(In fact, he says, in certain situations reading the book is the worst thing you could do). Using examples from such writers as Graham Greene, Oscar Wilde, Montaigne, and Umberto Eco, he describes the varieties of "non-reading"—from books that you've never heard of to books that you've read and forgotten—and offers advice on how to turn a sticky social situation into an occasion for creative brilliance. Practical, funny, and thought-provoking, How to Talk About Books You Haven't Read is in the end a love letter to books, offering a whole new perspective on how we read and absorb them. It's a book for book lovers everywhere to enjoy, ponder, and argue about—and perhaps even read.Pierre Bayard is a professor of French literature at the University of Paris VIII and a psychoanalyst. He is the author of Who Killed Roger Ackroyd? and of many other books. Jeffrey Mehlman is a professor of French at Boston University and the author of a number of books, including Emigré New York. He has translated works by Derrida, Lacan, Blanchot, and other authors.

    The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing.As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the technology of poetry--its sounds--to create works of art that are performed in us when we read them aloud.He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Gl�ck, and Frank Bidart.This ideal introductory volume belongs in the library of every poet and student of poetry.

    In a philosophical approach to color, William Gass explores man's perception of the color blue as well as its common erotic, symbolic, and emotional associations.

    Great storytelling is making readers care about your characters, the choices they make, and what happens to them. It's making your audience feel the tension and emotion of a situation right alongside your protagonist. And to tell a damn fine story, you need to understand why and how that caring happens. Using a mix of personal stories, pop fiction examples, and traditional storytelling terms, New York Times best-selling author Chuck Wendig will help you internalize the feel of powerful storytelling. In Damn Fine Story, you'll explore:Fretytag's Pyramid for visualizing story structure--and when to break away from traditional storytelling formsCharacter relationships and interactions as the basis of every strong plot--no matter the form or genreRising and falling tension that pulls the audience through to the climax and conclusion of the storyDeveloping themes as a way to craft characters with depthWhether you're writing a novel, screenplay, video game, comic, or even if you just like to tell stories to your friends and family over dinner, this funny and informative guide is chock-full of examples about the art and craft of storytelling--and how to write a damn fine story of your own.

    For a New Novel reevaluates the techniques, ethos, and limits of contemporary fiction. This is a work of immense importance for any discussions of the history of the novel, and for contemporary thinking about the future of fiction.

    In true emulative and contrarian style, Hitchens is both admiring and aggressive, sympathetic yet critical, taking true measure of his subject as hero and problem. Answering both the detractors and the false claimants, Hitchens tears down the façade of sainthood erected by the hagiographers and rebuts the critics point by point. He examines Orwell and his perspectives on fascism, empire, feminism, and Englishness, as well as his outlook on America, a country and culture towards which he exhibited much ambivalence. Whether thinking about empires or dictators, race or class, nationalism or popular culture, Orwell's moral outlook remains indispensable in a world that has undergone vast changes in the fifty years since his death. Combining the best of Hitchens's polemical punch and intellectual elegance in a tightly woven and subtle argument, this book addresses not only why Orwell matters today, but how he will continue to matter in a future, uncertain world. Christopher Hitchens, one of the most incisive minds of our own age, meets Orwell on the page in this provocative encounter of wit, contention and moral truth.

    They include introductions for books of avant-garde poets; collaborations with visual artists, and articles for publications such as The New York Review of Books, The London Review of Books, and October.One section focuses on writers and literary works: strange tales from classical and modern China; the Psalms in translation: a skeptical look at E. B. White’s New York. Another section is a continuation of Weinberger’s celebrated political articles collected in What Happened Here: Bush Chronicles (a finalist for the National Books Critics Circle Award), including a sequel to “What I Heard About Iraq,” which the Guardian called the only antiwar “classic” of the Iraq War. A new installment of his magnificent linked “serial essay,” An Elemental Thing, takes us on a journey down the Yangtze River during the Sung Dynasty.The reader will also find the unlikely convergences between Samuel Beckett and Octavio Paz, photography and anthropology, and, of course, oranges and peanuts, as well as an encomium for Obama, a manifesto on translation, a brief appearance by Shiva, and reflections on the color blue, death, exoticism, Susan Sontag, and the arts and war.

    This predicament seems inevitable, but in fact it's quite new. In medieval Europe, God's calling was a grounding force. In ancient Greece, a whole pantheon of shining gods stood ready to draw an appropriate action out of you. Like an athlete in “the zone,” you were called to a harmonious attunement with the world, so absorbed in it that you couldn’t make a “wrong” choice. If our culture no longer takes for granted a belief in God, can we nevertheless get in touch with the Homeric moods of wonder and gratitude, and be guided by the meanings they reveal?All Things Shining says we can. Hubert Dreyfus and Sean Dorrance Kelly illuminate some of the greatest works of the West to reveal how we have lost our passionate engagement with and responsiveness to the world. Their journey takes us from the wonder and openness of Homer’s polytheism to the monotheism of Dante; from the autonomy of Kant to the multiple worlds of Melville; and, finally, to the spiritual difficulties evoked by modern authors such as David Foster Wallace and Elizabeth Gilbert.Dreyfus, a philosopher at the University of California, Berkeley, for forty years, is an original thinker who finds in the classic texts of our culture a new relevance for people’s everyday lives. His lively, thought-provoking lectures have earned him a podcast audience that often reaches the iTunesU Top 40. Kelly, chair of the philosophy department at Harvard University, is an eloquent new voice whose sensitivity to the sadness of the culture— and to what remains of the wonder and gratitude that could chase it away—captures a generation adrift.Re-envisioning modern spiritual life through their examination of literature, philosophy, and religious testimony, Dreyfus and Kelly unearth ancient sources of meaning, and teach us how to rediscover the sacred, shining things that surround us every day. This book will change the way we understand our culture, our history, our sacred practices, and ourselves. It offers a new—and very old—way to celebrate and be grateful for our existence in the modern world.

    In this collection of lively and provocative pieces he talks about what readers want from books and how to look at the literature we encounter in a new light.

    M. Coetzee In addition to being one of the most acclaimed and accomplished fiction writers in the world, J. M. Coetzee is also a literary critic of the highest caliber. As Derek Attridge observes in his illuminating introduction, reading Coetzees nonfiction offers one the opportunity to see how an author at the forefront of his profession engages with his peers, not as a critic from the outside, but as one who works with the same raw materials. In this collection of twenty recent pieces, Coetzee examines the work of some of the twentieth centurys greatest writersfrom Samuel Beckett and Gnter Grass to Gabriel Garca Mrquez and Philip Roth. Brilliantly insightful, challenging, yet accessible, these essays demonstrate Coetzees sharp eye and unwavering critical acumen and will be of interest to his many fans as well as to all readers of international literature.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    In a "continuous thread of revelation" she sketches her autobiography and tells us how her family and her surroundings contributed to the shaping not only of her personality but of her writing. Homely and commonplace sights, sounds, and objects resonate with the emotions of recollection: the striking clocks, the Victrola, her orphaned father's coverless little book saved since boyhood, the tall mountains of the West Virginia back country that become a metaphor for her mother's sturdy independence, Eudora's earliest box camera that suspended a moment forever and taught her that every feeling awaits a gesture. She has recreated this vanished world with the same subtlety and insight that mark her fiction.Even if Eudora Welty were not a major writer, her description of growing up in the South--of the interplay between black and white, between town and countryside, between dedicated schoolteachers and the public they taught--would he notable. That she is a splendid writer of fiction gives her own experience a family likeness to others in the generation of young Southerners that produced a literary renaissance. Until publication of this book, she had discouraged biographical investigations. It undoubtedly was not easy for this shy and reticent lady to undertake her own literary biography, to relive her own memories (painful as well as pleasant), to go through letters and photographs of her parents and grandparents. But we are in her debt, for the distillation of experience she offers us is a rare pleasure for her admirers, a treat to everyone who loves good writing and anyone who is interested in the seeds of creativity.

    Wolfe's brilliant first book -- a collection of essays that introduced us to the Sixties, to extravagant new styles of life that had nothing to do with the "elite" culture of the past.

    Cain's hard-nosed observation that "writing a novel is like working on foreign policy. There are problems to be solved. It's not all inspirational," to Joan Didion's account of how she composes a book--"I constantly retype my own sentences. Every day I go back to page one and just retype what I have. It gets me into a rhythm"--The Paris Review has elicited some of the most revelatory and revealing thoughts from the literary masters of our age. For more than half a century, the magazine has spoken with most of our leading novelists, poets, and playwrights, and the interviews themselves have come to be recognized as classic works of literature, an essential and definitive record of the writing life. They have won the coveted George Polk Award and have been a contender for the Pulitzer Prize. Now, Paris Review editor Philip Gourevitch introduces an entirely original selection of sixteen of the most celebrated interviews. Often startling, always engaging, these encounters contain an immense scope of intelligence, personality, experience, and wit from the likes of Elizabeth Bishop, Ernest Hemingway, Truman Capote, Rebecca West, and Billy Wilder. This is an indispensable book for all writers and readers.

    The works of Zola, Tolstoy, Pérez Galdós, and George Eliot are in the most profound sense inimitable, yet continue to dominate the novel form to this day. Novels to emerge since struggle to reconcile the social conditions of their own creation with the history of this mode of writing: the so-called modernist novel is one attempted solution to this conflict, as is the ever-more impoverished variety of commercial narratives—what today’s book reviewers dub “serious novels,” which are an attempt at the impossible endeavor to roll back the past.  Fredric Jameson examines the most influential theories of artistic and literary realism, approaching the subject himself in terms of the social and historical preconditions for realism’s emergence. The realist novel combined an attention to the body and its states of feeling with a focus on the quest for individual realization within the confines of history.  In contemporary writing, other forms of representation—for which the term “postmodern” is too glib—have become visible: for example, in the historical fiction of Hilary Mantel or the stylistic plurality of David Mitchell’s novels. Contemporary fiction is shown to be conducting startling experiments in the representation of new realities of a global social totality, modern technological warfare, and historical developments that, although they saturate every corner of our lives, only become apparent on rare occasions and by way of the strangest formal and artistic devices.  In a coda, Jameson explains how “realistic” narratives survived the end of classical realism. In effect, he provides an argument for the serious study of popular fiction and mass culture that transcends lazy journalism and the easy platitudes of recent cultural studies.