In response to requests from instructors and students for shorter and less expensive composition readers, 40 Model Essays — featuring material adapted from the successful The Compact Reader — offers about half the usual number of readings for about half the price of similar books.

    Their subjects: language and writing. The interviewee drove more than an hour, from Claremont to downtown Los Angeles. The interviewer flew from Dallas. They spoke on film for 67 minutes and then walked uphill to a nearby seafood restaurant, where they continued the running conversation they had started five years earlier. They liked each other, and they seemed to understand each other. The rest is history. This is the last long interview with David Foster Wallace.

    These collected interviews, like a visit with Percy at his home on the Bogue Falaya River, provide refreshing close-up encounters with one of America's most celebrated writers.These twenty-seven interviews cover a period of twenty-two years, from the time of the publication of Percy's first novel, The Moviegoer, in 1961, until 1983, when he was interviewed about his friendship with Thomas Merton.These unabridged interviews, collected from a variety of sources, will give reading pleasure to general readers who wish to know Percy and his works more closely, and they will be of great use to Percy scholars.

    With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind??—??a must-have for all poetry-lovers.

    The social function of the creative personality is a recurrent theme with Henry Miller, and this book is perhaps his most poignant and concentrated analysis of the artist's dilemma.

    He shows that the conventional exclusion of Central and Eastern Europe has led to serious shortcomings in our understanding of the most crucial episodes of European history, namely the Second World War. The essays collected in this volume confront prevalent distortions and prejudices; taken together, they also form a meditation on the art of history writing itself.From the classical origins of the idea of Europe to the division between East and West during the Cold War; from the Jewish and Islamic strands in European history to the expansion of Europe to other continents; from the misunderstood Allied victory in 1945 to Britain's place in Europe; from reflections on the use and abuse of history to personal recollections on learning languages - this companion volume to the bestselling Europe looks at European history from a variety of unusual and entertaining angles in an equally erudite and accessible way.

    Considering various types of participatory writing as different strains of one style—immersion writing—Robin Hemley offers new perspectives and practical advice for writers of this nonfiction genre.Immersion writing can be broken down into the broad categories of travel writing, immersion memoir, and immersion journalism. Using the work of such authors as Barbara Ehrenreich, Hunter S. Thompson, Ted Conover, A. J. Jacobs, Nellie Bly, Julio Cortazar, and James Agee, Hemley examines these three major types of immersion writing and further identifies the subcategories of the quest, the experiment, the investigation, the infiltration, and the reenactment. Included in the book are helpful exercises, models for immersion writing, and a chapter on one of the most fraught subjects for nonfiction writers—the ethics and legalities of writing about other people.A Field Guide for Immersion Writing recalibrates and redefines the way writers approach their relationship to their subjects. Suitable for beginners and advanced writers, the book provides an enlightening, provocative, and often amusing look at the ways in which nonfiction writers engage with the world around them.A Friends Fund Publication.

    These are the same rules that all my top students used to become masters with the English language. Implement 1 of these rules, and your English will improve. Implement all 10, and you're sure to become an excellent English speaker.

    It is our greatest national drama, at once heroic, tragic, and epic—our Iliad, but also our Bible, a story of sin and judgment, suffering and despair, death and resurrection in a “new birth of freedom.” Drawn from letters, diaries, speeches, articles, poems, songs, military reports, legal opinions, and memoirs, The Civil War: The First Year brings together over 120 pieces by more than sixty participants to create a unique firsthand narrative of this great historical crisis.Beginning on the eve of Lincoln’s election in 1860 and ending in January 1862 with the appointment of Edwin M. Stanton as secretary of war, signaling a new energy and determination to the Union war effort, this volume collects writing by figures well-known—Ulysses S. Grant, Robert E. Lee, Mary Chesnut, Frederick Douglass, and Lincoln himself among them—and less familiar, like pro-slavery advocate J.D.B. DeBow, Lieutenants Charles B. Haydon of the 2nd Michigan Infantry and Henry Livermore Abbott of the 20th Massachusetts Volunteer Infantry Regiment, and plantation mistresses Catherine Edmondston of North Carolina and Kate Stone of Mississippi. Together, the selections provide a powerful sense of the immediacy, uncertainty, and urgency of events as the nation was torn asunder. Secessionist appeals by Georgia Governor Joseph E. Brown and Alabama legislator Stephen F. Hale give voice to the intense racial fears that helped drive the South toward disunion; Union corporal Samuel J. English and Confederate surgeon Lunsford P. Yandell evoke the shock, confusion, and horror of battle in Virginia and Missouri; memoirist Sallie Brock candidly records the impact of war on Richmond society; and Sam Mitchell recounts his liberation from slavery when the South Carolina Sea Islands fell to Union soldiers.The Civil War: The First Year includes headnotes, a chronology of events, biographical and explanatory endnotes, endpaper maps, and an index.

    It harks back to the 1989 issue of the same name, themed around the response to the fall of the Berlin wall. Through the lenses of exile and migration, we ask ourselves what it means to be European now. Featuring a photoessay by Bruno Fert who steps inside the temporary homes of refugees in camps in Greece and France.

    The turbulent political weather of the twenty-first century generates anxiety and makes it difficult to know how to react. Olivia Laing makes a brilliant, inspiring case for why art matters more than ever, as a force of both resistance and repair. Art, she argues, changes how we see the world. It gives us X-ray vision. It reveals inequalities and offers fertile new ways of living.Funny Weather brings together a career’s worth of Laing’s writing about art and culture, and their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O’Keeffe, interviews Hilary Mantel and Ali Smith, writes love letters to David Bowie and Wolfgang Tillmans, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, Funny Weather celebrates art as an antidote to a terrifying political moment.

    It continues the project of Linda Hutcheon's Narcissistic Narrative and A Theory of Parody in studying formal self-consciousness in art, but adds to this both an historical and an ideological dimension. Modelled on postmodern architecture, postmodernism is the name given here to current cultural practices characterized by major paradoxes of form and of ideology. The "poetics" of postmodernism offered here is drawn from these contradictions, as seen in the intersecting concerns of both contemporary theory and cultural practice.

    His 1990 National Book Award-winning novel Middle Passage is a modern classic, revered as much for its daring plot as its philosophical underpinnings. For thirty-three years, Johnson taught and mentored students in the art and craft of creative writing. The Way of the Writer is his record of those years, and the coda to a kaleidoscopic, boundary-shattering career. Organized into six accessible, easy-to-navigate sections, The Way of the Writer is both a literary reflection on the creative impulse and a utilitarian guide to the writing process. Johnson shares his lessons and exercises from the classroom, starting with word choice, sentence structure, and narrative voice, and delving into the mechanics of scene, dialogue, plot and storytelling before exploring the larger questions at stake for the serious writer. What separates literature from industrial fiction? What lies at the heart of the creative impulse? How does one navigate the literary world? And how are philosophy and fiction concomitant? Luminous, inspiring, and imminently accessible, The Way of the Writer is a revelatory glimpse into the mind of the writer and an essential guide for anyone with a story to tell.

    This cornucopia was devoted mainly to culture and the arts, the craft of writing, and travels to remote places, along with the movies, American popular song, email, multitasking, baseball, Central Park, Tina Brown, Pauline Kael, Steve Martin, and other complications of modern life. Written with elegance and humor, these pieces are now collected in The Writer Who Stayed."If you value vintage journalism of an old-fashioned vividness and integrity please, please read this book."—Wall Street Journal"Our 'endlessly supple' English language will, Zinsser says, 'do anything you ask it to do, if you treat it well. Try it and see.' Try him and see craftsmanship."—George F. Will"Zinsser—who, with On Writing Well, taught a whole lot of us how to set down a clean English sentence—last year won a National Magazine Award for his Friday web columns in The American Scholar. They're now in a collection that's completely charming, impeccably polished, and Strunk-and-White-ishly brief. He's the youngest 90-year-old you'll read this week."—New York MagazineWilliam Zinsser is a lifelong journalist and nonfiction writer—he began his career on the New York Herald Tribune in 1946—and is also a teacher, best known for his book On Writing Well, a companion held in affection by three generations of writers, reporters, editors, teachers, and students. His 17 other books range from memoir (Writing Places) to travel (American Places), jazz (Mitchell & Ruff), American popular song (Easy to Remember), baseball (Spring Training) and the craft of writing (Writing to Learn). During the 1970s he was at Yale University, where he was master of Branford College and taught the influential nonfiction workshop that would start many writers and editors on their careers. He has taught at the New School, in New York, his hometown, and at the Columbia University Graduate School of Journalism.

    For it is but the record of the public and official acts of human beings. It is our object, therefore, to humanize our history and deal with people past and present; people who ate and possibly drank; people who were born, flourished, and died. And if we cannot laugh at ourselves, then we are condemned to repeat the very same deeds of the past.