Michael Martone is its own appendix, comprising fifty “contributors notes,” each of which identifies in exorbitant biographical detail the author of the other forty-nine. Full of fanciful anecdotes and preposterous reminiscences, Martone’s self-inventions include the multiple deaths of himself and all his family members, his Kafkaesque rebirth as a giant insect, and his stints as circus performer, assembly-line worker, photographer, and movie extra. Expect no autobiographical consistency here. A note revealing Martone's mother as the ghost-writer of all his books precedes the note beginning, “Michael Martone, an orphan . . . “ We learn of Martone’s university career and sketchy formal education, his misguided caretaking of his teacher John Barth’s lawn, and his impersonation of a poor African republic in political science class, where Martone's population is allowed to starve as his more fortunate fellow republics fight over development and natural resource trading-cards. The author of Michael Martone, whose other names include Missy, Dolly, Peanut, Bug, Gigi-tone, Tony's boy, Patty's boy, Junior's, Mickey, Monk, Mr. Martone, and “the contributor named in this note," proves as Protean as fiction itself, continuously transforming the past with every new attribution but never identifying himself by name. It is this missing personage who, from first note to last, constitutes the unformed subject of Michael Martone.

    It traces the development of one individual consciousness, "playing over such issues as motherhood, racism, history, poetry, the uses of scholarship, the politics of language". A. Rich has written a headnote for each essay, briefly discussing the circumstances of its writing. "I find in myself both severe and tender thoughts toward the women I have been, whose thoughts I find here".

    Maurice Beebe calls it "a distinguished contribution to modern literary history." Jane Marcus hails it as "the first serious literary history of the period and its women writers, making along the way no small contribution to our understanding of the relationships between women artists and their male counterparts, from Henry James to Hemingway, Joyce, Picasso, and Pound."

    Among the contents are essays about other writers, accounts of the civil rights movement of the 1960s and the antinuclear movement of the 1980s, and a vivid memoir of a scarring childhood injury and her daughter's healing words.

    Written with a commanding sureness of tone and linguistic precision, The White Album is a central text of American reportage and a classic of American autobiography.

    Throughout, Chabon energetically argues for a return to the thrilling, chilling origins of storytelling, rejecting the false walls around "serious" literature in favor of a wide-ranging affection.Cover art by Jordan Crane.

    She was hailed and reviled as the first Indian woman to write an autobiographical cult classic about love and desire. Admirers dubbed her, "The First Feminist Emotional Revolutionary of Our Time." The tabloid press called her "The Love Queen of Malabar." Merrily Weisbord found Das's work so compelling that she flew to South India to meet her. The Love Queen of Malabar is the story of their decade-long friendship, an experiment in mutual revelation. Recounting the development of their relationship, Weisbord relates the dramatic events of Das's life, including her transition from celibacy to sexual awakening at age sixty-seven when, provoking the greatest scandal of her notorious life, she converted to Islam for love and renewal. Both observer and direct participant, Weisbord elegantly presents new biographical insights and cultural details about Kerala and India without exoticisation or stereotyping. The Love Queen of Malabar is an evocative and beautifully crafted work, as seamless as the finest novel, and will captivate readers across the globe.

    This selection of critical writings reveals a different side of the great writer--the deep and serious reader of literature and philosophy, and the eloquent and original thinker about society and art. This illuminating collection includes "The Portrait of Mr. W. H.," "In Defense of Dorian Gray," reviews, and the writings from Intentions (1891), including "The Decay of Lying," "Pen, Pencil, Poison," and "The Critic as Artist."For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Unflinchingly honest yet unfailingly hopeful, Rev. Sarah is a genre unto herself. You've never had this much fun going to church

    From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas’ will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book’s topics range from the “alien” experience of blacks in America to the “wake up” cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.

    The first, Tales from the Kingdom of Lailonia, is set in a fictional land. Each story illustrates some aspect of human inability to come to terms with imperfection, infinitude, history, and nature. The second, The Key to Heaven, is a collection of seventeen biblical tales from the Old Testament told in such a way that the story and the moral play off each other to illustrate political, moral, or existential foibles and follies.

    Orner reads—and writes—everywhere he finds himself: a hospital cafeteria, a coffee shop in Albania, or a crowded bus in Haiti. The result is “a book of unlearned meditations that stumbles into memoir.” Among the many writers Orner addresses are Isaac Babel and Zora Neale Hurston, both of whom told their truths and were silenced; Franz Kafka, who professed loneliness but craved connection; Robert Walser, who spent the last twenty-three years of his life in a Swiss insane asylum, “working” at being crazy; and Juan Rulfo, who practiced the difficult art of silence. Virginia Woolf, Eudora Welty, Yasunari Kawabata, Saul Bellow, Mavis Gallant, John Edgar Wideman, William Trevor, and Václav Havel make appearances, as well as the poet Herbert Morris—about whom almost nothing is known.An elegy for an eccentric late father, and the end of a marriage, Am I Alone Here? is also a celebration of the possibility of renewal. At once personal and panoramic, this book will inspire readers to return to the essential stories of their own lives.

    Eliot's critical writings. Tracing the rise of literary self-consciousness from the Elizabethan period to his own day, Eliot does not simply examine the relation of criticism to poetry, but invites us to "start with the supposition that we do not know what poetry is, or what it does or ought to do, or of what use it is; and try to find out, in examining the relation of poetry to criticism, what the use of both of them is." Eliot begins with the appearance of poetry criticism in the age of Dryden, when poetry became the province of an intellectual aristocracy rather than part of the mind and popular tradition of a whole people. Wordsworth and Coleridge, in their attempt to revolutionize the language of poetry at the end of the eighteenth century, made exaggerated claims for poetry and the poet, culminating in Shelley's assertion that "poets are the unacknowledged legislators of mankind." And, in the doubt and decaying moral definitions of the nineteenth century, Arnold transformed poetry into a surrogate for religion. By studying poetry and criticism in the context of its time, Eliot suggests that we can learn what is permanent about the nature of poetry, and makes a powerful case for both its autonomy and its pluralism in this century.

    Here Benjamin evolves a theory of language as the medium of all creation, discusses theater and surrealism, reminisces about Berlin in the 1920s, recalls conversations with Bertolt Brecht, and provides travelogues of various cities, including Moscow under Stalin. He moves seamlessly from literary criticism to autobiography to philosophical-theological speculations, cementing his reputation as one of the greatest and most versatile writers of the twentieth century. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times.

    Opening with a chapter on how Emily BrontA's masterpiece was received in the nineteenth century, the "Guide" links together a selection of extracts that demonstrate the major critical developments of the twentieth century -- from humanism through formalism to deconstruction. Within this general framework, subsequent chapters focus on psychoanalytic readings, source studies, readings using discourse theory, work on dissemination, and political readings from Marxist, postcolonialist, and feminist points of view.