Now living happily in Berkeley, married and the mother of twins, Nora Jane is back in college, pregnant again, launching a new career, and facing circumstances that imperil her domestic bliss.The nine stories that follow explore the hazards of recapturing and reviving old affairs. Featuring both new and familiar Gilchrist characters, all of these stories shed brilliant new light on the oldest emotion.

    The unique world of JD Salinger and his enduringly famous novel.

    Love and marriage follow in short order, surprising Bean, who feels that her husband is not only the best thing to happen to her, but the only good thing.Then Mick vanishes leading amateur hikers--or "tuna" as the guides call them--up Mt. McKinley. Suddenly, Bean is thrown back upon herself and into the company of Mick's mother Hanna, an arthritic woman in her seventies who believes that "a little larceny is good for the circulation."The pair chafe at first, but eventually become partners in a road trip back to California. Mike's disappearance feels like a hole in the heart, they decide, and Hanna tells Bean to prize that hole; it's something no one can take away from her. With gentle humor, pathos, and boundless stores of hope, Marquis writes of Bean's struggle with early widowhood, loss, and moving on.An avid bird-watcher, Bean takes much of her wisdom from the Pemberton Guide to Alaska Birds. Like the globe-crossing birds she so admires, she has struggled to get aloft, but for a delicious, perhaps fleeting moment in this marvelous novel, we see her glide.Book Magazine selected Christopher Marquis as one of "Ten To Watch In 2003" for this "Proulxian saga." With its first-rate evocation of landscape and its affectionately drawn characters, A Hole in the Heart marks the publication debut of a prodigiously talented writer.

    This new collection of sixteen stories reveals John Cheever's expertness employed with greater power to even more impressive effect than heretofore.

    The illegitimate son of a Chinese woman and an American officer, he was reared as an orphan by Taoist monks. When he learns that his father may be a wealthy Wall Street entrepreneur, he feels compelled to go to New York. His efforts to reconcile his two lives -- to find the Tao in the Dow -- make a story rich in character, wit, and insight

    What we have here in this big fat volume is a cockeyed chrestomathy of 37 Algren pieces... with his hallmark stamped on every link." —The New York Times Book Review"The range of the book is satisfying—rich, will titillate even the most fastidious dilettante or culture vulture... also contains pieces that will make you laugh your head off. Once you begin reading it, you will not be able to put it aside." —The Chicago Tribune"Essential Algren." —The Washington Post"Very good, fast, funny and tough... Algren, where have you been hiding?" —The San Francisco ChronicleHere again is Algren's rich output from the 1960s and '70s, tough, streetwise stories and travelogues from around the world: accounts of brothels in Vietnam and Mexico, stories of the boxing ring, and reminiscences of his beloved Chicago White Sox, among other subjects.

    Additional narrators include Geoffrey Palmer O.B.E., Sir Donald Sinden, and Elaine Stritch. Music: 'Reverie De Sebastian' by Steve Davies.

    She has become our most important critic, while her brilliant novels and short fiction are, at long last, getting the recognition they deserve. Sontag is above all a writer, which is only to say that, though the form may differ, there is an essential unity in all her work. The truth of this is perhaps more evident in A Susan Sontag Reader than in any of Sontag's individual books. The writer selected a sampling of her work, meaning the choice both to reflect accurately a career and also to guide the reader toward those qualities and concerns which she prizes in her own writing.  A Susan Sontag Reader is arranged chronologically and draws on most of Sontag's books. There are selections from her two novels, The Benefactor and Death Kit,  and from her collections of short stories, I, etcetera. The famous essays from the 1960s--"Against Interpretation," "Notes on Camp," and "On Style"--which established Sontag's reputation and can be fairly said to have shaped the cultural views of a generation are included, as are selctions from her two subsequent volumes of essays, Styles of Radical Will and Under the Sign of Satury. A part of Sontag's best-selling On Photography is also included.  It is astonishing to read these works when they are detached from the books they appeared in and offered instead in the order in which Sontag wrote them. The connections between various literary forms, the progression of themes, are revealed in often startling ways. Moreover, Sontag has included a long interview in which she moves mroe informally over the whole range of her concerns and of her work. The volume ends with "Writing Itself," a previously uncollected essay on Roland Barthes which, in the eyes of many, is one of Sontag's finest achievements. This collection is, in a sense, both a self-potrait and a key for a reader to understand the work of one of the most imporant writers of our time.

    Rudolfo Anaya returns to the deeply spiritual themes of his hugely popular Bless Me, Ultima with this insightful tale of a prophet and his message to save humankind from itself.

    Stephen Greenblatt examines the structure of selfhood as evidenced in major literary figures of the English Renaissance—More, Tyndale, Wyatt, Spenser, Marlowe, and Shakespeare—and finds that in the early modern period new questions surrounding the nature of identity heavily influenced the literature of the era. Now a classic text in literary studies, Renaissance Self-Fashioning continues to be of interest to students of the Renaissance, English literature, and the new historicist tradition, and this new edition includes a preface by the author on the book's creation and influence. "No one who has read [Greenblatt's] accounts of More, Tyndale, Wyatt, and others can fail to be moved, as well as enlightened, by an interpretive mode which is as humane and sympathetic as it is analytical. These portraits are poignantly, subtly, and minutely rendered in a beautifully lucid prose alive in every sentence to the ambivalences and complexities of its subjects."—Harry Berger Jr., University of California, Santa Cruz

    Abrams has given us a remarkable study, admirably conceived and executed, a book of quite exceptional and no doubt lasting significance for a number of fields - for the history of ideas and comparative literature as well as for English literary history, criticism and aesthetics.

    Marcus Hubbard, rich, despotic and despised, made a fortune during the Civil War by running the blockade and worse. In his family life he is equally injurious: one son he bulldozes while the other he holds in contempt for his frailty. By Marcus's side stands his mentally deranged wife and, finally, Regina, the adored daughter amoral, conniving, and beautiful as an evil flower. Marcus, it would seem, has been on the top of the heap long enough and someone must depose him. Turning the tables on a tyrant has always made for high drama, and when Hellman puts her brilliant talents to work on such a theme the result is a play of great theatrical intensity.

    When Brautigan took his own life in September of 1984 his close friends and network of artists and writers were devastated though not entirely surprised. To many, Brautigan was shrouded in enigma, erratic and unpredictable in his habits and presentation. But his career was formidable, an inspiration to young writers like Hjortsberg trying to get their start. Brautigan’s career wove its way through both the Beat-influenced San Francisco Renaissance in the 1950s and the “Flower Power” hippie movement of the 1960s; while he never claimed direct artistic involvement with either period, Jubilee Hitchhiker also delves deeply into the spirited times in which he lived.As Hjortsberg guides us through his search to uncover Brautigan as a man the reader is pulled deeply into the writer’s world. Ultimately this is a work that seeks to connect the Brautigan known to his fans with the man who ended his life so abruptly in 1984 while revealing the close ties between his writing and the actual events of his life. Part history, part biography, and part memoir this etches the portrait of a man destroyed by his genius.

    A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    Based on the 1999 Walter Neurath Memorial Lecture, this book uses the work of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can never be simply collapsed into the physicality of their support.