Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"—which is for him nothing but an attempt to photograph theater and use it for the screen.Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money, and many other classic films, Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.

    Born in 1812, the illegitimate son of a wealthy Russian landowner, he became one of the most important revolutionary and intellectual figures of his time: as theorist, polemicist, propagandist, and political actor. Fifty years after his death, Lenin revered him as the father of Russian revolutionary socialism. Tolstoy said he had never met another man "with so rare a combination of scintillating brilliance and depth." His monumental autobiography is an unparalleled record of his—and his century's—remarkable life.Herzen's story of his privileged childhood among the Russian aristocracy is lit with the insight of a great novelist. With a trained historian's sense of the interaction of people and events, he limns the grand line of revolutionary development from the earliest stirrings of Russian radicalism throughthe tumultuous ideological debates of the international. His close friends and enemies—Marx, Wagner, Mill, Bakunin, Garibaldi, Kropotkin—are brought brilliantly alive. Dwight Macdonald's knowledgeable and fluent abridgment makes this great work readily available to the modern reader.

    Herculine was designated female at birth. A pious girl in a Catholic orphanage, a bewildered adolescent enchanted by the ripening bodies of classmates, a passionate lover of a schoolmistress, she's suddenly reclassified as male. Alone & desolate, he commits suicide, aged 30, in a miserable Paris attic. Here's a lost voice of the sexual past in an erotic diary. Provocative, articulate, eerily prescient as she imagines her corpse under the probing instruments of scientists, Herculine brings a disturbing perspective to our notions of sexuality. Foucault, who discovered these memoirs in the archives of the French Department of Public Hygiene, presents them with the graphic medical descriptions of Herculine's body before & after death. In a striking contrast, a painfully confused young person & the doctors who examine her try to sort out the nature of masculine & feminine at the dawn of the age of modern sexuality. "Herculine Barbin can be savored like a libertine novel. The ingenousness of Herculine, the passionate yet equivocal tenderness which thrusts her into the arms, even into the beds, of her companions, gives these pages a charm strangely erotic...Michel Foucault has a genius for bringing to light texts & reviving destinies outside the ordinary."--Le Monde, 7/1978

    His aim is not to produce a work of criticism or philosophy, or a mere discussion of poetic technique. As he explains in his introduction, his ambition in these various pieces, published in different times and places, aimed higher than that, in the direction of disclosing poetry itself, the naked poem, the imagination manifesting itself in its domination of words. Stevens proves himself as eloquent and scintillating in prose as in poetry, as he both analyzes and demonstrates the essential act of repossessing reality through the imagination.

    Auden's inspired and incisive response to a thinker who had done much to shape his own beliefs is a fundamental reading of an author whose spirit remains as radical as ever more than 150 years after he wrote.Translated from the Danish by Walter Lowrie, David Swenson, and Alexander Dru.

    Parkman conceived the project in 1841, when he was a Harvard sophomore, and persisted in it despite chronic disorders that affected his eyes. The last volume of what he called his “history of the American forest” appeared almost thirty years after the first. Deservedly compared as a literary achievement to Gibbon’s The Decline and Fall of the Roman Empire, Parkman’s accomplishment is hardly less awesome than the explorations and adventures he so vividly describes. His own indomitable spirit is reflected in two of the history’s most fiercely resolute figures: La Salle, obsessed with colonizing the Mississippi Valley, and Frontenac, determined to bolster France’s tottering position in the New World. He tells a story of great empires maneuvering in an unfamiliar and hostile terrain with all the guile, sophistication, and ingenuity learned from centuries of European rivalry.Pioneers of France in the New World (1865) begins with the early and tragic settlement of the French Huguenots in Florida, then shifts to the northern reaches of the continent and follows the expeditions of Samuel de Champlain up the St. Lawrence River and into the Great Lakes as he mapped the wilderness, organized the fur trade, promoted Christianity among the natives, and waged a savage forest campaign against the Iroquois.The Jesuits in North America in the Seventeenth Century (1867) traces the zealous efforts of the Jesuits and other Roman Catholic orders to convert the Native American tribes of North America. Jean de Brébeuf, Isaac Jogues, Marguerite Bourgeoys, Marie de l’Incarnation, and Joseph Bressani represent only a few of that resolute company, many of whom suffered captivity, torture, and martyrdom in the far corners of the wilderness.La Salle and the Discovery of the Great West (1869) records that explorer’s voyages on the Ohio and Mississippi Rivers and his treks, often alone, across the vast western prairies and through the labyrinthine swamps of Louisiana. Although he won the respect and admiration of the Native Americans, La Salle often distrusted and alienated his associates. He survived two attempts to poison him before he was finally assassinated by his own men in a lonely Texas outpost.The Old Régime in Canada (1874) recounts the political struggles among the religious sects, colonial officials, feudal chiefs, royal ministers, and military commanders of Canada. Their bitter fights over the monopoly of the fur trade, the sale of brandy to the natives, the importation of wives from the orphanages and poorhouses of France, and the bizarre fanaticism of religious extremists and their “incessant supernaturalism” animate this pioneering social history of early Canada.Parkman’s chronicle of nearly two and a half centuries of conflict will permanently transform our image of the American landscape. Written with verve, suppleness, and wit, this grand narrative history of political and theological conflict, of feats of physical endurance, of courtly manners practiced with comic disproportion against the backdrop of a looming wilderness, is itself one of the still-undiscovered treasures of our national and of world literature.

    In it the artist discusses his own paintings, his life, his sorrow and hopes; the paintings and sculptures of Rubens, Michelangelo, Constable, Bonington and others: old and new literature and the music of Mozart, Rossini and Chopin, the events of his time.This revival of a famous Phaidon series brings together in an elegant format some of the best-known writings of renowned artists, critics and interpreters of our cultural tradition. Each book, an acknowledged classic, provides insights not only into the worlds of the arts and cultural history, but also into the creative and intellectual preoccupations of its author and his time. These Phaidon editions have an introduction and notes by a distinguished editor and a wide range of illustrations specially chosen to complement the text.

    Petersburg in a heavy Russian carriage and set out on a difficult journey to meet her husband, John Quincy Adams, in Paris. She traveled through the snows of eastern Europe, down the Baltic coast to Prussia, across the battlefields of Germany, and into a France then experiencing the tumultuous events of Napoleon's return from Elba. Along the way, she learned what the long years of Napoleon's wars had done to Europe, what her old friends in the royal court in Berlin had experienced during the French occupation, how it felt to have her life threatened by reckless soldiers, and how to manage fear. The journey was a metaphor for a life spent crossing borders: born in London in 1775, she had grown up partly in France, and in 1797 had married into the most famous of American political dynasties and become the daughter-in-law of John and Abigail Adams. The prizewinning historian Michael O'Brien reconstructs for the first time Louisa Adams's extraordinary passage. An evocative history of the experience of travel in the days of carriages and kings, "Mrs. Adams in Winter "offers a moving portrait of a lady, her difficult marriage, and her conflicted sense of what it meant to be a woman caught between worlds.

    But he never forgot the magic of his Provencal childhood, and when he set his memories to paper late in life the result was a great new success. My Father's Glory and My Mother's Castle appeared on the scene like a fresh breeze, captivating readers with its sweet enchantments. Pagnol recalls his days hunting and fishing in the hill country, his jaunts about Marseilles, his schoolboy diversions, and above all his family: his anticlerical father and sanctimonious uncle, his mild and beautiful mother, and many others. This bright and lively book sparkles with the charm and magic that were Marcel Pagnol's own.

    In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

    1 An accident riveted him to a childhood memory, and this memory became sacred. In his early childhood, a liturgical drama was performed, a drama of which he was the officiant: he knew paradise and lost it, he was a child and was driven from his childhood. No doubt this "break" is not easy to localize. It shifts back and forth, at the dictate of his moods and myths, between the ages of ten and fifteen. But that is unimportant. What matters is that it exists and that he believes in it. His life is divided into two heterogeneous parts: before and after the sacred drama. Indeed, it is not unusual for the memory to condense into a single mythical moment the contingencies and perpetual rebeginnings of an individual history. What matters is that Genet lives and continues to relive this period of his life as if it had lasted only an instant. ____________________ 1 Pass?iste: one who is not adapted to the present age, who is not a man of his time, who "lives in the past."--Translator's note. ____________________ ? ? To say "instant" is to say fatal instant. The instant is the reciprocal and contradictory envelopment of the before by the after. One is still what one is going to cease to be and already what one is going to become. One lives one's death, one dies one's life. One feels oneself to be one's own self and another; the eternal is present in an atom of duration. In the midst of the fullest life, one has a foreboding that one will merely survive, one is afraid of the future. It is the time of anguish and of heroism, of pleasure and of destruction. An instant is sufficient to destroy, to enjoy, to kill, to be killed, to make one's fortune at the turn of a card. Genet carries in his heart a bygone instant which has lost none of its virulence, an infinitesimal and sacred void which concludes a death and begins a horrible metamorphosis. The argument of this liturgical drama is as follows: a child dies of shame; a hoodlum rises up in his place; the hoodlum will be haunted by the child. One would have to speak of resurrection, to evoke the old initiatory rites of shamanism and secret societies, were it not that Genet refuses categorically to be a man who has been resuscitated. 2 There was a death, that is all. And Genet is nothing other than a dead man. If he appears to be still alive, it is with the larval existence which certain peoples ascribe to their defunct in the grave. All his heroes have died at least once in their life. "After his first murder, Querelle experienced the feeling of being dead. . . . His human form--what is called the envelope of flesh-continued nevertheless to move about on the surface of the earth." His works are filled with meditations on death. The peculiarity of these spiritual exercises is that they almost never concern his future death, his being-to-die, but rather his being-dead, his death as past event. This original crisis also appears to him as a metamorphosis. The well-behaved child is suddenly transformed into a hoodlum, as Gregor Samsa was changed into a bug. Genet's attitude toward this metamorphosis is ambivalent: he both loathes it and yearns for it.

    R. Eissler, the venerable doyen of psychoanalysis; Jeffrey Moussaieff Masson, a flamboyant, restless forty-two-year-old Sanskrit scholar turned psychoanalyst turned virulent anti-Freudian; and Peter Swales, a mischievous thirty-five-year-old former assistant to the Rolling Stones and self-taught Freud scholar. At the center of their Oedipal drama are the Sigmund Freud Archives--founded, headed, and jealously guarded by Eissler--whose sealed treasure gleams and beckons to the community of Freud scholarship as if it were the Rhine gold.Janet Malcolm's fascinating book first appeared some twenty years ago, when it was immediately recognized as a rare and remarkable work of nonfiction. A story of infatuation and disappointment, betrayal and revenge, In the Freud Archives is essentially a comedy. But the powerful presence of Freud himself and the harsh bracing air of his ideas about unconscious life hover over the narrative and give it a tragic dimension.

    Stationed as a Peace Corps instructor in the village of Lavié (the name means "wait a little more") in tiny and underdeveloped Togo, Packer reveals his own schooling at the hands of an unforgettable array of townspeople--peasants, chiefs, charlatans, children, market women, cripples, crazies, and those who, having lost or given up much of their traditional identity and fastened their hopes on "development," find themselves trapped between the familiar repetitions of rural life and the chafing monotony of waiting for change.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    When the reader meets Jordan, he is a hard-throwing pitcher with seemingly limitless potential, one of the first “bonus babies” for the Milwaukee Braves organization. Jordan’s sojourn through the lower levels of minor-league ball takes him through the small towns of America: McCook, Waycross, Davenport, Eau Claire, and Palatka. As the promised land of the majors recedes because of his inconsistency and lack of control, the young man who had previously known only glory and success is forced to face himself.