The larger, louder half of legendary magic act Penn & Teller, and New York Times bestselling author of GOD, NO!, is back with a new collection of spiritual rants and hilarious ravings -- the perfect year-round gift, when you consider that EVERY DAY IS AN ATHEIST HOLIDAY.

     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.

    Writers as varied as Ballard, Borges, Conrad, and Freud have been mesmerized by forms of human extremity—experiences that are on the outer edge of the possible or that tip into fantasy and myth. What happens to us when we starve, when we fight, when we are imprisoned? And how do our imaginations leap into worlds way beyond our real experiences?The Silence of Animals is consistently fascinating, filled with unforgettable images and a delight in the conundrum of human existence—an existence that we decorate with countless myths and ideas, where we twist and turn to avoid acknowledging that we too are animals, separated from the others perhaps only by our self-conceit. In the Babel we have created for ourselves, it is the silence of animals that both reproaches and bewitches us.

    Employing examples of world literature from ancient times to the present, he provides a conceptual framework for the examination of literature. In four brilliant essays on historical, ethical, archetypical, and rhetorical criticism, he applies "scientific" method in an effort to change the character of criticism from the casual to the causal, from the random and intuitive to the systematic.Harold Bloom contributes a fascinating and highly personal preface that examines Frye's mode of criticism and thought (as opposed to Frye's criticism itself) as being indispensable in the modern literary world.

    . . How to spot and identify demons and other subversive spirits . . . And what to do next.Demons, fairies, and fallen angels are everywhere. They lurk at crossroads, crouch behind doors, hide in trees, slip into beds, wait in caves, hover at weddings and childbirths, disguise themselves as friends, relatives-even disguise themselves as you. They are powerful; they are protean; they are enchanting. And, to the uninformed, they are often invisible. This illustrated guide-the first of its kind-reveals the remarkable permutations of the demon and fairy species worldwide. Packed with lore about each demon, detailing its origins, the culture surrounding it, and its reputed antics and exploits, A Field Guide to Demons, Fairies, Fallen Angels, and Other Subversive Spirits is a fascinating exploration of global mythologies. Perfect for the armchair traveler and the intrepid, seasoned demon-spotter alike, this complete guide to subversive spirits offers a behind-the-scenes look at the devilish mishaps, impish irritations, and demonic devastations that punctuate our lives.

    She said she had two rules she followed absolutely: to tell the truth, and not to do anything she didn't want to do. Her integrity shines throughout If You Want to Write, her best-selling classic on the process of writing that has already inspired thousands to find their own creative center. Carl Sandburg called this book "The best book ever written about how to write." Yet Ueland reminds us that "Whenever I say 'writing' in this book, I also mean anything that you love and want to do or to make." Ueland's writing and her teaching are made compelling by her feisty spirit of independence and joy.

    I have loved and been loved. I have been given much and I have given something in return. Above all, I have been a sentient being, a thinking animal, on this beautiful planet, and that in itself has been an enormous privilege and adventure.” —Oliver SacksNo writer has succeeded in capturing the medical and human drama of illness as honestly and as eloquently as Oliver Sacks. During the last few months of his life, he wrote a set of essays in which he movingly explored his feelings about completing a life and coming to terms with his own death. “It is the fate of every human being,” Sacks writes, “to be a unique individual, to find his own path, to live his own life, to die his own death.”Together, these four essays form an ode to the uniqueness of each human being and to gratitude for the gift of life.

    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.

    In memoirs, essays and stories that are funny, moving, visionary or insightful, twenty-three famous writers celebrate these places where minds open and the world expands.Public libraries are lifelines, to practical information as well as to the imagination, but funding is under threat all over the country. This book is published in support of libraries, with all royalties going to The Reading Agency's library programmes.

    But what came before the Greeks? What if we could prove that all myths have one common origin in a celestial cosmology? What if the gods, the places they lived & what they did are but ciphers for celestial activity, a language for the perpetuation of complex astronomical data? Drawing on scientific data, historical & literary sources, the authors argue that our myths are the remains of a preliterate astronomy, an exacting science whose power & accuracy were suppressed & then forgotten by an emergent Greco-Roman world view. This fascinating book throws into doubt the self-congratulatory assumptions of Western science about the unfolding development & transmission of knowledge. This is a truly seminal & original thesis, a book that should be read by anyone interested in science, myth & the interactions between the two.

    We understand that new words must be created for new things, but the way English is spoken today rubs many of us the wrong way. Whether it’s the use of literally to mean “figuratively” rather than “by the letter,” or the way young people use LOL and like, or business jargon like What’s the ask? -- it often seems as if the language is deteriorating before our eyes.But the truth is different and a lot less scary, as John McWhorter shows in this delightful and eye-opening exploration of how English has always been in motion and continues to evolve today. Drawing examples from everyday life and employing a generous helping of humor, he shows that these shifts are a natural process common to all languages, and that we should embrace and appreciate these changes, not condemn them.Words on the Move opens our eyes to the surprising backstories to the words and expressions we use every day. Did you know that silly once meant “blessed”? Or that ought was the original past tense of owe? Or that the suffix -ly in adverbs is actually a remnant of the word like? And have you ever wondered why some people from New Orleans sound as if they come from Brooklyn?McWhorter encourages us to marvel at the dynamism and resilience of the English language, and his book offers a lively journey through which we discover that words are ever on the move and our lives are all the richer for it.

    Beginning with a dilemma about whether he spends more money on reading or smoking, George Orwell's entertaining and uncompromising essays go on to explore everything from the perils of second-hand bookshops to the dubious profession of being a critic, from freedom of the press to what patriotism really means.

    In 1981, years before he sat down to tackle On Writing, Stephen King decided to address the topic of what makes horror horrifying and what makes terror terrifying. Here, in ten brilliantly written chapters, King delivers one colorful observation after another about the great stories, books, and films that comprise the horror genre—from Frankenstein and Dracula to The Exorcist, The Twilight Zone, and Earth vs. The Flying Saucers.With the insight and good humor his fans appreciated in On Writing, Danse Macabre is an enjoyably entertaining tour through Stephen King’s beloved world of horror.

    Lovecraft (1890-1937), the most important American supernaturalist since Poe, has had an incalculable influence on all the horror-story writing of recent decades. Altho his supernatural fiction has been enjoying an unprecedented fame, it's not widely known that he wrote a critical history of supernatural horror in literature that has yet to be superceded as the finest historical discussion of the genre. This work is presented in this volume in its final, revised text. With incisive power, Lovecraft here formulates the esthetics of supernatural horror & summarizes the range of its literary expression from primitive folklore to the tales of his own 20th-century masters. Following a discussiom of terror-literature in ancient, medieval & renaissance culture, he launches on a critical survey of the whole history of horror fiction from the Gothic school of the 18th century (when supernatural horror found its own genre) to the time of De la Mare & M.R. James. The Castle of Otranto, Radcliffe, "Monk" Lewis, Vathek Charles Brockden Brown, Melmoth the Wanderer, Frankenstein, Bulwer-Lytton, Fouqué's Undine, Wuthering Heights, Poe (full chapter), The House of the Seven Gables, de Maupassant's The Horla, Bierce, The Turn of the Screw , M.P. Shiel, W.H. Hodgson, Machen, Blackwood & Dunsany are among those discussed in depth. He also notices a host of lesser writers--enough to draw up an extensive reading list. By charting so completely the background for his own concepts of horror & literary techniques, Lovecraft throws light on his own fiction as well as on the horror-literature which has followed. For this reason this book will be especially intriguing to those who've read his fiction as an isolated phenomenon. Any searching for a guide thru the inadequately marked region of literary horror, need search no further. Unabridged & corrected republication of 1945 edition. New introduction by E.F. Bleiler.

     Stretching between these figures is a cast of artists, writers, and scientists--mostly women, mostly queer--whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience, and appreciate the universe. Among them are the astronomer Maria Mitchell, who paved the way for women in science; the sculptor Harriet Hosmer, who did the same in art; the journalist and literary critic Margaret Fuller, who sparked the feminist movement; and the poet Emily Dickinson.Emanating from these lives are larger questions about the measure of a good life and what it means to leave a lasting mark of betterment on an imperfect world: Are achievement and acclaim enough for happiness? Is genius? Is love? Weaving through the narrative is a set of peripheral figures--Ralph Waldo Emerson, Charles Darwin, Elizabeth Barrett Browning, Herman Melville, Frederick Douglass, Nathaniel Hawthorne, and Walt Whitman--and a tapestry of themes spanning music, feminism, the history of science, the rise and decline of religion, and how the intersection of astronomy, poetry, and Transcendentalist philosophy fomented the environmental movement.