He references his own contributions to the canon of popular music, and he provides fascinating insider portraits of the industry and its protagonists. But above all, he questions our ideas of music and our attitude to sound, introducing us throughout this provocative and superbly written book to his current work, The17.

    Like those other outstanding comics Spike Milligan and Peter Cook he had an innate belief in absurdity as a way of life - his humour and sheer joy in madness for its own sake was as likely to find its outlet on the street as on the stage. The other Pythons often said that just listening to Graham tell them about one of his wild evenings out was fodder for a dozen sketches. He was inventive, fearless, willing to take chances and make stands. Openly gay, capable of outrageous alcohol-fuelled behaviour, Graham Chapman lived an untidy life, and in some respects this book mirrors that. Inside is everything from television scripts and sketches to humorous essays on serious topics, comic flights of fancy that serve no purpose except to elicit a laugh, letters to friends and fellow hellraisers like Keith Moon and Ringo Starr, his behind-the-scenes account of the filming of Life of Brian, his views on fellow Pythons, and much more.

    His life, too, is the stuff of legend, from his survival of the siege of Leningrad in early childhood to his expulsion from the Soviet Union and his achievements as a Nobel Prize winner and America’s poet laureate.In this penetrating biography, Brodsky’s life and work are illuminated by his great friend, the late poet and literary scholar Lev Loseff. Drawing on a wide range of source materials, some previously unpublished, and extensive interviews with writers and critics, Loseff carefully reconstructs Brodsky’s personal history while offering deft and sensitive commentary on the philosophical, religious, and mythological sources that influenced the poet’s work. Published to great acclaim in Russia and now available in English for the first time, this is literary biography of the first order, and sets the groundwork for any books on Brodsky that might follow.

    Whether he was profiling the rich and famous or creating indelible word-pictures of events and places near and far, Capote's eye for detail and dazzling style made his reportage and commentary undeniable triumphs of the form. "Portraits and Observations" is the first volume devoted solely to all the essays ever published by this most beloved of writers. From his travel sketches of Brooklyn, New Orleans, and Hollywood, written when he was twenty-two, to meditations about fame, fortune, and the writer's art at the peak of his career, to the brief works penned during the isolated denouement of his life, these essays provide an essential window into mid-twentieth-century America as offered by one of its canniest observers. Included are such celebrated masterpieces of narrative nonfiction as "The Muses Are Heard" and the short nonfiction novel "Handcarved Coffins," as well as many long-out-of-print essays, including portraits of Isak Dinesen, Mae West, Marcel Duchamp, Humphrey Bogart, and Marilyn Monroe. Among the highlights are "Ghosts in Sunlight: The Filming of In Cold Blood, "Preface to Music for Chameleons, in which Capote candidly recounts the highs and lows of his long career, and a playful self-portrait in the form of an imaginary self-interview. The book concludes with the author's last written words, composed the day before his death in 1984, the recently discovered"Remembering Willa Cather," Capote's touching recollection of his encounter with the author when he was a young man at the dawn of his career. "Portraits and Observations" puts on display the full spectrum of Truman Capote's brilliance. Certainly, Capote was, as Somerset Maugham famously called him, "a stylist of the first quality." But as the pieces gathered here remind us, he was also an artist of remarkable substance.

    This Elibron Classics book is a reprint of a 1899 edition by Longmans, Green & Company, London, New York, Bombay.

    And never more so than in this extraordinary and engaging gathering of nine essays, accompanied by a brief selection of new prose poems and poems. (One of the essays has been chosen as among the best of the year by THE BEST AMERICAN ESSAYS 1998, another by The Anchor Essay Annual.) With the grace and precision that have won her legions of admirers, Oliver talks here of turtle eggs and housebuilding, of her surprise at an unexpected whistling she hears, of the "thousand unbreakable links between each of us and everything else." She talks of her own poems and of some of her favorite poets: Poe, writing of "our inescapable destiny," Frost and his ability to convey at once that "everything is all right, and everything is not all right," the "unmistakably joyful" Hopkins, and Whitman, seeking through his poetry "the replication of a miracle." And Oliver offers us a glimpse as well of her "private and natural self—something that must in the future be taken into consideration by any who would claim to know me."

    Tolkien created the extraordinary world of Middle-earth and populated it with fantastic, archetypal denizens, reinventing the heroic quest, the world hardly noticed. Sales of The Lord of the Rings languished for the better part of two decades, until the Ballantine editions were published here in America. By late 1950s, however, the books were selling well and beginning to change the face of fantasy. . . . forever.A generation of students and aspiring writers had their hearts and imaginations captured by the rich tapestry of the Middle-earth mythos, the larger-than-life heroic characters, the extraordinary and exquisite nature of Tolkien's prose, and the unending quest to balance evil with good. These young readers grew up to become the successful writers of modern fantasy. They created their own worlds and universes, in some cases their own languages, and their own epic heroic quests. And all of them owe a debt of gratitude to the works and the author who first set them on the path.In Meditations on Middle-earth, sixteen bestselling fantasy authors share details of their personal relationships with Tolkien's mythos, for it inspired them all. Had there been no Lord of the Rings, there would also have been no Earthsea books by Ursula K. Le Guin; no Song of Ice and Fire saga from George R. R. Martin; no Tales of Discworld from Terry Pratchett; no Legends of Alvin Maker from Orson Scott Card. Each of them was influenced by the master mythmaker, and now each reveals the nature of that influence and their personal relationships with the greatest fantasy novels ever written in the English language.If you've never read the Tolkien books, read these essays and discover the depthy and beauty of his work. If you are a fan of The Lord of the Rings, the candid comments of these modern mythmakers will give you new insight into the subtlety, power, and majesty of Tolkien's tales and how he told them.

    In The New York Times Book Review, Sam Tanenhaus proclaimed it "a masterpiece of American fiction" and lauded its illumination, "through the steady radiance of its author's profound moral intelligence, [of] the world we thought we knew."In Farther Away, which gathers together essays and speeches written mostly in the past five years, Franzen returns with renewed vigor to the themes, both human and literary, that have long preoccupied him. Whether recounting his violent encounter with bird poachers in Cyprus, examining his mixed feelings about the suicide of his friend and rival David Foster Wallace, or offering a moving and witty take on the ways that technology has changed how people express their love, these pieces deliver on Franzen's implicit promise to conceal nothing. On a trip to China to see first-hand the environmental devastation there, he doesn't omit mention of his excitement and awe at the pace of China's economic development; the trip becomes a journey out of his own prejudice and moral condemnation. Taken together, these essays trace the progress of unique and mature mind wrestling with itself, with literature, and with some of the most important issues of our day. Farther Away is remarkable, provocative, and necessary.

    Two white house maids, a remarkable mother and her daughter, reveal what it was really like upstairs, downstairs at the white house.

    Leaving England for America, she pursued a career as an investigative reporter and unrepentant gadfly, publicizing not only the misdeeds of, most famously, the funeral business (The American Way of Death, a bestseller) and the prison business (Kind and Usual Punishment), but also of writing schools and weight-loss programs. Mitford’s diligence, unfailing skepticism, and acid pen made her one of the great chroniclers of the mischief people get up to in the pursuit of profit and the name of good. Poison Penmanship collects seventeen of Mitford’s finest pieces—about everything from crummy spas to network-TV censorship—and fills them out with the story of how she got the scoop and, no less fascinating, how the story developed after publication. The book is a delight to read: few journalists have ever been as funny as Mitford, or as gifted at getting around in those dark, cobwebbed corners where modern America fashions its shiny promises. It’s also an unequaled and necessary manual of the fine art of investigative reporting.

    There is an alternate edition published under ISBN13: 9780062509550. 'Injustice anywhere is a threat to justice everywhere.' This landmark missive from one of the greatest activists in history calls for direct, non-violent resistance in the fight against racism, and reflects on the healing power of love.This edition also contains the sermon 'The Three Dimensions of a Complete Life'.

    McCarthy examines how the work undermines traditional concepts of fiction and explores parallels and contrasts between Camus's work and that of Jean-Paul Sartre. Providing students with a useful companion to The Stranger, this second edition features a revised guide to further reading and a new chapter on Camus and the Algerian War. First Edition Hb (1988): 0-521-32958-2 First Edition Pb (1988): 0-521-33851-4

    Throughout, Chabon energetically argues for a return to the thrilling, chilling origins of storytelling, rejecting the false walls around "serious" literature in favor of a wide-ranging affection.Cover art by Jordan Crane.

    Identifying those trends which she finds most destructive in modern fiction (reportage, the substitution of violence for emotion, and the growing cults of ugliness, toughness, and caricature), Nin offers, instead, an argument for and synthesis of the poetic novel.Drawing upon such related arts as filmmaking, painting, and dance, Nin discusses her own efforts in this genre as well as the development of such writers as D. H. Lawrence, Henry Miller, Lawrence Durrell, Marguerite Young, and Djuna Barnes. In chapters devoted to the pursuit of the hidden self, the genesis of fiction, and the relationship between the diary and fiction, she addresses the materials, techniques, and nourishment of the arts, and the functions of art itself.

    W. Schultz (1859–1947) was an author, explorer, and historian known for his historical writings of the Blackfoot Indians in the late 1800s, when he lived among them as a fur trader. In 1907, Schultz published My Life as an Indian, the first of many future writings about the Blackfeet that he would produce over the next thirty years. Schultz lived in Browning, Montana. This Plains veteran's book "In the Great Apache Forest " was published in 1920 and is “real stuff,” vivid and exciting, with the value that comes from firsthand knowledge. Considered one of the best of Schultz' Indian stories, "In the Great Apache Forest," is the true story of 17-year-old George Crosby who being too young to serve his country in France becomes a member of the forest service in Arizona, where he encounters troublesome outlaws and helps to rout them. This book satisfies the reader's love of a struggle for he is fighting not merely the forest fires but real flesh and blood villains. The book introduces incidentally considerable interesting information about the Hopi Indians and a plea for fairer treatment of them. It is while at his lookout station high up on a hilltop that Crosby is visited by a group of Hopi Indians. One of these, trained in an American school, tells of the Indian customs. It is with these Indians' help he is able to protect the forest from a group of left-wing "fire bug" activists seeking to burn it down (members of the Industrial Workers of the World). Other antagonists include a giant grizzly and an Army deserter---both intent on causing havoc. A bit of mystery adds to the interest. The geography on which this adventure unfolds is Apache National Forest which covered most of Greenlee County, Arizona southern Apache County, Arizona, and part of western Catron County, New Mexico. Here is a high country; the altitude of Greer is 8500 feet, and south of it there is a steady rise for eleven miles to the summit of the range, Mount Thomas, 11,460 feet. And here, covering both slopes of the White Mountains, is the largest virgin forest that we have outside of Alaska, the Apache National Forest. It is about a hundred miles wide, and more than that in length, and contains millions of feet of centuries-old Douglas fir, white pine, and spruce. The great forest still harbors an abundance of game animals and birds, and its cold, pure streams are full of trout. Here the sportsman could still find in 1918 grizzly bears, some of them of great size. There were black bears, also, and mule deer and Mexican whitetail deer, and of wild turkeys and blue grouse great numbers. Cougars, wolves, coyotes, and lesser prowlers of the night were quite numerous and in most of the streams the beavers were ever at work upon their dams and lodges. Of Crosby and his home range, Schultz writes: "George Crosby was born and has lived all of his seventeen years, in Greer, a settlement of a halfdozen pioneer families located on the Little Colorado River, in the White Mountains, Arizona, The settlers of Greer are a hardy people. Theirs is one continuous struggle with Nature for the necessities of life. It was then, at the opening of the war, that George Crosby considered what he could do for the good cause. Came the summer of 1918, and the Supervisor of the Apache National Forest found himself woefully short of men, and the dreaded fire season coming on. The most of his rangers, fire lookouts, and patrols had gone to the war, and he could not find enough men of the right sort to take their places. . . . With this introduction, I let George tell his story, a story that I found exciting enough. "