The art of fiction is considered under a wide range of headings, such as the Intrusive Author, Suspense, the Epistolary Novel, Time-shift, Magic Realism and Symbolism, and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austen and Fay Weldon and Henry Fielding and James Joyce, David Lodge makes accesible to the general reader the richness and variety of British and American fiction. Technical terms, such as Interior Monologue, Metafiction, Intertextuality and the Unreliable Narrator, are lucidly explained and their applications demonstrated.Bringing to criticism the verve and humour of his own novels, David Lodge has provided essential reading for students of literature, aspiring writers, and anyone who wishes to understand how literature works.Beginning (Jane Austen, Ford Madox Ford) --The intrusive author (George Eliot, E.M. Forster) --Suspense (Thomas Hardy) --Teenage Skaz (J.D. Salinger) --The epistolary novel (Michael Frayn) --Point of view (Henry James) --Mystery (Rudyard Kipling) --Names (David Lodge, Paul Auster) --The stream of consciousness (Virginia Woolf) --Interior monologue (James Joyce) --Defamiliarization (Charlotte Bronte) --The sense of place (Martin Amis) --Lists (F. Scott Fitzgerald) --Introducing a character (Christopher Isherwood) --Surprise (William Makepeace Thackeray) --Time-shift (Muriel Spark) --The reader in the text (Laurence Sterne) --Weather (Jane Austen, Charles Dickens) --Repetition (Ernest Hemingway) --Fancy prose (Vladimir Nabokov) --Intertextuality (Joseph Conrad) --The experimental novel (Henry Green) --The comic novel (Kingsley Amis) --Magic realism (Milan Kundera) --Staying on the surface (Malcolm Bradbury) --Showing and telling (Henry Fielding) --Telling in different voices (Fay Weldon) --A sense of the past (John Fowles). Imagining the future (George Orwell) --Symbolism (D.H. Lawrence) --Allegory (Samuel Butler) --Epiphany (John Updike) --Coincidence (Henry James) --The unreliable narrator (Kazuo Ishiguro) --The exotic (Graham Greene) --Chapters etc. (Tobias Smollett, Laurence Sterne, Sil Walter Scott, George Eliot, James Joyce) --The telephone (Evelyn Waugh) --Surrealism (Leonora Carringotn) --Irony (Arnold Bennett) --Motivation (George Eliot) --Duration (Donald Barthelme) --Implication (William Cooper) --The title (George Gissing) --Ideas (Anthony Burgess) --The non-fiction novel (Thomas Carlyle) --Metafiction (John Barth) --The uncanny (Edgar Allen Poe) --Narrative structure (Leonard Michaels) --Aporia (Samuel Beckett) --Ending (Jane Austen, William Golding)

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.

    Mill's passionate advocacy of spontaneity, individuality, and diversity, along with his contempt for compulsory uniformity and the despotism of popular opinion, has attracted both admiration and condemnation.

    Rethinking the usage guide for the twenty-first century, Pinker doesn’t carp about the decline of language or recycle pet peeves from the rulebooks of a century ago. Instead, he applies insights from the sciences of language and mind to the challenge of crafting clear, coherent, and stylish prose. In this short, cheerful, and eminently practical book, Pinker shows how writing depends on imagination, empathy, coherence, grammatical knowhow, and an ability to savor and reverse engineer the good prose of others. He replaces dogma about usage with reason and evidence, allowing writers and editors to apply the guidelines judiciously, rather than robotically, being mindful of what they are designed to accomplish. Filled with examples of great and gruesome prose, Pinker shows us how the art of writing can be a form of pleasurable mastery and a fascinating intellectual topic in its own right.

    It's nothing to be afraid of. It isn't the exclusive preserve of politicians: it's everywhere, from your argument with the insurance company to your plea to the waitress for a table near the window. It convicts criminals (and then frees them on appeal). It causes governments to rise and fall, best men to be shunned by brides, and people to march with steady purpose towards machine guns.In this highly entertaining (and persuasive) book, Sam Leith examines how people have taught, practised and thought about rhetoric from its Attic origins to its twenty-first century apotheosis. Along the way, he tells the stories of its heroes and villains, from Cicero and Erasmus, to Hitler, Obama - and Gyles Brandreth.

    All who read The Act of Creation will find it a compelling and illuminating book.

    The Panda's Thumb will introduce a new generation of readers to this unique writer, who has taken the art of the scientific essay to new heights.Were dinosaurs really dumber than lizards? Why, after all, are roughly the same number of men and women born into the world? What led the famous Dr. Down to his theory of mongolism, and its racist residue? What do the panda's magical "thumb" and the sea turtle's perilous migration tell us about imperfections that prove the evolutionary rule? The wonders and mysteries of evolutionary biology are elegantly explored in these and other essays by the celebrated natural history writer Stephen Jay Gould.

    In seventy-six chapters he traces philosophy from the rise of Greek civilization to the emergence of logical analysis in the twentieth century. Among the philosophers considered are: Pythagoras, Heraclitus, Parmenides, Empedocles, Anaxagoras, the Atomists, Protagoras, Socrates, Plato, Aristotle, the Cynics, the Sceptics, the Epicureans, the Stoics, Plotinus, Ambrose, Jerome, Augustine, Benedict, Gregory the Great, John the Scot, Aquinas, Duns Scotus, William of Occam, Machiavelli, Erasmus, More, Bacon, Hobbes, Descartes, Spinoza, Leibniz, Locke, Berkeley, Hume, Rousseau, Kant, Hegel, Schopenhauer, Nietzsche, the Utilitarians, Marx, Bergson, James, Dewey, and lastly the philosophers with whom Lord Russell himself is most closely associated -- Cantor, Frege, and Whitehead, co-author with Russell of the monumental Principia Mathematica.

    Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.Baudrillard uses the concepts of the simulacra—the copy without an original—and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture.Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.Sheila Glaser is an editor at Artforum magazine.

    They recount the key episodes in the lives of the gods, and dramatise the moments when they first appear before mortals. Together they offer the most vivid picture we have of the Greek view of the relationship between the divine and human worlds.

    Thompson’s bestselling Gonzo Papers offers brilliant commentary and outrageous humor, in his signature style.Originally published in 1979, the first volume of the bestselling “Gonzo Papers” is now back in print. The Great Shark Hunt is Dr. Hunter S. Thompson’s largest and, arguably, most important work, covering Nixon to napalm, Las Vegas to Watergate, Carter to cocaine. These essays offer brilliant commentary and outrageous humor, in signature Thompson style.Ranging in date from the National Observer days to the era of Rolling Stone, The Great Shark Hunt offers myriad, highly charged entries, including the first Hunter S. Thompson piece to be dubbed “gonzo”—“The Kentucky Derby Is Decadent and Depraved,” which appeared in Scanlan's Monthly in 1970. From this essay a new journalistic movement sprang which would change the shape of American letters. Thompson's razor-sharp insight and crystal clarity capture the crazy, hypocritical, degenerate, and redeeming aspects of the explosive and colorful ‘60s and ‘70s.

    He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. This is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).

    For these readers, Malcolm M. Willcock provides a line-by-line commentary that explains the many factual details, mythological allusions, and Homeric conventions that a student or general reader could not be expected to bring to an initial encounter with the Iliad.  The notes, which always relate to particular lines in the text, have as their prime aim the simple, factual explanation of things the inexperienced reader would be unlikely to have at his or her command (What is a hecatomb? Who is Atreus' son?). Second, they enhance an appreciation of the Iliad by illuminating epic style, Homer's methods of composition, the structure of the work, and the characterization of the major heroes. The "Homeric Question," concerning the origin and authorship of the Iliad, is also discussed. Professor Willcock's commentary is based on Richmond Lattimore's translation—regarded by many as the outstanding translation of the present generation—but it may be used profitably with other versions as well. This clearly written commentary, which includes an excellent select bibliography, will make one of the touchstones of Western literature accessible to a wider audience.—from the back cover

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    "A perfect work like no other. (Calasso) has re-created . . . the morning of our world."--Gore Vidal. 15 engravings.