Vladimir Nabokov) brings to shimmering life one of the greatest literary love stories of our time. Vladimir Nabokov--the émigré author of Lolita; Pale Fire; and Speak, Memory--wrote his books first for himself, second for his wife, Véra, and third for no one at all."Without my wife," he once noted, "I wouldn't have written a single novel." Set in prewar Europe and postwar America, spanning much of the century, the story of the Nabokovs' fifty-two-year marriage reads as vividly as a novel. Véra, both beautiful and brilliant, is its outsized heroine--a woman who loves as deeply and intelligently as did the great romantic heroines of Austen and Tolstoy. Stacy Schiff's Véra is a triumph of the biographical form.

    It makes people think you're dead. So begins Christopher Fowler's foray into the back catalogues and backstories of 99 authors who, once hugely popular, have all but disappeared from shelves.We are fondly introduced to each potential rediscovery from lost Victorian voices to the twentieth century writers who could well become the next John Williams, Hans Fallada, or Lionel Davidson. Whether male or female, flash-in-the-pan or prolific, mega-seller or prize-winner, no author, it seems, can ever be fully immune from the fate of being forgotten.These 99 journeys are punctuated by 12 short essays about faded once-favorites, including the now-vanished novels Walt Disney brought to the screen, the contemporary rivals of Sherlock Holmes and Agatha Christie who did not stand the test of time, and the women who introduced psychological suspense many decades before it conquered the world. This is a book about books and their authors. It is for book lovers and is written by one who could not be a more enthusiastic, enlightening, and entertaining guide.

    But in that year, Quentin Crisp made the courageous decision to "come out" as a homosexual. This exhibitionist with the henna-dyed hair was harassed, ridiculed and beaten. Nevertheless, he claimed his right to be himself—whatever the consequences. The Naked Civil Servant is both a comic masterpiece and a unique testament to the resilience of the human spirit.

    In true emulative and contrarian style, Hitchens is both admiring and aggressive, sympathetic yet critical, taking true measure of his subject as hero and problem. Answering both the detractors and the false claimants, Hitchens tears down the façade of sainthood erected by the hagiographers and rebuts the critics point by point. He examines Orwell and his perspectives on fascism, empire, feminism, and Englishness, as well as his outlook on America, a country and culture towards which he exhibited much ambivalence. Whether thinking about empires or dictators, race or class, nationalism or popular culture, Orwell's moral outlook remains indispensable in a world that has undergone vast changes in the fifty years since his death. Combining the best of Hitchens's polemical punch and intellectual elegance in a tightly woven and subtle argument, this book addresses not only why Orwell matters today, but how he will continue to matter in a future, uncertain world. Christopher Hitchens, one of the most incisive minds of our own age, meets Orwell on the page in this provocative encounter of wit, contention and moral truth.

    Hailed by readers and critics across the country, this engrossing biography of Mexican painter Frida Kahlo reveals a woman of extreme magnetism and originality, an artist whose sensual vibrancy came straight from her own experiences: her childhood near Mexico City during the Mexican Revolution; a devastating accident at age eighteen that left her crippled and unable to bear children; her tempestuous marriage to muralist Diego Rivera and intermittent love affairs with men as diverse as Isamu Noguchi and Leon Trotsky; her association with the Communist Party; her absorption in Mexican folklore and culture; and her dramatic love of spectacle.Here is the tumultuous life of an extraordinary twentieth-century woman -- with illustrations as rich and haunting as her legend.

    Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul - and the ability to love his fellow man.Leverkühn's life story is a brilliant allegory of the rise of the Third Reich, of Germany's renunciation of its own humanity and its embrace of ambition and its nihilism. It is also Mann's most profound meditation on the German genius - both national and individual - and the terrible responsibilities of the truly great artist.

    But the world’s best-loved female authors are usually mythologized as solitary eccentrics or isolated geniuses. Coauthors and real-life friends Emily Midorikawa and Emma Claire Sweeney prove this wrong, thanks to their discovery of a wealth of surprising collaborations: the friendship between Jane Austen and one of the family servants, playwright Anne Sharp; the daring feminist author Mary Taylor, who shaped the work of Charlotte Brontë; the transatlantic friendship of the seemingly aloof George Eliot and Harriet Beecher Stowe; and Virginia Woolf and Katherine Mansfield, most often portrayed as bitter foes, but who, in fact, enjoyed a complex friendship fired by an underlying erotic charge. Through letters and diaries that have never been published before, A Secret Sisterhood resurrects these forgotten stories of female friendships. They were sometimes scandalous and volatile, sometimes supportive and inspiring, but always—until now—tantalizingly consigned to the shadows.

    The worlds of Milan and Rome through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and prostitutes, prayer and violence. Graham-Dixon puts the murder of a pimp, Ranuccio Tomassoni, at the centre of his story. It occurred at the height of Caravaggio’s fame in Rome and probably brought about his flight through Malta and Sicily, which led to his death in suspicious circumstances off the coast of Naples. Graham-Dixon shows how Caravaggio’s paintings emerged from this extraordinarily wild and troubled life: his detailed readings of them explain their originality and Caravaggio’s mentality better than any of his predecessors.

    It's a book that has remained current for over half a century, fighting off critics and changing tastes in fiction. But do even its biggest fans know all there is to appreciate about The Great Gatsby?Maureen Corrigan, the book critic for "Fresh Air" and a Gatsby lover extraordinaire, points out that while Gatsby may be the novel most Americans have read, it's also the ones most of us read too soon -- when we were "too young, too defensive emotionally, too ignorant about the life-deforming powers of regret" to really understand all that Fitzgerald was saying ("it's not the green light, stupid, it's Gatsby's reaching for it," as she puts it). No matter when or how recently you've read the novel, Corrigan offers a fresh perspective on what makes it so enduringly relevant and powerful. Drawing on her experience as a reader, lecturer, and critic, her book will be a rousing consideration of Gatsby: not just its literary achievements, but also its path to "classic" (its initial lukewarm reception has been a form of cold comfort to struggling novelists for decades), its under-acknowledged debt to hard-boiled crime fiction, its commentaries on race, class, and gender.With rigor, wit, and an evangelistic persuasiveness, Corrigan will leave readers inspired to grab their old paperback copies of Gatsby and re-experience this great novel in an entirely new light.

    G. Jung undertook the telling of his life story. At regular intervals he had conversations with his colleague and friend Aniela Jaffé, and collaborated with her in the preparation of the text based on these talks. On occasion, he was moved to write entire chapters of the book in his own hand, and he continued to work on the final stages of the manuscript until shortly before his death on June 6, 1961.

    Although the dozen biographies devoted to Rimbaud’s life depend on one main source for information—his own correspondence—a complete edition of these remarkable letters has never been published in English. Until now.A moving document of decline, Rimbaud’s letters begin with the enthusiastic artistic pronouncements of a fifteen-year-old genius, and end with the bitter what-ifs of a man whose life has slipped disastrously away. But whether soapboxing on the essence of art, or struggling under the yoke of self-imposed exile in the desert of his later years, Rimbaud was incapable of writing an uninteresting sentence. As translator and editor Wyatt Mason makes clear in his engaging Introduction, the letters reveal a Rimbaud very different from our expectations. Rimbaud—presented by many biographers as a bohemian wild man—is unveiled as “diligent in his pursuit of his goals . . . wildly, soberly ambitious, in poetry, in everything.”I Promise to Be Good: The Letters of Arthur Rimbaud is the second and final volume in Mason’s authoritative presentation of Rimbaud’s writings. Called by Edward Hirsch “the definitive translation for our time,” Mason’s first volume, Rimbaud Complete (Modern Library, 2002), brought Rimbaud’s poetry and prose into vivid focus. In I Promise to Be Good, Mason adds the missing epistolary pieces to our picture of Rimbaud. “These letters,” he writes, “are proofs in all their variety—of impudence and precocity, of tenderness and rage—for the existence of Arthur Rimbaud.” I Promise to Be Good allows English-language readers to see with new eyes one of the most extraordinary poets in history.From the Hardcover edition.

    He was seen as a champion of individualism. The transcendentalists believe in the inherent goodness of both people and nature. They further believe that society and its institutions—particularly organized religion and political parties—corrupt the purity of the individual. They have faith that people are at their best when truly "self-reliant" and independent. Emerson wrote most of his important essays as lectures first, then revised them for print. His first two collections of essays – Essays: First Series and Essays: Second Series, published respectively in 1841 and 1844 – represent the core of his thinking, and include such well-known essays as Self-Reliance, The Over-Soul, Circles, The Poet and Experience. Together with Nature, these essays made the decade from the mid-1830s to the mid-1840s Emerson's most fertile period. The collection: • Nature • The American Scholar • The Conduct of Life • English Traits Essays - First Series • History • Self-Reliance • Compensation • Spiritual Laws • Love • Friendship • Prudence • Heroism • The Over-Soul • Circles • Intellect • Art Essays - Second Series • The Poet • Experience • Character • Manners • Gifts • Nature • Politics • Nonimalist and Realist • New England Reformers Representative Men • Plato; or, the Philosopher • Plato; New Readings • Swedenborg; or, the Mystic • Montaigne; or, the Skeptic • Shakspeare; or, the Poet • Napoleon; or, the Man of the World • Goethe; or, the Writer Poems • May-Day And Other Pieces • Elements And Mottoes • Quatrains And Translations

    An important and fascinating firsthand account of life with Hitler from 1942 until his death in the Berlin bunker in 1945, by the young woman who was his last secretary.

    When Walter Kaufmann wrote it in the immediate aftermath of World War II, most scholars outside Germany viewed Nietzsche as part madman, part proto-Nazi, and almost wholly unphilosophical. Kaufmann rehabilitated Nietzsche nearly single-handedly, presenting his works as one of the great achievements of Western philosophy.Responding to the powerful myths and countermyths that had sprung up around Nietzsche, Kaufmann offered a patient, evenhanded account of his life and works, and of the uses and abuses to which subsequent generations had put his ideas. Without ignoring or downplaying the ugliness of many of Nietzsche's proclamations, he set them in the context of his work as a whole and of the counterexamples yielded by a responsible reading of his books. More positively, he presented Nietzsche's ideas about power as one of the great accomplishments of modern philosophy, arguing that his conception of the will to power was not a crude apology for ruthless self-assertion but must be linked to Nietzsche's equally profound ideas about sublimation. He also presented Nietzsche as a pioneer of modern psychology and argued that a key to understanding his overall philosophy is to see it as a reaction against Christianity.Many scholars in the past half century have taken issue with some of Kaufmann's interpretations, but the book ranks as one of the most influential accounts ever written of any major Western thinker.

    Tolkien is "the most influential author of the century," and The Lord of the Rings is "the book of the century." In support of these claims, the prominent medievalist and scholar of fantasy Professor Tom Shippey now presents us with a fascinating companion to the works of J.R.R. Tolkien, focusing in particular on The Hobbit, The Lord of the Rings, and The Silmarillion. The core of the book examines The Lord of the Rings as a linguistic and cultural map and as a response to the meaning of myth. It presents a unique argument to explain the nature of evil and also gives the reader a compelling insight into the unparalleled level of skill necessary to construct such a rich and complex story. Shippey also examines The Hobbit, explaining the hobbits' anachronistic relationship to the heroic world of Middle-earth, and shows the fundamental importance of The Silmarillion to the canon of Tolkien's work. He offers as well an illuminating look at other, lesser-known works in their connection to Tolkien's life.