Anne’s College, Oxford. Her lectures took the shape of this set of discursive stories. Refusing to be tied down to either fiction or the essay form, Artful is narrated by a character who is haunted—literally—by a former lover, the writer of a series of lectures about art and literature.A hypnotic dialogue unfolds, a duet between and a meditation on art and storytelling, a book about love, grief, memory, and revitalization. Smith’s heady powers as a fiction writer harmonize with her keen perceptions as a reader and critic to form a living thing that reminds us that life and art are never separate.Artful is a book about the things art can do, the things art is full of, and the quicksilver nature of all artfulness. It glances off artists and writers from Michelangelo through Dickens, then all the way past postmodernity, exploring every form, from ancient cave painting to 1960s cinema musicals. This kaleidoscope opens up new, inventive, elastic insights—on the relation of aesthetic form to the human mind, the ways we build our minds from stories, the bridges art builds between us. Artful is a celebration of literature’s worth in and to the world and a meaningful contribution to that worth in itself. There has never been a book quite like it.

    It could not anticipate what was to come after, neither could it grasp what had happened in literary theory in the light of where it was to lead.

    We see, hear, and feel Umberto Eco, the passionate reader who has gotten lost over and over again in the woods, loved it, and come back to tell the tale, The Tale of Tales. Eco tells us how fiction works, and he also tells us why we love fiction so much. This is no deconstructionist ripping the veil off the Wizard of Oz to reveal his paltry tricks, but the Wizard of Art himself inviting us to join him up at his level, the Sorcerer inviting us to become his apprentice.

    He is especially penetrating on Hermann Broch, and his exploration of the world of Kafka's novels vividly reveals the comic terror of Kafka's bureaucratized universe.Kundera's discussion of his own work includes his views on the role of historical events in fiction, the meaning of action, and the creation of character in the post-psychological novel.

    Infused with a love of learning, compelling in its arguments for a unifying written culture, it argues brilliantly against the politicization of literature and presents a guide to the great works of the western literary tradition and essential writers of the ages. The Western Canon was nominated for the National Book Critics Circle Award.

    Lewis's classic analysis springs from the conviction that literature exists for the joy of the reader and that books should be judged by the kind of reading they invite. Crucial to his notion of judging literature is a commitment to laying aside expectations and values extraneous to the work, in order to approach it with an open mind.

    . . not only a poetics of reading . . . but a much more difficult achievement, an erotics of reading . . . . Like filings which gather to form a figure in a magnetic field, the parts and pieces here do come together, determined to affirm the pleasure we must take in our reading as against the indifference of (mere) knowledge." --Richard Howard

    His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war thought and literature. In What is Literature? Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write.

    In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why it’s more relevant than ever in these turbulent times.In his introduction, Saunders writes, “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?” He approaches the stories technically yet accessibly, and through them explains how narrative functions; why we stay immersed in a story and why we resist it; and the bedrock virtues a writer must foster. The process of writing, Saunders reminds us, is a technical craft, but also a way of training oneself to see the world with new openness and curiosity.A Swim in a Pond in the Rain is a deep exploration not just of how great writing works but of how the mind itself works while reading, and of how the reading and writing of stories make genuine connection possible.

    She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other "minorities" have been barred from producing written art. In chapters entitled "Prohibitions," "Bad Faith," "Denial of Agency," Pollution of Agency," "The Double Standard of Content," "False Categorization," "Isolation," "Anomalousness," "Lack of Models," Responses," and "Aesthetics" Joanna Russ names, defines, and illustrates those barriers to art-making we may have felt but which tend to remain unnamed and thus insolvable.

    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.

    Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the famous essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Lévi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.This edition has a new afterword, "Thirty Years Later," in which Sontag restates the terms of her battle against philistinism and against ethical shallowness and indifference.

    D. James, the undisputed queen of mystery, gives us an intriguing, inspiring and idiosyncratic look at the genre she has spent her life perfecting.   Examining mystery from top to bottom, beginning with such classics as Charles Dickens's Bleak House and Wilkie Collins's The Woman in White, and then looking at such contemporary masters as Colin Dexter and Henning Mankell, P. D. James goes right to the heart of the genre. Along the way she traces the lives and writing styles of Arthur Conan Doyle, Agatha Christie, Dashiell Hammett, and many more. Here is P.D. James discussing detective fiction as social history, explaining its stylistic components, revealing her own writing process, and commenting on the recent resurgence of detective fiction in modern culture. It is a must have for the mystery connoisseur and casual fan alike.

    Forster's Aspects of the Novel is an innovative and effusive treatise on a literary form that, at the time of publication, had only recently begun to enjoy serious academic consideration. This Penguin Classics edition is edited with an introduction by Oliver Stallybrass, and features a new preface by Frank Kermode.First given as a series of lectures at Cambridge University, Aspects of the Novel is Forster's analysis of this great literary form. Here he rejects the 'pseudoscholarship' of historical criticism - 'that great demon of chronology' - that considers writers in terms of the period in which they wrote and instead asks us to imagine the great novelists working together in a single room. He discusses aspects of people, plot, fantasy and rhythm, making illuminating comparisons between novelists such as Proust and James, Dickens and Thackeray, Eliot and Dostoyevsky - the features shared by their books and the ways in which they differ. Written in a wonderfully engaging and conversational manner, this penetrating work of criticism is full of Forster's habitual irreverence, wit and wisdom.In his new introduction, Frank Kermode discusses the ways in which Forster's perspective as a novelist inspired his lectures. This edition also includes the original introduction by Oliver Stallybrass, a chronology, further reading and appendices.E. M. Forster (1879-1970) was a noted English author and critic and a member of the Bloomsbury group. His first novel, Where Angels Fear To Tread appeared in 1905. The Longest Journey appeared in 1907, followed by A Room With A View (1908), based partly on the material from extended holidays in Italy with his mother. Howards End (1910) was a story that centered on an English country house and dealt with the clash between two families, one interested in art and literature, the other only in business. Maurice was revised several times during his life, and finally published posthumously in 1971.If you enjoyed Aspects of the Novel, you might like Forster's A Room with a View, also available in Penguin Classics.

    Born in Tokyo but also raised and educated in the United States, Minae Mizumura acknowledges the value of a universal language in the pursuit of knowledge, yet also embraces the different ways of understanding offered by multiple tongues. She warns against losing this precious diversity.Universal languages have always played a pivotal role in advancing human societies, Mizumura shows, but in the globalized world of the Internet, English is fast becoming the sole common language of humanity. The process is unstoppable, and striving for total language equality is delusional--and yet, particular kinds of knowledge can be gained only through writings in specific languages.Mizumura calls these writings "texts" and their ultimate form "literature." Only through literature, and more fundamentally through the diverse languages that give birth to a variety of literatures, can we nurture and enrich humanity. Incorporating her own experiences as a writer and a lover of language, and embedding a parallel history of Japanese, Mizumura offers an intimate look at the phenomena of individual and national expression.