Squeaky, off on an increasingly fantastic series of encounters and incidents in a dreary Boston...

    Thompson, Joyce Johnson, Richard Hell, and others. It includes rare pieces from the Rolling Stone archives by William Burroughs, Lester Bangs, and Robert Palmer as well as intimate photographs by Robert Frank, Annie Leibovitz, and rarely seen photos taken by the Beats themselves. A rich tapestry of voices and a visual treat, this treasury of Beat lore and literature is a true collector's item whose entertainment value will go on...and on."A huge dim sum cart of a book...a first-rate companion." --Publishers Weekly"Compelling reading."--The Denver Post

    He argues that, of all the arts, fiction has a unique ability to describe the shape of our lives, and to rescue the texture of those lives from death and historical oblivion. The act of reading is understood here as the most sacred and personal of activities, and there are brilliant discussions of individual works – among others, Chekhov’s story ‘The Kiss’, W.G. Sebald’s The Emigrants, and Fitzgerald’s The Blue Flower.Wood reveals his own intimate relationship with the written word: we see the development of a provincial boy growing up in a charged Christian environment, the secret joy of his childhood reading, the links he makes between reading and blasphemy, or between literature and music. The final section discusses fiction in the context of exile and homelessness. The Nearest Thing to Life is not simply a brief, tightly argued book by a man commonly regarded as our finest living critic – it is also an exhilarating personal account that reflects on, and embodies, the fruitful conspiracy between reader and writer (and critic), and asks us to re-consider everything that is at stake when we read and write fiction.

    In “Rivers,” a free Jim meets up decades later with his former raftmate Huckleberry Finn; “An Outtake” chronicles an escaped slave’s fate in the American Revolution; “On Brazil, or Dénouement” burrows deep into slavery and sorcery in early colonial South America; and in “Blues” the great poets Langston Hughes and Xavier Villaurrutia meet in Depression-era New York and share more than secrets.

    Repulsing and fascinating him at the same time, she becomes a mirror in which he not only sees himself but through which he is forced to face his own demons. Not only does she inadvertently supply him with material for his columns, she represents all Eugene considers to be wrong with contemporary America - a garish and dunce-filled Babylon that Theroux scorches with relentless satire.

    He shoots his first film, surreptitiously capturing his neighbors having sex on their back porch and discovering that through representations of sexual activity he can comment on what he finds both painful and confusing. In the films that follow, the narrator imagines in positions of dominance those who are disadvantaged in their everyday lives, now sexually belittling those who have once held them down. Nettie, an idealistic poet and the one person with whom the narrator genuinely connects, sees in pornography the opportunity to do something artistic, liberating, and socially relevant. She pushes him to make even more subversive films but, ultimately, despite his radical intentions, the narrator falls into a world of greed, delusion, and hypocrisy, the same world he once rebelled against. Investigating the ways in which lives are remembered and reconstructed, Turner works backwards and forwards in time with unerring attention to subtle shifts in voice and experience. But this is not a wistful recounting, for the retelling of the protagonist’s story is at the behest of an authoritative, unforgiving tribunal of interrogators.

    During his lifetime he was a bourgeois-baiting visionary, and the list of his known crimes is longer than the list of his published poems. But his posthumous career is even more astonishing: saint to symbolists and surrealists; poster child for anarchy and drug use; gay pioneer; a major influence on artists from Picasso to Bob Dylan.

    In these quasi-abstract, experimental lines, collaged words torn from their contexts take on new meanings. Waldrop, a longtime admirer of such artists as the French poet Raymond Queneau and the American painter Robert Motherwell, imposes a tonal override on purloined materials, yet the originals continue to show through. These powerful poems, at once metaphysical and personal, reconcile Waldrop's romantic tendencies with formal experimentation, uniting poetry and philosophy and revealing him as a transcendentalist for the new millennium.

    last year, this updated collection contains the best of Robertson Davies' newspaper and magazine articles written over the past 50 years. "Each piece is entertaining and enlightening. . . ".--Publishers Weekly.

    It's easy to see why Mr. Martin, who wrote the film...was moved to reinvent this role...Mr. Martin's screenplay is bighearted and funny.' The New York Times

    Walter tells the story of Matt Prior, who’s losing his job, his wife, his house, and his mind—until, all of a sudden, he discovers a way that he might just possibly be able to save it all . . . and have a pretty damn great time doing it.

    Essays:- The Fight- The Indian Jugglers- On the Spirit of Monarchy- What is the People?- On Reason and Imagination- On the Pleasure of Hating

    Searching for work, sex and big-city life is Ted Owen, who quickly finds himself swept into the complicated lives of the young and the jaded, people who thrive in a strange world of hip fashion and surreal night-clubs.

    In its pages V. S. Naipaul trains his relentless moral intelligence on societies from India to the United States and sees how each deals with the challenges of modernity and the seductions of both the real and mythical past.Whether he is writing about a string of racial murders in Trinidad; the mad, corrupt reign of Mobutu in Zaire; Argentina under the generals; or Dallas during the 1984 Republican Convention, Naipaul combines intellectual playfulness with sorrow, indignation, and analysis so far-reaching that it approaches prophecy. The Writer and the World reminds us that he is in a class by himself.

    It's a book that has remained current for over half a century, fighting off critics and changing tastes in fiction. But do even its biggest fans know all there is to appreciate about The Great Gatsby?Maureen Corrigan, the book critic for "Fresh Air" and a Gatsby lover extraordinaire, points out that while Gatsby may be the novel most Americans have read, it's also the ones most of us read too soon -- when we were "too young, too defensive emotionally, too ignorant about the life-deforming powers of regret" to really understand all that Fitzgerald was saying ("it's not the green light, stupid, it's Gatsby's reaching for it," as she puts it). No matter when or how recently you've read the novel, Corrigan offers a fresh perspective on what makes it so enduringly relevant and powerful. Drawing on her experience as a reader, lecturer, and critic, her book will be a rousing consideration of Gatsby: not just its literary achievements, but also its path to "classic" (its initial lukewarm reception has been a form of cold comfort to struggling novelists for decades), its under-acknowledged debt to hard-boiled crime fiction, its commentaries on race, class, and gender.With rigor, wit, and an evangelistic persuasiveness, Corrigan will leave readers inspired to grab their old paperback copies of Gatsby and re-experience this great novel in an entirely new light.