As she contemplates the pleasure of artistic labor, finding solace and safety within the woods, and the joyful and rhythmic beating of wings, Oliver intimately shares with her readers her quiet discoveries, boundless curiosity, and exuberance for the grandeur of our world. This radiant collection of her work, with some pieces published here for the first time, reaffirms Oliver as a passionate and prolific observer whose thoughtful meditations on spiders, writing a poem, blue fin tuna, and Ralph Waldo Emerson inspire us all to discover wonder and awe in life's smallest corners.

    Compiled and edited by Edmund Wilson shortly after Fitzgerald's death, "The Crack-Up" tells the story of Fitzgerald's sudden descent at age thirty-nine from a life of success and glamor to one of emptiness and despair, and his determined recovery. This vigorous and revealing collection of essays and letters renders the tale of a man whose personality still charms us all and whose reckless gaiety and genious made him a living symbol and the Jazz Age. For those who grew up with "The Great Gatsby" or "Tender is the Night," this extraordinary autobiographical collection provides a unique personal blend of the romance and reality embodied by Fitzgerald's literature and his life.

    She also gave us Come, Tell Me How You Live, a charming, fascinating, and wonderfully witty nonfiction account of her days on an archaeological dig in Syria with her husband, renowned archeologist Max Mallowan. Something completely different from arguably the best-selling author of all time, Come, Tell Me How You Live is an evocative journey to the fascinating Middle East of the 1930s that is sure to delight Dame Agatha’s millions of fans, as well as aficionados of Elizabeth Peters’s Amelia Peabody mysteries and eager armchair travelers everywhere.

    Through the years, though never meeting and separated both geographically and culturally, they share a winsome, sentimental friendship based on their common love for books. Their relationship, captured so acutely in these letters, is one that will grab your heart and not let go.

    It is doubtful that Bennett could have made up the eccentric Miss Shepherd if he tried, but his poignant, funny but unsentimental account of their strange relationship is akin to his best fictional screen writing.Bennett concedes that "One seldom was able to do her a good turn without some thoughts of strangulation", but as the plastic bags build up, the years pass by and Miss Shepherd moves into Bennett's driveway, a relationship is established which defines a certain moment in late 20th-century London life which has probably gone forever. The dissenting, liberal, middle-class world of Bennett and his peers comes into hilarious but also telling collision with the world of Miss Shepherd: "there was a gap between our social position and our social obligations. It was in this gap that Miss Shepherd (in her van) was able to live". Bennett recounts Miss Shepherd's bizarre escapades in his inimitable style, from her letter to the Argentinean Embassy at the height of the Falklands War, to her attempts to stand for Parliament and wangle an electric wheelchair out of the Social Services. Beautifully observed, The Lady in the Van is as notable for Bennett's attempts to uncover the enigmatic history of Miss Shepherd, as it is for its amusing account of her eccentric escapades. --Jerry Brotton

    But the writer possessed another side, one which is delightfully exposed in this hilariously charming memoir of her family's life in rural Vermont. Fans of Please Don't Eat the Daisies, Cheaper by the Dozen, and anything Erma Bombeck ever wrote will find much to recognize in Shirley Jackson's home and neighborhood: children who won't behave, cars that won't start, furnaces that break down, a pugnacious corner bully, household help that never stays, and a patient, capable husband who remains lovingly oblivious to the many thousands of things mothers and wives accomplish every single day."Our house," writes Jackson, "is old, noisy, and full. When we moved into it we had two children and about five thousand books; I expect that when we finally overflow and move out again we will have perhaps twenty children and easily half a million books." Jackson's literary talents are in evidence everywhere, as is her trenchant, unsentimental wit. Yet there is no mistaking the happiness and love in these pages, which are crowded with the raucous voices of an extraordinary family living a wonderfully ordinary life.

    Kafka's Czech translator, she was uniquely able to recognize his complex genius and his even more complex character. For the thirty-six-year-old Kafka, she was "a living fire, such as I have never seen." It was to her that he revealed his most intimate self. It was to her that, after the end of the affair, he entrusted the safekeeping of his diaries.Newly translated, revised, and expanded, this edition contains material previously omitted because of its extreme sensitivity. Also included for the first time are letters and essays by Milena Jesenská, herself a talented writer as well as the recipient of these documents of Kafka's love, anxiety, and despair.

    He presents the country like a magic-lantern show, as vivid images ceaselessly appear before his - and his readers' - eyes. Italy's most famous sights are all to be found here - St Peter's in Rome, Naples with Vesuvius smouldering in the background, the fairytale buildings and canals of Venice - but Dickens's chronicle is not simply that of a tourist. Combining compelling travelogue with piercing social commentary, he portrays a nation of great contrasts: between grandiose buildings and squalid poverty, ancient monuments and everyday life, past and present.Edited with an Introduction and Notes by Kate Flint

    A collection of letters written when Alcott was a Civil War army nurse, they garnered Alcott's first critical recognition for her observations and humour.

    In the summer, Dillard stalks muskrats in the creek and contemplates wave mechanics; in the fall she watches a monarch butterfly migration and dreams of Arctic caribou. She tries to con a coot; she collects pond water and examines it under a microscope. She unties a snake skin, witnesses a flood, and plays 'King of the Meadow' with a field of grasshoppers.

    This story of three closely related Oxfordshire communities - a hamlet, the nearby village and a small market town - is based on the author's experiences during childhood and youth. It chronicles May Day celebrations and forgotten children's games, the daily lives of farmworkers and craftsmen, friends and relations - all painted with a gaiety and freshness of observation that make this trilogy an evocative and sensitive memorial to Victorian rural England.With a new introduction by Richard Mabey

    Thoreau's most engaging and popular works, newly edited and based on the most authoritative versions of each. These essays represent Thoreau in many stages of his writing career, ranging from 1842--when he accepted Emerson's commission to review four volumes of botanical and zoological catalogues in an essay that was published in The Dial as "Natural History of Massachusetts"--to 1862, when he prepared "Wild Apples," a lecture he had delivered during the Concord Lyceum's 1859-1860 season, for publication in the Atlantic Monthly after his death. Three other early meditations on natural history and human nature, "A Winter Walk," "A Walk to Wachusett," and "The Landlord," were originally published in 1842 and 1843. Lively, light pieces, they reveal Thoreau's early use of themes and approaches that recur throughout his work. "A Yankee in Canada," a book-length account of an 1850 trip to Quebec that was published in part in 1853, is a fitting companion to Cape Cod and The Maine Woods, Thoreau's other long accounts of explorations of internal as well as external geography. In the last four essays, "The Succession of Forest Trees" (1860), "Autumnal Tints" (1862), "Walking" (1862), and "Wild Apples" (1862), Thoreau describes natural and philosophical phenomena with a breadth of view and generosity of tone that are characteristic of his mature writing. In their skillful use of precisely observed details to arrive at universal conclusions, these late essays exemplify Transcendental natural history at its best.

    One day, Muir set out to explore a huge glacier during a blizzard. Stickeen--an aloof little dog belonging to a fellow traveler--insisted on going along. They become stranded on the glacier. The only way out was over a precarious ice bridge, dangerous for a man and almost impossible for a dog. When, amazingly, they both escape, Stickeen's aloofness is replaced by rapturous adoration for Muir. The author skillfully weaves Muir's own words, the illustrations are extraordinary, and the result is a classic.

    The first nonfiction work by one of the most distinctive prose stylists of our era, Joan Didion's Slouching Towards Bethlehem remains, decades after its first publication, the essential portrait of America—particularly California—in the sixties.It focuses on such subjects as John Wayne and Howard Hughes, growing up a girl in California, ruminating on the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco's Haight-Ashbury, the heart of the counterculture.

    He wrote it during 1870–71 and published in 1872, as a prequel to his first book The Innocents Abroad (1869). This book tells of Twain's adventures prior to his pleasure cruise related in Innocents Abroad.