But above all, Amis is concerned with literature, and with the deadly cliches–not only of the pen, but of the mind and the heart. In The War Against Cliché, Amis serves up fresh assessments of the classics and plucks neglected masterpieces off their dusty shelves. He tilts with Cervantes, Dickens and Milton, celebrates Bellow, Updike and Elmore Leonard, and deflates some of the most bloated reputations of the past three decades. On every page Amis writes with jaw-dropping felicity, wit, and a subversive brilliance that sheds new light on everything he touches.

    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.

    

    In these highly individual, penetrating essays he has exposed 'the American whole soul' within some of that continent's major works of literature. In seeking to establish the status of writings by such authors as Poe, Melville, Fenimore Cooper and Whitman, Lawrence himself has created a classic work. Studies in Classic American Literature is valuable not only for the light it sheds on eighteenth- and nineteenth-century American consciousness, telling 'the truth of the day', but also as a prime example of Lawrence's learning, passion and integrity of judgement.

    Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world.

    Offering children gems of advice such as "Strive to learn" and "Be not a dunce," it was no fun at all. So how did we get from there to "Let the wild rumpus start"? And now that we're living in a golden age of children's literature, what can adults get out of reading Where the Wild Things Are and Goodnight Moon, or Charlotte's Web and Little House on the Prairie?In Wild Things, Bruce Handy revisits the classics of every American childhood, from fairy tales to The Very Hungry Caterpillar, and explores the back stories of their creators, using context and biography to understand how some of the most insightful, creative, and witty authors and illustrators of their times created their often deeply personal masterpieces. Along the way, Handy learns what The Cat in the Hat says about anarchy and absentee parenting, which themes link The Runaway Bunny and Portnoy's Complaint, and why Ramona Quimby is as true an American icon as Tom Sawyer or Jay Gatsby.It's a profound, eye-opening experience to reencounter books that you once treasured after decades apart. A clear-eyed love letter to the greatest children's books and authors, from Louisa May Alcott and L. Frank Baum to Eric Carle, Dr. Seuss, Mildred D. Taylor, and E.B. White, Wild Things will bring back fond memories for readers of all ages, along with a few surprises.

    He chronicles his journey in the New York Times bestseller Great Books: My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World. What brought Denby back to his alma mater was not a sense of nostalgia, but the current academic debate surrounding Western literature. This culture war centers on the left's denunciation of "dead white European males" as oppressive and exclusionary and the right's reverence of the Western canon as the foundation of traditional values and patriotism. Like many of the extremists engaged in the debate, Denby found his memories of these works faded and forgotten. "I possessed information without knowledge, opinions without principles, instincts without beliefs.... And I wanted to add my words to the debate from the ground up, beginning and ending in literature, never leaving the books themselves." Thus Denby returns to Columbia for the two "great books" courses: Literature Humanities and Contemporary Civilization. During his yearlong education he explores the difficulties of going back to reading seriously; analyzes today's college students; observes the teaching styles of four professors; and enters into a period of self-discovery as he learns to deal with life as a middle-aged student, father, and husband. Along the way he gains a new appreciation of writers such as Homer, Boccaccio, Austen, Nietzsche, Conrad, Machiavelli, Marx, and Woolf. He walks away from his experiences believing deeply that students today, more than ever, need this type of humanistic education and that both sides of the culture war are simplifying the Western tradition.

    Written in 1828, in the last months of the young Schubert's life, 'Winterreise' ("Winter's Journey"), has come to be considered the single greatest piece of music ever written for the male solo voice. Deceptively brief - the twenty-four short poems are performed uninterrupted in 70 minutes - it nonetheless has an emotional depth and power that no music of its kind has ever equalled. Originally intended to be sung to an intimate gathering, performances of 'Winterreise' now pack the greatest concert halls around the world. Drawing on his firsthand experience with this work (he has performed it more than one hundred times), on his musical knowledge, and on his training as a scholar, Ian Bostridge teases out the enigmas and subtle meanings of each song, exploring the world and the states of heart and mind in which Schubert created them, and the exquisite resonance and affinities that continue, even today, to move us so profoundly.

    Before the Norman Conquest, Anglo-Saxons living in a wintry world wrote about the coldness of exile or the shelters they had to defend against enemies outside. The Middle Ages brought the warmth of spring; the new lyrics were sung in praise of blossoms and cuckoos. Descriptions of a rainy night are rare before 1700, but by the end of the eighteenth century the Romantics had adopted the squall as a fit subject for their most probing thoughts.The weather is vast and yet we experience it intimately, and Alexandra Harris builds her remarkable story from small evocative details. There is the drawing of a twelfth-century man in February, warming bare toes by the fire. There is the tiny glass left behind from the Frost Fair of 1684, and the Sunspan house in Angmering that embodies the bright ambitions of the 1930s. Harris catches the distinct voices of compelling individuals. “Bloody cold,” says Jonathan Swift in the “slobbery” January of 1713. Percy Shelley wants to become a cloud and John Ruskin wants to bottle one. Weatherland is a celebration of English air and a life story of those who have lived in it.

    Parlour games. Cocktails. Welcome to a glorious journey through the golden age of the country house party - and you are invited. Our host, celebrated historian Adrian Tinniswood, traces the evolution of this quintessentially British pastime from debauched royal tours to the flamboyant excess of the Bright Young Things. With cameos by the Jazz Age industrialist, the bibulous earl and the off-duty politician - whether in moated manor houses or ornate Palladian villas - Tinniswood gives a vivid insight into weekending etiquette and reveals the hidden lives of celebrity guests, from Nancy Astor to Winston Churchill, in all their drinking, feasting, gambling and fornicating. The result is a deliciously entertaining, star-studded, yet surprisingly moving portrait of a time when social conventions were being radically overhauled through the escapism of a generation haunted by war - and a uniquely fast-living period of English history. Praise for The Long Weekend:'Delicious, occasionally fantastical, revealing in ways that Downton Abbey never was. It is as if Tinniswood is at the biggest, wildest, most luxuriantly decadent party ever thrown, and he knows everyone.' Observer 'A deliciously jaunty and wonderfully knowledgeable book. Tinniswood displays a terrific insider's grasp of gossip . A meticulous, irresistible story.' Spectator 'Elegant, encyclopedic and entertaining . A confident and skilled historian who understands the mores of his era and wears his learning lightly . Deserves to be on every costume drama producer's bookshelf.' Times

    This second collection brings together the best of his other non-fiction pieces, on film and tv, writers and painters and music, and including one exceptional fragment of autobiography. With subject matter ranging from the Sundance Festival to Abbey Road Studios, from P.G. Wodehouse to The West Wing, these are pieces that ‘were written for fun, or because I felt I had things to say and time to say them, or because the commissions were unusual and imaginative, or because … I was being asked to go somewhere I had never been before.’

    Not only are there frequent references to specific works of art, but certain characters are also evoked by comparison to particular paintings. Bloch’s appearance as a boy is likened to the portrait of Mehmet II by Gentile Bellini; Odette de Crécy strikes Swann by her resemblance to a figure in a Botticelli fresco. Even the lesser figure of a certain Mme. Blattin becomes the subject of Proustian mischief by being described as “exactly the portrait of Savonarola by Fra Bartolomeo.” Eric Karpeles has identified and located the many paintings to which Proust makes reference and sets them alongside the relevant text from the novel; in other cases, where only a painter’s name is mentioned to indicate a certain style or appearance, Karpeles has chosen a representative work to illustrate the impression that Proust sought to evoke.With some 200 paintings beautifully reproduced in full color and texts drawn from the Moncrieff/Kilmartin/Enright translation, as well as concise commentaries on the evolving narrative, this book is an essential addition to the libraries of Proustians everywhere. The book also includes an authoritative introduction and a comprehensive index of artists and paintings mentioned in the novel.

    Also included is The Trouble with Nigeria, Achebe's searing outpouring of his frustrations with his country. GREAT IDEAS. Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.

    Here, Sokal teams up with Jean Bricmont to expose the abuse of scientific concepts in the writings of today's most fashionable postmodern thinkers. From Jacques Lacan and Julia Kristeva to Luce Irigaray and Jean Baudrillard, the authors document the errors made by some postmodernists using science to bolster their arguments and theories. Witty and closely reasoned, Fashionable Nonsense dispels the notion that scientific theories are mere "narratives" or social constructions, and explored the abilities and the limits of science to describe the conditions of existence.

    He has been reviewing films for the Chicago Sun-Times since 1967, and was the first film critic ever to win a Pulitzer Prize. He has appeared on television for four decades, including twenty-three years as cohost of Siskel & Ebert at the Movies.In 2006, complications from thyroid cancer treatment resulted in the loss of his ability to eat, drink, or speak. But with the loss of his voice, Ebert has only become a more prolific and influential writer. And now, for the first time, he tells the full, dramatic story of his life and career.Roger Ebert's journalism carried him on a path far from his nearly idyllic childhood in Urbana, Illinois. It is a journey that began as a reporter for his local daily, and took him to Chicago, where he was unexpectedly given the job of film critic for the Sun-Times, launching a lifetime's adventures.In this candid, personal history, Ebert chronicles it all: his loves, losses, and obsessions; his struggle and recovery from alcoholism; his marriage; his politics; and his spiritual beliefs. He writes about his years at the Sun-Times, his colorful newspaper friends, and his life-changing collaboration with Gene Siskel. He remembers his friendships with Studs Terkel, Mike Royko, Oprah Winfrey, and Russ Meyer (for whom he wrote Beyond the Valley of the Dolls and an ill-fated Sex Pistols movie). He shares his insights into movie stars and directors like John Wayne, Werner Herzog, and Martin Scorsese.This is a story that only Roger Ebert could tell. Filled with the same deep insight, dry wit, and sharp observations that his readers have long cherished, this is more than a memoir-it is a singular, warm-hearted, inspiring look at life itself."I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out."-from LIFE ITSELF