From Maybelle Carter to Dolly Parton, k.d. lang to Taylor Swift—these artists provided pivot points, truths, and doses of courage for women writers at every stage of their lives. Whether it’s Rosanne Cash eulogizing June Carter Cash or a seventeen-year-old Taylor Swift considering the golden glimmer of another precocious superstar, Brenda Lee, it’s the humanity beneath the music that resonates.Here are deeply personal essays from award-winning writers on femme fatales, feminists, groundbreakers, and truth tellers. Acclaimed historian Holly George Warren captures the spark of the rockabilly sensation Wanda Jackson; Entertainment Weekly’s Madison Vain considers Loretta Lynn’s girl-power anthem “The Pill”; and rocker Grace Potter embraces Linda Ronstadt’s unabashed visual and musical influence. Patty Griffin acts like a balm on a post-9/11 survivor on the run; Emmylou Harris offers a gateway through paralyzing grief; and Lucinda Williams proves that greatness is where you find it.Part history, part confessional, and part celebration of country, Americana, and bluegrass and the women who make them, Woman Walk the Line is a very personal collection of essays from some of America’s most intriguing women writers. It speaks to the ways in which artists mark our lives at different ages and in various states of grace and imperfection—and ultimately how music transforms not just the person making it, but also the listener.

    Banks' Culture novels covers the series from its inception in the 1970s to the The Hydrogen Sonata (2012), published less than a year before Banks' death. It considers Banks' origins as a writer, the development of his politics and ethics, his struggles to become a published author, his eventual success with The Wasp Factory (1984) and the publication of the first Culture novel, Consider Phlebas (1987). His 1994 essay "A Few Notes on the Culture" is included, along with a range of critical responses to the 10 Culture books he published in his lifetime and a discussion of the series' status as utopian literature.Banks was a complex man, both in his everyday life and on the page. This work aims at understanding the Culture series not only as a fundamental contribution to science fiction but also as a product of its creator's responses to the turbulent times he lived in.

    

    Tracey's music career was just beginning, while Lindy, drummer for The Go-Betweens, was ten years her senior. They became confidantes, comrades and best friends, a relationship cemented by gossip and feminism, books and gigs and rock 'n' roll love affairs.Morrison - a headstrong heroine blazing her way through a male-dominated industry - came to be a kind of mentor to Thorn. They shared the joy and the struggle of being women in a band, trying to outwit and face down a chauvinist music media.In My Rock 'n' Roll Friend Thorn takes stock of thirty-seven years of friendship, teasing out the details of connection and affection between two women who seem to be either complete opposites or mirror images of each other. This important book asks what people see, who does the looking, and ultimately who writes women out of - and back into - history.

    A series of essays including: Stealing Tomorrow, Down the Rabbit-Hole to TV-Land, Rolling Dat Ole Debbil Electronic Stone, Defeating the Green Slime, Fear Not your Enemies, From Albany, With Hate, Centerpunching, Voe Doe Dee Oh Doe, Cheap Thrills on the Road to H*ll, and more.

    Pound surveys the course of literature from the fall of the Roman Empire through the dawn of the Renaissance, paying special attention to the Provençal poets and to Dante. Now with an introduction by Richard Sieburth, this work illuminates a great period in European literature and one of America's greatest poetic minds.

    On the surface he’s the least likely candidate for a rap impresario. But with his signature charm and passion, he plunges headfirst into the wards, clubs, and projects of New Orleans, opening up a world closed to most outsiders: a journey into the heart of the hip-hop dream, and into larger question of racial identity in America. Written before Hurricane Katrina struck (and published here with an afterword that chronicles how Katrina altered the lives of those he met) Triksta now stands as an elegy to a city, its music, and its people.

    Although he died nearly 200 years ago, something about his work continues to haunt the twenty-first century. What is it about Blake that has so endured? In this illuminating essay, John Higgs takes us on a whirlwind tour to prove that far from being the mere New Age counterculture figure that many assume him to be, Blake is now more relevant than ever.

    Here, the stigmatized condition of a spinster; there, a writer's unequalled display of absolute, impersonal authority. In between, the secret work of Austen's style: to keep at bay the social doom that would follow if she ever wrote as the person she is.For no Jane Austen could ever appear in Jane Austen. Amid happy wives and pathetic old maids, we see no successfully unmarried woman, and, despite the multitude of girls seeking to acquire "accomplishments," no artist either. What does appear is a ghostly No One, a narrative voice unmarked by age, gender, marital status, all the particulars that make a person--and might make a person peculiar. The Austen heroine must suppress her wit to become the one and not the other, to become, that is, a person fit to be tied in a conjugal knot. But for herself, Austen refuses personhood, with all its constraints and needs, and disappears into the sourceless anonymity of her style. Though often treasured for its universality, that style marks the specific impasse of a writer whose self-representation is impossible without the prospect of shame.D.A. Miller argues this case not only through the close reading that Austen's style always demands, but also through the close writing, the slavish imitation, that it sometimes inspires.

    He brings their lives and ideas to life in entertaining and accessible fashion. Far from being a novelty, each book is a highly refined appraisal of the writer and his work, authoritative and clearly presented. Applause for Paul Strathern's Philosophers in 90 Minutes series: "Each of these little books is witty and dramatic and creates a sense of time, place, and character....I cannot think of a better way to introduce oneself and one's friends to Western civilization." Katherine A. Powers, Boston Globe "Well-written, clear and informed, they have a breezy wit about them....I find them hard to stop reading." Richard Bernstein, New York Times "Witty, illuminating, and blessedly concise." Jim Holt, Wall Street Journal

    Until now."He straddled the punch bowl, dropped his pants, and whipped out his member, which, he assured everyone, was very large. Then Donald Trump pissed right into the punch of the Republican Party."So begins We're Still Right, They're Still Wrong- with that image of Donald Trump defiling the celebration that should've been the GOP Establishment's easy march to the White House.In We're Still Right, They're Still Wrong, Carville updates his #1 New York Times bestseller from 1996, the campaign tract that Bill Clinton once credited for his re-election. Carville skewers the GOP's dumpster fire of a record over the past twenty years, and argues that Trump is the living manifestation of a failed party. From income inequality to race relations, Carville believes that Democratic Party is not only the dominant party of the past, but of America's future, too - and he makes the case in his uncensored and earthy style.Among other things, We're Still Right, They're Still Wrong features a hot take on the Clinton e-mail "scandal," a story about Carville's momma' schooling a pair of crawfish mongers, a lecture on political panics called "The Anatomy of Bullshit," and a recipe for how to grill your (non-existent) Trump Steak.And wit and sharp tongue aside, Carville turns it all into the most cogent and thoughtful analysis of the 2016 and how the Democrats can--and must--be victorious.

    But, undeterred, he commences a deeply felt meditation on poetry, its language and meaning, and its power to open minds and transform lives. By the end of the book, Parini has recovered a truth often obscured by our clamorous culture: without poetry, we live only partially, not fully conscious of the possibilities that life affords. Poetry indeed matters. A gifted poet and acclaimed teacher, Parini begins by looking at defenses of poetry written over the centuries. He ponders Aristotle, Horace, and Longinus, and moves on through Sidney, Wordsworth, Coleridge, Shelley, Eliot, Frost, Stevens, and others. Parini examines the importance of poetic voice and the mysteries of metaphor. He argues that a poet’s originality depends on a deep understanding of the traditions of political poetry, nature poetry, and religious poetry. Writing with a casual grace, Parini avoids jargon and makes his case in concise, direct terms: the mind of the poet supplies a light to the minds of others, kindling their imaginations, helping them to live their lives. The author’s love of poetry suffuses this insightful book—a volume for all readers interested in a fresh introduction to the art that lies at the center of Western civilization.

    Haldeman to David Hasselhoff's world tour. Contributors include David Foster Wallace, Jess Mowry, Donnell Alexander, and R.U. Sirius.

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    Integrating literature with philosophy in an innovative way, editor Louis P. Pojman uses literary works to enliven and make concrete the ethical theory or applied issues addressed in each chapter. Literary works by Camus, Hawthorne, Hugo, Huxley, Ibsen, Le Guin, Melville, Orwell, Styron, Tolstoy, and many others lead students into philosophical concepts and issues such as relativism; utilitarianism; virtue ethics; the meaning of life; freedom; sex, love, and marriage; and environmental ethics. Once introduced, these topics are developed further through readings by philosophers including Aristotle, Jane English, Thomas E. Hill, Jr., Jean-Paul Sartre, and Bernard Williams. This unique anthology emphasizes the personal dimension of ethics, which is often ignored or minimized in ethics texts. The second edition offers several new selections including work by Maya Angelou, Kevin Bales, John Benson, Susan Glaspell, C. S. Lewis, R. M. MacIver, Plato, Plutarch, James Rachels, Ayn Rand, Voltaire, and Kurt Vonnegut. It also adds a new chapter on justice and the threat of terrorism featuring material from the Old Testament--in which the equivalent of a jihad occurs--followed by philosophical analyses by Martha Nussbaum and Louis P. Pojman. Featuring expanded part and chapter introductions as well as biographical sketches, abstracts, and study questions for each reading selection, The Moral Life, 2/e, is ideal for introductory ethics courses. It also provides an engaging gateway into personal and social ethics for the general reader.