In the 40 essays that constitute this collection, Guy Davenport, one of America's major literary critics, elucidates a range of literary history, encompassing literature, art, philosophy and music, from the ancients to the grand old men of modernism.

    . .” One hundred years after its first publication in August 1915, Robert Frost’s poem “The Road Not Taken” is so ubiquitous that it’s easy to forget that it is, in fact, a poem. Yet poetry it is, and Frost’s immortal lines remain unbelievably popular. And yet in spite of this devotion, almost everyone gets the poem hopelessly wrong. David Orr’s The Road Not Taken dives directly into the controversy, illuminating the poem’s enduring greatness while revealing its mystifying contradictions. Widely admired as the poetry columnist for The New York Times Book Review, Orr is the perfect guide for lay readers and experts alike. Orr offers a lively look at the poem’s cultural influence, its artistic complexity, and its historical journey from the margins of the First World War all the way to its canonical place today as a true masterpiece of American literature. “The Road Not Taken” seems straightforward: a nameless traveler is faced with a choice: two paths forward, with only one to walk. And everyone remembers the traveler taking “the one less traveled by, / And that has made all the difference.” But for a century readers and critics have fought bitterly over what the poem really says. Is it a paean to triumphant self-assertion, where an individual boldly chooses to live outside conformity? Or a biting commentary on human self-deception, where a person chooses between identical roads and yet later romanticizes the decision as life altering?What Orr artfully reveals is that the poem speaks to both of these impulses, and all the possibilities that lie between them. The poem gives us a portrait of choice without making a decision itself. And in this, “The Road Not Taken” is distinctively American, for the United States is the country of choice in all its ambiguous splendor.Published for the poem’s centennial—along with a new Penguin Classics Deluxe Edition of Frost’s poems, edited and introduced by Orr himself—The Road Not Taken is a treasure for all readers, a triumph of artistic exploration and cultural investigation that sings with its own unforgettably poetic voice.

    The Birth-mark traces the collusive relationships among tradition, the constitution of critical editions, literary history and criticism, the institutionalized roles of poetry and prose, and the status of gender. Through an examination of the texts and editorial histories of Thomas Shepard's conversion narratives, the captivity narrative of Mary Rowlandson, and the poetry of Emily Dickinson, Howe reads our intellectual inheritance as a series of civil wars, where each text is a wilderness in which a strange and lawless author confronts interpreters and editors eager for settlement. In a concluding interview, Howe comments on her approach and recounts some the crucial biographical events that sparked her interest in early American literature.

    Taking his title from the wounded cry of the once great Max Bialystock in The Producers -- “Look at me now! Look at me now! I’m wearing a cardboard belt!” -- Epstein gives us his largest and most comprehensive collection to date.Writing as a memoirist, polemicist, literary critic, and amused observer of contemporary culture, he uses to deft and devastating effect his signature gifts: wide-ranging erudition, sparkling humor, and a penetrating intelligence. In personally revealing essays about his father and about his years as a teacher, in deeply considered examinations of writers from Paul Valery to Truman Capote, and in incisive take-downs of such cultural pooh-bahs as Harold Bloom and George Steiner, this remarkable collection presents us with the best work of our country’s most singular talent, engaged with the richness and variety of life, witty in his response to the world, and always entertaining.

    Naipaul charts more than half-a-century of personal inquiry into the mysteries of written expression and of fiction in particular.

    The collection will include pre-published essays that have gone viral, like “The White Industrial Savior Complex,” first published in The Atlantic.

    In this exhilarating followup, Nafisi has written the book her fans have been waiting for: an impassioned, beguiling and utterly original tribute to the vital importance of fiction in a democratic society. What Reading Lolita in Tehran was for Iran, The Republic of Imagination is for America. Taking her cue from a challenge thrown to her in Seattle, where a skeptical reader told her that Americans don’t care about books the way they did back in Iran, she challenges those who say fiction has nothing to teach us. Blending memoir and polemic with close readings of her favorite American novels—from Huckleberry Finn to The Heart Is a Lonely Hunter—she invites us to join her as citizens of her "Republic of Imagination," a country where the villains are conformity and orthodoxy, and the only passport to entry is a free mind and a willingness to dream.

    last year, this updated collection contains the best of Robertson Davies' newspaper and magazine articles written over the past 50 years. "Each piece is entertaining and enlightening. . . ".--Publishers Weekly.

    

    Frye persuasively presents the Bible as a unique text distinct from all other epics and sacred writings. “No one has set forth so clearly, so subtly, or with such cogent energy as Frye the literary aspect of our biblical heritage” (New York Times Book Review). Indices.

    An essay in poetic and philosophic criticism that bears mainly on the Russian masters, Tolstoy or Dostoevsky deals also with larger themes: the epic tradition extending from Homer to Tolstoy; the continuity of a "tragic world view" from Oedipus Rex to King Lear and The Brothers Karamazov; the contrasts between the epic and dramatic modes, between irreconcilably opposed views of God and of history."A must for the teacher, student, and intellectually serious reader."—Kirkus Reviews"This is a book that provides new and stimulating insight into the literary masterpieces and thought of the great Russian novelists. Moreover, in this work Steiner shows a great depth and breadth of literary knowledge and criticism that is not limited alone to the Russian writers under discussion but to writers of all genres and all literary periods."—Journal of Religion"His is a work of personal criticism, often ingenious, always deeply felt."—The New York Times"Brilliant, provocative, full of insights, this classic study still stands alone and unchallenged in modern criticism as a lucid and erudite study of the contrasting genius of Tolstoy and Dostoevsky. Steiner's book is a must for the student, scholar, or general reader who wishes to approach the Russian giants in their full literary and philosophical ambience."—Robert L. Jackson

    Calling poets away from civilization, back towards the wilderness, Lasky brazenly urges artists away from conceptual programs, resurrecting imagination and faith-in-the-uncertain as saviors from mediocrity.

    Fortunately, one unabashed fan wants passionately to give Melville's masterpiece the broad contemporary audience it deserves. In his National Book Award-winning bestseller, In the Heart of the Sea, Nathaniel Philbrick captivatingly unpacked the story of the wreck of the whaleship Essex, the real-life incident that inspired Melville to write Moby-Dick. Now, he sets his sights on the fiction itself, offering a cabin master's tour of a spellbinding novel rich with adventure and history. Philbrick skillfully navigates Melville's world and illuminates the book's humor and unforgettable characters—finding the thread that binds Ishmael and Ahab to our own time and, indeed, to all times. A perfect match between author and subject, Why Read Moby-Dick? gives us a renewed appreciation of both Melville and the proud seaman's town of Nantucket that Philbrick himself calls home. Like Alain de Botton's How Proust Can Change Your Life, this remarkable little book will start conversations, inspire arguments, and, best of all, bring a new wave of readers to a classic tale waiting to be discovered anew.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    “We come into the world intent on finding narrative in everything,” writes Manguel, “landscape, the skies, the faces of others, the images and words that our species create.” Reading our own lives and those of others, reading the societies we live in and those that lie beyond our borders, reading the worlds that lie between the covers of a book are the essence of A Reader on Reading.The thirty-nine essays in this volume explore the crafts of reading and writing, the identity granted to us by literature, the far-reaching shadow of Jorge Luis Borges, to whom Manguel read as a young man, and the links between politics and books and between books and our bodies. The powers of censorship and intellectual curiosity, the art of translation, and those “numinous memory palaces we call libraries” also figure in this remarkable collection. For Manguel and his readers, words, in spite of everything, lend coherence to the world and offer us “a few safe places, as real as paper and as bracing as ink,” to grant us room and board in our passage.