    She covered civil rights demonstrations in the 1960s, places where she lived, locations she traveled to, theater she had seen, and murder trials that gripped her. She wrote sketches for various occasions and countless essays about literature, her greatest passion. For Hardwick, the essay was an imaginative endeavor. The continuous attention to language, the structure of observations, the line of interpretation— Hardwick deserves to be read and reread for the clarity of her perceptions and her enduring assessments of literature and society, and simply for the beauty of her writing alone.Edited and with an introduction by Darryl Pinckney, The Collected Essays of Elizabeth Hardwick gathers more than fifty essays for a retrospective of this writer or moral courage, as Joan Didion called her. Hardwick’s readings define literature itself.

    Star of BBC's Supersizers and hugely popular Times columnist's works through his anger about everything from dogs to cycle helmets.

    Here, he chronicles the people, geography, and wildlife of this remote and lovely place. In beautifully written essays, sketches, and stories, Finch roams from verdant valleys to the rocky cliffs of Cape Spear, from Sandy Cove to Squid Tickle, from the steep streets of historic St. John's to the moss-covered tundra of the southern coast. As he describes the land, he brings to life the island's diverse array of characters -- newcomers and old-timers, fisherman, hunters, hitchhikers, and children. Most of all, The Iambics of Newfoundland shows readers the island itself -- an ancient place tucked between provinces, languages, and cultures -- struggling to find a footing in the modern world.

    In these timeless and witty essays George Orwell explores the English love of reading about a good murder in the papers (and lament the passing of the heyday of the 'perfect' murder involving class, sex and poisoning), as well as unfolding his trenchant views on everything from boys' weeklies and naughty seaside postcards to being arrested in East End.

    Here, the stigmatized condition of a spinster; there, a writer's unequalled display of absolute, impersonal authority. In between, the secret work of Austen's style: to keep at bay the social doom that would follow if she ever wrote as the person she is.For no Jane Austen could ever appear in Jane Austen. Amid happy wives and pathetic old maids, we see no successfully unmarried woman, and, despite the multitude of girls seeking to acquire "accomplishments," no artist either. What does appear is a ghostly No One, a narrative voice unmarked by age, gender, marital status, all the particulars that make a person--and might make a person peculiar. The Austen heroine must suppress her wit to become the one and not the other, to become, that is, a person fit to be tied in a conjugal knot. But for herself, Austen refuses personhood, with all its constraints and needs, and disappears into the sourceless anonymity of her style. Though often treasured for its universality, that style marks the specific impasse of a writer whose self-representation is impossible without the prospect of shame.D.A. Miller argues this case not only through the close reading that Austen's style always demands, but also through the close writing, the slavish imitation, that it sometimes inspires.

    Joyce's Voices is both a helpful guide through Joyce's complexities, and a brief treatise on the concept of objectivity: the idea that the world can be perceived as a series of reports to our senses. Objectivity, Kenner claims, was a modern invention, and one that the modernists--Joyce foremost among them--found problematic. Accessible and enjoyable, Joyce's Voices is what so much criticism is not: an aid to better understanding--and enjoying more fully--the work of one of the world's greatest writers.

    Essays include discussion of the psychological implications in the novel as well as themes and character analysis.

    

    Everywhere, outsider politicians rail against ‘the elite’.Yet, with a few notable exceptions, the populist mood has benefited reactionaries rather than reformers. The status quo might be in crisis, but the emerging voices are those of hate and violence. Where is the progressive alternative?In Trigger Warnings, Jeff Sparrow sympathetically but critically examines key progressive ideas. How does a billionaire position himself as anti-elitist? Are the culture wars worth fighting? What's at stake in the battles over political correctness? Should progressives defend it — and, if so, how?Sparrow traces the evolution of the Left and Right to explain the origins of this strange evolution, untangling some of the thorniest controversies of our time and arguing that the future needn't only belong to nihilists and bigots.

    Seriousness and ardor characterize all the essays in This Quiet Dust, the first book of nonfiction by the Pulitzer Prize-winning author of Lie Down in Darkness and Sophie's Choice.In this edition, which has been updated with the inclusion of six previously uncollected essays, Styron covers a wide range of concerns; yet whether he is recounting his search for the historic Nat Turner, peering into the abyss of Auschwitz, navigating the battlefields of Vietnam and Chicago in 1968, or offering fresh assessments of Thomas Wolfe, F. Scott Fitzgerald, William Faulkner, James Jones, and Robert Penn Warren, Styron is always a consummate literary stylist. One who is as engaging as he is engaged.

    Writing very bad poetry requires talent. It helps to have a wooden ear for words, a penchant for sinking into a mire of sentimentality, and an enviable confidence that allows one to write despite absolutely appalling incompetence.The 131 poems collected in this first-of-its-kind anthology are so glaringly awful that they embody a kind of genius. From Fred Emerson Brooks' "The Stuttering Lover" to Matthew Green's "The Spleen" to Georgia Bailey Parrington's misguided "An Elegy to a Dissected Puppy," they mangle meter, run rampant over rhyme, and bludgeon us into insensibility with their grandiosity, anticlimax, and malapropism.Guaranteed to move even the most stoic reader to tears (of laughter), Very Bad Poetry is sure to become a favorite of the poetically inclined (and disinclined).

    Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight."Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature."One of Publishers Weekly's Best Nonfiction Books of 2013

    And if any is left, I buy food and clothing." — --Desiderius Erasmus — Those who share Erasmus's love of those curious bundles of paper bound together between hard or soft covers know exactly how he felt. These are the people who can spend hours browsing through a bookstore, completely oblivious not only to the passage of time but to everything else around them, the people for whom buying books is a necessity, not a luxury. A Passion for Books is a celebration of that love, a collection of sixty classic and contemporary essays, stories, lists, poems, quotations, and cartoons on the joys of reading, appreciating, and collecting books.This enriching collection leads off with science-fiction great Ray Bradbury's Foreword, in which he remembers his penniless days pecking out Fahrenheit 451 on a rented typewriter, conjuring up a society so frightened of art that it burns its books. This struggle--financial and creative--led to his lifelong love of all books, which he hopes will cosset him in his grave, "Shakespeare as a pillow, Pope at one elbow, Yeats at the other, and Shaw to warm my toes. Good company for far-travelling."Booklovers will also find here a selection of writings by a myriad of fellow sufferers from bibliomania. Among these are such contemporary authors as Philip Roth, John Updike, Umberto Eco, Robertson Davies, Nicholas Basbanes, and Anna Quindlen; earlier twentieth-century authors Christopher Morley, A. Edward Newton, Holbrook Jackson, A.S.W. Rosenbach, William Dana Orcutt, Robert Benchley, and William Targ; and classic authors such as Michel de Montaigne, Gustave Flaubert, Petrarch, and Anatole France.Here also are entertaining and humorous lists such as the "Ten Best-Selling Books Rejected by Publishers Twenty Times or More," the great books included in Clifton Fadiman and John Major's New Lifetime Reading Plan, Jonathan Yardley's "Ten Books That Shaped the American Character," "Ten Memorable Books That Never Existed," "Norman Mailer's Ten Favorite American Novels," and Anna Quindlen's "Ten Big Thick Wonderful Books That Could Take You a Whole Summer to Read (but Aren't Beach Books)."Rounding out the anthology are selections on bookstores, book clubs, and book care, plus book cartoons, and a specially prepared "Bibliobibliography" of books about books.Whether you consider yourself a bibliomaniac or just someone who likes to read, A Passion for Books will provide you with a lifetime's worth of entertaining, informative, and pleasurable reading on your favorite subject--the love of books.A Sampling of the Literary Treasures in A Passion for BooksUmberto Eco's "How to Justify a Private Library," dealing with the question everyone with a sizable library is inevitably asked: "Have you read all these books?"Anatole Broyard's "Lending Books," in which he notes, "I feel about lending a book the way most fathers feel about their daughters living with a man out of wedlock."Gustave Flaubert's Bibliomania, the classic tale of a book collector so obsessed with owning a book that he is willing to kill to possess it.A selection from Nicholas Basbanes's A Gentle Madness, on the innovative arrangements Samuel Pepys made to guarantee that his library would survive "intact" after his demise.Robert Benchley's "Why Does Nobody Collect Me"--in which he wonders why first editions of books by his friend Ernest Hemingway are valuable while his are not, deadpanning "I am older than Hemingway and have written more books than he has."George Hamlin Fitch's extraordinarily touching "Comfort Found in Good Old Books," on the solace he found in books after the death of his son.A selection from Anna Quindlen's How Reading Changed My Life, in which she shares her optimistic view on the role of reading and the future of books in the computer age.Robertson Davies's "Book Collecting," on the difference between those who collect rare books because they're valuable and those who collect them because they love books, ultimately making it clear which is "the collector who really matters."

    Sontag's incisive intelligence, expressive brilliance, and deep curiosity about art, politics, and the writer's responsibility to bear witness have secured her place as one of the most important thinkers and writers of the twentieth century. At the Same Time gathers sixteen essays and addresses written in the last years of Sontag's life, when her work was being honored on the international stage, that reflect on the personally liberating nature of literature, her deepest commitment, and on political activism and resistance to injustice as an ethical duty. She considers the works of writers from the little-known Soviet novelist Leonid Tsypkin, who struggled and eventually succeeded in publishing his only book days before his death; to the greats, such as Nadine Gordimer, who enlarge our capacity for moral judgment. Sontag also fearlessly addresses the dilemmas of post-9/11 America, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib.At the Same Time, which includes a foreword by her son, David Rieff, is a passionate, compelling work from an American writer at the height of her powers, who always saw literature "as a passport to enter a larger life, the zone of freedom."