Paul Saints--the most audacious bushleague ballclub ever to plumb the bottom of the pro sports barrel. Coowned by comedian Bill Murray and run by Mike Veeck--son of the infamous sports promoter Bill Veeck--this motley collection of mutts, hopefuls, and has-beens has become a national phenomenon for playing with as much gusto off the field as on ... while proudly adhering to the timeless sports credo that it takes heart, skill, and cheap theatrics to plant devoted butts in stadium seats. This is where Darryl Strawberry was rehabilitated (the first time) and began his long comeback climb to the Majors. Jack Morris--once baseball's winningest pitcher and biggest s.o.b.--joined the team only to vanish without a trace. Baseball's first female player, Ila Borders, made history on the mound of the Saints' ever-sold-out Midway Stadium. And St. Louis Cardinals phenom, J.D. Drew, played here for $300 a month while holding out for Major League millions. Here is the true story of one championship season and one complete collapse; a tale told with high spirits and genuine affection of frantic fans and baseball Annies, a back-rubbing nun, a blind sportscaster, and a 300-pound pig ballboy; a glorious celebration of the boys who still play the game for the best of reasons: SO THEY CAN GET CHICKS.In this era of spoiled millionaire athletes and Big Business baseball, the spirit of the Game is alive and well---if a bit deranged---in America's heartland.In SLOUCHING TOWARD FARGO, author Neal Karlen describes his two-year journey with the St. Paul Saints---the most audacious bush-league ballclub ever to plumb the bottom of the pro sports barrel. Co-owned by comedian Bill Murray and run by Mike Veeck---son of the infamous sports promoter Bill Veeck---this motley collection of mutts, hopefuls, and has-beens has become a national phenomenon for playing with as much gusto off the field as on...while proudly adhering to the timeless sports credo that it takes heart, skill, and cheap theatrics to plant devoted butts in stadium seats. This is where Darryl Strawberry was rehabilitated (the first time) and began his long come-back climb to the Majors. Jack Morris---once baseball's winningest pitcher and biggest s.o.b.---joined the team only to vanish without a trace. Baseball's first female player, Ila Borders, made history on the mound of the Saints' ever-sold-out Midway Stadium. And St. Louis Cardinals phenom, J.D. Drew, played here for $300 a month while holding out for Major League millions. Here is the true story of one championship season and one complete collapse; a tale told with high spirits and genuine affection of frantic fans and baseball Annies, a back-rubbing nun, a blind sportscaster, and 300-pound pig ballboy; a glorious celebration of the boys who still play the game for the best of reasons: SO THEY CAN GET CHICKS.In this era of spoiled millionaire athletes and Big Business baseball, the spirit of the Game is alive and well---if a bit deranged---in America's heartland.In SLOUCHING TOWARD FARGO, author Neal Karlen describes his two-year journey with the St. Paul Saints---the most audacious bush-league ballclub ever to plumb the bottom of the pro sports barrel. Co-owned by comedian Bill Murray and run by Mike Veeck---son of the infamous sports promoter Bill Veeck---this motley collection of mutts, hopefuls, and has-beens has become a national phenomenon for playing with as much gusto off the field as on...while proudly adhering to the timeless sports credo that it takes heart, skill, and cheap theatrics to plant devoted butts in stadium seats. This is where Darryl Strawberry was rehabilitated (the first time) and began his long come-back climb to the Majors. Jack Morris---once baseball's winningest pitcher and biggest s.o.b.---joined the team only to vanish without a trace. Baseball's first female player, Ila Borders, made history on the mound of the Saints' ever-sold-out Midway Stadium. And St. Louis Cardinals phenom, J.D. Drew, played here for $300 a month while holding out for Major League millions. Here is the true story of one championship season and one complete collapse; a tale told with high spirits and genuine affection of frantic fans and baseball Annies, a back-rubbing nun, a blind sportscaster, and 300-pound pig ballboy; a glorious celebration of the boys who still play the game for the best of reasons: SO THEY CAN GET CHICKS.

     Adapted from the column on its author's website, Nathan Rabin's Happy Place, with 52 hilarious, sometimes obscure and often oddly beautiful new original illustrations from Felipe Sobreiro and an introduction from Al himself, The Weird Accordion to Al explores every track on all sixteen of Al's records (14 studio albums, the Medium Rarities obscurities collection and Peter & the Wolf, his collaboration with Wendy Carlos) with an obsessiveness thats downright peculiar. Equal parts music criticism, cultural and comedy history, autobiography and comic meditation on nostalgia, television, consumerism, childhood, technology and food, The Weird Accordion to Al does justice to a musical legend and comic genius the extent of whose remarkable achievements are only now being fully understood and appreciated. Praise for The Weird Accordion to Al “A brilliant, heartfelt cry of obsession and love for an already beloved and obsessed-over artist. Share Nathan’s madness and be freed!”—Patton Oswalt "This book is pop culture history, music dissertation, and comedic theory. Nathan has exemplified the qualities that make Weird Al an artist who is equal parts Frank Zappa, Mel Brooks, and Mark Twain.”—Jonah Ray “You don’t have to be a fan of Weird Al to enjoy Rabin’s raucous deep-dive into the complete discography. But if you’re not a Weird Al fan there’s clearly something wrong with you”—Alex Winter “Wonderfully captures the quirks and fun details that have made the Yank-oeuvre ooze with oddness for almost four decades. Nathan really shows you what makes Al's mind tick. Spoiler: It's the neurons. A must read for anyone unemployed, childless, or with ninety spare hours to kill.”—Scott Aukerman “The Weird Accordion to Al is the definitive companion to the “Weird Al” catalogue. It’s chock full of fascinating insights that left my head spinning like a Frankie Yankovic record (no relation). Nobody covers the Al canon in better depth than Nathan Rabin. It’s a must-read for the weirdos in your life. I learned so much from this VERY SPECIFIC book.”—Thomas Lennon "Nathan Rabin is obsessive in the best sense of the word. He literally ALREADY wrote the book on Weird Al that Weird Al asked him to write. That wasn't enough for Nathan and that's why we are lucky to have this book. Al's contributions to pop culture deserve the kind of obsession that only Nathan Rabin can bring to the page and he brings it big time in this book. He dares to be very smart about "Dare To Be Stupid.’”—Jake Fogelnest

    Each year, the series editor and guest editor curate a truly exceptional collection. The only shared traits among all these diverse styles, voices, and stories are the extraordinarily high caliber of writing, and the pure passion they tap into that can only come from sports.

    A leading spokesman for the English Aesthetic movement, Wilde promoted "art for art’s sake" against critics who argued that art must serve a moral purpose. On every page of this collection the gifted literary stylist admirably demonstrates not only that the characteristics of art are "distinction, charm, beauty, and imaginative power," but also that criticism itself can be raised to an art form possessing these very qualities.In the opening essay, Wilde laments the "decay of Lying as an art, a science, and a social pleasure." He takes to task modern literary realists like Henry James and Emile Zola for their "monstrous worship of facts" and stifling of the imagination. What makes art wonderful, he says, is that it is "absolutely indifferent to fact, [art] invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment."The next essay, "Pen, Pencil, and Poison," is a fascinating literary appreciation of the life of Thomas Griffiths Wainewright, a talented painter, art critic, antiquarian, friend of Charles Lamb, and — murderer.The heart of the collection is the long two-part essay titled "The Critic as Artist." In one memorable passage after another, Wilde goes to great lengths to show that the critic is every bit as much an artist as the artist himself, in some cases more so. A good critic is like a virtuoso interpreter: "When Rubinstein plays … he gives us not merely Beethoven, but also himself, and so gives us Beethoven absolutely…made vivid and wonderful to us by a new and intense personality. When a great actor plays Shakespeare we have the same experience."Finally, in "The Truth of Masks," Wilde returns to the theme of art as artifice and creative deception. This essay focuses on the use of masks, disguises, and costume in Shakespeare.For newcomers to Wilde and those who already know his famous plays and fiction, this superb collection of his criticism offers many delights.The introduction is by Percival Pollard New York, July, 1905.

    Modeled on the "casebooks" often used in freshman English classes at the time, The Pooh Perplex contains twelve essays written in different critical voices, complete with ridiculous footnotes, tongue-in-cheek "questions and study projects," and hilarious biographical notes on the contributors. This edition contains a new preface by the author that compares literary theory then and now and identifies some of the real-life critics who were spoofed in certain chapters.

     Includes Overdue Account, Walter's Cargo Shorts, Simon's Piecharts, Missing Missy, Obviously a Foggot, Formal Complaints, Justin’s Floodlight, Matthew’s Party, Permission Slip and many more.

    This is a collection of original essays that can not be found anywhere else. Each volume is different and you never know what you'll find. They are an assortment of Jen's childhood memories, stories about her family, and rants about everything that make her punchy all told with her usual snarky take. Volume Three of this series includes 3 NEVER BEFORE SEEN essays: HEY DICK, WOULD YOU SEND YOUR MOM THAT PICTURE? LAURA INGALLS WILDER NEVER HAD A SIGNATURE LIPSMACKER FLAVOR MISSED MOM CONNECTION

    A book which should appeal to both literary theorists and to readers of the novel, this study invites the reader to consider how the plot reflects the patterns of human destiny and seeks to impose a new meaning on life.

    As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.

    Macbeth is a distinguished warrior hero, who over the course of the play, transforms into a brutal, murderous villain and pays an extraordinary price for committing an evil act. A man consumed with ambition and self-doubt, Macbeth is one of Shakespeare’s most vital meditations on the dangerous corners of the human imagination. Award-winning writer and beloved professor Harold Bloom investigates Macbeth’s interiority and unthinkable actions with razor-sharp insight, agility, and compassion. He also explores his own personal relationship to the character: Just as we encounter one Anna Karenina or Jay Gatsby when we are seventeen and another when we are forty, Bloom writes about his shifting understanding—over the course of his own lifetime—of this endlessly compelling figure, so that the book also becomes an extraordinarily moving argument for literature as a path to and a measure of our humanity. Bloom is mesmerizing in the classroom, wrestling with the often tragic choices Shakespeare’s characters make. He delivers that kind of exhilarating intimacy and clarity in Macbeth, the final book in an essential series.

    It demonstrates how recent writers have changed the aesthetic constructs and social content of fairy tales to reflect cultural change since the 1960s in area of gender roles, socialization and education. It includes selected works from such writers as Angela Carter, Margaret Atwood and Jay Williams, and critical essays from Marcia Lieberman and Sandra Gilbert.

    Combining meticulous research with savage indignation, Green exposes the inaccuracies, prejudices, and outright incompetence of Gaddis's reviewers to argue that the review media is ill-equipped to deal with masterpieces of innovative fiction, much preferring safe, predictable books that reassure (rather than question) conventional literary expectations.Despite his careful scholarship, Green is not a dispassionate commentator but an impassioned satirist, working in a rogue tradition that looks back to Swift's ferocious pamphlets. Originally published as a three-part series in his own magazine called newspaper—which Gilbert Sorrentino has described as "one of the authentic minor splendors of New York literary life in the late fifties and early sixties." Gaddis scholar Steven Moore has written an introduction filling in the background to this unique work and comparing the book-reviewing media of today with that of the fifties.

    . . . The book is bound to start controversy. . . . The very passion and insight with which he writes about the tragedies that have moved him prove that the vision still lives and that words can still enlighten and reveal."—R.B. Sewall, New York Times Book Review "A remarkable achievement. . . . The knowledge is marshalled here with the skill and authority of a great general, and from it a large strategic argument emerges with clarity and force. . . . A brilliantly thoughtful and eloquent book which deserves to be read with the greatest attention and respect."—Philip Toynbee, The Observer "As brilliant, thorough, and concerned a contemplation of the nature of dramatic art as has appeared in many years."—Richard Gilman, Commonweal "A rich and illuminating study, full of intelligence and sensibility."—Times Literary Supplement (London) "His merits are shining and full of the capacity to give both delight and illumination. . . . His style is throughout vigorous, sensitive, and altogether worthy of its subject."—Harold Hobson, Christian Science Monitor "Immensely useful and [a book] to be reckoned with by everyone working in this field."—Raymond Williams, The Guardian

    

    Like an overstuffed stocking on Christmas morning, NPR Holiday Favorites is full of unexpected pleasures and evergreen delights.• David Sedaris contributes his now classic “Santaland Diaries,” his account of his experiences playing Santa’s little helper at Macy’s in New York.• Susan Stamberg sneaks her mother-in-law’s recipe for cranberry relish onto the air—again.• Storyteller Kevin Kling finds an invitation to participate in a production of The Nutcracker too tempting to resist.• Ghanian-born commentator Meri Danquah shares her thoughts on Kwanzaa.• Cowboy poet Baxter Black describes a Christmas cookie with “the denseness of an anvil and the half-life of a radial tire.”• Robert Siegel goes in search of the correct spelling for December’s Jewish holiday.• The Thanksgiving tables are turned on unsuspecting Bostonians in “When Turkeys Attack.”And more...