The American Midwest is a place beyond definition, whose very boundaries are a question. It’s a place of rolling prairies and towering pines, where guns in bars and trucks on blocks are as much a part of the landscape as rivers and lakes and farms. Where girls are girls and boys are boys, where women are mothers and wives, where one is taught to work hard and live between the lines. But what happens when those lines become increasingly unclear? When a girl, like the land that raised her, finds herself neither here nor there?In this intrepid collection of essays, Melissa Faliveno traverses the liminal spaces of her childhood in working-class Wisconsin and the paths she’s traveled since, compelled by questions of girlhood and womanhood, queerness and class, and how the lands of our upbringing both define and complicate us even long after we’ve left. Part personal narrative, part cultural reportage, Tomboyland navigates midwestern traditions, mythologies, landscapes, and lives to explore the intersections of identity and place. From F5 tornadoes and fast-pitch softball to gun culture, strange glacial terrains, kink party potlucks, and the question of motherhood, Faliveno asks curious, honest, and often darkly funny questions about belonging and the body, isolation and community, and what we mean when we use words like woman, family, and home.

    Throughout the time he was creating his greatest work, Steinbeck faithfully kept a journal revealing his arduous journey toward its completion.The journal, like the novel it chronicles, tells a tale of dramatic proportions—of dogged determination and inspiration, yet also of paranoia, self-doubt, and obstacles. It records in intimate detail the conception and genesis of The Grapes of Wrath and its huge though controversial success. It is a unique and penetrating portrait of an emblematic American writer creating an essential American masterpiece.

    Orner reads—and writes—everywhere he finds himself: a hospital cafeteria, a coffee shop in Albania, or a crowded bus in Haiti. The result is “a book of unlearned meditations that stumbles into memoir.” Among the many writers Orner addresses are Isaac Babel and Zora Neale Hurston, both of whom told their truths and were silenced; Franz Kafka, who professed loneliness but craved connection; Robert Walser, who spent the last twenty-three years of his life in a Swiss insane asylum, “working” at being crazy; and Juan Rulfo, who practiced the difficult art of silence. Virginia Woolf, Eudora Welty, Yasunari Kawabata, Saul Bellow, Mavis Gallant, John Edgar Wideman, William Trevor, and Václav Havel make appearances, as well as the poet Herbert Morris—about whom almost nothing is known.An elegy for an eccentric late father, and the end of a marriage, Am I Alone Here? is also a celebration of the possibility of renewal. At once personal and panoramic, this book will inspire readers to return to the essential stories of their own lives.

     MAX PERKINS: Editor of Genius by A. Scott Berg took the literary world by storm upon its publication in 1978, garnering rave reviews and winning the National Book Award. A meticulously-researched and engaging portrait of the man who introduced the public to the greatest writers of this century, Berg's biography stands as one of the finest books on the publishing industry ever written. Unavailable for the last few years, MAX PERKINS is now being re-released (on the fiftieth anniversary of the great editor's death. The driving force behind such literary superstars as F. Scott Fitzgerald, Ernest Hemingway, and Thomas Wolfe, Max Evarts Perkins was the most admired book editor in the world. From the first major novel he edited (Fitzgerald's This Side of Paradise) to the last (James Jones's bestselling From Here to Eternity), Perkins revolutionized American literature. Perkins was tirelessly committed to nurturing talent no matter how young or unproven the writer. Filled with colorful anecdotes about everything from Perkins's struggles to convince the old guard at Scribners to publish his visionary (and often controversial) authors to his falling out with one of his most brilliant discoveries, Thomas Wolfe, MAX PERKINS reveals with insight and humor the professional and personal life of one of the most legendary figures in the history of American publishing. Given unprecedented access to the correspondence between Perkins and his writers, Berg has fashioned a compellingly thorough biography that is as entertaining as it is informative. A vivid portrait of one man's life and a revealing behind-the-scenes look at the creation of literature, A. Scott Berg's MAX PERKINS: Editor of Genius is a masterful achievement in scholarship and writing.

    But no matter where she was transplanted--no matter how awkward the fit or forbidding the landscape--she was able to turn to our world's fierce and funny creatures for guidance."What the peacock can do," she tells us, "is remind you of a home you will run away from and run back to all your life." The axolotl teaches us to smile, even in the face of unkindness; the touch-me-not plant shows us how to shake off unwanted advances; the narwhal demonstrates how to survive in hostile environments. Even in the strange and the unlovely, Nezhukumatathil finds beauty and kinship. For it is this way with wonder: it requires that we are curious enough to look past the distractions in order to fully appreciate the world's gifts.Warm, lyrical, and gorgeously illustrated by Fumi Nakamura, World of Wonders is a book of sustenance and joy.

    Vowell tackles subjects such as identity, politics, religion, art, and history with a biting humor. She searches the streets of Hoboken for traces of the town's favorite son, Frank Sinatra. She goes under cover of heavy makeup in an investigation of goth culture, blasts cannonballs into a hillside on a father-daughter outing, and maps her family's haunted history on a road trip down the Trail of Tears. Vowell has an irresistible voice—caustic and sympathetic, insightful and double-edged—that has attracted a loyal following for her magazine writing and radio monologues on This American Life.

    Informed by story consultant Lisa Cron's science-based insights into how story structure is built into the architecture of the brain, this guide shows writers how to plumb the nitty-gritty details of their raw idea to organically generate a story scene by scene. Once writers reach the end of Cron's program, they will have both a blueprint that works and plenty of compelling writing suitable for their finished novel--allowing them to write forward with confidence.

    Shimmering Images teaches the aspiring memoirist how to locate key memories using Lisa's technique for finding, linking, and fleshing out those vibrant recollections of important moments and situations.Shimmering Images will address:*the difference between memoir and autobiography*how to claim your voice*the art of storytelling*honesty, truth, and compassion in writing*authentic dialogue and the need for specificityReaders will learn how to craft a short piece of narrative nonfiction grounded in their core memories and master a technique they can use over and over again for writing other narratives.A must-have book for anyone who has treasured Bird by Bird by Anne Lamott or Writing Down the Bones by Natalie Goldberg.

     A constellation of previously published pieces and new essays as provocative and idiosyncratic as any he’s written, this volume sheds light on an array of topics from sex in cinema to drugs, graffiti, Bob Dylan, cyberculture, 9/11, book touring, and Marlon Brando, as well as on a shelf’s worth of his literary models and contemporaries: Norman Mailer, Paula Fox, Bret Easton Ellis, James Wood, and oth­ers. And, writing about Brooklyn, his father, and his sojourn through two decades of writing, Lethem sheds an equally strong light on himself.

    Patricia Hampl visits the homes of historic exemplars of ease who made repose a goal, even an art form. She begins with two celebrated eighteenth-century Irish ladies who ran off to live a life of "retirement" in rural Wales. Her search then leads to Moravia to consider the monk-geneticist, Gregor Mendel, and finally to Bordeaux for Michel Montaigne—the hero of this book—who retreated from court life to sit in his chateau tower and write about whatever passed through his mind, thus inventing the personal essay.Hampl's own life winds through these pilgrimages, from childhood days lazing under a neighbor's beechnut tree, to a fascination with monastic life, and then to love—and the loss of that love which forms this book's silver thread of inquiry. Finally, a remembered journey down the Mississippi near home in an old cabin cruiser with her husband turns out, after all her international quests, to be the great adventure of her life.The real job of being human, Hampl finds, is getting lost in thought, something only leisure can provide. The Art of the Wasted Day is a compelling celebration of the purpose and appeal of letting go.

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    In this collection, including two never-before-published essays, Nussbaum writes about her passion for television that began with stumbling upon "Buffy the Vampire Slayer"—a show that was so much more than it appeared—while she was a graduate student studying Victorian literature. What followed was a love affair with television, an education, and a fierce debate about whose work gets to be called “great” that led Nussbaum to a trailblazing career as a critic whose reviews said so much more about our culture than just what’s good on television. Through these pieces, she traces the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And she explores the links between the television antihero and the rise of Donald Trump.The book is more than a collection of essays. With each piece, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that elevates one form of culture over another. It traces her own struggle to punch through stifling notions of “prestige television,” searching for a wilder and freer and more varied idea of artistic ambition—one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean.

    Even the most arrogant female writer has to work over time to build an ego that is robust enough to get her through January, never mind all the way to December.' Deborah Levy

    In From Where You Dream, Butler reimagines the process of writing as emotional rather than intellectual, and tells writers how to achieve the dreamspace necessary for composing honest, inspired fiction. Proposing that fiction is the exploration of the human condition with yearning as its compass, Butler reinterprets the traditional tools of the craft using the dynamics of desire. Offering a direct view into the mind and craft of a literary master, From Where You Dream is an invaluable tool for the novice and experienced writer alike.

    It should be carefully sewn into the fabric of the story to create tension-filled moments that will keep readers turning pages. In Writing with Emotion, Tension, & Conflict, you'll learn how to layer emotional moments and deep connections to create a tapestry filled with conflict, pathos, and genuine feeling.- Create emotional depth, conflict, and tension in your novel by carefully crafting your plot, characters, setting, word choice, and more. - Learn what makes readers "tick"--and what will elicit the strongest emotional responses. - Write believable, emotional scenes and dialogue--and trim away the sappiness.When writing a novel, your ultimate goal is to make readers smile, weep, rage, and laugh right along with your characters. Writing with Emotion, Tension, & Conflict will show you how to evoke a multitude of feelings in your readers--and keep them coming back for more.