Whether she is contemplating the Grand Canyon, her vegetable garden, motherhood, genetic engineering, or the future of a nation founded on the best of all human impulses, these essays are grounded in the author's belief that our largest problems have grown from the earth's remotest corners as well as our own backyards, and that answers may lie in both those places.Sometimes grave, occasionally hilarious, and ultimately persuasive, Small Wonder is a hopeful examination of the people we seem to be, and what we might yet make of ourselves.

    Structured around the forty questions Luiselli translates and asks undocumented Latin-American children facing deportation, Tell Me How It Ends (an expansion of her 2016 Freeman's essay of the same name) humanizes these young migrants and highlights the contradiction of the idea of America as a fiction for immigrants with the reality of racism and fear both here and back home."

    An inspired fusion of fact and invention, this beautifully realized, hard-bitten, lyrical book is not only Elizabeth Hardwick's finest fiction but one of the outstanding contributions to American literature of the last fifty years.

    Here, in one of the most important and fascinating books of his career, Aldous Huxley uses his tremendous knowledge of human relations to compare the modern-day world with his prophetic fantasy. He scrutinizes threats to humanity, such as overpopulation, propaganda, and chemical persuasion, and explains why we have found it virtually impossible to avoid them. Brave New World Revisited is a trenchant plea that humankind should educate itself for freedom before it is too late. Brave New World Revisted (first published in 1958) is not a reissue or revision of 0060850523 Brave New World. Brave New World is a novel, whereas Brave New World Revisted is a nonfiction exploration of the themes in Brave New World.

    This volume includes selections from her major works, including The Origins of Totalitarianism, Between Past and Future, Men in Dark Times, The Jew as Pariah, and The Human Condition, as well as many shorter writings and letters. Sections include extracts from her work on fascism, Marxism, and totalitarianism; her treatment of work and labour; her writings on politics and ethics; and a section on truth and the role of the intellectual.

    Contains Chandler's essay on the art of detective stories and a collection of 8 classic Chandler mysteries.

    She has been called “an American virtuoso of the short story form” (Salon) and “one of the quiet giants . . . of American fiction” (Los Angeles Times Book Review). Now, for the first time, Davis’s short stories will be collected in one volume, from the groundbreaking Break It Down (1986) to the 2007 National Book Award nominee Varieties of Disturbance. The Collected Stories of Lydia Davis is an event in American letters.

    Whether he is describing his coming of age in America, his formative war experiences, or his life as an artist, this is Vonnegut doing what he does best: being himself. Whimsically illustrated by the author, A Man Without a Country is intimate, tender, and brimming with the scope of Kurt Vonnegut’s passions.

    The last of Italo Calvino's works to appear during the author's lifetime, Collection of Sand is a group of essays never before published in English, discussing subjects ranging from cuneiform and antique maps to Mexican temples and Japanese gardens.

    Q-Anon makes perfect sense! Perhaps the abyss is staring back at you because your outfit looks extra nice today! At the center of the book is a virtuosic account of the past four years, a history as surreal and deranged as the Trump administration itself. This Panglossian venture into the swampy present will soothe—and terrify—readers who have died laughing to ClickHole, the Onion, Stephen Colbert, Jon Stewart, or Veep.

    Known for roles on the small screen such as "never-nude" Tobias Funke on "Arrested Development "and the role of "David" in "Mr. Show With Bob And David, "as well as a hugely successful stand-up routine full of sharp-tongued rants and rages, Cross has carved out his place in American comedy. Whether deflating the pomposity of religious figures, calling out the pathetic symbiosis of pseudo-celebrity and its leaching fandom, or merely pushing the buttons of the way-too-easily offended P.C. left or the caustic, double-standard of the callous (but funnier) right, Cross has something to say about everyone, including his own ridiculous self. Now, for the first time, Cross is weaving his media mockery, celebrity denunciation, religious commentary and sheer madness into book form, revealing the true story behind his almost existential distaste of Jim Belushi ("The Belush"), disclosing the up-to-now unpublished minutes to a meeting of Fox television network executives, and offering up a brutally grotesque run-in with Bill O'Reilly. And as if this wasn't enough for your laughing pleasure in these troubled times, some of the pieces splinter off with additional material being created online in exclusive video and animated web content created solely for the book-a historical first (presumably)! With a mix of personal essays, satirical fiction posing as truth, advice for rich people, information from America's least favorite Rabbi and a top-ten list of top-ten lists, I DRINK FOR A REASON is as unique as the comedian himself, and cannot be missed.

    This is not any of those—the year isn’t half-way done. What I’ve tried to do is organize some of the feelings and thoughts that events, so far, have provoked in me, in those scraps of time the year itself has allowed. These are above all personal essays: small by definition, short by necessity.”Crafted with the sharp intelligence, wit and style that have won Zadie Smith millions of fans, and suffused with a profound intimacy and tenderness in response to these unprecedented times, Intimations is a vital work of art, a gesture of connection and an act of love—an essential book in extraordinary times.

    Whether David Rakoff's contrasting the elegance of one of the last flights of the supersonic Concorde with the good-times-and-chicken-wings populism of Hooters Air; working as a cabana boy at a South Beach hotel; or traveling to a private island off the coast of Belize to watch a soft-core video shoot where he is provided with his very own personal manservant rarely have greed, vanity, selfishness, and vapidity been so mercilessly skewered. Somewhere along the line, our healthy self-regard has exploded into obliterating narcissism; our manic getting and spending have now become celebrated as moral virtues. Simultaneously a Wildean satire and a plea for a little human decency, Don t Get Too Comfortable shows that far from being bobos in paradise, we are in a special circle of gilded-age hell.

    An actor, phased out of Hollywood for his Communist ties during McCarthyism, tries to share a meaningful moment with his son. An Israeli soldier comes of age when his brother is maimed on their communal farm. A gallerist, swept up by the 1970s dissident art movement, begins smuggling paintings out of Moscow and curating underground shows in her Jerusalem home. This is a rare collection as accomplished at capturing our soaring triumphs as it is our crippling defeats--a hopeful reminder that we are all closer and more capable than we sometimes feel.

    Bad art is from no one to no one. Am I happy? Damned if I know, but give me a few minutes and I’ll tell you whether you are. Thank heaven I don’t have my friends’ problems. But sometimes I notice an expression on one of their faces that I recognize as secret gratitude. I read sad stories to inoculate myself against grief. I watch action movies to identify with the quick-witted heroes. Both the same fantasy: I’ll escape the worst of it.—from 300 ArgumentsA “Proustian minimalist on the order of Lydia Davis” (Kirkus Reviews), Sarah Manguso is one of the finest literary artists at work today. To read her work is to witness acrobatic acts of compression in the service of extraordinary psychological and spiritual insight.300 Arguments, a foray into the frontier of contemporary nonfiction writing, is at first glance a group of unrelated aphorisms. But, as in the work of David Markson, the pieces reveal themselves as a masterful arrangement that steadily gathers power. Manguso’s arguments about desire, ambition, relationships, and failure are pithy, unsentimental, and defiant, and they add up to an unexpected and renegade wisdom literature.