The art of fiction is considered under a wide range of headings, such as the Intrusive Author, Suspense, the Epistolary Novel, Time-shift, Magic Realism and Symbolism, and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austen and Fay Weldon and Henry Fielding and James Joyce, David Lodge makes accesible to the general reader the richness and variety of British and American fiction. Technical terms, such as Interior Monologue, Metafiction, Intertextuality and the Unreliable Narrator, are lucidly explained and their applications demonstrated.Bringing to criticism the verve and humour of his own novels, David Lodge has provided essential reading for students of literature, aspiring writers, and anyone who wishes to understand how literature works.Beginning (Jane Austen, Ford Madox Ford) --The intrusive author (George Eliot, E.M. Forster) --Suspense (Thomas Hardy) --Teenage Skaz (J.D. Salinger) --The epistolary novel (Michael Frayn) --Point of view (Henry James) --Mystery (Rudyard Kipling) --Names (David Lodge, Paul Auster) --The stream of consciousness (Virginia Woolf) --Interior monologue (James Joyce) --Defamiliarization (Charlotte Bronte) --The sense of place (Martin Amis) --Lists (F. Scott Fitzgerald) --Introducing a character (Christopher Isherwood) --Surprise (William Makepeace Thackeray) --Time-shift (Muriel Spark) --The reader in the text (Laurence Sterne) --Weather (Jane Austen, Charles Dickens) --Repetition (Ernest Hemingway) --Fancy prose (Vladimir Nabokov) --Intertextuality (Joseph Conrad) --The experimental novel (Henry Green) --The comic novel (Kingsley Amis) --Magic realism (Milan Kundera) --Staying on the surface (Malcolm Bradbury) --Showing and telling (Henry Fielding) --Telling in different voices (Fay Weldon) --A sense of the past (John Fowles). Imagining the future (George Orwell) --Symbolism (D.H. Lawrence) --Allegory (Samuel Butler) --Epiphany (John Updike) --Coincidence (Henry James) --The unreliable narrator (Kazuo Ishiguro) --The exotic (Graham Greene) --Chapters etc. (Tobias Smollett, Laurence Sterne, Sil Walter Scott, George Eliot, James Joyce) --The telephone (Evelyn Waugh) --Surrealism (Leonora Carringotn) --Irony (Arnold Bennett) --Motivation (George Eliot) --Duration (Donald Barthelme) --Implication (William Cooper) --The title (George Gissing) --Ideas (Anthony Burgess) --The non-fiction novel (Thomas Carlyle) --Metafiction (John Barth) --The uncanny (Edgar Allen Poe) --Narrative structure (Leonard Michaels) --Aporia (Samuel Beckett) --Ending (Jane Austen, William Golding)

    The Curtain is a seven-part essay by Milan Kundera, along with The Art of the Novel and Testaments Betrayed composing a type of trilogy of book-length essays on the European novel.

    It is the most widely read and frequently adapted story of all time, on stage and on film. But why is Les Misérables the novel of the century? David Bellos's remarkable new book brings to life the extraordinary story of how Hugo managed to write his epic novel despite a revolution, a coup d'état and political exile; how he pulled off the deal of the century to get it published, and set it on course to become the novel that epitomizes the grand sweep of history in the nineteenth century. Packed full of information about the background and design of Les Misérables, this biography of a masterpiece nonetheless insists that the moral and social message of Hugo's ever-popular novel is just as important for our century as it was for its own. The Novel of the Century is a book as rich, remarkable and long-lasting as the novel at its heart.Les Misérables is available as a Penguin Classic, in an acclaimed new translation by Christine Donougher, with an introduction by Robert Tombs.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    Twain’s masterpiece, which still sells tens of thousands of copies each year and is taught more than any other American classic, is often discussed either as a carefree adventure story for children or a serious novel about race relations, yet Levy argues convincingly it is neither. Instead, Huck Finn was written at a time when Americans were nervous about youth violence and “uncivilized” bad boys, and a debate was raging about education, popular culture, and responsible parenting — casting Huck’s now-celebrated “freedom” in a very different and very modern light. On issues of race, on the other hand, Twain’s lifelong fascination with minstrel shows and black culture inspired him to write a book not about civil rights, but about race’s role in entertainment and commerce, the same features upon which much of our own modern consumer culture is also grounded. In Levy’s vision, Huck Finn has more to say about contemporary children and race that we have ever imagined—if we are willing to hear it.An eye-opening, groundbreaking exploration of the character and psyche of Mark Twain as he was writing his most famous novel, Huck Finn’s America brings the past to vivid, surprising life, and offers a persuasive—and controversial—argument for why this American classic deserves to be understood anew.

    This collection has more than twenty-five selections, including such important statements as "Modern Fiction" and "The Modern Essay."

    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.

    Forster's Aspects of the Novel is an innovative and effusive treatise on a literary form that, at the time of publication, had only recently begun to enjoy serious academic consideration. This Penguin Classics edition is edited with an introduction by Oliver Stallybrass, and features a new preface by Frank Kermode.First given as a series of lectures at Cambridge University, Aspects of the Novel is Forster's analysis of this great literary form. Here he rejects the 'pseudoscholarship' of historical criticism - 'that great demon of chronology' - that considers writers in terms of the period in which they wrote and instead asks us to imagine the great novelists working together in a single room. He discusses aspects of people, plot, fantasy and rhythm, making illuminating comparisons between novelists such as Proust and James, Dickens and Thackeray, Eliot and Dostoyevsky - the features shared by their books and the ways in which they differ. Written in a wonderfully engaging and conversational manner, this penetrating work of criticism is full of Forster's habitual irreverence, wit and wisdom.In his new introduction, Frank Kermode discusses the ways in which Forster's perspective as a novelist inspired his lectures. This edition also includes the original introduction by Oliver Stallybrass, a chronology, further reading and appendices.E. M. Forster (1879-1970) was a noted English author and critic and a member of the Bloomsbury group. His first novel, Where Angels Fear To Tread appeared in 1905. The Longest Journey appeared in 1907, followed by A Room With A View (1908), based partly on the material from extended holidays in Italy with his mother. Howards End (1910) was a story that centered on an English country house and dealt with the clash between two families, one interested in art and literature, the other only in business. Maurice was revised several times during his life, and finally published posthumously in 1971.If you enjoyed Aspects of the Novel, you might like Forster's A Room with a View, also available in Penguin Classics.

    D. James, the undisputed queen of mystery, gives us an intriguing, inspiring and idiosyncratic look at the genre she has spent her life perfecting.   Examining mystery from top to bottom, beginning with such classics as Charles Dickens's Bleak House and Wilkie Collins's The Woman in White, and then looking at such contemporary masters as Colin Dexter and Henning Mankell, P. D. James goes right to the heart of the genre. Along the way she traces the lives and writing styles of Arthur Conan Doyle, Agatha Christie, Dashiell Hammett, and many more. Here is P.D. James discussing detective fiction as social history, explaining its stylistic components, revealing her own writing process, and commenting on the recent resurgence of detective fiction in modern culture. It is a must have for the mystery connoisseur and casual fan alike.

     From the author of A Prairie Home Companion's beloved "Five-Minute Classics" comes The Five-Minute Iliad and Other Instant Classics, a witty and profane lampoon of the Western literary canon -- the Spinal Tap of literature. "I will never write such wordy trash again," Leo Tolstoy said of War and Peace after reading Homer in the original Greek. Tolstoy's pledge inspired humorist Greg Nagan to whet his double-edged verbal sword and offer this gleefully twisted take on what contemporary readings of the Great Books say about our society today. From The Iliad to On the Road, these fifteen parodies provide a riotous romp through Western civilization (one version of it, anyway) from Homer to Kerouac, from Ancient Greece to Postwar America, from the Lyrical Epic to the Breathless Gush. Nagan's mirthful mayhem will delight those who've read the Great Books, and those who haven't read them will find these literary caricatures entertaining in their own right.

    These essays illustrates Maxwell’s poetic philosophy, that the greatest verse arises from a harmony of mind and body, and that poetic forms originate in human necessities – breath, heartbeat, footstep, posture. He speaks of his inspirations, his models, and takes us inside the strange world of the Creative Writing Class, where four young hopefuls grapple with love, sex, cheap wine and hard work. With examples from canonical poets, this is a beautiful, accessible guide to the most ancient and sublime of the realms of literature.

    The interviews include favorites gleaned from the pages of the Believer magazine along with previously unpublished conversations. The book is rife with astonishing insights and profound quips. To wit:George Saunders: ‘I see writing as part of an ongoing attempt to really, viscerally, believe that everything matters, suffering is real, and death is imminent.’Ian McEwan: ‘The dream, surely, that we all have, is to write this beautiful paragraph that actually is describing something but at the same time in another voice is writing commentary on its own creation, without having to be a story about a writer.’Jamaica Kincaid: ‘All of these declarations of what writing ought to be, which I had myself—though, thank god I had never committed them to paper—I think are nonsense.... You write what you write, and then either it holds up or it doesn't hold up. There are no rules or particular sensibilities. I don't believe in that all anymore.’Janet Malcolm: ‘The narrator of my nonfiction pieces is not the same person I am—she is a lot more articulate and thinks of much cleverer things to say than I usually do.’Paul Auster: ‘In my own case, I certainly don't walk into my room and sit down at my desk feeling like a boxer ready to go ten rounds with Joe Louis. I tiptoe in. I procrastinate. I delay. I come in sideways, kind of sliding through the door.... I don't burst into the saloon with my six-shooter ready. If I did, I'd probably shoot myself in the foot.’Tobias Wolff: ‘Each time out should be a swing for the fences. Don't do base-running drills. You can do those on your own time.’

    At her death in 1964, O'Connor left behind a body of unpublished essays and lectures as well as a number of critical articles that had appeared in scattered publications during her too-short lifetime. The keen writings comprising Mystery and Manners, selected and edited by O'Connor's lifelong friends Sally and Robert Fitzgerald, are characterized by the directness and simplicity of the author's style, a fine-tuned wit, understated perspicacity, and profound faith.The book opens with "The King of the Birds," her famous account of raising peacocks at her home in Milledgeville, Georgia. Also included are: three essays on regional writing, including "The Fiction Writer and His Country" and "Some Aspects of the Grotesque in Southern Fiction"; two pieces on teaching literature, including "Total Effect and the 8th Grade"; and four articles concerning the writer and religion, including "The Catholic Novel in the Protestant South." Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are widely seen as gems.This bold and brilliant essay-collection is a must for all readers, writers, and students of contemporary American literature.

    Paul Auster, Roddy Doyle, Allegra Goodman, Aleksandar Hemon, Mario Vargas Llosa, Susan Minot, Rick Moody, Haruki Murakami, George Pelecanos, Gary Shteyngart, and others take us step by step through the alchemy of writing fiction, answering everything from nuts-and-bolts queries—"Do you outline?"—to perennial questions posed by writers and readers alike: "What makes a character compelling?"From Stephen King's deadpan distinction between novels and short stories ("Novels are longer and have more s**t in them") to Colm Toibin's anti-romanticized take on his characters ("They are just words") to José Manuel Prieto's mature perspective on the anxieties of influence ("Influences are felt or weigh you down more when young"), every page contains insights found nowhere else.With honesty, humor, and elegance, The Secret Miracle gives both aspiring writers and lovers of literature a master class in the art of writing.

    From imagining the secret sex life of Tolstoy to the secrets of Sufism, from reviews of classic books to commentaries on world politics, these essays cover an impressive range of subjects, cultures, periods, and themes, yet they are remarkably consistent in one key regard: Lessing's clear-eyed vision and clearly expressed prose.