With the value of their martial skills on the decline, the samurai sought new spiritual, moral, psychological, and physical moorings. Tsunetomo Yamamoto, author of the now-classic Hagakure, combined a Confucian sense of justice with a Zen-influenced abandonment of the ego to espouse loyalty and death as paramount qualities of the samurai's calling.Kaibara Ekiken (16301714), a samurai physician with philosophical and Buddhist leanings, took the opposite approach. He sought ways for a healthier, more rewarding life. In his Yojokun: Life Lessons from a Samurai, he collected six decades of study and observation to compile one of the most remarkable commentaries of his age. Ekiken's sweep was vast. In Yojokun, he combined his knowledge of holistic health, the principles of chi (the material force that pervades all things) and jin (human heartedness), Buddhism, Confucianism, and the art of living. He addressed concerns that ran from mental and physical health to spiritual matters. His discourses examined the intake of food and drink, sexual practices, sustaining stamina and health in old age, overindulgence and restraint, bathing and healthy habits, and more. And throughout his discussion he wove a subtle but potent spiritual and philosophical thread. Yojokun offers startlingly profound and fresh insights into many of the same problems that concern us today. Translator William Scott Wilson notes Ekikens relevance for the 21st century: The Yojokun, then, is not just a vestige of quaint Orientalia, but rather a living guide to a traditional Way of life and balanced health. If we do not immediately understand some of its more exotic prescripts, it may be wiser not to dismiss them outright, but to approach the work as Ekiken himself might have: with humility, curiosity, respect, and imagination.

    First published on the eve of war in 1939, the essay has often been read as a pacifist manifesto. Rachel Bespaloff was a French contemporary of Weil’s whose work similarly explored the complex relations between literature, religion, and philosophy. She composed her own distinctive discussion of the Iliad in the midst of World War II—calling it “her method of facing the war”—and, as Christopher Benfey argues in his introduction, the essay was very probably written in response to Weil. Bespaloff’s account of the Iliad brings out Homer’s novelistic approach to character and the existential drama of his characters’ choices; it is marked, too, by a tragic awareness of how the Iliad speaks to times and places where there is no hope apart from war.This edition brings together these two influential essays for the first time, accompanied by Benfey’s scholarly introduction and an afterword by the great Austrian novelist Hermann Broch.

    The stories reveal the cultural erosion which started at the beginning of modernity, and describe with exquisite subtlety the beauty of old Tokyo.

    Forster, John Gardner, and James Wood, Douglas Glover has produced a book on writing at once erudite, anecdotal, instructive, and amusing. Attack of the Copula Spiders represents the accumulated wisdom of a remarkable literary career: novelist, short story writer, essayist, teacher and mentor, Glover has for decades been asking the vital questions. How does the way we read influence the way we write? What do craft books fail to teach aspiring writers about theme, about plot and subplot, about constructing point of view? How can we maintain drama on the level of the sentence—and explain drama in the sentences of others? What is the relationship of form and art? How do you make words live?Whether his subject is Alice Munro, Cervantes, or the creative writing classroom, Glover’s take is frank and fresh, demonstrating again and again that graceful writers must first be strong readers. This collection is a call-to-arms for all lovers of English, and Attack of the Copula Spiders our best defense against the assaults of a post-literate age.Douglas Glover is the award-winning author of five story collections, four novels, and two works of non-fiction. He is currently on the faculty of the Vermont College of Fine Arts MFA in Writing program.Praise for Douglas Glover"A master of narrative structure." - Darin Strauss, author of Half a Life, Wall Street Journal"So sharp, so evocative, that the reader sees well beyond the tissue of words into ... the author's poetic grace." - The New Yorker"Glover invents his own assembly of critical approaches and theories that is eclectic, personal, scholarly, and smart ... a direction for future literary criticism to take." - The Denver Quarterly"A ribald, raunchy wit with a talent for searing self-investigation." - The Globe and Mail"Knotty, intelligent, often raucously funny." - Maclean's"Passionately intricate." - The Chicago Tribune"Darkly humorous, simultaneously restless and relentless." - Kirkus Reviews

    The translators have balanced faithfulness to the Japanese with an appreciation of the unique spirit of each poem to create English versions that evoke the joy and wonder of the originals with the same astonishing economy of language. An introduction by the translators and short biographies of the poets are included. Reproductions of woodblock prints and paintings accompany the poems.

    “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.

    Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it. Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.

    Bleak and oozing existential dread, The Thief is simply unforgettable. The Thief is a seasoned pickpocket. Anonymous in his tailored suit, he weaves in and out of Tokyo crowds, stealing wallets from strangers so smoothly sometimes he doesn’t even remember the snatch. Most people are just a blur to him, nameless faces from whom he chooses his victims. He has no family, no friends, no connections...But he does have a past, which finally catches up with him when Ishikawa, his first partner, reappears in his life, and offers him a job he can’t refuse. It’s an easy job: tie up an old rich man, steal the contents of the safe. No one gets hurt. Only the day after the job does he learn that the old man was a prominent politician, and that he was brutally killed after the robbery. And now the Thief is caught in a tangle even he might not be able to escape.

    A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question. The books in the series will all follow the same structure:a biography of the novelist, including other works, influences, and, in some cases, an interview; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received upon publication; a summary of how the novel has performed since publication, including film or TV adaptations, literary prizes, etc.; a wide range of suggestions for further reading, including websites and discussion forums; and a list of questions for reading groups to discuss.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    The text itself is an alphabetical listing of the terms that pertain to literature in English. Now in its eighth edition, it has been used by more than one million students.

    The year is 1986, and the strange communal life of this foursome, extending over half a year, from the end of winter to midsummer, makes up the plot,such as it is, of Plainsong, as this ersatz family finds itself growing closer, and lifecontinues—quietly—around them. Part of the generation that grew to prominence following the success of baby boomers like Haruki Murakami, KazushiHosaka’s work chronicles the small moments, the moments without conflict,that most novels work to elide. His characters talk, work, exist; their story is onewhere the tiniest occurrence takes on the proportions of a grand drama.

    Arnold seeks to find out what culture really is, what good it can do, and if it is really necessary. He contrasts culture, which he calls the study of perfection, with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. This edition reproduces the original book version, revealing the immediate historical context and controversy of the piece. The introduction and notes broaden out the interpretative approach to Arnold's text, elaborating on the complexities of the religious context. The book also reinforces the continued importance of Arnold's ideas its influences in the face of the challenges of multi-culturalism and post-modernism.

    It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore."In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.