A VINTAGE ORIGINAL.What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page - a graceful ear there, a stray curl, a hat positioned just so - and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved - or reviled - literary figures.In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature - he thinks of himself first, and foremost, as a reader - into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.

    For a full appreciation of literature or visual art, knowledge of the Greek myths is crucial. In this much-loved collection, poet and scholar Robert Graves retells the immortal stories of the Greek myths. Demeter mourning her daughter Persephone, Icarus flying too close to the sun, Theseus and the Minotaur … all are captured here with the author’s characteristic erudition and flair.The Greek Myths is the culmination of years of research and careful observation, however what makes this collection extraordinary is the imaginative and poetic style of the retelling. Drawing on his experience as a novelist and poet, Graves tells the fantastic stories of Ancient Greece in a style that is both absorbing and easy for the general reader to understand. Each story is accompanied by Graves’ interpretation of the origins and deeper meaning of the story, giving a reader an unparalleled insight into the customs and development of the Greek world.

    Based on a lecture given at Girton College, Cambridge, the essay is one of the great feminist polemics, ranging in its themes from Jane Austen and Charlotte Bronte to the silent fate of Shakespeare's gifted (imaginary) sister and the effects of poverty and sexual constraint on female creativity.Virginia Woolf (1882-1941) is regarded as a major twentieth-century author and essayist, a key figure in literary history as a feminist and a modernist, and the centre of 'The Bloomsbury Group'.

    Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, "Michael Schmidt does full justice to its complexity.Like his hero Ford Madox Ford in The March of Literature," Schmidt chooses as his traveling companions not critics or theorists but "artist practitioners," men and women who feel "hot love" for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliche--some irreducible quality that keeps readers coming back to its pages."

    Subscribing to Virginia Woolf's own belief in the fluidity and elusiveness of identity, Lee comes at her subject from a multitude of perspectives, producing a richly layered portrait of the writer and the woman that leaves all of her complexities and contradictions intact.  Such issues as sexual abuse, mental illness, and suicide are brought into balance with the immensity of her literary achievement, her heroic commitment to her work, her generosity and wit,  and her sanity and strength. It is not often that biography offers the satisfactions of great fiction--but this is clearly what Hermione Lee has achieved. Accessible, intelligent, and deeply pleasurable to read, her Virginia Woolf will undoubtedly take its place as the standard biography for years to come.

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.

    Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.'Julian Barnes began writing about art with a chapter on Géricault's The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays , chiefly about French artists, for a variety of journals and magazines. Gathering them for this book, he realised that he had unwittingly been retracing the story of how art made its way from Romanticism to Realism and into Modernism.

    But perception is not dependent on the body alone. Carolyn Purnell persuasively shows that, while our bodies may not change dramatically, the way we think about the senses and put them to use has been rather different over the ages. Journeying through the past three hundred years, Purnell explores how people used their senses in ways that might shock us now. And perhaps more surprisingly, she shows how many of our own ways of life are a legacy of this earlier time.The Sensational Past focuses on the ways in which small, peculiar, and seemingly unimportant facts open up new ways of thinking about the past. You will explore the sensory worlds of the Enlightenment, learning how people in the past used their senses, understood their bodies, and experienced the rapidly shifting world around them.In this smart and witty work, Purnell reminds us of the value of daily life and the power of the smallest aspects of existence using culinary history, fashion, medicine, music, and many other aspects of Enlightenment life.

    This book describes and explains its extraordinary progress from a remote Andean settlement near Lake Titicaca to its rapid demise six centuries later at the hands of the Spanish conquerors.A bold new history by the world's leading expert on Incan civilization.Covers the entire Andean region, five countries and ten million people.Heavily illustrated with maps, figures, and photographs.

    In Elephants on Acid, Boese details the results of this scientific trial, as well as answers to the questions: Why can't people tickle themselves? Would the average dog summon help in an emergency? Will babies instinctually pick a well-balanced diet? Is it possible to restore life to the dead? Read on to find out...

    The idea of humans cultivating the Earth to suit specific needs is one of the greatest points of contention in this struggle. For how would have civilization progressed, if not by the clearance of the forests, the cultivation of the soil, and the conservation of wild landscape into human settlement? Yet what of the healing powers of unexploited nature, its long-term importance in the perpetuation of human civilization, and the inherent beauty of wild scenery? At no time were these questions addressed as pointedly and with such great consequence as in England between the sixteenth and late eighteenth centuries. Between 1500 and 1800 there occurred a whole cluster of changes in the way in which men and women, at all social levels, perceived and classified the natural world around them, explains Keith Thomas. New sensibilities arose toward animals, plants, and landscape. The relationship of man to other species was redefined; and his right to exploit those species for his own advantage was sharply challenged. Man and the Natural World aims not just to explain present interest in preserving the environment and protecting the rights of animals, but to reconstruct an earlier mental world. Thomas seeks to expose the assumptions beneath the perceptions, reasonings, and feelings of the inhabitants of early modern England toward the animals, birds, vegetation, and physical landscape among which they spent their lives, often in conditions of proximity which are now difficult for us to appreciate. It was a time when a conviction of man's ascendancy over the natural world gave way to a new concern for the environment and sense of kinship with other species. Here, for example, Thomas illustrates the changing attitudes toward the woodlands. John Morton observed in 1712, In a country full of civilized inhabitants timber could not be suffered to grow. It must give way to fields and pastures, which are of more immediate use and concern to life. Shortly thereafter, in 1763, Edwin Lascelles pronounced the The beauty of a country consists chiefly in the wood. People's relationships with animals were also in the process of dramatic change as seen in their growing obsession with pet keeping. The use of human names for animals, the fact that pets were rarely eaten, though not for gastronomic reasons, and pets being included in family portraits and often fed better than the servants all demonstrated a major shift in man's position on human uniqueness. The issues raised in this fascinating work are even more alive today than they were just ten years ago. Preserving the environment, saving the rain forests, and preventing the extinction of species may seem like fairly recent concerns, however, Man and the Natural World explores how these ideas took root long ago. These issues have much to offer not only environmental activists, but historians as well, for it is impossible to disentangle what the people of the past thought about plants and animals from what they thought about themselves.

    The devastating struggle to the death between the Carthaginians and the Romans was one of the defining dramas of the ancient world. In an epic series of land and sea battles, both sides came close to victory before the Carthaginians finally succumbed and their capital city, history, and culture were almost utterly erased. Drawing on a wealth of new archaeological research, Richard Miles brings to life this lost empire-from its origins among the Phoenician settlements of Lebanon to its apotheosis as the greatest seapower in the Mediterranean. And at the heart of the history of Carthage lies the extraordinary figure of Hannibal-the scourge of Rome and one of the greatest military leaders, but a man who also unwittingly led his people to catastrophe.

    Written by one of the world’s most influential sociologists, this classic argues that suicide primarily results from a lack of integration of the individual into society. Suicide provides readers with an understanding of the impetus for suicide and its psychological impact on the victim, family, and society.

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.