Drawn to the Oulipo's mystique, Levin Becker secured a Fulbright grant to study the organization and traveled to Paris. He was eventually offered membership, becoming only the second American to be admitted to the group. From the perspective of a young initiate, the Oulipians and their projects are at once bizarre and utterly compelling. Levin Becker s love for games, puzzles, and language play is infectious, calling to mind Elif Batuman's delight in Russian literature in "The Possessed."In recent years, the Oulipo has inspired the creation of numerous other collectives: the OuMuPo (a collective of DJs), the OuMaPo (marionette players), the OuBaPo (comic strip artists), the OuFlarfPo (poets who generate poetry with the aid of search engines), and a menagerie of other Ou-X-Pos (workshops for potential "something"). Levin Becker discusses these and other intriguing developments in this history and personal appreciation of an iconic and iconoclastic group.

    And the writers we revere—from Homer, Shakespeare, Austen, and others—each made a unique technical breakthrough that can be viewed as both a narrative and neuroscientific advancement. Literature’s great invention was to address problems we could not solve: not how to start a fire or build a boat, but how to live and love; how to maintain courage in the face of death; how to account for the fact that we exist at all. Wonderworks reviews the blueprints for twenty-five of the most significant developments in the history of literature. These inventions can be scientifically shown to alleviate grief, trauma, loneliness, anxiety, numbness, depression, pessimism, and ennui, while sparking creativity, courage, love, empathy, hope, joy, and positive change. They can be found throughout literature—from ancient Chinese lyrics to Shakespeare’s plays, poetry to nursery rhymes and fairy tales, and crime novels to slave narratives. A “refreshing and remarkable” (Jay Parini, author of Borges and Me: An Encounter) exploration of the new literary field of story science, Wonderworks teaches you everything you wish you learned in your English class, and “contains many instances of critical insight....What’s most interesting about this compendium is its understanding of imaginative representation as a technology” (The New York Times).

    From Solzhenitsyn to Laura Zigman, Catherine M. to Captain Underpants, the result is a personal chronicle of insight, wit, and enough infectious enthusiasm to make a passionate reader out of anybody.

    The name conjures up J.K. Rowling's wondrous world of magic that has captured the imaginations of millions on both the printed page and the silver screen with bestselling novels and blockbuster films. The true magic found in this children's fantasy series lies not only in its appeal to people of all ages but in its connection to the greater world of classic literature. Harry Potter's Bookshelf: The Great Books Behind the Hogwarts Adventures explores the literary landscape of themes and genres J.K. Rowling artfully wove throughout her novels-and the influential authors and stories that inspired her. From Jane Austen's Emma and Charles Dickens's class struggles, through the gothic romances of Dracula and Frankenstein and the detective mysteries of Dorothy L. Sayers, to the dramatic alchemy of C.S. Lewis, J.R.R. Tolkien, and William Shakespeare, Rowling cast a powerful spell with the great books of English literature that transformed the story of a young wizard into a worldwide pop culture phenomenon.

    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."

    In this collection of lively and provocative pieces he talks about what readers want from books and how to look at the literature we encounter in a new light.

    Newly revised and expanded by the author, this study of epic fantasy analyzes the genre from its earliest beginnings in Medieval romances, on through practitioners like Tolkien, up to today's brightest lights.

    The interviews include favorites gleaned from the pages of the Believer magazine along with previously unpublished conversations. The book is rife with astonishing insights and profound quips. To wit:George Saunders: ‘I see writing as part of an ongoing attempt to really, viscerally, believe that everything matters, suffering is real, and death is imminent.’Ian McEwan: ‘The dream, surely, that we all have, is to write this beautiful paragraph that actually is describing something but at the same time in another voice is writing commentary on its own creation, without having to be a story about a writer.’Jamaica Kincaid: ‘All of these declarations of what writing ought to be, which I had myself—though, thank god I had never committed them to paper—I think are nonsense.... You write what you write, and then either it holds up or it doesn't hold up. There are no rules or particular sensibilities. I don't believe in that all anymore.’Janet Malcolm: ‘The narrator of my nonfiction pieces is not the same person I am—she is a lot more articulate and thinks of much cleverer things to say than I usually do.’Paul Auster: ‘In my own case, I certainly don't walk into my room and sit down at my desk feeling like a boxer ready to go ten rounds with Joe Louis. I tiptoe in. I procrastinate. I delay. I come in sideways, kind of sliding through the door.... I don't burst into the saloon with my six-shooter ready. If I did, I'd probably shoot myself in the foot.’Tobias Wolff: ‘Each time out should be a swing for the fences. Don't do base-running drills. You can do those on your own time.’

    Gorra, an eminent literary critic, shows how this novel the scandalous story of the expatriate American heiress Isabel Archer came to be written in the first place. Traveling to Florence, Rome, Paris, and England, Gorra sheds new light on James 's family, the European literary circles George Eliot, Flaubert, Turgenev in which James made his name, and the psychological forces that enabled him to create this most memorable of female protagonists. Appealing to readers of Menand 's The Metaphysical Club and McCullough 's The Greater Journey, Portrait of a Novel provides a brilliant account of the greatest American novel of expatriate life ever written. It becomes a piercing detective story on its own.

    From THE WHORE OF MENSA, to GOD (A Play), to NO KADDISH FOR WEINSTEIN, old and new Woody Allen fans will laugh themselves hysterical over these sparkling gems.

    “Taken together,” as the editor Ignacio Echevarría remarks in his introduction, they provide “a personal cartography of the writer: the closest thing, among all his writings, to a kind of fragmented ‘autobiography.’” Bolaño’s career as a nonfiction writer began in 1998, the year he became famous overnight for The Savage Detectives; he was suddenly in demand for articles and speeches, and he took to this new vocation like a duck to water. Cantankerous, irreverent, and insufferably opinionated, Bolaño also could be tender (about his family and favorite places) as well as a fierce advocate for his heroes (Borges, Cortázar, Parra) and his favorite contemporaries, whose books he read assiduously and promoted generously. A demanding critic, he declares that in his “ideal literary kitchen there lives a warrior”: he argues for courage, and especially for bravery in the face of failure. Between Parentheses fully lives up to his own demands: “I ask for creativity from literary criticism, creativity at all levels.”

    Schulz (1922-2000) was also a thoughtful and precise prose writer who knew how to explain his craft in clear and engaging ways. My Life with Charlie Brown brings together his major prose writings, many published here for the first time.Schulz's autobiographical articles, book introductions, magazine pieces, lectures, and commentary elucidate his life and his art, and clarify themes of modern life, philosophy, and religion that are interwoven into his beloved, groundbreaking comic strip. Edited and with an introduction by comics scholar M. Thomas Inge, this volume will serve as the touchstone for Schulz's thoughts and convictions and as a wide-ranging, unique autobiography in the absence of a traditional, extended memoir.Inge and the Schulz estate have chosen a number of illustrations to include. With the approval and cooperation of the Schulz family, Inge draws on the cartoonist's entire archives, papers, and correspondence to allow Schulz full voice to speak his mind. The project includes his comics criticism, his introductions to Peanuts volumes, his essays about philanthropy, his commentary on Christianity, his newspaper articles about the creation of his characters, and more. My Life with Charlie Brown will reveal new dimensions of this legendary cartoonist.

    These interviews are compiled in Scout, Atticus, and Boo, the perfect companion to one of the most important American books of the 20th Century. Scout, Atticus, and Boo will also feature a foreword from acclaimed writer Wally Lamb.

    The art of fiction is considered under a wide range of headings, such as the Intrusive Author, Suspense, the Epistolary Novel, Time-shift, Magic Realism and Symbolism, and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austen and Fay Weldon and Henry Fielding and James Joyce, David Lodge makes accesible to the general reader the richness and variety of British and American fiction. Technical terms, such as Interior Monologue, Metafiction, Intertextuality and the Unreliable Narrator, are lucidly explained and their applications demonstrated.Bringing to criticism the verve and humour of his own novels, David Lodge has provided essential reading for students of literature, aspiring writers, and anyone who wishes to understand how literature works.Beginning (Jane Austen, Ford Madox Ford) --The intrusive author (George Eliot, E.M. Forster) --Suspense (Thomas Hardy) --Teenage Skaz (J.D. Salinger) --The epistolary novel (Michael Frayn) --Point of view (Henry James) --Mystery (Rudyard Kipling) --Names (David Lodge, Paul Auster) --The stream of consciousness (Virginia Woolf) --Interior monologue (James Joyce) --Defamiliarization (Charlotte Bronte) --The sense of place (Martin Amis) --Lists (F. Scott Fitzgerald) --Introducing a character (Christopher Isherwood) --Surprise (William Makepeace Thackeray) --Time-shift (Muriel Spark) --The reader in the text (Laurence Sterne) --Weather (Jane Austen, Charles Dickens) --Repetition (Ernest Hemingway) --Fancy prose (Vladimir Nabokov) --Intertextuality (Joseph Conrad) --The experimental novel (Henry Green) --The comic novel (Kingsley Amis) --Magic realism (Milan Kundera) --Staying on the surface (Malcolm Bradbury) --Showing and telling (Henry Fielding) --Telling in different voices (Fay Weldon) --A sense of the past (John Fowles). Imagining the future (George Orwell) --Symbolism (D.H. Lawrence) --Allegory (Samuel Butler) --Epiphany (John Updike) --Coincidence (Henry James) --The unreliable narrator (Kazuo Ishiguro) --The exotic (Graham Greene) --Chapters etc. (Tobias Smollett, Laurence Sterne, Sil Walter Scott, George Eliot, James Joyce) --The telephone (Evelyn Waugh) --Surrealism (Leonora Carringotn) --Irony (Arnold Bennett) --Motivation (George Eliot) --Duration (Donald Barthelme) --Implication (William Cooper) --The title (George Gissing) --Ideas (Anthony Burgess) --The non-fiction novel (Thomas Carlyle) --Metafiction (John Barth) --The uncanny (Edgar Allen Poe) --Narrative structure (Leonard Michaels) --Aporia (Samuel Beckett) --Ending (Jane Austen, William Golding)