By turns passionate and ironic, "Aunt Fay" makes Alice think--not only about books and literature, but also life and culture.

    This text uses place names to describe some of these meanings.

    This bestselling book inspired the play, motion picture, and television series I Remember Mama.

    It is more musical than verbal, and it is the characteristic signature of a person, of a soul.” “[Raymond Chandler] did not write about crime or detection. He wrote about the corruption of the human spirit.”—George V. Higgins   Raymond Chandler never wrote a memoir or autobiography. The closest he came to writing either was in—and around—his novels, shorts stories, and letters. There have been books that describe and evaluate Chandler’s life, but to find out what he himself felt about his life and work, Barry Day, editor of The Letters of Noël Coward (“There is much to dazzle here in just the way we expect . . . the book is meticulous, artfully structured—splendid” —Daniel Mendelsohn; The New York Review of Books), has cannily, deftly chosen from Chandler’s writing, as well as the many interviews he gave over the years as he achieved cult status, to weave together an illuminating narrative that reveals the man, the work, the worlds he created. Using Chandler’s own words as well as Day’s text, here is the life of “the man with no home,” a man precariously balanced between his classical English education with its immutable values and that of a fast-evolving America during the years before the Great War, and the changing vernacular of the cultural psyche that resulted. Chandler makes clear what it is to be a writer, and in particular what it is to be a writer of “hardboiled” fiction in what was for him “another language.” Along the way, he discusses the work of his contemporaries: Dashiell Hammett, James M. Cain, Hemingway, Fitzgerald, Agatha Christie, W. Somerset Maugham, and others (“I wish,” said Chandler, “I had one of those facile plotting brains, like Erle Gardner”). Here is Chandler’s Los Angeles (“There is a touch of the desert about everything in California,” he said, “and about the minds of the people who live here”), a city he adopted and that adopted him in the post-World War I period . . . Here is his Hollywood (“Anyone who doesn’t like Hollywood,” he said, “is either crazy or sober”) . . . He recounts his own (rocky) experiences working in the town with Billy Wilder, Howard Hawks, Alfred Hitchcock, and others. . .We see Chandler’s alter ego, Philip Marlowe, private eye, the incorruptible knight with little armor who walks the “mean streets” in a world not made for knights (“If I had ever an opportunity of selecting the movie actor who would best represent Marlowe to my mind, I think it would have been Cary Grant.”) . . . Here is Chandler on drinking (his life in the end was in a race with alcohol—and loneliness) .  .  . and here are Chandler’s women—the Little Sisters, the “dames” in his fiction, and in his life (on writing The Long Goodbye, Chandler said, “I watched my wife die by half inches and I wrote the best book in my agony of that knowledge . . . I was as hollow as the places between the stars.” After her death Chandler led what he called a “posthumous life” writing fiction, but more often than not, his writing life was made up of letters written to women he barely knew.) Interwoven throughout the text are more than one hundred pictures that reveal the psyche and world of Raymond Chandler. “I have lived my whole life on the edge of nothing,” he wrote.  In his own words, and with Barry Day’s commentary, we see the shape this took and the way it informed the man and his extraordinary work.

    In Naked, Sedaris turns the mania for memoir on its proverbial ear, mining the exceedingly rich terrain of his life, his family, and his unique worldview—a sensibility at once take-no-prisoners sharp and deeply charitable. A tart-tongued mother does dead-on imitations of her young son's nervous tics, to the great amusement of his teachers; a stint of Kerouackian wandering is undertaken (of course!) with a quadriplegic companion; a family gathers for a wedding in the face of imminent death. Through it all is Sedaris's unmistakable voice, without doubt one of the freshest in American writing.

    From Robert James Waller comes a wonderful collection of 19 essays--all of them as romantic, reflective, and timeless as readers have come to expect from the author of The Bridges of Madison County--a celebration of life and loss, of what things still can be.Excavating Rachael's room --Slow waltz for Georgia Ann --Incident at Sweet's Marsh --A canticle for roadcat --Romance --A rite of passage in three cushions --The boy from the Burma hump --Ridin' along in safety with Kennedy and Kuralt --Jump shots --The turning of fifty --I am orange band --Drinking wine the New York way --In Cedar Key, Harriet Smith loves birds and hates plastic --Brokerage --Running into Perry --The lion of winter --One good road is enough --Southern flight --A matter of honor

    But ask a physicist and there’s no doubt that James Clerk Maxwell will be near the top of the list.  Maxwell, an unassuming Victorian Scotsman, explained how we perceive colour. He uncovered the way gases behave. And, most significantly, he transformed the way physics was undertaken in his explanation of the interaction of electricity and magnetism, revealing the nature of light and laying the groundwork for everything from Einstein’s special relativity to modern electronics.   Along the way, he set up one of the most enduring challenges in physics, one that has taxed the best minds ever since. ‘Maxwell’s demon’ is a tiny but thoroughly disruptive thought experiment that suggests the second law of thermodynamics, the law that governs the flow of time itself, can be broken. This is the story of a groundbreaking scientist, a great contributor to our understanding of the way the world works, and his duplicitous demon.

    He brings their lives and ideas to life in entertaining and accessible fashion. Far from being a novelty, each book is a highly refined appraisal of the writer and his work, authoritative and clearly presented. Applause for Paul Strathern's Philosophers in 90 Minutes series: "Each of these little books is witty and dramatic and creates a sense of time, place, and character....I cannot think of a better way to introduce oneself and one's friends to Western civilization." Katherine A. Powers, Boston Globe "Well-written, clear and informed, they have a breezy wit about them....I find them hard to stop reading." Richard Bernstein, New York Times "Witty, illuminating, and blessedly concise." Jim Holt, Wall Street Journal

    He was jogging four miles at a clip these days, working on his novel God Knows, coping with the complications of an unpleasant divorce, and pigging out once or twice a week on Chinese food with cronies like Mel Brooks, Mario Puzo, and his buddy of more than twenty years, Speed Vogel. He was feeling perfectly fine that day—but within twenty-four hours he would be in intensive care at Manhattan's Mount Sinai Hospital. He would remain hospitalized for nearly six months and leave in a wheelchair. Joseph Heller had Guillain-Barré syndrome, a debilitating, sometimes fatal condition that can leave its victims paralyzed from head to toe. The clan gathered immediately. Speed—sometime artist, sometime businessman, sometime herring taster, and now a coauthor—moved into Joe's apartment as messenger, servant, and shaman. Mel Brooks, arch-hypochondriac of the Western world, knew as much about Heller's condition as the doctors. Mario Puzo, author of the preeminent gangster novel of our time, proved to be the most reluctant man ever to be dragged along on a hospital visit. These and lots of others rallied around the sickbed in a show of loyalty and friendship that not only built a wild and spirited camaraderie but helped bring Joe Heller, writer and buddy extraordinaire, through his greatest crisis. This book is an inspiring, hilarious memoir of a calamitous illness and the rocky road to recuperation—as only the author of Catch-22 and the friend who helped him back to health could tell it. No Laughing Matter is as wacky, terrifying, and greathearted as any fiction Joseph Heller ever wrote.

    In this Penguin Classics edition, the letters are selected and edited by Ronald de Leeuw, and translated by Arnold Pomerans in Penguin Classics.Few artists' letters are as self-revelatory as Vincent van Gogh's, and this selection, spanning his artistic career, sheds light on every facet of the life and work of this complex and tortured man. Engaging candidly and movingly with his religious struggles, his ill-fated search for love, his attacks of mental illness and his relation with his brother Theo, the letters contradict the popular myth of van Gogh as an anti-social madman and a martyr to art, showing instead a man of great emotional and spiritual depths. Above all, they stand as an intense personal narrative of artistic development and a unique account of the process of creation.The letters are linked by explanatory biographical passages, revealing van Gogh's inner journey as well as the outer facts of his life. This edition also includes the drawings that originally illustrated the letters.Vincent Willem van Gogh (1853-1890) was born in Holland. In 1885 he painted his first masterpiece, The Potato Eaters, a haunting scene of domestic poverty. A year later he began studying in Paris, where he met Gauguin, Toulouse-Lautrec and Seurat, who became very important influences on his work. In 1888 he left Paris for the Provencal landscape at Arles, the subject of many of his best works, including Sunflowers.If you enjoyed The Letters of Vincent van Gogh, you might also like 100 Artists Manifestos, available in Penguin Modern Classics.'If there was ever any doubt that Van Gogh's letters belong beside those great classics of artistic self-revelation, Cellini's autobiography and Delacroix's journal, this excellent new edition dispels it'The Times

    There's never a dull moment as "The Children of Captain Grant" search the globe for their long-lost father and brother.

    In it, we witness Eddie's progression from beer to wine, or to put it more accurately, his inevitable maturation through time. Whether it's tales of his early pub-crawlin' days, or glimpses into his current private life with wifey and kids, there are truths here that transcend the factual and paint a picture of the way life should be. This collection -- numbered at 51 in The Comics Journal's top comics of the century -- has been much sought after by collectors of the serious graphic novel as well as r readers new to the idea of comics.

    Dick’s best science fiction novels:The Man in the High Castle • The Three Stigmata of Palmer Eldritch • Do Androids Dream of Electric Sheep? • Ubik • Martian Time-Slip • Dr. Bloodmoney • Now Wait for Last Year • Flow My Tears, the Policeman Said • A Scanner Darkly • A Maze of Death • VALIS • The Divine Invasion • The Transmigration of Timothy Archer

    Writing in the intensely lyrical prose style that is his trademark, the man, Jean Cocteau, dubbed France's "Black Prince of Letters" here reconstructs his early adult years - time he spent as a petty criminal and vagabond, traveling through Spain and Antwerp, occasionally border hopping across to the rest of Europe, always trying to stay one step ahead of the authorities.

    A collection of the notoriously private Beckett's reminiscences about his life and remembrances of Beckett fromthose who knew him.