Anne’s College, Oxford. Her lectures took the shape of this set of discursive stories. Refusing to be tied down to either fiction or the essay form, Artful is narrated by a character who is haunted—literally—by a former lover, the writer of a series of lectures about art and literature.A hypnotic dialogue unfolds, a duet between and a meditation on art and storytelling, a book about love, grief, memory, and revitalization. Smith’s heady powers as a fiction writer harmonize with her keen perceptions as a reader and critic to form a living thing that reminds us that life and art are never separate.Artful is a book about the things art can do, the things art is full of, and the quicksilver nature of all artfulness. It glances off artists and writers from Michelangelo through Dickens, then all the way past postmodernity, exploring every form, from ancient cave painting to 1960s cinema musicals. This kaleidoscope opens up new, inventive, elastic insights—on the relation of aesthetic form to the human mind, the ways we build our minds from stories, the bridges art builds between us. Artful is a celebration of literature’s worth in and to the world and a meaningful contribution to that worth in itself. There has never been a book quite like it.

    This, the first of three volumes of her journals and notebooks, presents a constantly and utterly surprising record of a great mind in incubation. It begins with journal entries and early attempts at fiction from her years as a university and graduate student, and ends in 1964, when she was becoming a participant in and observer of the artistic and intellectual life of New York City.Reborn is a kaleidoscopic self-portrait of one of America's greatest writers and intellectuals, teeming with Sontag's voracious curiosity and appetite for life. We watch the young Sontag's complex self-awareness, share in her encounters with the writers who informed her thinking, and engage with the profound challenge of writing itself—all filtered through the inimitable detail of everyday circumstance.

    

    Hoping to explore the “real ground of literature,” she reads her way through a somewhat randomly chosen shelf of fiction, from LEQ to LES.The shelf has everything Rose could wish for—a classic she has not read, a remarkable variety of authors, and a range of literary styles. The early nineteenth-century Russian classic A Hero of Our Time by Mikhail Lermontov is spine by spine with The Phantom of the Opera by Gaston Leroux. Stories of French Canadian farmers sit beside those about aristocratic Austrians. California detective novels abut a picaresque novel from the seventeenth century. There are several novels by a wonderful, funny, contemporary novelist who has turned to raising dogs because of the tepid response to her work.In The Shelf, Rose investigates the books on her shelf with exuberance, candor, and wit while pondering the many questions her experiment raises and measuring her discoveries against her own inner shelf—those texts that accompany us through life. “Fairly sure that no one in the history of the world has read exactly this series of novels,” she sustains a sense of excitement as she creates a refreshingly original and generous portrait of the literary enterprise.

    

    Now, The View from the Cheap Seats brings together for the first time ever more than sixty pieces of his outstanding nonfiction. Analytical yet playful, erudite yet accessible, this cornucopia explores a broad range of interests and topics, including (but not limited to): authors past and present; music; storytelling; comics; bookshops; travel; fairy tales; America; inspiration; libraries; ghosts; and the title piece, at turns touching and self-deprecating, which recounts the author’s experiences at the 2010 Academy Awards in Hollywood.

    Non-fiction.

    In "Love, Life, Goethe," John Armstrong tells the dramatic life story of this great poet--a representative man akin to Wordsworth in England or Emerson in America. In so doing, he subtly and imaginatively explores the ways that we can learn from Goethe, whether in love, suffering, friendship, or family. At the center of the project is the human yearning for happiness: In an imperfect world, how can we live well with what we have, and accept what we haven't? From our lives at home, to our attitude toward money and the politicians we choose, Armstrong explores the main themes of our lives through the life of Goethe, and helps us learn how to live.

    During this monumental odyssey through a seemingly endless blizzard, Herzog documented everything he saw and felt with intense sincerity. This diary is dotted with rants about the extreme cold and utter loneliness, poetic descriptions of the snowy countryside, along with personal philosophizing. What is most remarkable is that the reading of this book flows with the experience of watching his films: through this walk we witness how his images are born. Although he received a literary award for it, this introspective masterpiece has lingered out of print since 1979. Beautifully designed and emotionally impressive, Of Walking in Ice is the first in a color-coded series of remarkable yet long-forgotten titles being republished by Free Association.

    “Taken together,” as the editor Ignacio Echevarría remarks in his introduction, they provide “a personal cartography of the writer: the closest thing, among all his writings, to a kind of fragmented ‘autobiography.’” Bolaño’s career as a nonfiction writer began in 1998, the year he became famous overnight for The Savage Detectives; he was suddenly in demand for articles and speeches, and he took to this new vocation like a duck to water. Cantankerous, irreverent, and insufferably opinionated, Bolaño also could be tender (about his family and favorite places) as well as a fierce advocate for his heroes (Borges, Cortázar, Parra) and his favorite contemporaries, whose books he read assiduously and promoted generously. A demanding critic, he declares that in his “ideal literary kitchen there lives a warrior”: he argues for courage, and especially for bravery in the face of failure. Between Parentheses fully lives up to his own demands: “I ask for creativity from literary criticism, creativity at all levels.”

    In addition to its importance to the history of ideas, this 1795 essay remains relevant to our own time.Beginning with a political analysis of contemporary society — in particular, the French Revolution and its failure to implement universal freedom — Schiller observes that people cannot transcend their circumstances without education. He conceives of art as the vehicle of education, one that can liberate individuals from the constraints and excesses of either pure nature or pure mind. Through aesthetic experience, he asserts, people can reconcile the inner antagonism between sense and intellect, nature and reason.Schiller’s proposal of art as fundamental to the development of society and the individual is an enduringly influential concept, and this volume offers his philosophy’s clearest, most vital expression.

    In this extraordinary work Nietzsche traces his life, work and development as a philosopher, examines the heroes he has identified with, struggled against and then overcome - Schopenhauer, Wagner, Socrates, Christ - and predicts the cataclysmic impact of his 'forthcoming revelation of all values'. Both self-celebrating and self-mocking, penetrating and strange, Ecce Homo gives the final, definitive expression to Nietzsche's main beliefs and is in every way his last testament.

    Now I am about to go to Ticino once again, to live for a while as a hermit in nature and in my work." In 1920, after settling in the Ticino mountain village of Montagnola, he published Wandering, a love letter to this magic-garden world that can be read as a meditation on his attempt to begin a new life. His pure prose, his heartfelt lyricism, and his love for the old earth, for its blessings that renew themselves, all sing in this serene book. The first German edition of Wandering included facsimiles of fourteen watercolor landscapes. Hesse's painting had blossomed in the southern countryside and he even toyed with the idea "that I might still succeed in escaping literature entirely and making a living at the more appealing trade of painter." Unfortunately, his original pictures for Wandering have disappeared; this edition reproduces in black-and-white the full-color reproductions of the 1920 edition.

    Since its publication in France in 1942, Camus’s novel has been translated into sixty languages and sold more than six million copies. It’s the rare novel that’s as at likely to be found in a teen’s backpack as in a graduate philosophy seminar. If the twentieth century produced a novel that could be called ubiquitous, The Stranger is it.   How did a young man in his twenties who had never written a novel turn out a masterpiece that still grips readers more than seventy years later? With Looking for “The Stranger”, Alice Kaplan tells that story. In the process, she reveals Camus’s achievement to have been even more impressive—and more unlikely—than even his most devoted readers knew.   Born in poverty in colonial Algeria, Camus started out as a journalist covering the criminal courts. The murder trials he attended, Kaplan shows, would be a major influence on the development and themes of The Stranger. She follows Camus to France, and, making deft use of his diaries and letters, re-creates his lonely struggle with the novel in Montmartre, where he finally hit upon the unforgettable first-person voice that enabled him to break through and complete The Stranger.   Even then, the book’s publication was far from certain. France was straining under German occupation, Camus’s closest mentor was unsure of the book’s merit, and Camus himself was suffering from near-fatal tuberculosis. Yet the book did appear, thanks in part to a resourceful publisher, Gaston Gallimard, who was undeterred by paper shortages and Nazi censorship.     The initial critical reception of The Stranger was mixed, and it wasn’t until after liberation that The Stranger began its meteoric rise. As France and the rest of the world began to move out of the shadow of war, Kaplan shows, Camus’s book— with the help of an aggressive marketing campaign by Knopf for their 1946 publication of the first English translation—became a critical and commercial success, and Camus found himself one of the most famous writers in the world. Suddenly, his seemingly modest tale of alienation was being seen for what it really was: a powerful parable of the absurd, an existentialist masterpiece.   Few books inspire devotion and excitement the way The Stranger does. And it couldn’t have a better biographer than Alice Kaplan, whose books about twentieth-century French culture and history have won her legions of fans. No reader of Camus will want to miss this brilliant exploration.

    Or so he kept telling himself. But, no matter how busy or tired he was, something kept niggling at him. Books. Books he'd always wanted to read. Books he'd said he'd read that he actually hadn't. Books that whispered the promise of escape from the daily grind. And so, with the turn of a page, Andy began a year of reading that was to transform his life completely.This book is Andy's inspirational and very funny account of his expedition through literature: classic, cult, and everything in between. Beginning with a copy of Bulgakov's Master and Margarita that he happens to find one day in a bookstore, he embarks on a literary odyssey. From Middlemarch to Anna Karenina to A Confederacy of Dunces, this is a heartfelt, humorous, and honest examination of what it means to be a reader, and a witty and insightful journey of discovery and soul-searching that celebrates the abiding miracle of the book and the power of reading.