These 31 stories of the supernatural explore the furthest reaches of the macabre and at the same time parallel de Maupassant's own descent into madness and death. Includes a Foreword by modern master horror writer Ramsey Campbell.The Horla --The Devil --Two friends --Fear --The hand --Coco --The mannerism --The madwoman --Mohammed-Fripouille --The blind man --At sea --Apparition --Saint-Antoine --The wolf --Terror --The diary of a madman --A vendetta --The smile of Schopenhauer --On the river --He? --Old Milon --The head of hair --The inn --Mother Savage --Was he mad? --The dead girl --Mademoiselle Cocotte --A night in Paris --The case of Louise Roque --The drowned man --Who knows?

    Phillippy, Joel Blanchard, and Kevin Brownlee. A Selected Bibliography is included.

    First published on the eve of war in 1939, the essay has often been read as a pacifist manifesto. Rachel Bespaloff was a French contemporary of Weil’s whose work similarly explored the complex relations between literature, religion, and philosophy. She composed her own distinctive discussion of the Iliad in the midst of World War II—calling it “her method of facing the war”—and, as Christopher Benfey argues in his introduction, the essay was very probably written in response to Weil. Bespaloff’s account of the Iliad brings out Homer’s novelistic approach to character and the existential drama of his characters’ choices; it is marked, too, by a tragic awareness of how the Iliad speaks to times and places where there is no hope apart from war.This edition brings together these two influential essays for the first time, accompanied by Benfey’s scholarly introduction and an afterword by the great Austrian novelist Hermann Broch.

    He influences the obscure French writer Édouard Dujardin, who is read by James Joyce on the train to Trieste, where he will teach English to the Italian novelist Italo Svevo. Back in Paris, Joyce asks Svevo to deliver a suitcase containing notes for Ulysses, a novel that will be viscerated by the expat Gertrude Stein, whose first published story is based on one by Flaubert. This carousel of influence shows how translation and emigration lead to a new and true history of the novel. We devour novels in translation while believing that style does not translate. But the history of the novel is the history of style. The Delighted States attempts to solve this conundrum while mapping an imaginary country, a country of readers: the Delighted States. This book is a provocation, a box of tricks, a bedside travel book; it is also a work of startling intelligence and originality from one of our finest young writers.

    The collection will include pre-published essays that have gone viral, like “The White Industrial Savior Complex,” first published in The Atlantic.

    This is thefirst anthology to do full justice to the vast range of Americaninnovation in fiction writing since 1945.

    A Slip of the Keyboard brings together for the first time the finest examples of Pratchett's non fiction writing, both serious and surreal: from musings on mushrooms to what it means to be a writer (and why banana daiquiris are so important); from memories of Granny Pratchett to speculation about Gandalf's love life, and passionate defences of the causes dear to him.With all the humour and humanity that have made his novels so enduringly popular, this collection brings Pratchett out from behind the scenes of the Discworld to speak for himself - man and boy, bibliophile and computer geek, champion of hats, orang-utans and Dignity in Dying.

    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.

    Their conversation, one of the most illuminating and insightful looks into MirO's philosophy and creative process, was first published in a limited edition of seventy five copies in 1964. Though long out of print, this bilingual "treasure," in the words of Maria Popova, "remains the most direct and comprehensive record of MirO's ideas on art." This beautiful new edition presents an updated English translation of MirO's invaluable text in an elegant and striking package. In addition to Taillandier's original foreword, a new preface by preeminent MirO scholar Robert Lubar provides wider context and insight. An appendix includes the original French text in its entirety. Joan MirO I Work Like a Gardener brings to life the words and work of one of the most beloved and influential artists of the twentieth century.

    The sketches are written in the "haibun" style--a linking of verse and prose. The title piece, in particular, reveals Basho striving to discover a vision of eternity in the transient world around him and his personal evocation of the mysteries of the universe.

    His insights into the works of Dostoyevsky, Mandelstam, Platonov, as well as non-Russian poets Auden, Cavafy and Montale are brilliant. While the Western popularity of many other Third Wavers has been stunted by their inability to write in English, Brodsky consumed the language to attain a "closer proximity" to poets such as Auden. The book, which won a National Book Critics Circle Award, opens and closes with revealing autobiographical essay.

    This book offers a very generous selection from authors who have traditionally held a large place in our consciousness of English Romanticism, but it also includes other figures, especially women, who have been less emphasized in the past. The intellectual discourses of the age concerning governance, politics, and the impact of the French Revolution, gender and the status of women, the nature of nature and of human psychology, and the theory of literature and art are represented in the prose and poetry of writers like Wordsworth, Coleridge, the Shelleys, and Keats. There is also an usually large selection of ancillary materials -- letters, journals, reviews, and reminiscences of the writers.

    From Spenser's The Fairie Queene to Wells's The Time Machine to Murakami's 1Q84 it explores the timeless and captivating features of fiction's imagined worlds including the relevance of the writer's own life to the creation of the story, influential contemporary events and philosophies, and the meaning that can be extracted from the details of the work. With hundreds of pieces of original artwork, illustration and cartography, as well as a detailed overview of the plot and a "Dramatis Personae" for each work, Literary Wonderlands is a fascinating read for lovers of literature, fantasy, and science fiction.

    Critics have compared his work to such diverse artists as Kafka, Goya, Swift, Klee, and Beckett. Allen Ginsberg called Michaux “genius,” and Jorge Luis Borges wrote that Michaux’s work “is without equal in the literature of our time.” This anthology contains substantial selections from almost all of Michaux’s major works, most never before published in English, and allows readers to explore the haunting verbal and pictorial landscape of a twentieth-century visionary.

    But I have drunk far more than most drinkers. All my life I have seen only troubled times, extreme divisions in society, and immense destruction; I have joined in these troubles. My method will be very simple. I will tell of what I have loved; and, in this light, everything else will become evident... Over the years, more than half the people I knew well had sojourned one or several times in the prisons of various countries; many, no doubt, for political reasons, but all the same a greater number for common law offenses or crimes. So I met mainly rebels or the poor. Our only manifestations, which remained rather rare and bried in the first years, were meant to be completely unacceptable; at first, especially by their form and, later, as they acquired depth, especially by their content. They were not accepted.” –Guy DebordGuy Debord, as founding and pivotal figure of the Situationist International, pursued one of the twentieth century’s most arch and exciting assaults on modern life. His 1967 Society of the Spectacle (followed, twenty years later, by Comments on the Society of the Spectacle) was a fierce critique of late-capitalist culture and became the signal text for those involved in the political events of May 1968 and beyond.Panegyric is Debord’s audacious autobiography, and here for the first time in English is the second, beautifully illustrated volume published together with the spare and classical text of the first. A rare combination of poetry and precision, it tells of something even rarer: a life that refused to adjust to the dominant malignancies of its time.