After gaining admission to Oxford, and moving to the United States to become a journalist, through several love affairs, then marriage and family, Mead read and reread Middlemarch. The novel, which Virginia Woolf famously described as "one of the few English novels written for grown-up people," offered Mead something that modern life and literature did not.In this wise and revealing work of biography, reporting, and memoir, Rebecca Mead leads us into the life that the book made for her, as well as the many lives the novel has led since it was written. Employing a structure that deftly mirrors that of the novel, My Life in Middlemarch takes the themes of Eliot's masterpiece--the complexity of love, the meaning of marriage, the foundations of morality, and the drama of aspiration and failure--and brings them into our world. Offering both a fascinating reading of Eliot's biography and an exploration of the way aspects of Mead's life uncannily echo that of Eliot herself.

    Sometimes, evil can be difficult to detect. It can be masked by charm and flattery, and it is often perpetuated by pathological lying, projection, and various other mind games. No matter how hidden it may be, evil always devastates—and isolates—any normal person who is touched by it. The Survivor’s Quest is written by HealingJourney, the former target of a psychopathic predator. He presented himself to her as a “nice guy,” but he turned out to be the precise opposite. As a result of the encounter and its sudden end, HealingJourney found herself overwhelmed by despair. But she soon realized that she was not alone in her new understanding of humanity, and she was able to find her way out of the darkness. Throughout the book, she shares the struggles and triumphs she experienced during her recovery. She also offers validation, encouragement, and practical strategies for her fellow survivors. If you have been hurt by someone with a personality disorder and are looking for recovery support, this book is for you.

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    Never one to stop at the surface of the story, Lemon digs deep, exposing his own history with wealth and lack, with family secrets and painful revelations--and explains how those painful early experiences shaped his ambitions and gave him the tools of empathy and fearlessness that he brings to his work. Then Lemon turns the same searing honesty on the news industry itself, taking the reader behind the scenes of September 11, 2001, the DC Snipers, the epidemic of AIDS in Africa, Hurricane Katrina, the election of Barack Obama, and the death of Michael Jackson among other events.With his clear and compelling storytelling and the rich detail of an Emmy-winning journalist, Lemon reveals his own painful journey from a little boy who dreamed of broadcasting in segregated Baton Rouge in the early 70s, to his current perch at CNN in a fascinating and compelling look at the world of television news and his own experiences reporting in it.

    James Joyce’s big blue book, Ulysses, ushered in the modernist era and changed the novel for all time. But the genius of Ulysses was also its danger: it omitted absolutely nothing. All of the minutiae of Leopold Bloom’s day, including its unspeakable details, unfold with careful precision in its pages. The New York Society for the Suppression of Vice immediately banned the novel as "obscene, lewd, and lascivious.” Joyce, along with some of the most important publishers and writers of his era, had to fight for years to win the freedom to publish it. The Most Dangerous Book tells the remarkable story surrounding Ulysses, from the first stirrings of Joyce’s inspiration in 1904 to its landmark federal obscenity trial in 1933.   Literary historian Kevin Birmingham follows Joyce’s years as a young writer, his feverish work on his literary masterpiece, and his ardent love affair with Nora Barnacle, the model for Molly Bloom. Joyce and Nora socialized with literary greats like Ezra Pound, Ernest Hemingway, T. S. Eliot and Sylvia Beach. Their support helped Joyce fight an array of anti-vice crusaders while his book was disguised and smuggled, pirated and burned in the United States and Britain. The long struggle for publication added to the growing pressures of Joyce’s deteriorating eyesight, finances and home life.   Salvation finally came from the partnership of Bennett Cerf, the cofounder of Random House, and Morris Ernst, a dogged civil liberties lawyer and founder of the ACLU. With their stewardship, the case ultimately rested on the literary merit of Joyce’s master work. The sixty-year-old judicial practices governing obscenity in the United States were overturned because a federal judge could get inside Molly Bloom’s head.   Birmingham’s archival work brings to light new information about both Joyce and the story surrounding Ulysses. Written for ardent Joyceans as well as novices who want to get to the heart of the greatest novel of the twentieth century, The Most Dangerous Book is a gripping examination of how the world came to say yes to Ulysses.

    For, in this stylish, erudite and frequently hilarious book, de Botton dips deeply into Proust’s life and work—his fiction, letter, and conversations—and distills from them that rare self-help manual: one that is actually helpful.Here, tendered in prose almost as luminous as it’s subject’s, is advice on cultivating friendships, suffering successfully, recognizing love and understanding why you should never sleep with someone on the first date. And here, too, is a generously perceptive literary biography that suggests that the master is as relevant today as he was in fin de siècle Paris. At once slyly ironic and genuinely wise, How Proust Can Change Your Life is an unqualified delight.

    Lewis' The Chronicles of Narnia. Enchanted by its fantastic world as a child, prominent critic Laura Miller returns to the series as an adult to uncover the source of these small books' mysterious power by looking at their creator, Clive Staples Lewis. What she discovers is not the familiar, idealized image of the author, but a more interesting and ambiguous truth: Lewis's tragic and troubled childhood, his unconventional love life, and his intense but ultimately doomed friendship with J.R.R. Tolkien.Finally reclaiming Narnia "for the rest of us," Miller casts the Chronicles as a profoundly literary creation, and the portal to a life-long adventure in books, art, and the imagination.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    This is an exploration of her relationship with the literary form we have come to know as "science fiction,” a relationship that has been lifelong, stretching from her days as a child reader in the 1940s, through her time as a graduate student at Harvard, where she worked on the Victorian ancestor of the form, and continuing as a writer and reviewer.  This book brings together her three heretofore unpublished Ellmann Lectures from 2010: "Flying Rabbits," which begins with Atwood's early  rabbit superhero creations, and goes on to speculate about masks, capes, weakling alter egos, and Things with Wings; "Burning Bushes," which follows her into Victorian otherlands and beyond; and "Dire Cartographies," which investigates Utopias and Dystopias.  In Other Worlds also includes some of Atwood's key reviews and thoughts about the form. Among those writers discussed are Marge Piercy, Rider Haggard, Ursula Le Guin, Ishiguro, Bryher, Huxley, and Jonathan Swift. She elucidates the differences (as she sees them) between "science fiction" proper, and "speculative fiction," as well as between "sword and sorcery/fantasy" and "slipstream fiction." For all readers who have loved The Handmaid's Tale, Oryx and Crake, and The Year of the Flood, In Other Worlds is a must.  From the Hardcover edition.

    Once seen as a paragon of decency, he was reduced to a small-town racist. How are we to understand this transformation?In Atticus Finch, historian Joseph Crespino draws on exclusive sources to reveal how Harper Lee's father provided the central inspiration for each of her books. A lawyer and newspaperman, A. C. Lee was a principled opponent of mob rule, yet he was also a racial paternalist. Harper Lee created the Atticus of Watchman out of the ambivalence she felt toward white southerners like him. But when a militant segregationist movement arose that mocked his values, she revised the character in To Kill a Mockingbird to defend her father and to remind the South of its best traditions. A story of family and literature amid the upheavals of the twentieth century, Atticus Finch is essential to understanding Harper Lee, her novels, and her times.

    Emphasizing both the coherence and the diversity of English metrical practice from Chaucer's time to ours, Timothy Steele explains how poets harmonize the fixed units of meter with the variable flow of idiomatic speech, and examines the ways in which poets have used meter, rhyme, and stanza to communicate and enhance meaning. Steele illuminates as well many practical, theoretical, and historical issues in English prosody, without ever losing sight of the fundamental pleasures, beauties, and insights that fine poems offer us. Written lucidly, with a generous selection of helpful scansions and explanations of the metrical effects of the great poets of the English language, All the Fun's in How You Say a Thing is not only a valuable handbook on technique; it is also a wide-ranging study of English verse and a mine of entertaining information for anyone wishing more fully to write, enjoy, understand, or teach poetry.

    “Babel in California” told the true story of various human destinies intersecting at Stanford University during a conference about the enigmatic writer Isaac Babel. Over the course of several pages, Batuman managed to misplace Babel’s last living relatives at the San Francisco airport, uncover Babel’s secret influence on the making of King Kong, and introduce her readers to a new voice that was unpredictable, comic, humane, ironic, charming, poignant, and completely, unpretentiously full of love for literature. Batuman’s subsequent pieces—for The New Yorker, Harper’s Magazine, and the London Review of Books— have made her one of the most sought-after and admired writers of her generation, and its best traveling companion. In The Possessed we watch her investigate a possible murder at Tolstoy’s ancestral estate. We go with her to Stanford, Switzerland, and St. Petersburg; retrace Pushkin’s wanderings in the Caucasus; learn why Old Uzbek has one hundred different words for crying; and see an eighteenth-century ice palace reconstructed on the Neva. Love and the novel, the individual in history, the existential plight of the graduate student: all find their place in The Possessed. Literally and metaphorically following the footsteps of her favorite authors, Batuman searches for the answers to the big questions in the details of lived experience, combining fresh readings of the great Russians, from Pushkin to Platonov, with the sad and funny stories of the lives they continue to influence—including her own.

    A cold-eyed killer who drank nothing stronger than weak tea, he fought with his bare hands, a sharpened shovel and piano wire. He was a larrikin who went by the book, unless the book was wrong. He set his own bar high and expected others to do the same.Stone Cold is the extraordinary story of one of Australia's most fearless fighters. It takes us into the jungles of New Guinea and Borneo and some of the fiercest battles of World War II. It goes to the cold heart of Korea, where Len emerged from the ranks to excel in the epic Battle of Kapyong and play a key role at the Battle of Maryang San. And it drops us into the centre of the American counterinsurgency war in Vietnam with Len's involvement in the CIA's shadowy black ops program, Phoenix.Action-packed and surprising, Stone Cold gives rich life to a warrior soldier and one of Australia's greatest diggers.

    As the Democrats swept into the White House on a wave of black defectors from the Party of Lincoln, a group of African American intellectuals--legal minds, social scientists, media folk--sought to get the community's needs on the table. This would become the Black Cabinet, a group of African American racial affairs experts working throughout the New Deal, forming an unofficial advisory council to lobby the President. But with the white Southern vote so important to the fortunes of the Party, the path would be far from smooth.Most prominent in the Black Cabinet were Mary McLeod Bethune, an educator close to Eleanor Roosevelt, and her "boys" Robert Weaver, a Harvard-educated economist who pioneered enforcement standards for federal anti-discrimination guidelines (and, years later, the first African American Cabinet secretary); Bill Hastie, a lawyer who would become a federal appellate judge; Al Smith, head of the largest black jobs program in the New Deal at the WPA; and Robert Vann, a newspaper publisher whose unstinting reporting on the administration's shortcomings would keep his erstwhile colleagues honest. Ralph Bunche, Walter White of the NAACP, A. Philip Randolph, and others are part of the story as well. But the Black Cabinet was never officially recognized by FDR, and with the demise of the New Deal, it disappeared from history.Jill Watts's The Black Cabinet is a dramatic full-scale examination of a forgotten moment that speaks directly to our own.

    Lewis's classic analysis springs from the conviction that literature exists for the joy of the reader and that books should be judged by the kind of reading they invite. Crucial to his notion of judging literature is a commitment to laying aside expectations and values extraneous to the work, in order to approach it with an open mind.