It was a shock to Williams to discover that her mother had kept journals. But not as much of a shock as what she found when the time came to read them.  “They were exactly where she said they would be: three shelves of beautiful cloth-bound books . . . I opened the first journal. It was empty. I opened the second journal. It was empty. I opened the third. It too was empty . . . Shelf after shelf after shelf, all of my mother’s journals were blank.” What did Williams’s mother mean by that? In fifty-four chapters that unfold like a series of yoga poses, each with its own logic and beauty, Williams creates a lyrical and caring meditation of the mystery of her mother's journals. When Women Were Birds is a kaleidoscope that keeps turning around the question “What does it mean to have a voice?”

    In it, she confronts a meticulous diary that she has kept for twenty-five years. “I wanted to end each day with a record of everything that had ever happened,” she explains. But this simple statement belies a terror that she might forget something, that she might miss something important. Maintaining that diary, now eight hundred thousand words, had become, until recently, a kind of spiritual practice.Then Manguso became pregnant and had a child, and these two Copernican events generated an amnesia that put her into a different relationship with the need to document herself amid ongoing time.Ongoingness is a spare, meditative work that stands in stark contrast to the volubility of the diary—it is a haunting account of mortality and impermanence, of how we struggle to find clarity in the chaos of time that rushes around and over and through us.“Bold, elegant, and honest . . . Ongoingness reads variously as an addict’s testimony, a confession, a celebration, an elegy.” —The Paris Review“Manguso captures the central challenge of memory, of attentiveness to life . . . A spectacularly and unsummarizably rewarding read.” —Maria Popova, Brain Pickings

    The next morning her world is shattered. Forced to leave the comfortable home of her childhood, she is sent to London to live with relatives she never met: Aunt Margaret, beautiful and speechless, and her brothers, Francie, whose graceful music belies his clumsy nature, and the volatile Finn, who kisses Melanie in the ruins of the pleasure garden. And brooding Uncle Philip loves only the life-sized wooden puppets he creates in his toyshops. The classic gothic novel established Angela Carter as one of our most imaginative writers and augurs the themes of her later creative works. "Beneath its contemporary surface, this novel shimmers with blurred echoes—from Lewis Carroll, from 'Giselle' and 'Coppelia,' Harlequin and Punch… It leave behind it a flavor, pungent and unsettling" —The New York Times Book Review

    S. Eliot, Marcel Proust, James Joyce, and Gertrude Stein. As Alfred Kazin later wrote, "Wilson was an original, an extraordinary literary artist . . . He could turn any literary subject back into the personal drama it had been for the writer."

    Selection includes the following: RALPH WALDO EMERSON: Art, Character, Circles, Compensation, Divinity School Address, Experience, Friendship, Gifts, Heroism, History, Intellect, Literary Ethics, Love, Man the Reformer, Nature, New England Reformers, Nominalist and Realist, Politics, Prudence, Representative Men, Self-Reliance, The American Scholar, The Conservative, The Method of Nature, The Over-Soul, The Poet, The Transcendentalist, The Young American, HENRY DAVID THOREAU: An Excursion to Canada, A Plea for Captain John Brown, A Week on the Concord and Merrimack Rivers, Autumnal Tints, Civil Disobedience, Life Without Principle, Night and Moonlight, Slavery in Massachusetts, The Landlord, Walden, Walking

    When Charles Dickens died in 1870, The Times of London successfully campaigned for his burial in Westminster Abbey, the final resting place of England's kings and heroes. Thousands flocked to mourn the best recognized and loved man of nineteenth-century England. His books had made them laugh, shown them the squalor and greed of English life, and also the power of personal virtue and the strength of ordinary people. In his last years Dickens drew adoring crowds to his public appearances, had met presidents and princes, and had amassed a fortune.Like a hero from his novels, Dickens trod a hard path to greatness. Born into a modest middle-class family, his young life was overturned when his profligate father was sent to debtors' prison and Dickens was forced into harsh and humiliating factory work. Yet through these early setbacks he developed his remarkable eye for all that was absurd, tragic, and redemptive in London life. He set out to succeed, and with extraordinary speed and energy made himself into the greatest English novelist of the century.Years later Dickens's daughter wrote to the author George Bernard Shaw, "If you could make the public understand that my father was not a joyous, jocose gentleman walking about the world with a plum pudding and a bowl of punch, you would greatly oblige me." Seen as the public champion of household harmony, Dickens tore his own life apart, betraying, deceiving, and breaking with friends and family while he pursued an obsessive love affair.Charles Dickens: A Life gives full measure to Dickens's heroic stature-his huge virtues both as a writer and as a human being- while observing his failings in both respects with an unblinking eye. Renowned literary biographer Claire Tomalin crafts a story worthy of Dickens's own pen, a comedy that turns to tragedy as the very qualities that made him great-his indomitable energy, boldness, imagination, and showmanship-finally destroyed him. The man who emerges is one of extraordinary contradictions, whose vices and virtues were intertwined as surely as his life and his art.

    This collection ranges over the verse, stories, essays, and journalism of one of the twentieth century's most quotable authors.

    This collection of unforgettable characters—including Anne Shirley, Jo March, Scarlett O’Hara, and Jane Eyre—and outstanding authors—like Jane Austen, Harper Lee, and Laura Ingalls Wilder—is an impassioned look at literature’s most compelling heroines, both on the page and off. Readers who found inspiration in books by Toni Morrison, Maud Hart Lovelace, Ursula K. LeGuin, and Alice Walker, or who were moved by literary-themed memoirs like Shelf Discovery and Everything I Needed to Know About Being a Girl I Learned from Judy Blume, get ready to return to the well of women’s classic literature with The Heroine's Bookshelf.

    Seventy years later, released by widowhood, and to the dismay of her pompous children, she abandons the family home for a tiny house in Hampstead. Here she recollects the dreams of youth, and revels in her newfound freedom with her odd assortment of companions: Genoux, her French maid; Mr. Bucktrout, her house agent; and a coffin maker who pictures people dead in order to reveal their true characters. And then there's Mr. FitzGeorge, an eccentric millionaire who met and loved her in India when she was young and very lovely. It is here in this world of her own that she finds a passion that comes only with the freedom to choose, and it is this, her greatest gift, that she passes on to the only one who can understand its value. First published in 1931, Vita Sackville-West's masterpiece is the fictional companion to her great friend Virginia Woolf's A Room of One's Own.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    * 'Direct, unpretentious, humorous' SUNDAY TIMES

    Told in her own inimitable style, this book transcends genres and categories: guidebook, memoir, poetry, and pure delight.Here in short spellbinding essays are glimpses of the tumultuous life that led Angelou to an exalted place in American letters and taught her lessons in compassion and fortitude: how she was brought up by her indomitable grandmother in segregated Arkansas, taken in at thirteen by her more worldly and less religious mother, and grew to be an awkward, six-foot-tall teenager whose first experience of loveless sex paradoxically left her with her greatest gift, a son.Whether she is recalling such lost friends as Coretta Scott King and Ossie Davis, extolling honesty, decrying vulgarity, explaining why becoming a Christian is a “lifelong endeavor,” or simply singing the praises of a meal of red rice–Maya Angelou writes from the heart to millions of women she considers her extended family. Like the rest of her remarkable work, Letter to My Daughter entertains and teaches; it is a book to cherish, savor, re-read, and share.“I gave birth to one child, a son, but I have thousands of daughters. You are Black and White, Jewish and Muslim, Asian, Spanish speaking, Native Americans and Aleut. You are fat and thin and pretty and plain, gay and straight, educated and unlettered, and I am speaking to you all. Here is my offering to you.”–from Letter to My Daughter

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.

    Bradley put Shakespeare on the map for generations of readers and students for whom the plays might not otherwise have become 'real' at all" writes John Bayley in his foreword to this edition of Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth.Approaching the tragedies as drama, wondering about their characters as he might have wondered about people in novels or in life, Bradley is one of the most liberating in the line of distinguished Shakespeare critics. His acute yet undogmatic and almost conversational critical method has—despite fluctuations in fashion—remained enduringly popular and influential. For, as John Bayley observes, these lectures give us a true and exhilarating sense of "the tragedies joining up with life, with all our lives; leading us into a perspective of possibilities that stretch forward and back in time, and in our total awareness of things."

    After his death -- a calamity that claimed her favorite person--she returned to that beloved novel as a way of wrestling with his memory and understanding her own grief.Smyth's story moves between the New England of her childhood and Woolf's Cornish shores and Bloomsbury squares, exploring universal questions about family, loss, and homecoming. Through her inventive, highly personal reading of To the Lighthouse, and her artful adaptation of its groundbreaking structure, Smyth guides us toward a new vision of Woolf's most demanding and rewarding novel--and crafts an elegant reminder of literature's ability to clarify and console.Braiding memoir, literary criticism, and biography, All the Lives We Ever Lived is a wholly original debut: a love letter from a daughter to her father, and from a reader to her most cherished author.