Love and Rockets is a body of work routinely praised for its realism, complexity, subtlety and ethnic authenticity. It was the first comic series to give a voice to minorities and women in the medium's then 50-year history. One of the hidden treasures of our impoverished culture. --The Nation

    Sebald travelled to Manchester in 1966, he packed in his bags certain literary favourites which would remain central to him throughout the rest of his life and during the years when he was settled in England. In A Place in the Country, he reflects on the six of the figures who shaped him as a person and as a writer, including Jean-Jacques Rousseau, Robert Walser and Jan Peter Tripp.Fusing biography and essay, and finding, as ever, inspiration in place – as when he journeys to the Ile St. Pierre, the tiny, lonely Swiss island where Jean-Jacques Rousseau found solace and inspiration – Sebald lovingly brings his subjects to life in his distinctive, inimitable voice.A Place in the Country is a window into the mind of this much loved and much missed writer.

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    It's become more expensive, more exclusive, and effectively off-limits to huge swaths of the potential sports-loving population. Youth registration numbers are stagnant; efforts to appeal to new Canadians are often grim at best; the game, increasingly, does not resemble the country of which it's for so long been an integral part. These signs worried Sean Fitz-Gerald. As a lifelong hockey fan and father of a young mixed-race son falling headlong in love with the game, he wanted to get to the roots of these issues. His entry point: a season with the Peterborough Petes, a storied OHL team far from its former glory in a once-emblematic Canadian city that is finding itself on the wrong side of the country's changing demographics. Fitz-Gerald profiles the players, coaches and front office staff, a mix of world-class talents with NHL aspirations and Peterborough natives happy with more modest dreams. Through their experiences, their widely varied motivations and expectations, we get a rich, colourful understanding of who ends up playing hockey in Canada and why. Fitz-Gerald interweaves the action of the season with portraits of public figures who've shaped and been shaped by the game: authors who captured its spirit, politicians who exploited it, and broadcasters who try to embody and sell it. He finds his way into community meetings full of angry season ticket holders, as well as into sterile boardrooms full of the sport's institutional brain trust, unable to break away from the inertia of tradition and hopelessly at war with itself. Before the Lights Go Out is a moving, funny, yet unsettling picture of a sport at a crossroads. Fitz-Gerald's warm but rigorous journalistic approach reads, in the end, like a letter to a troubled friend: it's not too late to save hockey in this country, but who has the will to do it?

    John Sheppard gets that Reagan-era rage and humor just right. This novel is an ode to those kids at the dead-end jobs who knew that the Morning in America was really dusk at best, but had each other, a little weed, some beer, and gas.--Sam LipsyteTrapped in dreary Sarasota, Florida in the early 1980s—during Reagan’s “Morning in America,”—going to high school with junior fascists by day, working at Pizza Hut by night, his family a dysfunctional nightmare, 17-year old Buzz Pepper feels that nothing matters in life beyond drinking, drugs and punk rock.As the country around him is becoming more conservative and corporate, and adulthood seems like the ultimate corrupt existence, Buzz can only find solace within a close-knit group of fellow disillusioned teens, which includes his devoted younger sister, Sissy. As they drive around in Buzz’s beat-up van, encountering redneck cops, mocking the local “geezers,” and wondering if there is any meaning in what seems to be a meaningless world, Small Town Punk perfectly captures how it is to be young, yet feel that you have no future.In the tradition of Hairstyles of the Dammed and Perks of Being A Wallflower, Small Town Punk is a brutally funny and poignant coming of age story that brilliantly evokes the surging joy, confusion and rage of youth.

    Heinlein was sixty-six, at the height of his literary career; J. Neil Schulman was twenty and hadn't yet started his first novel. Because he was looking for a way to meet his idol, Schulman wangled an assignment from the New York Daily News--at the time the largest circulation newspaper in the U.S.--to interview Heinlein for its Sunday Book Supplement. The resulting taped interview lasted three-and-a-half hours. This turned out to be the longest interview Heinlein ever granted, and the only one in which he talked freely and extensively about his personal philosophy and ideology. "The Robert Heinlein Interview" contains Heinlein you won't find anywhere else--even in Heinlein's own "Expanded Universe." If you wnat to know what Heinlein had to say about UFO's, life after death, epistemology, or libertarianism, this interview is the only source available. Also included in this collection are articles, reviews, and letters that J. Neil Schulman wrote about Heinlein, including the original article written for The Daily News, about which the Heinleins wrote Schulman that it was, "The best article--in style, content, and accuracy--of the many, many written about him over the years." This book is must-reading for any serious student of Heinlein, or any reader seeking to know him better.

    Try to write the truth. Try to get underneath all the sham, all the excuses, all the lies that you’ve been told. . . . If you’re gonna write fiction, you have to get right on down to it.""Harry Crews cannot refrain from storytelling. These conversations are blessed with countless insights into the creative process, fresh takes on old questions, and always, Crews’s stories: modern-day parables that tell us how it is to live, to work, and to hurt."--Jeff Baker, Oxford American"Harry Crews has indelible ways of approaching life and the craft of writing. This collection shows that he elevates both to a near-religious artform."--Matthew Teague, Oxford AmericanIn 26 interviews conducted between 1972 and 1997, novelist Harry Crews tells the truth--about why and how he writes, about the literary influences on his own work, about the writers he admires (or does not), about which of his own books he likes (or does not), about his fascination with so-called freaks, and about his love of blood sports. Crews reveals the tender side under his tough-guy image, discussing his beloved mother and his spiritual quest in a secular world.Crews also speaks frankly about his failed relationships, the role that writing played in them, and his personal struggles with alcohol and drugs and their impact on his life and work. Those seeking insights into his work will find them in these interviews. Those seeking to be entertained in Crewsian fashion will not be disappointed.Harry Crews on his tattoo and mohawk . . ."If you can’t get past my ‘too’--my tattoo--and my ‘do’--the way I got my hair cut--it’s only because you have decided there are certain things that can be done with hair and certain things that cannot be done with hair. And certain of them are right and proper and decent, and the rest indicate a warped, degenerate nature; therefore I am warped and degenerate. 'Cause I got my hair cut a different way, man? You gonna really live your life like that? What’s wrong with you?"On advice to young writers . . ."You have to go to considerable trouble to live differently from the way the world wants you to live. That’s what I’ve discovered about writing. The world doesn’t want you to do a damn thing. If you wait till you got time to write a novel or time to write a story or time to read the hundred thousands of books you should have already read--if you wait for the time, you’ll never do it. 'Cause there ain’t no time; world don’t want you to do that. World wants you to go to the zoo and eat cotton candy, preferably seven days a week."                                     On being "well-rounded" . . ."I never wanted to be well-rounded, and I do not admire well-rounded people nor their work. So far as I can see, nothing good in the world has ever been done by well-rounded people. The good work is done by people with jagged, broken edges, because those edges cut things and leave an imprint, a design." Harry Crews is the author of 23 books, including The Gospel Singer, Naked in Garden Hills, This Thing Don’t Lead to Heaven, Karate Is a Thing of the Spirit, Car, The Hawk Is Dying, The Gypsy’s Curse, A Feast of Snakes, A Childhood: The Biography of a Place, Blood and Grits, The Enthusiast, All We Need of Hell, The Knockout Artist, Body, Scar Lover, The Mulching of America, Celebration, and Florida Frenzy (UPF, 1982).Erik Bledsoe is an instructor of English and American studies at the University of Tennessee. He has published articles on southern writers and edited a special issue of the Southern Quarterly devoted to Crews. His 1997 interview with Harry Crews from that magazine is included in this collection.

    Join author Shawn Inmon and his twenty year old Subaru Outback on his epic solo road trip through British Columbia, Yukon, and Alaska. Part personal odyssey, part travel memoir, take an expedition into one of North America's last remaining wildernesses. If you dream of packing up your four-wheeler, your snow boots and camera, and setting off to explore the wilderness, A Lap Around Alaska will give you a rare glimpse into the Land of the Midnight Sun, of moose, bear, and bald eagles, of monumental glaciers and scenery so staggering it brings tears to your eyes. If you hunger for adventure and want to discover untouched beauty and to experience the majesty of the pristine North for yourself-Shawn saved the passenger seat just for you. This book also includes two bonus memoirs of life in Alaska in the 1970s-My First Alaskan Summer and My Matanuska Summer.

    Forget the textbook theory now and settle down for what amounts to an eavesdrop into their girlie chats.

    Standing head and shoulders above all other Shakespearean interpretations, this is the masterwork of the brilliant English scholar, G. Wilson Knight. Founding a new and influential school of Shakespearean criticism, Wheel of Fire was Knight's first venture in the field - his writing sparkles with insight and wit, and his analyses are key to contemporary understandings of Shakespeare.

     With no skills and very limited knowledge they built a life in the middle of nowhere by reading how-to books and doing things the hard way. In this lighthearted memoir they face the challenges of constructing their own home, providing their own water and electricity, and learning to live with the wildlife, including their few, but eccentric neighbors. This ten year journey from soft city dwellers to independent and self sufficient country bumpkins includes accidents, adventures, misadventures, how-not-to’s and blood, sweat and tears. Their relationship evolves, as together they discover an immensely satisfying and totally new way of living life—off the grid.

    It is the perfect introduction to feminist literary theory today.

    If you have not yet bought the original copy, make sure to purchase it before buying this unofficial summary from aBookaDay. SPECIAL OFFER $2.99 (Regularly priced: $3.99) OVERVIEW This review of The Big Short: Inside the Doomsday Machine by Michael Lewis provides a chapter by chapter detailed summary followed by an analysis and critique of the strengths and weaknesses of the book. The main theme explored in the book is how corruption and greed in Wall Street caused the crash of the subprime mortgage market in 2008. Despite being completely preventable, the big firms in Wall Street chose to ignore the oncoming fall in favor of making money. Michael Lewis introduces characters—men outside of the Wall Street machine—who foresaw the crisis and, through several different techniques, were able to predict how and when the market would fall. Lewis portrays these men—Steve Eisman, Mike Burry, Charlie Ledley, and Jamie Mai—as the underdogs, who were able to understand and act upon the obvious weaknesses in the subprime market. Lewis’s overall point is to demonstrate how the Wall Street firms were manipulating the market. They used loans to cash in on the desperation of middle-to-lower class Americans, and then ultimately relied on the government to bail them out when the loans were defaulted. Using anecdotes and interviews from the men who were involved first-hand, the author makes the case that Wall Street, and how they conducted business in regards to the subprime mortgage market, is truly corrupt beyond repair, and the men he profiles in this novel were trying to make the best out of a bad situation. By having the words from the sources themselves, this demonstrates Lewis’s search for the truth behind what actually happened. Ultimately, we as an audience can not be sure if the intentions of these underdogs were truly good, but Lewis does an admirable job presenting as many sides to the story as possible. The central thesis of the work is that the subprime mortgage crisis was caused by Wall Street firms pushing fraudulent loans upon middle-to-lower class Americans that they would essentially not be able to afford. Several people outside of Wall Street were able to predict a crash in the market when these loans would be defaulted on, and bought insurance to bet against the market (essentially, buying short). Over a time period from roughly 2005-2008, the market crashed and huge banks and firms lost billions of dollars, filed for bankruptcy, or were bailed out by the government. These men, the characters of Lewis’s novel, were able to bet against the loans and made huge amounts of money, but it was not quite an easy journey. Michael Lewis is a non-fiction author and financial journalist. He has written several novels—notably Liar’s Poker in 1989, Moneyball in 2003, and The Blind Side in 2006. Born in New Orleans, he attended Princeton University, receiving a BA degree in Art History. After attending London School of Economics and receiving his masters there, he was hired by Salomon Brothers where he experienced much about what he wrote about in Liar’s Poker. He is currently married, with three children and lives in Berkeley, California. SUMMARY PROLOGUE: POLTERGEIST Michael Lewis begins his tale of the remarkable—and strange—men who predicted the immense fall of the housing market by immediately exposing himself as the exact opposite type of person from them. He explains to the reader that he has no background in accounting, business, or money managing.

    And although these pieces were primarily intended to help students improve their creative writingn abilities, they are also an effective introduction to Hughes's own work and the influences other writers have had on him. Hughes, who was Poet Laureate to Queen Elizabeth II at the time of his death in 1998, casually and colorfully discusses how he came to write, what inspires him (and why), and the difficulties that he (and other writers) confront when writing.

    Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket.Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.