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

    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.

    A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    These early works, characterized by a relentless pulse and static harmony, focused single-mindedly on the process of gradual rhythmic change. Throughout his career, Reich has continued to reinvigorate the music world, drawing from a wide array of classical, popular, sacred, and non-western idioms. His works reflect the steady evolution of an original musical mind.Writings on Music documents the creative journey of this thoughtful, groundbreaking composer. These 64 short pieces include Reich's 1968 essay Music as a Gradual Process, widely considered one of the most influential pieces of music theory in the second half of the 20th century. Subsequent essays, articles, and interviews treat Reich's early work with tape and phase shifting, showing its development into more recent work with speech melody and instrumental music. Other essays recount his exposure to non-western music -- African drumming, Balinese gamelan, Hebrew cantillation -- and the influence of these musics as structures and not as sounds. The writings include Reich's reactions to and appreciations of the works of his contemporaries (John Cage, Luciano Berio, Morton Feldman, Gyorgy Ligeti) and older influences (Kurt Weill, Schoenberg). Each major work of the composer's career is also explored through notes written for performances and recordings.Paul Hillier, himself a respected figure in the early music and new music worlds, has revisited these texts, working with the author to clarify their central narrative: the aesthetic and intellectual development of an influential composer. For long-time listeners and young musicians recently introduced to his work, this book provides an opportunity to get to know Reich's music in greater depth and perspective.

    A true auteur, Anderson is known for the visual artistry, inimitable tone, and idiosyncratic characterizations that make each of his films—Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, and Moonrise Kingdom—instantly recognizable as “Andersonian.”The Wes Anderson Collection is the first in-depth overview of Anderson’s filmography, guiding readers through his life and career. Previously unpublished photos, artwork, and ephemera complement a book-length conversation between Anderson and award-winning critic Matt Zoller Seitz. The interview and images are woven together in a meticulously designed book that captures the spirit of his films: melancholy and playful, wise and childish—and thoroughly original.

    In a myriad of commonplace activities, he finds the presence of the divine, and he elegantly describes these persons, events, and observations, nimbly transporting readers into these realities. With his masterly crafted prose, Buechner edifies, inspires, and offers a timeless model for approaching our human experience.

    In Frank Zappa: The Negative Dialectics of Poodle Play, Ben Watson explains that these characteristics are not mutually exclusive; it is misguided to suppress either aspect of Zappa's genius. His socially transgressive shocks - designed to show up the repressions of contemporary culture - are central to his art, . Watson brings serious critical attention to the musician, dissecting Zappa within his context, and analyzing him alongside such artists as John Cage and Pierre Boulez. Zappa's ideas are interpreted as an extension of a Western radical tradition that encompassed the Marquis de Sade, the Surrealists, and beyond, from musique concrete to doowop, Theodor Adorno to Suzy Creamcheese, Plato to Punky Meadows, the Situationists to the PMRC. Zappa's politics, as well a his wit and relentless attempts to break standard forms, are integral to his music.

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    Some disabilities are visible, others less apparent—but all are underrepresented in media and popular culture. Now, just in time for the thirtieth anniversary of the Americans with Disabilities Act, activist Alice Wong brings together this urgent, galvanizing collection of contemporary essays by disabled people.From Harriet McBryde Johnson’s account of her debate with Peter Singer over her own personhood to original pieces by authors like Keah Brown and Haben Girma; from blog posts, manifestos, and eulogies to Congressional testimonies, and beyond: this anthology gives a glimpse into the rich complexity of the disabled experience, highlighting the passions, talents, and everyday lives of this community. It invites readers to question their own understandings. It celebrates and documents disability culture in the now. It looks to the future and the past with hope and love.

    Novak's One More Thing: Stories and Other Stories is an endlessly entertaining, surprisingly sensitive, and startlingly original debut collection that signals the arrival of a welcome new voice in American fiction.Across a dazzling range of subjects, themes, tones, and narrative voices, Novak's assured prose and expansive imagination introduce readers to people, places, and premises that are hilarious, insightful, provocative, and moving-often at the same time.In One More Thing, a boy wins a $100,000 prize in a box of Frosted Flakes - only to discover that claiming the winnings may unravel his family. A woman sets out to seduce motivational speaker Tony Robbins - turning for help to the famed motivator himself. A school principal unveils a bold plan to permanently abolish arithmetic. An acclaimed ambulance driver seeks the courage to follow his heart and throw it all away to be a singer-songwriter. Author John Grisham contemplates a monumental typo. A new arrival in heaven, overwhelmed by infinite options, procrastinates over his long-ago promise to visit his grandmother. We meet a vengeance-minded hare, obsessed with scoring a rematch against the tortoise who ruined his life; and post-college friends who debate how to stage an intervention in the era of Facebook. We learn why wearing a red t-shirt every day is the key to finding love; how February got its name; and why the stock market is sometimes just... down.Finding inspiration in questions from the nature of perfection to the icing on carrot cake, from the deeply familiar to the intoxicatingly imaginative, One More Thing finds its heart in the most human of phenomena: love, fear, family, ambition, and the inner stirring for the one elusive element that might make a person complete. The stories in this collection are like nothing else, but they have one thing in common: they share the playful humor, deep heart, inquisitive mind, and altogether electrifying spirit of a writer with a fierce devotion to the entertainment of the reader.

    But, undeterred, he commences a deeply felt meditation on poetry, its language and meaning, and its power to open minds and transform lives. By the end of the book, Parini has recovered a truth often obscured by our clamorous culture: without poetry, we live only partially, not fully conscious of the possibilities that life affords. Poetry indeed matters. A gifted poet and acclaimed teacher, Parini begins by looking at defenses of poetry written over the centuries. He ponders Aristotle, Horace, and Longinus, and moves on through Sidney, Wordsworth, Coleridge, Shelley, Eliot, Frost, Stevens, and others. Parini examines the importance of poetic voice and the mysteries of metaphor. He argues that a poet’s originality depends on a deep understanding of the traditions of political poetry, nature poetry, and religious poetry. Writing with a casual grace, Parini avoids jargon and makes his case in concise, direct terms: the mind of the poet supplies a light to the minds of others, kindling their imaginations, helping them to live their lives. The author’s love of poetry suffuses this insightful book—a volume for all readers interested in a fresh introduction to the art that lies at the center of Western civilization.

    A large part of the artist’s role in today’s professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D’Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York. Martin Herbert is a writer and critic living in Berlin. He is associate editor of ArtReview and writes for international art journals. Previous books include The Uncertainty Principle (2014) and Mark Wallinger (2011).Design by Fraser Muggeridge studio

    Last year, Guardian journalist Ariane Sherine launched the Atheist Bus Campaign and ended up raising over GBP150,000, enough to place the advert 'There's probably no God. Now stop worrying and enjoy your life' on 800 UK buses in January 2009. Now Ariane and dozens of other atheist writers, comedians and scientists are joining together to raise money for a very different cause. The Atheist's Guide to Christmas is a funny, thoughtful handbook all about enjoying Christmas, from 42 of the world's most entertaining atheists. It features everything from an atheist Christmas miracle to a guide to the best Christmas pop hits, and contributors include Richard Dawkins, Charlie Brooker, Derren Brown, Ben Goldacre, Jenny Colgan, David Baddiel, Simon Singh, AC Grayling, Brian Cox and Richard Herring. The full book advance and all royalties will go to the UK HIV charity Terrence Higgins Trust.(less)

    Veteran journalist Pete Hamill never covered just politics. Or just sports. Or just the entertainment business, the mob, foreign affairs, social issues, the art world, or New York City. He has in fact written about all these subjects, and many more, in his years as a contributor to such national magazines as Esquire, Vanity Fair, and New York, and as a columnist at the New York Post, the New York Daily News, the Village Voice, and other newspapers. Seasoned by more than thirty years as a New York newspaperman, Hamill wrote on an extraordinarily wide variety of topics in powerful language that is personal, tough-minded, clearheaded, always provocative. Piecework is a rich and varied collection of Hamill's best writing, on such diverse subjects as what television and crack have in common, why winning isn't everything, stickball, Nicaragua, Donald Trump, why American immigration policy toward Mexico is all wrong, Brooklyn's Seventh Avenue, and Frank Sinatra, not to mention Octavio Paz, what it's like to realize you're middle-aged, Northern Ireland, New York City then and now, how Mike Tyson spent his time in prison, and much more. This collection proves him once again to be among the last of a dying breed: the old-school generalist, who writes about anything and everything, guided only by passionate and boundless curiosity. Piecework is Hamill at his very best.

    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