As a motorcycle racer, chemist, writer I was never cautious. Gardner's evaluations of his fellow writers are equally flat-out. This collection brings together Gardner's essays on literature. He explains how he separates novelistic wheat from chaff, genuine fiction from fakery. Gardner examines contemporary writers - Bellow, Nabokov, Roth, Cheever, Woiwode, Oates, Updike, and other major authors. In other essays Gardner examines influential storytelling that ranges from King Arthur to Walt Disney. Here we see the skill of some of America's greatest writers laid bare by a fellow craftsman.

     What's new: Completely re-written with all-new sections on hammock FAQs and basics for new hangers and an expanded advanced section for veterans, plus a DIY section to get you started making your own hammock gear. The Ultimate Hang 2 covers everything from suspension systems, hammock stands, staying dry, warm, and bug free, along with setting up hammocks indoors. Hammocks are one of the most comfortable ways to enjoy the indoors, and make great companions for a long-distance thru-hike, relaxing at a park, a weekend backpacking trip, or an overnight in the woods! Get off the ground and begin enjoying the outdoors. Updated with hundreds of illustrations, The Ultimate Hang helps you discover the freedom, comfort, and convenience of hammock camping. Learn how to set up and use a hammock to stay dry, warm, and bug free in a Leave No Trace-friendly way. All the best tips and techniques on hammock camping in one place. Stop searching and start relaxing.

    THE SINNER AND THE SAINT is the deeply researched and immersive tale of how Dostoevsky came to write this great murder story--and why it changed the world. As a young man, Dostoevsky was a celebrated writer, but his involvement with the radical politics of his day condemned him to a long Siberian exile. There, he spent years studying the criminals that were his companions. Upon his return to St. Petersburg in the 1860s, he fought his way through gambling addiction, debilitating debt, epilepsy, the deaths of those closest to him, and literary banishment to craft an enduring classic.The germ of CRIME AND PUNISHMENT came from the sensational story of Pierre Fran�ois Lacenaire, a notorious murderer who charmed and outraged Paris in the 1830s. Lacenaire was a glamorous egoist who embodied the instincts that lie beneath nihilism, a western-influenced philosophy inspiring a new generation of Russian revolutionaries. Dostoevsky began creating a Russian incarnation of Lacenaire, a character who could demonstrate the errors of radical politics and ideas. His name would be Raskolnikov.Lacenaire shaped Raskolnikov in profound ways, but the deeper insight, as Birmingham shows, is that Raskolnikov began to merge with Dostoevsky. Dostoevsky was determined to tell a murder story from the murderer's perspective, but his character couldn't be a monster. No. The murderer would be chilling because he wants so desperately to be good.The writing consumed Dostoevsky. As his debts and the predatory terms of his contract caught up with him, he hired a stenographer to dictate the final chapters in time. Anna Grigorievna became Dostoevsky's first reader and chief critic and changed the way he wrote forever. By the time Dostoevsky finished his great novel, he had fallen in love.Dostoevsky's great subject was self-consciousness. CRIME AND PUNISHMENT advanced a revolution in artistic thinking and began the greatest phase of Dostoevsky's career. THE SINNER AND THE SAINT now gives us the thrilling and definitive story of that triumph.

    Franco Columbu, a well-known expert on nutrition and kinesiology (and two-time Mr. Olympia) presents the most successful strategies and diet plans for achieving a superior physique. How the body utilizes the basic nutrients and how to use that to your advantage is explained in detail.

    On that same day, a brilliant mathematician is locked away inside a Moscow prison that houses the country's brightest minds. He and his fellow prisoners are charged with using their abilities to sleuth out the caller's identity, and they must choose whether to aid Joseph Stalin's repressive state—or refuse and accept transfer to the Siberian Gulag camps . . . and almost certain death.First written between 1955 and 1958, In the First Circle is Solzhenitsyn's fiction masterpiece. In order to pass through Soviet censors, many essential scenes—including nine full chapters—were cut or altered before it was published in a hastily translated English edition in 1968. Now with the help of the author's most trusted translator, Harry T. Willetts, here for the first time is the complete, definitive English edition of Solzhenitsyn's powerful and magnificent classic.

    Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

    The entrepreneurs studied are Cornelius Vanderbilt, John D. Rockefeller, James J. Hill, Andrew Mellon, Charles Schwab, and the Scranton family. Most historians argue that these men, and others like them, were Robber Barons. The story, however, is more complicated. The author, Burton Folsom, divides the entrepreneurs into two groups market entrepreneurs and political entrepreneurs. The market entrepreneurs, such as Hill, Vanderbilt, and Rockefeller, succeeded by producing a quality product at a competitive price. The political entrepreneurs such as Edward Collins in steamships and in railroads the leaders of the Union Pacific Railroad were men who used the power of government to succeed. They tried to gain subsidies, or in some way use government to stop competitors. The market entrepreneurs helped lead to the rise of the U. S. as a major economic power. By 1910, the U. S. dominated the world in oil, steel, and railroads led by Rockefeller, Schwab (and Carnegie), and Hill. The political entrepreneurs, by contrast, were a drain on the taxpayers and a thorn in the side of the market entrepreneurs. Interestingly, the political entrepreneurs often failed without help from government they could not produce competitive products. The author describes this clash of the market entrepreneurs and the political entrepreneurs. In the Mellon chapter, the author describes how Andrew Mellon an entrepreneur in oil and aluminum became Secretary of Treasury under Coolidge. In office, Mellon was the first American to practice supply-side economics. He supported cuts on income tax rates for all groups. The rate cut on the wealthiest Americans, from 73 percent to 25 percent, freed up investment capital and led to American economic growth during the 1920s. Also, the amount of revenue into the federal treasury increased sharply after tax rates were cut. The Myth of the Robber Barons has separate chapters on Vanderbilt, Hill, Schwab, Mellon, and the Scrantons. The author also has a conclusion, in which he looks at the textbook bias on the subject of Robber Barons and the rise of the U. S. in the late 1800s. This chapter explores three leading college texts in U. S. history and shows how they misread American history and disparage market entrepreneurs instead of the political entrepreneurs. This book is in its fifth edition, and is widely adopted in college and high school classrooms across the U. S.

    Nowhere does his art appear in so quintessential a form as in Notes from Underground, certainly one of the most revolutionary and original works in world literature; nowhere is his thought presented with such authority as in "The Grand Inquisitor," an episode of central importance taken from his last and greatest novel, The Brothers Karamazov. In both these vital works Dostoevsky confronts the reader with the tragic grandeur of man, indeed, with a whole philosophy of tragedy: the tragedy of the individual and freedom, the tragedy of the historical process, the tragedy of universal evil.Relevant works included by Chernyshevsky, Schedrin and Dostoevsky.

    The first is a sharp analysis: through dialogues, parodies and essays, Burgess sheds new light on what he called 'an apocalyptic codex of our worst fears', creating a critique that is literature in its own right. Part two is Burgess' own dystopic vision, written in 1978. He skewers both the present and the future, describing a state where industrial disputes and social unrest compete with overwhelming surveillance, security concerns and the dominance of technology to make life a thing to be suffered rather than lived. Together these two works form a unique guide to one of the twentieth century's most talented, imaginative and prescient writers. Several decades later, Burgess' most singular work still stands.

    Major revisions take this popular Complete Idiot's Guide to a new level, offering readers a better way to unlock their creativity from the first page. Exercises help them explore their talents and experiment with different genres and forms of writing, including short stories, narrative fiction, memoirs, magazine articles, poetry, drama, blogging, and freewriting.

    Fearlessly and mercilessly he hurled the falsehoods and hypocrisies into the face of life. He portrayed Satan coming to this earth to amuse himself and play. Having assumed the form of an American multi-millionaire, Satan set out on a tour through Europe in quest of amusement and adventure. Before him passed various forms of spurious virtues, hypocrisies, the ruthless cruelty of man and the often deceptive innocence of woman. Within a short time Satan finds himself outwitted, deceived, relieved of his millions, mocked, humiliated, beaten by man in his own devilish devices.

    Is she an avenging angel? A dangerous outlaw? What makes Salander tick, and why is our response to her—and to Larsson’s Millennium trilogy—so strong?In The Psychology of the Girl with the Dragon Tattoo, 19 psychologists and psychiatrists attempt to do what even expert investigator Mikael Blomkvist could not: understand Lisbeth Salander.• What does Lisbeth’s infamous dragon tattoo really say about her?• Why is Lisbeth so drawn to Mikael, and what would they both need to do to make a relationship work?• How do we explain men like Martin Vanger, Nils Bjurman, and Alexander Zalachenko? Is Lisbeth just as sexist and as psychopathic as they are?• What is it about Lisbeth that allows her to survive, even thrive, under extraordinary conditions?• How is Lisbeth like a Goth-punk Rorschach test? And what do we learn about ourselves from what we see in her?

    As only he could, Updike recasts a tale of medieval violence and presents the case for its central couple that Shakespeare only hinted at. Gertrude's warmth and lucidity, Claudius's soldierly yet peaceable powers of command are seen afresh against a background of fond intentions and familial dysfunction, on a stage darkened by the ominous shadow of a sullen, disaffected prince.

    Vladimir Nabokov) brings to shimmering life one of the greatest literary love stories of our time. Vladimir Nabokov--the émigré author of Lolita; Pale Fire; and Speak, Memory--wrote his books first for himself, second for his wife, Véra, and third for no one at all."Without my wife," he once noted, "I wouldn't have written a single novel." Set in prewar Europe and postwar America, spanning much of the century, the story of the Nabokovs' fifty-two-year marriage reads as vividly as a novel. Véra, both beautiful and brilliant, is its outsized heroine--a woman who loves as deeply and intelligently as did the great romantic heroines of Austen and Tolstoy. Stacy Schiff's Véra is a triumph of the biographical form.

    Over the course of the last half century, the Review has launched hundreds of careers while publishing some of the most inventive and best-loved stories of our time. This anthology---the first of its kind---is more than a treasury: it is an indispensable resource for writers, students, and anyone else who wants to understand fiction from a writer’s point of view. "Some chose classics. Some chose stories that were new even to us. Our hope is that this collection will be useful to young writers, and to others interested in literary technique. Most of all, it is intended for readers who are not (or are no longer) in the habit of reading short stories. We hope these object lessons will remind them how varied the form can be, how vital it remains, and how much pleasure it can give."---from the Editors’ Note WITH SELECTIONS BYDaniel Alarcón · Donald Barthelme · Ann Beattie · David Bezmozgis · Jorge Luis Borges · Jane Bowles · Ethan Canin · Raymond Carver · Evan S. Connell · Bernard Cooper · Guy Davenport · Lydia Davis · Dave Eggers · Jeffrey Eugenides · Mary Gaitskill · Thomas Glynn · Aleksandar Hemon · Amy Hempel · Mary-Beth Hughes · Denis Johnson · Jonathan Lethem · Sam Lipsyte · Ben Marcus · David Means · Leonard Michaels · Steven Millhauser · Lorrie Moore · Craig Nova · Daniel Orozco · Mary Robison · Norman Rush · James Salter · Mona Simpson · Ali Smith · Wells Tower · Dallas Wiebe · Joy Williams