A leading exponent of French existentialism, her work complements, though it is independent of, that of her great friend Jean-Paul Sartre. In "The Ethics of Ambiguity," Madame de Beauvoir penetrates at once to the core ethical problems of modern man: what shall he do, how shall he go about making values, in the face of this awareness of the absurdity of his existence? She forces the reader to face the absurdity of the human condition, and then, having done so, proceeds to develop a dialectic of ambiguity which will enable him not to master the chaos, but to create with it.

    In Filmish, Ross's cartoon alter-ego guides readers through the annals of cinematic history, introducing us to some of the strange and fascinating concepts at work in the movies. Each chapter focuses on a particular theme - the body, architecture, language - and explores an eclectic mix of cinematic triumphs, from A Trip to the Moon to Aliens. Sitting within the tradition of bestselling non-fiction graphic novels like Scott McClouds Understanding Comics and the Introducing...series, Filmish tackles serious issues - sexuality, race, censorship, propaganda - with authority and wit, throwing new light on some of the greatest films ever made.

    He ponders the doomed library of Alexandria and personal libraries of Charles Dickens, Jorge Luis Borges, and others. He recounts stories of people who have struggled against tyranny to preserve freedom of thought—the Polish librarian who smuggled books to safety as the Nazis began their destruction of Jewish libraries; the Afghani bookseller who kept his store open through decades of unrest. Oral “memory libraries” kept alive by prisoners, libraries of banned books, the imaginary library of Count Dracula, a library of books never written.

    His ‘natural supernaturalism’, personal mythology and vision can leave readers dazzled by the intensity and passion of his verse. In this outstanding work, Chesterton goes right to the heart of the matter and addresses the question of whether Blake’s genius was tainted by madness or whether his peculiar outlook on the world was the key to his success. With a detailed exposition of Blake’s life, and by weaving lucid explanations of his philosophy and religion into a discourse on his poetry, Chesterton has produced a remarkable and sensitive biography.

    What does it mean to give shapelessness a form? How can a poem explore both the natural world and the inner world? Phillips demonstrates the restless qualities of the imagination by reading and examining poems by Ashbery, Bogan, Frost, Niedecker, Shakespeare, and others, and by considering other art forms, such as photography and the blues. The Art of Daring is a lyrical, persuasive argument for the many ways that writing and living are acts of risk. "I think it's largely the conundrum of being human that makes us keep making," Phillips writes. "I think it has something to do with revision—how, not only is the world in constant revision, but each of us is, as well."

    Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.

    His witty, incisive criticism later worked exacting language into an exploration of the feelings and strategies that went into low-budget and radical films as diverse as Michael Snow's Wavelength, Werner Herzog's Fata Morgana, and Chantal Akerman's Jeanne Dielman. Expanded with an in-depth interview and seven essays written with his wife, artist Patricia Patterson, Negative Space gathers Farber's most influential writings, making this an indispensable collection for all lovers of film.

     A constellation of previously published pieces and new essays as provocative and idiosyncratic as any he’s written, this volume sheds light on an array of topics from sex in cinema to drugs, graffiti, Bob Dylan, cyberculture, 9/11, book touring, and Marlon Brando, as well as on a shelf’s worth of his literary models and contemporaries: Norman Mailer, Paula Fox, Bret Easton Ellis, James Wood, and oth­ers. And, writing about Brooklyn, his father, and his sojourn through two decades of writing, Lethem sheds an equally strong light on himself.

    An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash trying to make sense of their disturbing new island home. A high school girl by day, monster fighter by night. A spy who never sleeps. A space odyssey inspired by 9/11. An embattled high school football coach. A polished ad exec with a secret. A chemistry teacher turned drug lord.These are the subjects of 12 shows that started a revolution in TV drama: The Sopranos. Oz. The Wire. Deadwood. The Shield. Lost. Buffy the Vampire Slayer. 24. Battlestar Galactica. Friday Night Lights. Mad Men. Breaking Bad.These 12 shows, and the many more they made possible, ushered in a new golden age of television — one that made people take the medium more seriously than ever before. Alan Sepinwall became a TV critic right before this creative revolution began, was there to chronicle this incredible moment in pop culture history, and along the way “changed the nature of television criticism,” according to Slate. The Revolution Was Televised is the story of these 12 shows, as told by Sepinwall and the people who made them, including David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, Vince Gilligan and more.

    368 pp. 15,000 print.

    When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear--they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya's girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky's long-awaited Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.Finalist for the T. S. Eliot PrizeFinalist for the Forward Prize for Best Collection

    He challenges any single discourse on the erotic. The scope of his inquiry ranges from Emily Bronte to Sade, from St. Therese to Claude Levi-Strauss, and Dr. Kinsey; and the subjects he covers include prostitution, mythical ecstasy, cruelty, and organized war. Investigating desire prior to and extending beyond the realm of sexuality, he argues that eroticism is "a psychological quest not alien to death."

    Among essays like "Radiantly Indefensible," "Notes on the Danger of Notebooks," and "The Abrasion of Loneliness," are piquant pieces on the virtues of emptiness, forgetfulness, and other under-loved concepts. Edited and with an introduction by Christian Wiman, this generous collection of Ryan's distinctive thinking gives us a surprising look into the mind of an American master.

    Instead, in a daring stroke, Greil Marcus selects ten songs recorded between 1956 and 2008, then proceeds to dramatize how each embodies rock ’n’ roll as a thing in itself, in the story it tells, inhabits, and acts out—a new language, something new under the sun. “Transmission” by Joy Division. “All I Could Do Was Cry” by Etta James and then Beyoncé. “To Know Him Is to Love Him,” first by the Teddy Bears and almost half a century later by Amy Winehouse. In Marcus’s hands these and other songs tell the story of the music, which is, at bottom, the story of the desire for freedom in all its unruly and liberating glory. Slipping the constraints of chronology, Marcus braids together past and present, holding up to the light the ways that these striking songs fall through time and circumstance, gaining momentum and meaning, astonishing us by upending our presumptions and prejudices. This book, by a founder of contemporary rock criticism—and its most gifted and incisive practitioner—is destined to become an enduring classic.

    He sent his journals, a novel-in-progess, and copies of all his poems to his mentor, Columbia professor Mark Van Doren, for safe keeping, fully expecting to write little, if anything, ever again.? It was a relatively short-lived resolution, for Merton almost immediately found himself being assigned writing tasks by his Abbot?one of which was the autobiographical essay that blossomed into his international best-seller The Seven Storey Mountain. That book made him famous overnight, and for a time he struggled with the notion that the vocation of the monk and the vocation of the writer were incompatible. Monasticism called for complete surrender to the absolute, whereas writing demanded a tactical withdrawal from experience in order to record it.? He eventually came to accept his dual vocation as two sides of the same spiritual coin and used it as a source of creative tension the rest of his life.? Merton's thoughts on writing have never been compiled into a single volume until now. Robert Inchausti has mined the vast Merton literature to discover what he had to say on a whole spectrum of literary topics, including writing as a spiritual calling, the role of the Christian writer in a secular society, the joys and mysteries of poetry, and evaluations of his own literary work. Also included are fascinating glimpses of his take on a range of other writers, including Henry David Thoreau, Flannery O'Connor, Dylan Thomas, Albert Camus, James Joyce, and even Henry Miller, along with many others.