“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.

    Lindqvist presents a unique study of Europe's dark history in Africa, written both as a travel diary and as a historical examination of European imperialism and racism over the past 2 centuries, and confronts the roots of European genocide.

    50 illustrations throughout.

    Piercing the fog of mysticism and sentimentality that engulfs art, the essays in The Romantic Manifesto explain why, since time immemorial, man has created and consumed works of art.Ayn Rand argues that objective standards in art are possible because art is not a subjective luxury, but rather a critical need of human life—not a material need, but a need of man’s rational mind, the faculty on which his material survival depends.Ayn Rand explains the indispensable function of art in man’s life (ch. 1), the objective source of man’s deeply personal, emotional response to art (ch. 2), and how an artist’s fundamental, often unstated view of man and of the world shapes his creations (ch. 3).Turning to her own field of artistic creation, Rand elaborates (ch. 5) on her distinctive theory of literature and identifies principles by which to judge an artwork objectively. “What is Romanticism?” (ch. 6) sheds new light on the nature and philosophy of the school of literature under which Rand classified her own work. Later essays explain how contemporary art reveals the debased intellectual state of our culture (ch. 7, 8 and 9).In the final essay Rand articulates the goal of her own fiction writing as “the projection of an ideal man, as an end in itself”—and explains that she originated her philosophy as a means to this end.Table of ContentsIntroductionThe Psycho-Epistemology of ArtPhilosophy and Sense of LifeArt and Sense of LifeArt and CognitionBasic Principles of LiteratureWhat Is Romanticism?The Esthetic Vacuum of Our AgeBootleg RomanticismArt and Moral TreasonIntroduction to Ninety-ThreeThe Goal of My WritingThe Simplest Thing in the WorldIndex

    The book is complete with historical annotation, with 340 research notes and 97 reactions and commentaries by Norman Mailer, Tom Wicker, Gerald R. Ford, and many others.

    This is the story of how, with the odd misstep along the way, the owners of the Bond franchise, Eon Productions, have contrived to keep James Bond abreast of the zeitgeist and at the top of the charts for 45 years, through 21 films featuring six Bonds, three M’s, two Q’s and three Moneypennies. Thanks to the films, Fleming’s original creation has been transformed from a black sheep of the post-war English upper classes into a figure with universal appeal, constantly evolving to keep pace with changing social and political circumstances. Having interviewed people concerned with all aspects of the films, Sinclair McKay is ideally placed to describe how the Bond ‘brand’ has been managed over the years as well as to give us the inside stories of the supporting cast of Bond girls, Bond villains, Bond cars and Bond gadgetry. Sinclair McKay, formerly assistant features editor of the Daily Telegraph, works as a freelance writer and journalist. He is also the author of A Thing of Unspeakable Horror: The History of Hammer Films, which the Guardian called ‘A splendid history’ and the Independent on Sunday described as ‘Brisk, cheerful and enthusiastic.’

    Lauded for the precision of her prose and the quality of her insight, Cusk is a writer of uncommon brilliance. Now, in Coventry, she gathers a selection of her nonfiction writings that both offers new insights on the themes at the heart of her fiction and forges a startling critical voice on some of our most personal, social, and artistic questions.Coventry encompasses memoir, cultural criticism, and writing about literature, with pieces on family life, gender, and politics, and on D. H. Lawrence, Françoise Sagan, and Elena Ferrante. Named for an essay in Granta ("Every so often, for offences actual or hypothetical, my mother and father stop speaking to me. There's a funny phrase for this phenomenon in England: it's called being sent to Coventry"), this collection is pure Cusk and essential reading for our age: fearless, unrepentantly erudite, and dazzling to behold.

    Illiberal nationalism, however, emerged in the United States after the Civil War—resulting in the failure of Reconstruction, the rise of Jim Crow, and the restriction of immigration. Much of American history, Lepore argues, has been a battle between these two forms of nationalism, liberal and illiberal, all the way down to the nation’s latest, bitter struggles over immigration.Defending liberalism, as This America demonstrates, requires making the case for the nation. But American historians largely abandoned that defense in the 1960s when they stopped writing national history. By the 1980s they’d stopped studying the nation-state altogether and embraced globalism instead. “When serious historians abandon the study of the nation,” Lepore tellingly writes, “nationalism doesn’t die. Instead, it eats liberalism.” But liberalism is still in there, Lepore affirms, and This America is an attempt to pull it out. “In a world made up of nations, there is no more powerful way to fight the forces of prejudice, intolerance, and injustice than by a dedication to equality, citizenship, and equal rights, as guaranteed by a nation of laws.”A manifesto for a better nation, and a call for a “new Americanism,” This America reclaims the nation’s future by reclaiming its past.

    Each in turn comes under scrutiny in this exhilarating dialogue between two of the most interesting thinkers working in philosophy and architecture today. From such singular objects, Jean Baudrillard and Jean Nouvel move on to fundamental problems of politics, identity, and aesthetics as their exchange becomes an imaginative exploration of the possibilities of modern architecture and the future of modern life. Among the topics the two speakers take up are the city of tomorrow and the ideal of transparency, the gentrification of New York City and Frank Gehry’s surprising Guggenheim Museum in Bilbao. As Nouvel prompts Baudrillard to reflect on some of his signature concepts (the virtual, transparency, fatal strategies, oblivion, and seduction, among others), the confrontation between such philosophical concerns and the specificity of architecture gives rise to novel and striking formulations—and a new way of establishing and understanding the connections between the practitioner and the philosopher, the object and the idea. This wide-ranging conversation builds a bridge between the fields of architecture and philosophy. At the same time it offers readers an intimate view of the meeting of objects and ideas in which the imagined, constructed, and inhabited environment is endlessly changing, forever evolving. Jean Baudrillard is one of the most influential thinkers of his generation and author of The Vital Illusion (2001). Jean Nouvel has designed buildings throughout the world, including the new Guthrie Theater in Minneapolis, and is a recipient of France’s Grand Prix d’Architecture. Robert Bononno, a translator and teacher, lives in New York City.

    As sharp and outspoken as ever, this artist long hailed as a healer and a sage returns with this profound book of poetry in which she continues to call attention to injustice and give readers an unfiltered look into the most private parts of herself.In Make Me Rain, she celebrates her loved ones and unapologetically declares her pride in her black heritage, while exploring the enduring impact of the twin sins of racism and white nationalism. Giovanni reaffirms her place as a uniquely vibrant and relevant American voice with poems such as “I Come from Athletes” and “Rainy Days”—calling out segregation and Donald Trump; as well as “Unloved (for Aunt Cleota)” and “”When I Could No Longer”—her personal elegy for the relatives who saved her from an abusive home life. Stirring, provocative, and resonant, the poems in Make Me Rain pierce the heart and nourish the soul.

    It is both an experiment in the attentive form of the essay - asking what happens, and where one might wander, when as readers and writers we pay minute attention to the language before us - and a polemic for certain kinds of experiment in prose. In a series of essays, each taking a single sentence as its starting point, the book explores style, voice and context. But it also uses its subjects - from George Eliot to Joan Didion, John Donne to Annie Dillard - to ask what the sentence is today and what it might become next.

    Kael called movies "the most total and encompassing art form we have," and she made her reviews a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. To read The Age of Movies, the first new selection in more than a generation, is to be swept up into an endlessly revealing and entertaining dialogue with Kael at her witty, exhilarating, and opinionated best. Her ability to evoke the essence of a great artist-an Orson Welles or a Robert Altman-or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here in this career spanning collection are her appraisals of the films that defined an era-among them Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville-along with many others, some awaiting rediscovery, all providing the occasion for masterpieces of observation and insight, alive on every page.

    Those of us in this business are, after all, matchmakers at heart. So consider this little book you now hold in your hands a sort of catalog of matchmakers.”—Ann Patchett"If I were still a bookseller, I'd be thrilled to share this wealth with my customers. As a reader, I'm deeply intrigued by the range of selections. . . . Do yourself a favor. Add Micawber's Top 50 project to your must-read list."—Robert Gray, Shelf AwarenessThis book offers lists of favorites that have flown under the radar, but off of bookstore shelves. First published on Hans Weyandt's blog for Micawber's Books, each list includes a bookseller's top fifty books, anecdotes, and interviews about the life of being a bookseller, reader, and engaged citizen. All proceeds will go to American Booksellers Foundation for Free Expression (ABFFE).Contributing bookstores include Book Passage, Tattered Cover Book Store, Three Lives & Company, Boswell Books, City Lights Bookstore, BookCourt, Harvard Book Store, Carmichael's Bookstore, Prairie Lights, The King's English Bookshop, Square Books, Magers & Quinn, Micawber's Books, Unabridged Bookstore, Regulator Bookshop, Subterranean Books, Faulkner House Books, Skylight Books, Maria's Bookshop, Inkwood Books, Rakestraw Books, RiverRun Bookstore, Sherman's Books and Stationary, Iowa Book, and Fireside Books.Hans Weyandt is a co-owner at Micawber's Books, an independent bookstore in St. Paul, Minnesota.Ann Patchett is the best-selling author of five novels, including Run, Bel Canto, and most recently, State of Wonder. She owns Parnassus Bookstore in Nashville, Tennnessee.

    Dr. Michelle Reyes takes a close look at the concept of cultural accommodation found in Scripture—and especially in the letter of 1 Corinthians—to redefine how Christians interact with cultural narratives that are different from their own. Christians—whose standard of living is oneness in Christ, whose gospel is radically nonexclusive—should be at the frontlines of justice and of cross-cultural unity. But many of us struggle to reach outside of our own cultural bubbles and form real relationships that move beyond stereotypes and lead to understanding, healing, and solidarity across cultural lines.Why is that?Why is it so difficult to reconcile our call to be united in Christ with a celebration of different cultural expressions?What are the reasons for cultural differences and how do they so often lead to stereotyping, appropriation, gentrification, racism, and other forms of injustice?What does the Bible say about human beings as cultural image bearers?How do we reevaluate our awareness of culture identity in a healthy and constructive way?These are just some of the questions that Dr. Reyes explores as she faces the challenges surrounding cross-cultural relationships in America today and her thoughts on the way forward.Spoiler Alert! The way forward does require willingness to change. It requires embracing cultural discomfort. But by engaging with this book, you will be empowered to learn how to become all things to all people—that is: how to reflect Jesus' love in a multicultural, multiracial body of Christ and to share that love with a hurting world.

    It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore."In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.