Most of this instructive and funny book is written in dialogue form and based on film classes Mamet taught at Columbia University. He encourages his students to tell their stories not with words, but through the juxtaposition of uninflected images. The best films, Mamet argues, are composed of simple shots. The great filmmaker understands that the burden of cinematic storytelling lies less in the individual shot than in the collective meaning that shots convey when they are edited together. Mamet borrows many of his ideas about directing, writing, and acting from Russian masters such as Konstantin Stanislavsky, Sergei M. Eisenstein, and Vsevelod Pudovkin, but he presents his material in so delightful and lively a fashion that he revitalizes it for the contemporary reader.

    In a series of personal essays they often reveal as much about themselves and their work as they do about the books that they love.

    Literary Criticism. The two discussions in WHAT WE SHOULD HAVE KNOWN took place at the offices of n+1 in the summer of 2007. Eleven n+1 editors and contributors--including Caleb Crain, Meghan Falvey, Mark Greif, and Ilya Bernstein--met to talk frankly about regrets they have (or don't have) about college--what they wish they had read or had not read, listened to or not listened to, thought or not thought, been or not been. The idea for the discussions was prompted by a desire to give college students a directed guide, of some sort, to the world of literature, philosophy, and thought that they might not otherwise receive from the current highly specialized university environment. They were also an attempt to answer the "canon"-based approach to college study in two ways: by identifying canonical books produced by our contemporaries or near-contemporaries--something conservative writers have always refused to do--and, second, by articulating a better reason to read the best books ever written than that they authorize and underwrite a system of brutal economic competition and inequality.

    Matthew Arnold called Emerson’s essays “the most important work done in prose.”   INCLUDES A MODERN LIBRARY READING GROUP GUIDE

    The tiny New Jersey town she lived in has seen a rash of suicides lately, with the unlikely coincidence that everyone who has died worked for Kemco, the chemical factory company that fuels the town’s economy.As Crane digs deeper, he encounters Boone, a local woman writing a book about the environmental destruction that has come at the hands of the local chemical giant. The two team up to unravel the conspiracies surrounding the factory—which soon makes them the next targets for those aiming to keep Kemco’s shady dealings under wraps.The pair races to expose the illegal operations poisoning the town and bring Kemco to justice—before either of them becomes the latest in the growing list of “suicides.”

    In this stunningly original book Maureen N. McLane channels the spirits and voices that make up the music in one poet’s mind. Weaving criticism and memoir, My Poets explores a life reading and a life read. McLane invokes in My Poets not necessarily the best poets, nor the most important poets (whoever these might be), but those writers who, in possessing her, made her. “I am marking here what most marked me,” she writes.  Ranging from Chaucer to H. D. to William Carlos Williams to Louise Glück to Shelley (among others), McLane tracks the “growth of a poet’s mind,” as Wordsworth put it in The Prelude. In a poetical prose both probing and incantatory, McLane has written a radical book of experimental criticism. Susan Sontag called for an “erotics of interpretation”: this is it. Part Bildung, part dithyramb, part exegesis, My Poets extends an implicit invitation to you, dear reader, to consider who your “my poets,” or “my novelists,” or “my filmmakers,” or “my pop stars,” might be.

    As listeners have grown increasingly eclectic and adventurous in their tastes, The Wire has emerged as the most authoritative source on modern music.In Undercurrents some of the best music writers of our time uncover the hidden wiring of the past century's most influential music. Ian Penman discusses how the microphone transformed the human voice and made phantom presences of great singers such as Billie Holiday, Robert Johnson, and Brian Wilson. Christoph Cox demonstrates how the pioneers of live electronic music, the West Coast ensemble Sonic Arts Union, redefined virtuosity for the electronic age. Philip Smith and Peter Shapiro examine Harry Smith's Smithsonian Anthology of American Folk Music, which led to a massive reappraisal of musical values that went far beyond the folk music revival.Music explored in Undercurrents ranges through avant rock, jazz, hiphop, electronica, global music, and contemporary "classical."

    OR SO DANGEROUS... PI Dev Haskell wakes up one morning in dire need of an asprin, a cup of coffee, and an hour in the sauna. It seems he's just spent a wild night with his beautiful bombshell of a client, Kerri, and she's left him a note. A smart and sly man who fancies himself just a little more savvy and debonair than reality confirms, Dev thinks he's got it made. But he has absolutely no idea what he's getting into when he agrees to track down Kerri's sister Nikki. Turns out both women are involved in an elaborate human trafficking ring with Braco the Whacko, a notorious Russian mobster, at the helm. Soon Dev finds himself at odds with local police, Homeland Security, and an FBI task force, as well as in and out of the hospital thanks to a gunshot wound and a bit of shrapnel in the rear, not to mention on the run from a neurotic underworld boss and a psychotic killer: it must be love... In a bizarre but compelling mixture of crime and offbeat comedy, Dev proceeds to messily balance both sides of the law in a wacky tale that will keep you on your toes while laughing out loud.

    Now updated to include the results of new research, together with significant contributions from the 1990s. Includes writings by critics, philosophers, politicians and literary figures. The editors provide contextual introductions to 340 texts. Complements Art in Theory, 1648–1815 and Art in Theory, 1815–1900 to create a complete survey of the theories underpinning the development of art in the modern period.

    Reflecting the continuing change and development in modern literacy theory, the key features of this book includes its clarity, brevity, equal coverage of the main literary theories and useful bibliographies of further reading.Literature students will find its clearly defined sections easy to navigate and whilst avoiding over-simplification, it makes a complex subject accessible.

    Who would murder this shy, loving wife and leave her body posed like a ballerina?Jo wants to know why Jeanine’s husband is so controlling about money, and where Jeanine’s wedding ring is, but before she and her team can get close to the truth, another woman is found strangled in a hotel, arms placed gracefully above her head like a dancer. While digging through old case files, Jo makes a terrifying link to a series of cold cases: each victim bears the same strangulation marks. But the FBI won’t take Jo seriously, and if she disobeys direct orders by investigating the killings outside of her jurisdiction, it will mean the end of the career she’s already sacrificed so much for, even her relationship.Just as Jo is beginning to lose hope, she finds messages on the victims’ computers that make her question whether these small-town women were hiding big lies. Jo thinks this is the missing link between the victims, but she knows the killer is moments away from selecting his next victim. Will it lead her to the most twisted killer of her career in time, or will another innocent life be lost? An absolutely unputdownable and brilliant new crime thriller series that fans of Robert Dugoni, Lisa Regan and Melinda Leigh will devour in one sitting.

    But what if the private eye is a woman? And what if she is not a character in a novel but a real, working investigator testing not only the meanness but the absurdity of life on seamy streets? Who will tell her story? Enter Manchester's Val McDermid, herself a skilled writer of the P.I. novel but for years a professional journalist. In an effort to plumb the real world of working women--and throw new light on her own craft--she has interviewed women private eyes from both sides of the Atlantic and assembled their stories with an eye for the absurd and a keen grasp of the gritty nuts and bolts of the profession.As fascinating as fiction, A Suitable Job for a Woman is, in the words of Edgar-winning author Nevada Barr, "a concise and eye-opening trek through the competence, humor, and humanity of women."

    But above all, Amis is concerned with literature, and with the deadly cliches–not only of the pen, but of the mind and the heart. In The War Against Cliché, Amis serves up fresh assessments of the classics and plucks neglected masterpieces off their dusty shelves. He tilts with Cervantes, Dickens and Milton, celebrates Bellow, Updike and Elmore Leonard, and deflates some of the most bloated reputations of the past three decades. On every page Amis writes with jaw-dropping felicity, wit, and a subversive brilliance that sheds new light on everything he touches.

    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

    She devours everything she can during her detective training in hopes of being promoted soon. Living in small-town USA has its advantages, like a sense of security, and disadvantages, like being close to Milwaukee and its crime. Washburn County has become the dumping ground of murder victims, courtesy of its neighboring county to the south. When two men are discovered on the outskirts of North Bend, each with a bullet to the head, Amber’s team, led by Lieutenant Jack Steele, hits the highway in search of a killer. Assisted by the Milwaukee PD, they go deep into Brew City’s underbelly, which reveals far more than anyone ever expected. Crimes involving murder and counterfeiting keep the team running in every direction, but it’s Amber’s attraction to a new man in North Bend that puts her front and center on the killer’s short list. She doesn’t get far before the entire case turns upside down. Note: All Amber Monroe books are standalone stories but since characters carry over, they are best read in chronological order. Series One - Amber Monroe Crime Thriller Series #1 Greed #2 Avenged The Amber Monroe Crime Thriller Series follows on the heels of the conclusion of Malice, Book 5 in the Agent Jade Monroe FBI Thriller Series.