The turbulent political weather of the twenty-first century generates anxiety and makes it difficult to know how to react. Olivia Laing makes a brilliant, inspiring case for why art matters more than ever, as a force of both resistance and repair. Art, she argues, changes how we see the world. It gives us X-ray vision. It reveals inequalities and offers fertile new ways of living.Funny Weather brings together a career’s worth of Laing’s writing about art and culture, and their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O’Keeffe, interviews Hilary Mantel and Ali Smith, writes love letters to David Bowie and Wolfgang Tillmans, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, Funny Weather celebrates art as an antidote to a terrifying political moment.

    It can offer examples to inform our decisions and guesses about the consequences of our actions. But we should be wary of looking to history for dogmatic lessons.We should distrust those who abuse history when they call on it to justify unreasonable claims to land, for example, or restitution. MacMillan illustrates how dangerous history can be in the hands of nationalistic or religious or ethnic leaders who use it to foster a sense of grievance and a desire for revenge.

    Peter Biskind profiles the people who took the independent movement from obscurity to the Oscars, most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax an indie powerhouse. Candid, penetrating and controversial, DOWN AND DIRTY PICTURES is a must read for anyone interested in the film world."In DOWN AND DIRTY PICTURES, Biskind takes on the movie industry of the 1990s and again gets the story....Peter Biskind captures his era as John Dunne did that of the Zanucks." Frank Rich, The New York Times"Dishy, teeming, superbly reported and packed with lively inside anecdotes...[a] juicy and fascinating expose." - Entertainment Weekly

    Dick is the magnificent and imaginative final work of an author who dedicated his life to questioning the nature of reality and perception, the malleability of space and time, and the relationship between the human and the divine. Edited and introduced by Pamela Jackson and Jonathan Lethem, this will be the definitive presentation of Dick’s brilliant, and epic, final work. In The Exegesis, Dick documents his eight-year attempt to fathom what he called "2-3-74," a postmodern visionary experience of the entire universe "transformed into information." In entries that sometimes ran to hundreds of pages, Dick tried to write his way into the heart of a cosmic mystery that tested his powers of imagination and invention to the limit, adding to, revising, and discarding theory after theory, mixing in dreams and visionary experiences as they occurred, and pulling it all together in three late novels known as the VALIS trilogy. In this abridgment, Jackson and Lethem serve as guides, taking the reader through the Exegesis and establishing connections with moments in Dick’s life and work.

    . . . Disney isn't in the business of exploiting Nature so much as striving to improve upon it, constantly fine-tuning God's work."--from TEAM RODENTTEAM RODENTHow Disney Devours America"Revulsion is good. Revulsion is healthy. Each of us has limits, unarticulated boundaries of taste and tolerance, and sometimes we forget where they are. Peep Land is here to remind us; a fixed compass point by which we can govern our private behavior. Because being grossed out is essential to the human experience; without a perceived depravity, we'd have nothing against which to gauge the advance or decline of culture; our art, our music, our cinema, our books. Without sleaze, the yardstick shrinks at both ends. Team Rodent doesn't believe in sleaze, however, nor in old-fashioned revulsion. Square in the middle is where it wants us all to be, dependable consumers with predictable attitudes. The message, never stated but avuncularly implied, is that America's values ought to reflect those of the Walt Disney Company, and not the other way around."

    Cain's hard-nosed observation that "writing a novel is like working on foreign policy. There are problems to be solved. It's not all inspirational," to Joan Didion's account of how she composes a book--"I constantly retype my own sentences. Every day I go back to page one and just retype what I have. It gets me into a rhythm"--The Paris Review has elicited some of the most revelatory and revealing thoughts from the literary masters of our age. For more than half a century, the magazine has spoken with most of our leading novelists, poets, and playwrights, and the interviews themselves have come to be recognized as classic works of literature, an essential and definitive record of the writing life. They have won the coveted George Polk Award and have been a contender for the Pulitzer Prize. Now, Paris Review editor Philip Gourevitch introduces an entirely original selection of sixteen of the most celebrated interviews. Often startling, always engaging, these encounters contain an immense scope of intelligence, personality, experience, and wit from the likes of Elizabeth Bishop, Ernest Hemingway, Truman Capote, Rebecca West, and Billy Wilder. This is an indispensable book for all writers and readers.

    A gallery of unforgettable portraits--of Virginia Woolf and Zelda Fitzgerald, Dorothy Wordsworth and Jane Carlyle--as well as a provocative reading of such works as Wuthering Heights, Hedda Gabler, and the poems of Sylvia Plath, Seduction and Betrayal is a virtuoso performance, a major writer's reckoning with the relations between men and women, women and writing, writing and life.

    The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”

    Their hybrid lifestyle is the atmosphere we breathe, and in this witty and serious look at the cultural consequences of the information age, Brooks has defined a new generation.Do you believe that spending $15,000 on a media center is vulgar, but that spending $15,000 on a slate shower stall is a sign that you are at one with the Zenlike rhythms of nature? Do you work for one of those visionary software companies where people come to work wearing hiking boots and glacier glasses, as if a wall of ice were about to come sliding through the parking lot? If so, you might be a Bobo.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    It is democratic, everchanging and ingenious in its assimilation of other cultures. English runs through the heart of the world of finance, medicine and the Internet, and it is understood by around two thousand million people across the world. It seems set to go on. Yet it was nearly wiped out in its early years.Embracing elements of Latin, French, Spanish, Italian, Portuguese, Arabic, Hindi and Gullah, this 1500-year story covers a huge range of countries and people. The Adventure of English is not only an enthralling story of power, religion and trade, but also the story of people, and how their day-to-day lives shaped and continue to change the extraordinary language that is English.

    Pure Drivel is a collection of pieces, most of them written for the New Yorker, that demonstrate Martin's playful way with words and his unerring ability to create a feeling of serendipitous improvisation even on the printed page. Here's a passage from a piece that announces a shortage of periods in the Times Roman font: "Most vulnerable are writers who work in short, choppy sentences," said a spokesperson for Times Roman, who continued, "We are trying to remedy the situation and have suggested alternatives, like umlauts, since we have plenty of umlauts--and, in fact, have more umlauts than we could possibly use in a lifetime! Don't forget, umlauts can really spice up a page with their delicate symmetry--resting often midway in a word, letters spilling on either side--and not only indicate the pronunciation of a word but also contribute to a writer's greater glory because they're fancy, not to mention that they even look like periods, indeed, are indistinguishable from periods, and will lead casual readers to believe that the article actually contains periods!" Although some of these pieces flirted with topicality when they first appeared, Martin is most successful when he leaves the real world behind and gives his wit free rein. This collection preserves the best (so far) of his glorious improvisations. --Simon Leake

    He’s taken sf to places it’s never been (Snow Crash, Anathem). He’s reinvented the historical novel (The Baroque Cycle), the international thriller (Reamde), and both at the same time (Cryptonomicon).Now he treats his legion of fans to Some Remarks, an enthralling collection of essays—Stephenson’s first nonfiction work since his long essay on technology, In the Beginning…Was the Command Line, more than a decade ago—as well as new and previously published short writings both fiction and non.Some Remarks is a magnificent showcase of a brilliantly inventive mind and talent, as he discourses on everything from Sir Isaac Newton to Star Wars.

    Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

    Through his own experience as the speechwriter for a controversial governor, Barton Swaim tells the story of a band of believers who attach themselves to this sort of ambitious narcissist—and what happens when it all comes crashing down.The Speechwriter is a funny and candid introduction to the world of politics, where press statements are purposefully nonsensical, grammatical errors are intentional, and better copy means more words. Swaim paints a portrait of a man so principled he’d rather sweat than use state money to pay for air conditioning, so oblivious he’d wear the same stained shirt for two weeks, so egotistical he’d belittle his staffers to make himself feel better, and so self-absorbed he never once apologized to his staff for making his administration the laughing stock of the country. On the surface, this is the story of one politician’s rise and fall. But in the end, it’s a story about us—the very real people who want to believe in our leaders and must learn to survive with broken hearts.