Classic insights on pastiche, nostalgia, and architecture stand alongside essays on the status of history, theory, Marxism, and the subject in an age propelled by finance capital and endless spectacle. Surveying the debates that blazed up around his earlier essays, Jameson responds to critics and maps out the theoretical positions of postmodernism’s prominent friends and foes.Fredric Jameson has had an immense impact on our understanding of postmodernism. However, until now, his key writings on the subject have been unavailable in an accessible and affordable form. This book is designed as a short and convenient introduction to Jameson's thought for both the student and the general reader.

    Landmarks is about the power of language to shape our sense of place. It is a field guide to the literature of nature, and a glossary containing thousands of remarkable words used in England, Scotland, Ireland and Wales to describe land, nature and weather. Travelling from Cumbria to the Cairngorms, and exploring the landscapes of Roger Deakin, J. A. Baker, Nan Shepherd and others, Robert Macfarlane shows that language, well used, is a keen way of knowing landscape, and a vital means of coming to love it.

    For Jay, a retired research scientist this return to the classroom is his "one last chance" to learn the great literature he'd neglected in his youth--and, even more, a final opportunity to more fully understand his son, a writer and classicist. But through the sometimes uncomfortable months that the two men explore Homer's great work together--first in the classroom, where Jay persistently challenges his son's interpretations, and then during a surprise-filled Mediterranean journey retracing Odysseus's famous voyages--it becomes clear that Daniel has much to learn, too: Jay's responses to both the text and the travels gradually uncover long-buried secrets that allow the son to understand his difficult father at last.

    In our language, in our stories (many written by men), we underline the idea that women who step out of bounds--who are angry or greedy or ambitious, who are overtly sexual or not sexy enough--aren't just outside the norm. They're unnatural. Monstrous. But maybe, the traits we've been told make us dangerous and undesirable are actually our greatest strengths.Through fresh analysis of 11 female monsters, including Medusa, the Harpies, the Furies, and the Sphinx, Jess Zimmerman takes us on an illuminating feminist journey through mythology. She guides women (and others) to reexamine their relationships with traits like hunger, anger, ugliness, and ambition, teaching readers to embrace a new image of the female hero: one that looks a lot like a monster, with the agency and power to match.Often, women try to avoid the feeling of monstrousness, of being grotesquely alien, by tamping down those qualities that we're told fall outside the bounds of natural femininity. But monsters also get to do what other female characters--damsels, love interests, and even most heroines--do not. Monsters get to be complete, unrestrained, and larger than life. Today, women are becoming increasingly aware of the ways rules and socially constructed expectations have diminished us. After seeing where compliance gets us--harassed, shut out, and ruled by predators--women have never been more ready to become repellent, fearsome, and ravenous.

    Now, with U and I, Baker has written the most idiosyncratic and deftly illuminating essay on literary influence in recent memory, as he reveals his preoccupation with the work of John Updike.

    Kelly illuminates the radical subjects--slavery, poverty, feminism, the Church, evolution, among them--considered treasonous at the time, that Austen deftly explored in the six novels that have come to embody an age. The author reveals just how in the novels we find the real Jane Austen: a clever, clear-sighted woman "of information," fully aware of what was going on in the world and sure about what she thought of it. We see a writer who understood that the novel--until then seen as mindless "trash"--could be a great art form and who, perhaps more than any other writer up to that time, imbued it with its particular greatness.

    An indignant, outrageous, witty, deeply felt collection of reviews, essays, and speeches, this is a window not only into Vonnegut’s mind but also into his heart.

    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.

    Tolkien's Middle-Earth. The natural landscape plays a major role in nearly all of Tolkien's major works, and readers have come to view the geography of this fictional universe as integral to understanding and enjoyingTolkien's works. And in laying out this continent, Tolkien paid special attention to its plant life; in total, over 160 plants are explicitly mentioned and described as a part of Middle-Earth. Nearly all of these plants are real species, and many of the fictional plants are based on scientificallygrounded botanic principles.In Flora of Middle Earth: Plants of Tolkien's Legendarium, botanist Walter Judd gives a detailed species account of every plant found in Tolkien's universe, complete with the etymology of the plant's name, a discussion of its significance within Tolkien's work, a description of the plant'sdistribution and ecology, and an original hand-drawn illustration by artist Graham Judd in the style of a woodcut print. Among the over three-thousand vascular plants Tolkien would have seen in the British Isles, the authors show why Tolkien may have selected certain plants for inclusion in hisuniverse over others, in terms of their botanic properties and traditional uses. The clear, comprehensive alphabetical listing of each species, along with the visual identification key of the plant drawings, adds to the reader's understanding and appreciation of the Tolkien canon.

    In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why it’s more relevant than ever in these turbulent times.In his introduction, Saunders writes, “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?” He approaches the stories technically yet accessibly, and through them explains how narrative functions; why we stay immersed in a story and why we resist it; and the bedrock virtues a writer must foster. The process of writing, Saunders reminds us, is a technical craft, but also a way of training oneself to see the world with new openness and curiosity.A Swim in a Pond in the Rain is a deep exploration not just of how great writing works but of how the mind itself works while reading, and of how the reading and writing of stories make genuine connection possible.

    Written in the splendid bareness of her late style, these pages are Marguerite Duras's theory of literature: comparing a dying fly to the work of style; remembering the trance and incurable disarray of writing; recreating the last moments of a British pilot shot during World War II and buried next to her house; or else letting out a magisterial, so what? To question six decades of storytelling, all the essays together operate as a deceitful, yet indispensable confession.

    . . . A masterpiece.” —Margaret Atwood“No one who is invested in any kind of art . . . can read The Gift and remain unchanged.” —David Foster WallaceBy now a modern classic, The Gift is a brilliantly orchestrated defense of the value of creativity and of its importance in a culture increasingly governed by money and overrun with commodities. This book is even more necessary today than when it first appeared.An illuminating and transformative book, and completely original in its view of the world, The Gift is cherished by artists, writers, musicians, and thinkers. It is in itself a gift to all who discover the classic wisdom found in its pages.

    He was the most influential member of the aristocratic Tolstoy family. His first publications were three autobiographical novels, Childhood, Boyhood, and Youth (1852-1856). They tell of a rich landowner's son and his slow realization of the differences between him and his peasants. As a fiction writer Tolstoy is widely regarded as one of the greatest of all novelists, particularly noted for his masterpieces War and Peace (1869) and Anna Karenina (1877). In their scope, breadth and realistic depiction of 19th-century Russian life, the two books stand at the peak of realist fiction. As a moral philosopher Tolstoy was notable for his ideas on nonviolent resistance through works such as The Kingdom of God is Within You (1894). During his life, Tolstoy came to the conclusion that William Shakespeare is a bad dramatist and not a true artist at all. Tolstoy explained his views in a critical essay on Shakespeare written in 1903.

    Lewis said that upon reading this astonishing 19th-century fairy tale he "had crossed a great frontier," and numerous others both before and since have felt similarly.In MacDonald's fairy tales, both those for children and (like this one) those for adults, the "fairy land" clearly represents the spiritual world, or our own world revealed in all of its depth and meaning. At times almost forthrightly allegorical, at other times richly dreamlike (and indeed having a close connection to the symbolic world of dreams), this story of a young man who finds himself on a long journey through a land of fantasy is more truly the story of the spiritual quest that is at the core of his life's work, a quest that must end with the ultimate surrender of the self.The glory of MacDonald's work is that this surrender is both hard won (or lost!) and yet rippling with joy when at last experienced. As the narrator says of a heavenly woman in this tale, "She knew something too good to be told." One senses the same of the author himself.Newly designed and typeset in a modern 6-by-9-inch format by Waking Lion Press.

    It makes people think you're dead. So begins Christopher Fowler's foray into the back catalogues and backstories of 99 authors who, once hugely popular, have all but disappeared from shelves.We are fondly introduced to each potential rediscovery from lost Victorian voices to the twentieth century writers who could well become the next John Williams, Hans Fallada, or Lionel Davidson. Whether male or female, flash-in-the-pan or prolific, mega-seller or prize-winner, no author, it seems, can ever be fully immune from the fate of being forgotten.These 99 journeys are punctuated by 12 short essays about faded once-favorites, including the now-vanished novels Walt Disney brought to the screen, the contemporary rivals of Sherlock Holmes and Agatha Christie who did not stand the test of time, and the women who introduced psychological suspense many decades before it conquered the world. This is a book about books and their authors. It is for book lovers and is written by one who could not be a more enthusiastic, enlightening, and entertaining guide.