For "The People's Princess," Larry King asked many people who knew Diana, some officially and some more personally, for their favorite memories. Sir Richard Branson recalls Diana sitting in the cockpit of one of his private planes with baby Prince William on her lap; as they flew past Windsor Castle she announced, "On our right you have Grandma's house!" Heather Mills, who, like Diana, has been a tireless campaigner for charitable causes, recalls Diana's work to eradicate the scourge of land mines, as well as the time she was photographed shaking hands with an AIDS patient in a London hospital, doing so much to counteract the stigma associated with the disease at the time. British radio and television personality Chris Tarrant recalls how clearly nervous he was upon meeting Diana for the first time, and how she put him at ease with an incredibly rude joke about Kermit the Frog. Photographer Tim Graham remembers Diana lying on the floor with baby William in order to coax a smile from the young prince. And her chief bodyguard recalls how happy and at peace she seemed on the day he agreed to her simple request: to be allowed to walk, truly alone for once, along a beautiful, deserted beach. Some of these recollections are warm and intimate, celebrating Diana for her ability to make a human connection with everyone she met, others are perceptive and revealing, even about Diana's human failings and frailties. Together, they coalesce into a multifaceted portrait of a woman that the world has long desired to know a little better.

    . .When the Atlantic Monthly first published an excerpted version of B.R. Myers' polemic—in which he attacked literary giants such as Don Delillo, Annie Proulx, and Cormac McCarthy, quoting their work extensively to accuse them of mindless pretension—it caused a world-wide sensation."A welcome contrarian takes on the state of contemporary American literary prose," said a Wall Street Journal review. "Useful mischief," said Jonathan Yardley in The Washington Post. "Brilliantly written," declared The Times of London.But Myers' expanded version of the essay does more than just attack sanctified literary heavyweights.It also:* Examines the literary hierarchy that perpetuates the status quo by looking at the reviews that the novelists in question received. It also considers the literary award system. "Rick Moody received an O. Henry Award in 1997," Myers observes, "whereupon he was made an O. Henry juror himself. And so it goes."* Showcases Myers' biting sense of wit, as in the new section, "Ten Rules for 'Serious' Writers," and his discussion of the sex scenes in the bestselling books of David Guterson ("If Jackie Collins had written that," Myers says after one example, "reviewers would have had a field day.")* Champions clear writing and storytelling in a wide range of writers, from "pop" novelists such as Stephen King to more "serious" literary heavyweights such as Somerset Maugham. Myers also considers the classics such as Balzac and Henry James, and recommends numerous other undeservedly obscure authors.* Includes an all-new section in which Myers not only considers the controversy that followed the Atlantic essay, but responds to several of his most prominent critics.Published on the one-year anniversary of original Atlantic Monthly essay, the new, expanded A READER'S MANIFESTO continues B.R. Myers' fight on behalf of the American reader, arguing against pretension in so-called "literary" fiction, naming names and brilliantly exposing the literary status quo.

    This brief edition of the most widely adopted book of its kind offers all of the editorial features of the longer book with about half the stories and writer commentaries in a shorter, less expensive format.

    . . . Beautiful & Pointless is a clear-eyed, opinionated, and idiosyncratic guide to a vibrant but endangered art form, essential reading for anyone who loves poetry, and also for those of us who mostly just admire it from afar." —Tom PerrottaAward-winning New York Times Book Review poetry columnist David Orr delivers an engaging, amusing, and stimulating tour through the world of poetry. With echoes of Francine Prose’s Reading Like a Writer, Orr’s Beautiful & Pointless offers a smart and funny approach to appreciating an art form that many find difficult to embrace.

    Essential reading for students and anyone interested in the great philosophers, this book opens up appreciation of Heidegger beyond the study of philosophy to the reaches of poetry and our fundamental relationship to the world. Featuring "The Origin of the Work of Art," a milestone in Heidegger's canon, this enduring volume provides potent, accessible entry to one of the most brilliant thinkers of modern times.

    It promises to soothe away the angst of modern living and to offer an antidote to shallow materialism.Selling Spirituality is a short, sharp, attack on this fallacy. It shows how spirituality has in fact become a powerful commodity in the global marketplace - a cultural addiction that reflects orthodox politics, curbs self-expression and colonizes Eastern beliefs.Exposing how spirituality has today come to embody the privatization of religion in the modern West, Jeremy Carrette and Richard King reveal the people and brands who profit from this corporate hijack, and explore how spirituality can be reclaimed as a means of resistance to capitalism and its deceptions.

    Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.

    Profusely and superbly illustrated, Country stands as one of the most brilliant explorations of American musical culture ever written.

    In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity.Along with her inquiry into the aesthetics of unprestigious negative affects such as irritation, envy, and disgust, Ngai examines a racialized affect called “animatedness,” and a paradoxical synthesis of shock and boredom called “stuplimity.” She explores the politically equivocal work of these affective concepts in the cultural contexts where they seem most at stake, from academic feminist debates to the Harlem Renaissance, from late-twentieth-century American poetry to Hollywood film and network television. Through readings of Herman Melville, Nella Larsen, Sigmund Freud, Alfred Hitchcock, Gertrude Stein, Ralph Ellison, John Yau, and Bruce Andrews, among others, Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening.Ngai mobilizes the aesthetics of ugly feelings to investigate not only ideological and representational dilemmas in literature—with a particular focus on those inflected by gender and race—but also blind spots in contemporary literary and cultural criticism. Her work maps a major intersection of literary studies, media and cultural studies, feminist studies, and aesthetic theory.

    Included: a syllabus and how-to guide to give yourself the English lit education you were denied in school.

    For the first time, detailed accounts of the vampire and how its tradition developed in different cultures are gathered in one volume by eminent folklorist Alan Dundes. Eleven leading scholars from the fields of Slavic studies, history, anthropology, and psychiatry unearth the true nature of the vampire from its birth in graveyard lore to the modern-day psychiatric patient with a penchant for drinking blood.    The Vampire: A Casebook takes this legend out of the realm of literature and film and back to its dark beginnings in folk traditions. The essays examine the history of the word “vampire;” Romanian vampires; Greek vampires; Serbian vampires; the physical attributes of vampires; the killing of vampires; and the possible psychoanalytic underpinnings of vampires. Much more than simply a scary creature of the human imagination, the vampire has been and continues to haunt the lives of all those who encounter it—in reality or in fiction.

    

    Bolman and Joan V. Gallos offer higher education leaders a provocative and pragmatic guide forCrafting dynamic institutions where the whole is greater than the sum of the parts Creating campus environments that facilitate creativity and commitment Forging alliances and partnerships in service of the mission Building shared vision and campus cultures that unite and inspire Serving the larger goals of the academy and society Throughout the book, the authors integrate powerful conceptual frameworks with rich and compelling real-world cases to support academic leaders searching for the best in themselves and in their institutions. The book tackles thorny issues such as building institutional clarity and capacity, managing conflict, coping with difficult people, partnering with the boss, and developing leadership resilience.Following in the tradition of Bolman and Deal's classic Reframing Organizations, Bolman and Gallos emphasize a pragmatic approach. They tease out the unique challenges and opportunities in academic leadership and provide ideas, tools, and encouragement to help higher education leaders see more clearly, feel more confident, and become more skilled and versatile in handling the vicissitudes of daily life. Reframing Academic Leadership is the resource for those seeking to understand, develop, and manage colleges and universities.

    She proposes that these poems, usually read separately, are imperfectly seen unless seen together--that they form a sequence in which Keats pursued a strict and profound inquiry into questions of language, philosophy, and aesthetics.Vendler describes a Keats far more intellectually intent on creating an aesthetic, and on investigating poetic means, than we have yet seen, a Keats inquiring into the proper objects of worship for man, the process of soul making, the female Muse, the function of aesthetic reverie, and the ontological nature of the work of art. We see him questioning the admissibility of ancient mythology in a post Enlightenment art, the hierarchy of the arts, the role of the passions in art, and the rival claims of abstraction and representation. In formal terms, he investigates in the odes the appropriateness of various lyric structures. And in debating the value to poetry of the languages of personification, mythology, philosophical discourse, and trompe l'oeil description, Keats more and more clearly distinguishes the social role of lyric from those of painting, philosophy, or myth.Like Vendler's previous work on Yeats, Stevens, and Herbert, this finely conceived volume suggests that lyric poetry is best understood when many forms of inquiry--thematic, linguistic, historical, psychological, and structural--are brought to bear on it at once.

    Strand deftly illuminates the work of the frequently misunderstood American painter, whose enigmatic paintings—of gas stations, storefronts, cafeterias, and hotel rooms—number among the most powerful of our time.   In brief but wonderfully compelling comments accompanying each painting, the elegant expressiveness of Strand’s language is put to the service of Hopper’s visual world. The result is a singularly illuminating presentation of the work of one of America’s best-known artists. Strand shows us how the formal elements of the paintings—geometrical shapes pointing beyond the canvas, light from unseen sources—locate the viewer, as he says, “in a virtual space where the influence and availability of feeling predominate.”   An unforgettable combination of prose and painting in their highest forms, this book is a must for poetry and art lovers alike.From the Hardcover edition.