It shows that what we think of liberalism today – the top and bottom coalition we associate with President Obama - began not with Progressivism or the New Deal but rather in the wake of the post-WWI disillusionment with American society. In the twenties, the first writers and thinkers to call themselves liberals adopted the hostility to bourgeois life that had long characterized European intellectuals of both the left and the right. The aim of liberalism’s foundational writers and thinkers such as Herbert Croly, Randolph Bourne, H.G. Wells, Sinclair Lewis and H.L Mencken was to create an American aristocracy of sorts, to provide a sense of hierarchy and order associated with European statism.Like communism, Fabianism, and fascism, modern liberalism, critical of both capitalism and democracy, was born of a new class of politically self-conscious intellectuals. They despised both the individual businessman's pursuit of profit and the conventional individual's pursuit of pleasure, both of which were made possible by the lineaments of the limited nineteenth-century state.Temporarily waylaid by the heroism of the WWII generation, in the 1950s liberalism expressed itself as a critique of popular culture. It was precisely the success of elevating middle class culture that frightened foppish characters like Dwight Macdonald and Aldous Huxley, crucial influences on what was mistakenly called the New Left. There was no New Left in the 1960s, but there was a New Class which in the midst of Vietnam and race riots took up the priestly task of de-democratizing America in the name of administering newly developed rightsThe neo-Mathusianism which emerged from the 60s was, unlike its eugenicist precursors, aimed not at the breeding habits of the lower classes but rather the buying habits of the middle class.Today’s Barack Obama liberalism has displaced the old Main Street private sector middle class with a new middle class composed of public sector workers allied with crony capitalists and the country’s arbiters of style and taste.

    His skill as a reviewer is particularly notable: never content merely to assess the ideas of a writer and the theses of a book, Eagleton, in his inimitable and often wickedly funny style, always paints a vivid theoretical and political fresco as the background to his engagement with the texts.In this collection of more than a decade of such bracing criticism, Eagleton comes face to face with Stanley Fish, Gayatri Spivak, Slavoj Žižek, Edward Said, and even David Beckham. All are subjected to his pugnacious wit, scathing critical pen, and brilliant literary investigations.

    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.

    She finds that the clubs provide an intermediate space—not work, not home—where men can enjoyably experience their bodies and selves through conversation, fantasy, and ritualized voyeurism. At the same time, she shows how the dynamics of male pleasure and privilege in strip clubs are intertwined with ideas about what it means to be a man in contemporary America.Frank’s ethnography draws on her work as an exotic dancer in five clubs, as well as on her interviews with over thirty regular customers—middle-class men in their late-twenties to mid-fifties. Reflecting on the customers’ dual desires for intimacy and visibility, she explores their paradoxical longings for "authentic" interactions with the dancers, the ways these aspirations are expressed within the highly controlled and regulated strip clubs, and how they relate to beliefs and fantasies about social class and gender. She considers how regular visits to strip clubs are not necessarily antithetical to marriage or long-term heterosexual relationships, but are based on particular beliefs about marriage and monogamy that make these clubs desirable venues. Looking at the relative "classiness" of the clubs where she worked—ranging from the city’s most prestigious clubs to some of its dive bars—she reveals how the clubs are differentiated by reputations, dress codes, cover charges, locations, and clientele, and describes how these distinctions become meaningful and erotic for the customers. Interspersed throughout the book are three fictional interludes that provide an intimate look at Frank’s experiences as a stripper—from the outfits to the gestures, conversations, management, coworkers, and, of course, the customers.Focusing on the experiences of the male clients, rather than those of the female sex workers, G-Strings and Sympathy provides a nuanced, lively, and tantalizing account of the stigmatized world of strip clubs.

    

    In a series of coruscating set pieces, Greif asks why we put ourselves through the pains of exercise, what shopping in organic supermarkets does for our sense of self-worth, what the political identity of the hipster might be, and what happens to us when we listen to too much Radiohead. From such counter-intuitive observations, Greif exposes the fundamental contradictions between our actions, desires and the excuses that we make to ourselves in hope of consolation. With the wit and seriousness of David Foster Wallace, Against Everything is the most thought-provoking study and essential guide to everyday life under 21st-century capitalism.

    But, undeterred, he commences a deeply felt meditation on poetry, its language and meaning, and its power to open minds and transform lives. By the end of the book, Parini has recovered a truth often obscured by our clamorous culture: without poetry, we live only partially, not fully conscious of the possibilities that life affords. Poetry indeed matters. A gifted poet and acclaimed teacher, Parini begins by looking at defenses of poetry written over the centuries. He ponders Aristotle, Horace, and Longinus, and moves on through Sidney, Wordsworth, Coleridge, Shelley, Eliot, Frost, Stevens, and others. Parini examines the importance of poetic voice and the mysteries of metaphor. He argues that a poet’s originality depends on a deep understanding of the traditions of political poetry, nature poetry, and religious poetry. Writing with a casual grace, Parini avoids jargon and makes his case in concise, direct terms: the mind of the poet supplies a light to the minds of others, kindling their imaginations, helping them to live their lives. The author’s love of poetry suffuses this insightful book—a volume for all readers interested in a fresh introduction to the art that lies at the center of Western civilization.

    The first, Tales from the Kingdom of Lailonia, is set in a fictional land. Each story illustrates some aspect of human inability to come to terms with imperfection, infinitude, history, and nature. The second, The Key to Heaven, is a collection of seventeen biblical tales from the Old Testament told in such a way that the story and the moral play off each other to illustrate political, moral, or existential foibles and follies.

    A VINTAGE ORIGINAL.What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page - a graceful ear there, a stray curl, a hat positioned just so - and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved - or reviled - literary figures.In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature - he thinks of himself first, and foremost, as a reader - into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.

    Using humorous analogies and his profound understanding of the Western mind, Dzogchen Ponlop makes the mysterious Tibetan teachings on the bardos--the intervals between waking and sleep, between life and death, and beyond--completely available to the modern reader. Drawing on a breathtaking range of material, this young, popular teacher shows us how the bardos can be used to conquer death. Working with the bardos means taking hold of life and learning how to live with fearless abandon, and Mind Beyond Death demonstrates that the secret to a good journey through death and beyond lies in how we live. Walking skillfully through the bardos of dream, meditation, and daily life, we then travel deep into the mysterious death intervals and become familiar with their dazzling mindscape. This tour de force gives us the knowledge to transform the greatest obstacle of death into the most powerful opportunity for enlightenment.

    Selections by some of the period’s most important thinkers include pieces by Locke, Rousseau, Mary Wortley Montagu, Denis Diderot, and Moses Mendelssohn. She covers the movement’s lengthy evolution in a comprehensive introduction, which establishes the issues central to understanding the documents and provides important background on the political and social debates of the period. All documents are preceded by headnotes, and the volume includes a chronology, 14 illustrations, a bibliography, and an index.

    At another level, Villanueva ponders his experiences in light of the history of rhetoric, the English Only movement, current socio- and psycholinguistic theory, and the writings of Gramsci and Freire, among others.Winner of the David H. Russell Award for Distinguished Research in the Teaching of English.

    Michael Ryan's comprehensive textbook on the practice of literary theory demonstrates how the full panoply of theoretical approaches can be used to read the same texts.

    A simple conceptual framework of Jiu Jitsu for beginners seeking to use Brazilian Jiu Jitsu as a vehicle for personal development.

    Funny, moving and inspirational, it is just as delightful as Canfor-Dumas’ first novel, ‘The Buddha, Geoff and Me’. When we catch up with our hero Ed, he’s abandoned his Buddhist practice and is stuck in a rut – no career, no love life and no cash.Plunged unwittingly into a world of street crime and dodgy property deals, Ed finds himself dusting down his beads and reluctantly picking up his Nichiren Buddhist practice to guide him through a series of dramas, dilemmas and big decisions. Spiritual insights then emerge from the grit, grime and SNAFUs of Ed’s everyday life. By turns unsettling and uplifting, this is a book that will also get you thinking about complex issues of our time such as depression, racism, bereavement, suicide and youth crime.And it gives possibly the best ever explanation of the wisdom that comes from chanting Nam Myoho Renge Kyo: “Like sending a truffle hound to root around in the leaf-litter of my subconscious and dig up what’s bothering me.” The description by the publisher is spot on – this absolutely is a book “for everyone who's ever wondered whether enlightenment really is compatible with the daily commute.” Welcome back Ed, lovin' yer truffles…