The author also considers the stories of nations and how these may affect the way a national identity can emerge from stories. He looks at the stories of Romulus and Remus in the founding of Rome, the hidden agenda of stories in the antagonism between Britain and Ireland and how stories of alienation in film such as Aliens and Men in Black reveal often disturbing narratives at work in projections of North American national identity. Throughout, On Stories stresses that far from heralding the demise of the story, the digital and supposedly postmodern era opens up powerful new ways of thinking about narrative.

    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.

    C. S. Lewis's Studies in Words explores this fascination by taking a series of words and teasing out their connotations using examples from a vast range of English literature, recovering lost meanings and analysing their functions. It doubles as an absorbing and entertaining study of verbal communication, its pleasures and problems. The issues revealed are essential to all who read and communicate thoughtfully, and are handled here by a masterful exponent and analyst of the English language.

    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.

    All the essays in the collection focus on storytelling. Warm, funny and entertaining, they discuss Philip's own stories, the craft of writing, other storytellers and the importance of stories in our culture.

    The book combines all the erudition and wit readers have come to expect from its pages: Jonathan Lethem on Nathanael West, William T. Vollmann on W. G. Sebald, Ben Ehrenreich on Brian Evenson, Paul La Farge on Dungeons & Dragons, and much, much more. It’s an essential anthology, collecting the best in creative nonfiction, the best in literary journalism, and the best writing in English from the beginning of the twenty-first century, from one of the smartest, weirdest, and funniest magazines in the country.

    It could not anticipate what was to come after, neither could it grasp what had happened in literary theory in the light of where it was to lead.

    Following a grand betrayal, Khaled's father and uncles, the respected right-hand men to the King of Afghanistan, become targets of the new regime. Khaled's father is exiled, his uncles are executed, and their families are locked away in a forgotten corner of Kabul. So begins a decades-long struggle in captivity where Khaled faces the hardship of prison life while enduring tragedies as more of his loved ones are executed and succumb to diseases. Despite the tribulations he experiences, Khaled never gives up hope, choosing to make the most of his time by studying five different languages, advanced literature, and philosophy. Eventually, Khaled and his family are released from prison, but are they truly free? Forbidden from leaving the country, one thing continues to haunt Khaled: a longing to reunite with his father. SHACKLED is a raw, heart-opening story about resilience. It follows the Charkhi family from the 1932 coup to the 1979 Soviet invasion. Amidst national and personal upheaval, Khaled finds his freedom by choosing to lead a life of optimism, kindness, joy, and love. Adam Siddiq is the grandson of Khaled Siddiq. Adam wrote SHACKLED alongside his grandfather, Khaled—a shared journey they hope will inspire others to become more involved in the sacred bond between the youth and their elders.

    Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, "Michael Schmidt does full justice to its complexity.Like his hero Ford Madox Ford in The March of Literature," Schmidt chooses as his traveling companions not critics or theorists but "artist practitioners," men and women who feel "hot love" for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliche--some irreducible quality that keeps readers coming back to its pages."

    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.

    It is fundamental to Philosophical Taoism. Specially formatted for the Amazon Kindle, with easy navigation table of contents, and adjustable font size.

    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.

    The teaching of poetry languishes, and that region of youthful neurological terrain capable of being ignited only by poetry is largely dark, unpopulated, and silent, like a classroom whose shades are drawn. This is more than a shame, for poetry is our common treasure-house, and we need its vitality, its respect for the subconscious, its willingness to entertain ambiguity, its plaintive truth-telling, and its imaginative exhibitions of linguistic freedom, which confront the general culture's more grotesque manipulations. We need the emotional training sessions poetry conducts us through. We need its previews of coming attractions: heartbreak, survival, failure, endurance, understanding, more heartbreak.—from "Twenty Poems That Could Save America"Twenty Poems That Could Save America presents insightful essays on the craft of poetry and a bold conversation about the role of poetry in contemporary culture. Essays on the "vertigo" effects of new poetry give way to appraisals of Robert Bly, Sharon Olds, and Dean Young. At the heart of this book is an honesty and curiosity about the ways poetry can influence America at both the private and public levels. Tony Hoagland is already one of this country's most provocative poets, and this book confirms his role as a restless and perceptive literary and cultural critic.

    Chomsky feels the abuses, cruelty and hypocrisies of power more intensely than anyone I know. It's a state of continual alertness. Often, after I've glanced at a story in the paper and skipped rapidly over the familiar rubble of falsification, a week or two later will drop into my mailbox a photocopy of that same story marked up by Chomsky, with sentences underlined and a phrase or two in the margin etched deep into the paper by an angry pen. What Chomsky offers is a coherent "big picture," buttressed by the data of a thousand smaller pictures and discrete theaters of conflict, struggle and oppression.... For hundreds of thousands of people--over the years, he must have spoken to more American students than any person alive--Chomsky has offered the assurance, the intellectual and moral authority, that there is another way of looking at things. In this vital function he stands in the same relationship to his audience as did a philosopher he admires greatly, Bertrand Russell. -Alexander Cockburn, from his introduction "Excavating the Truth"

    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.