Tolkien's creativity and the sources of his inspiration. Shippey shows in detail how Tolkien's professional background led him to write "The Hobbit" and how he created a timeless charm for millions of readers.

    Its greatest detriment to the world has been its unfettered desire to play with and alter them: science for science's sake, as if it offered the only path to knowledge.According to Lehrer, when it comes to the human brain, the world of art unraveled such mysteries long before the neuroscientists: "This book is about artists who anticipated the discoveries of science who discovered truths about the human mind that science is only now discovering." 'Proust Was a Neuroscientist' is a dazzling inquiry into the nature of the mind and of the truths harvested by its first explorers: artists like Walt Whitman, George Eliot, Auguste Escoffier, Marcel Proust, Paul Cozanne, Igor Stravinsky, Gertrude Stein, and Virginia Woolf. What they understood intuitively and expressed through their respective art forms -- the fallibility of memory, the malleability of the brain, the subtleties of vision, and the deep structure of language -- science has only now begun to measure and confirm. Blending biography, criticism, and science writing, Lehrer offers a lucid examination of eight artistic thinkers who lit the path toward a greater understanding of the human mind and a deeper appreciation of the ineffable mystery of life.

    Now Frank's monumental, 2500-page work has been skillfully abridged and condensed in this single, highly readable volume with a new preface by the author. Carefully preserving the original work's acclaimed narrative style and combination of biography, intellectual history, and literary criticism, Dostoevsky: A Writer in His Time illuminates the writer's works--from his first novel Poor Folk to Crime and Punishment and The Brothers Karamazov--by setting them in their personal, historical, and above all ideological context. More than a biography in the usual sense, this is a cultural history of nineteenth-century Russia, providing both a rich picture of the world in which Dostoevsky lived and a major reinterpretation of his life and work.http://press.princeton.edu/titles/897...

    Then, over the next six weeks, he channeled that trip’s maelstrom of drunken brawls, sexual rivalry, midnight betrayals, and midday hangovers into his groundbreaking novel The Sun Also Rises. This revolutionary work redefined modern literature as much as it did his peers, who would forever after be called the Lost Generation. But the full story of Hemingway’s legendary rise has remained untold until now.  Lesley Blume resurrects the explosive, restless landscape of 1920s Paris and Spain and reveals how Hemingway helped create his own legend. He made himself into a death-courting, bull-fighting aficionado; a hard-drinking, short-fused literary genius; and an expatriate bon vivant. Blume’s vivid account reveals the inner circle of the Lost Generation as we have never seen it before, and shows how it still influences what we read and how we think about youth, sex, love, and excess.

     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.

    How is an achievement of this magnitude to be explained? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world’s greatest playwright.

     Free BONUS Inside! Pierre-August Renoir, leader of the nineteenth-century Impressionist movement, spent his entire life perfecting his style. Rejected for decades, he depended on friends for a place to stay and money for painting supplies. Renoir lived in poverty until his forties, and when he was finally discovered and hailed as a great artist, his health began to fail him. Still, Renoir never gave up his passion for painting. When he became crippled by arthritis, Renoir painted confined to a wheelchair with the paintbrush bound to his wrist. His need to create beauty was the driving force of his life, and throughout rejections and deteriorating health, Renoir retained an optimism that is reflected in his paintings. Discover a plethora of topics such as Early Life in Poverty Success as a Portrait Artist The Dreyfus Affair The Price of Fame Losing the Use of His Hands Last Years and Death And much more! So if you want a concise and informative book on Pierre-Auguste Renoir, simply scroll up and click the "Buy now" button for instant access!

    Published in 1950, one of the chillier moments of the Cold War, Trilling's essays examine the promise—and limits—of liberalism, challenging the complacency of a naïve liberal belief in rationality, progress, and the panaceas of economics and other social sciences, and asserting in their stead the irreducible complexity of human motivation and the tragic inevitability of tragedy. Only the imagination, Trilling argues, can give us access and insight into these realms and only the imagination can ground a reflective and considered, rather than programmatic and dogmatic, liberalism.Writing with acute intelligence about classics like Huckleberry Finn and the novels of Henry James and F. Scott Fitzgerald, but also on such varied matters as the Kinsey Report and money in the American imagination, Trilling presents a model of the critic as both part of and apart from his society, a defender of the reflective life that, in our ever more rationalized world, seems ever more necessary—and ever more remote.

    H. Lawrence's death, a young woman wrote a book about him and presented it to a Paris publisher. She recorded the event in her diary: “It will not be published and out by tomorrow, which is what a writer would like when the book is hot out of the oven, when it is alive within oneself. He gave it to his assistant to revise.” The woman was Anaïs Nin. Nin examined Lawrence's poetry, novels, essays, and travel writing. She analyzed and explained the more important philosophical concepts contained in his writings, particularly the themes of love, death, and religion, as well as his attention to primitivism and to women. But what Anaïs Nin brought to the explication of Lawrence's writing was an understanding of the fusion of imaginative, intuitive, and intellectual elements from which he drew his characters, themes, imagery and symbolism.

    There have been many bad, but a few good, translations of his work available in English, and critics have often tended to put labels on him, to make him out "the Russian Dickens" or a forerunner of our own literary champions of the oppressed.In this brilliantly recreative study, Vladimir Nabokov shows us that Gogol's comedy was not Dickensian, but biting and salty, textured throughout by a use of the irrational not duplicated by any other writer; that, in his play The Government Inspector and his great novel Dead Souls , his depiction of the frauds of bureaucracy and the vagaries of Russian serf-owners were not so much intended to work social change as to serve as a framework for portraying the fantasies of the human spirit.Nabokov, whose own uniqueness is known through his novels Lolita and The Real Life of Sebastian Knight brings the uniqueness of Gogol to life—the strange, unhappy, self-deluding man and his singular literary methods and achievements.Nikolai Gogol was originally published by New Direction some years ago, when Edmund Wilson called it "one of the best volumes so far in the interesting series called 'Makers of the Modern Literature'." And B.G. Guerney said in the New Republic, "The creative reader (and student) who wishes to soar on Gogol's own wingéd-steed troika will choose Nabokov as his exhilarating courier."

    This is an exploration of her relationship with the literary form we have come to know as "science fiction,” a relationship that has been lifelong, stretching from her days as a child reader in the 1940s, through her time as a graduate student at Harvard, where she worked on the Victorian ancestor of the form, and continuing as a writer and reviewer.  This book brings together her three heretofore unpublished Ellmann Lectures from 2010: "Flying Rabbits," which begins with Atwood's early  rabbit superhero creations, and goes on to speculate about masks, capes, weakling alter egos, and Things with Wings; "Burning Bushes," which follows her into Victorian otherlands and beyond; and "Dire Cartographies," which investigates Utopias and Dystopias.  In Other Worlds also includes some of Atwood's key reviews and thoughts about the form. Among those writers discussed are Marge Piercy, Rider Haggard, Ursula Le Guin, Ishiguro, Bryher, Huxley, and Jonathan Swift. She elucidates the differences (as she sees them) between "science fiction" proper, and "speculative fiction," as well as between "sword and sorcery/fantasy" and "slipstream fiction." For all readers who have loved The Handmaid's Tale, Oryx and Crake, and The Year of the Flood, In Other Worlds is a must.  From the Hardcover edition.

    Hotchner visited an old friend in the psychiatric ward of St. Mary's Hospital. It would be the last time they spoke: a few weeks later, Ernest Hemingway was released home, where he took his own life. Their final conversation was also the final installment in a story whose telling Hemingway had spread over nearly a decade.In characteristically pragmatic terms, Hemingway divulged to Hotchner the details of the affair that destroyed his first marriage: the truth of his romantic life in Paris and how he lost Hadley, the real part of each literary woman he'd later create and the great love he spent the rest of his life seeking. And he told of the mischief that made him a legend: of impotence cured in a house of God; of a plane crash in the African bush, from which he stumbled with a bunch of bananas and a bottle of gin in hand; of F. Scott Fitzgerald dispensing romantic advice; of midnight champagne with Josephine Baker; of adventure, human error, and life after lost love. This is Hemingway as few have known him: humble, thoughtful, and full of regret.To protect the feelings of Ernest's wife, Mary - also a close friend - Hotch kept the conversations to himself for decades. Now he tells the story as Hemingway told it to him. "Hemingway in Love "puts you in the room with the master as he remembers the definitive years that set the course for the rest of his life and dogged him until the end of his days.

    “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.

    Fortunately, one unabashed fan wants passionately to give Melville's masterpiece the broad contemporary audience it deserves. In his National Book Award-winning bestseller, In the Heart of the Sea, Nathaniel Philbrick captivatingly unpacked the story of the wreck of the whaleship Essex, the real-life incident that inspired Melville to write Moby-Dick. Now, he sets his sights on the fiction itself, offering a cabin master's tour of a spellbinding novel rich with adventure and history. Philbrick skillfully navigates Melville's world and illuminates the book's humor and unforgettable characters—finding the thread that binds Ishmael and Ahab to our own time and, indeed, to all times. A perfect match between author and subject, Why Read Moby-Dick? gives us a renewed appreciation of both Melville and the proud seaman's town of Nantucket that Philbrick himself calls home. Like Alain de Botton's How Proust Can Change Your Life, this remarkable little book will start conversations, inspire arguments, and, best of all, bring a new wave of readers to a classic tale waiting to be discovered anew.

    “Babel in California” told the true story of various human destinies intersecting at Stanford University during a conference about the enigmatic writer Isaac Babel. Over the course of several pages, Batuman managed to misplace Babel’s last living relatives at the San Francisco airport, uncover Babel’s secret influence on the making of King Kong, and introduce her readers to a new voice that was unpredictable, comic, humane, ironic, charming, poignant, and completely, unpretentiously full of love for literature. Batuman’s subsequent pieces—for The New Yorker, Harper’s Magazine, and the London Review of Books— have made her one of the most sought-after and admired writers of her generation, and its best traveling companion. In The Possessed we watch her investigate a possible murder at Tolstoy’s ancestral estate. We go with her to Stanford, Switzerland, and St. Petersburg; retrace Pushkin’s wanderings in the Caucasus; learn why Old Uzbek has one hundred different words for crying; and see an eighteenth-century ice palace reconstructed on the Neva. Love and the novel, the individual in history, the existential plight of the graduate student: all find their place in The Possessed. Literally and metaphorically following the footsteps of her favorite authors, Batuman searches for the answers to the big questions in the details of lived experience, combining fresh readings of the great Russians, from Pushkin to Platonov, with the sad and funny stories of the lives they continue to influence—including her own.