Published originally in 1881, The Critic As Artist is one of Oscar Wilde's major aesthetic statements.

    “There is no routine of an office to keep you going, only the blank page each morning, and you never know where your words are coming from, those divine words.” In The Spooky Art, Mailer discusses with signature candor the rewards and trials of the writing life, and recommends the tools to navigate it. Addressing the reader in a conversational tone, he draws on the best of more than fifty years of his own criticism, advice, and detailed observations about the writer’s craft.   Praise for The Spooky Art   “The Spooky Art shows Mailer’s brave willingness to take on demanding forms and daunting issues. . . . He has been a thoughtful and stylish witness to the best and worst of the American century.”—The Boston Globe   “At his best—as artists should be judged—Mailer is indispensable, an American treasure. There is enough of his best in this book for it to be welcomed with gratitude.”—The Washington Post  “[The Spooky Art] should nourish and inform—as well as entertain—almost any serious reader of the novel.”—Baltimore Sun“The richest book ever written about the writer’s subconscious.”—The Philadelphia Inquirer   “Striking . . . entrancingly frank.”—Entertainment Weekly   Praise for Norman Mailer   “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times   “A writer of the greatest and most reckless talent.”—The New Yorker   “A devastatingly alive and original creative mind.”—Life   “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books   “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune   “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati PostFrom the Hardcover edition.

    The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity.Including these twenty-eight profiles:"Mr. Hunter's Grave" by Joseph Mitchell "Secrets of the Magus" by Mark Singer "Isadora" by Janet Flanner "The Soloist" by Joan Acocella "Time . . . Fortune . . . Life . . . Luce" by Walcott Gibbs "Nobody Better, Better Than Nobody" by Ian Frazier "The Mountains of Pi" by Richard Preston "Covering the Cops" by Calvin Trillin "Travels in Georgia" by John McPhee "The Man Who Walks on Air" by Calvin Tomkins "A House on Gramercy Park" by Geoffrey Hellman "How Do You Like It Now, Gentlemen?" by Lillian Ross "The Education of a Prince" by Alva Johnston "White Like Me" by Henry Louis Gates, Jr. "Wunderkind" by A. J. Liebling "Fifteen Years of The Salto Mortale" by Kenneth Tynan "The Duke in His Domain" by Truman Capote "A Pryor Love" by Hilton Als "Gone for Good" by Roger Angell "Lady with a Pencil" by Nancy Franklin "Dealing with Roseanne" by John Lahr "The Coolhunt" by Malcolm Gladwell "Man Goes to See a Doctor" by Adam Gopnik "Show Dog" by Susan Orlean "Forty-One False Starts" by Janet Malcolm "The Redemption" by Nicholas Lemann "Gore Without a Script" by Nicholas Lemann "Delta Nights" by Bill Buford

    They had no idea what to expect. Would people ask metaphysical questions? Write mean things? Pour their souls onto the page? Yes, no, and did they ever.Every day, people of all ages sit down at the public typewriter. Children perch atop grandparents' knees, both sets of hands hovering above the metal keys: I LOVE YOU. Others walk in alone on Friday nights and confess their hopes: I will find someone someday. And some leave funny asides for the next person who sits down: I dislike people, misanthropes, irony, and ellipses ... and lists too.In Notes from a Public Typewriter Michael and designer Oliver Uberti have combined their favorite notes with essays and photos to create an ode to community and the written word that will surprise, delight, and inspire.

    Classics of the environmental imagination—the essays of Henry David Thoreau, John Muir, and John Burroughs; Aldo Leopold’s A Sand County Almanac; Rachel Carson’s Silent Spring—are set against the inspiring story of an emerging activist movement, as revealed by newly uncovered reports of pioneering campaigns for conservation, passages from landmark legal opinions and legislation, and searing protest speeches. Here are some of America’s greatest and most impassioned writers, taking a turn toward nature and recognizing the fragility of our situation on earth and the urgency of the search for a sustainable way of life. Thought-provoking essays on overpopulation, consumerism, energy policy, and the nature of “nature” join ecologists’ memoirs and intimate sketches of the habitats of endangered species. The anthology includes a detailed chronology of the environmental movement and American environmental history, as well as an 80-page color portfolio of illustrations.

    She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other "minorities" have been barred from producing written art. In chapters entitled "Prohibitions," "Bad Faith," "Denial of Agency," Pollution of Agency," "The Double Standard of Content," "False Categorization," "Isolation," "Anomalousness," "Lack of Models," Responses," and "Aesthetics" Joanna Russ names, defines, and illustrates those barriers to art-making we may have felt but which tend to remain unnamed and thus insolvable.

    Classic insights on pastiche, nostalgia, and architecture stand alongside essays on the status of history, theory, Marxism, and the subject in an age propelled by finance capital and endless spectacle. Surveying the debates that blazed up around his earlier essays, Jameson responds to critics and maps out the theoretical positions of postmodernism’s prominent friends and foes.Fredric Jameson has had an immense impact on our understanding of postmodernism. However, until now, his key writings on the subject have been unavailable in an accessible and affordable form. This book is designed as a short and convenient introduction to Jameson's thought for both the student and the general reader.