Gass, "the finest prose stylist in America" (Steven Moore, Washington Post). Whether he's exploring the nature of narrative, the extent and cost of political influences on writers, or the relationships between the stories we tell and the moral judgments we make, Gass is always erudite, entertaining, and enlightening.

    In addition to seven essays on craft, this collection brings together her penetrating and instructive commentaries on a wide variety of individual writers, including Jane Austen, E. M. Forster, Willa Cather, Anton Chekhov, William Faulkner, and Virginia Woolf.

    K. Williams, was awarded the 1987 National Book Critics Circle Award for Poetry. Reviewing it in The New York Times Book Review, Edward Hirsch noted that the book's compression and exactitude gave it "the feeling of a contemporary sonnet sequence." Hirsch added: "Like Berryman's Dream Songs or Lowell's Notebooks, Mr. Williams's short poems are shapely yet open-minded and self-generative, loosely improvisational though with an underlying formal necesity."

    His work ranges from “What Are Those Monkeys Doing?” in which he links the paintings of Rousseau to the writings of Rimbaud and Flaubert, to “Imaginary Americas,” a survey of the different roles America has filled in the imagination of Europeans. Davenport, 1 of the foremost American critics and intellectuals of the 20th century, brings his piercing intellect, encyclopedic references, and careful eye for detail to each piece in Every Force Evolves a Form.   Whether writing on the philosophy behind modernism or a study of table manners, the paintings of Henri Rousseau or the design of Shaker handicrafts, Davenport always devotes his full attention and multi-angled analysis to the subject at hand. To read this thought-provoking collection is to see the inner-workings of Davenport’s brilliant mind, with its varied fascinations and unparalleled insights.

    All the while he has been writing some of the wittiest, most incisive criticism we have on an astonishing array of subjects—music, literature, photography, and travel journalism—that, in Dyer's expert hands, becomes a kind of irresistible self-reportage.Otherwise Known as the Human Condition collects twenty-five years of essays, reviews, and misadventures. Here he is pursuing the shadow of Camus in Algeria and remembering life on the dole in Brixton in the 1980s; reflecting on Richard Avedon and Ruth Orkin, on the status of jazz and the wonderous Nusrat Fateh Ali Khan, on the sculptor ZadKine and the saxophonist David Murray (in the same essay), on his heroes Rebecca West and Ryszard Kapus´cin´ski, on haute couture and sex in hotels. Whatever he writes about, his responses never fail to surprise. For Dyer there is no division between the reflective work of the critic and the novelist's commitment to lived experience: they are mutually illuminating ways to sharpen our perceptions. His is the rare body of work that manages to both frame our world and enlarge it.

    In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.

    What it is instead, however, is less clear. That it might be a kind of writing, putting things to paper, has now and then occurred to those engaged in producing it, consuming it, or both. But the examination of it as such has been impeded by several considerations, none of them very reasonable. One of these, especially weighty among the producers, has been simply that it is an unanthropological sort of thing to do. What a proper ethnographer ought properly to be doing is going out to places, coming back with information about how people live there, and making that information available to the professional community in practical form, not lounging about in libraries reflecting on literary questions. Excessive concern, which in practice usually means any concern at all, with how ethnographic texts are constructed seems like an unhealthy self-absorption--time wasting at best, hypochondriacal at worst. The advantage of shifting at least part of our attention from the fascinations of field work, which have held us so long in thrall, to those of writing is not only that this difficulty will become more clearly understood, but also that we shall learn to read with a more percipient eye. A hundred and fifteen years (if we date our profession, as conventionally, from Tylor) of asseverational prose and literary innocence is long enough.

    The Rainy Season, Amy Wilentz’s award-winning 1989 portrait of Haiti after the fall of Jean-Claude Duvalier, was praised in the NY Times Book Review as “a remarkable account of a journalist’s transformation by her subject.” In her relationship with the country since then, she's witnessed more than one magical transformation. Now, with Farewell, Fred Voodoo, she portrays the extraordinary people living in this stark place. She traces the country’s history from its slave plantations thru its turbulent revolutionary history, its kick-up-the-dirt guerrilla movements, its totalitarian dynasty that ruled for decades & its long, troubled relationship with the USA. Yet thru a history of hardship shines Haiti’s creative culture—its African traditions, French inheritance & uncanny resilience, a strength often confused with resignation. Haiti emerged from the 2010 earthquake like a powerful spirit. This book describes the country’s day-to-day struggle & its relationship to outsiders who come to help out. There are human-rights reporters gone awry, movie stars turned aid workers, priests & musicians running for president, doctors turned diplomats. A former US president works as a house builder & voodoo priests try to control elections. A foreign correspondent on a simple story becomes over time a lover of Haiti, pursuing the essence of this beautiful, confounding land into its darkest & brightest corners. Farewell, Fred Voodoo is a spiritual journey into the heart of the human soul. Haiti has found an author of astonishing wit, sympathy & eloquence.

    THE MOST COMPREHENSIVE ZOMBIE HANDBOOK EVER PUBLISHED In one indispensable volume, Matt Mogk, founder and head of the Zombie Research Society, busts popular myths and answers all your raging questions about the living dead.

    Covering five continents and cities as diverse as New York, Rio, Tokyo, and Johannesburg, Neate discovers hip-hop reinventing itself internationally, locally, and individually. Spirited and idealistic, yet grittily insightful, "Where You're At" is a global tour of a small planet, with hip-hop, in all its multifarious forms, as the main character.

    The strange saga of American architecture in the twentieth century makes for both high comedy and intellectual excitement as Wolfe debunks the European gods of modern and postmodern architecture and their American counterparts.

    More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    Poet Laureate Robert Hass considers some of the twentiethcentury poets who bring him pleasure: Robert Lowll, JamesWright, Tomas Transtromer, Joseph Brodsky, Yvor Winters,Robert Creeley, James McMichael, Czeslaw Milosz, and others,in this, his first collection of essays. Originally published in1984, Twentieth Century Pleasures: Prose on Poetry won theNational Book Critics Circle Award for criticism. A new collection of Robert Hass's essays will be published by Ecco in 1998.

    Authors include Edmund Wilson, Vladimir Nabokov, Franz Kafka, Muriel Spark, Anne Tyler, Italo Calvino, Henry Green, Robert Pinget, L.E. Sissman, R.K. Narayan and Roland Barthes. He also writes of actresses Louise Brooks and Doris Day and golfers Sam Snead and Arnold Palmer.