Jacqueline Rose stands back from the debates and looks instead at the swirl of controversy, recognizing it as a phenomenon in itself--one with much to tell us about how a culture selects and judges writers; how we hear women's voices; and how we receive messages from, to, and about our unconscious selves.

    Janet Malcolm brings her shrewd intelligence to bear on the legend of Sylvia Plath and the wildly productive industry of Plath biographies. Features a new Afterword by Malcolm.

    The book's first two parts, "Recollections" and "Interviews," provide autobiographical glimpses of the very private Larkin's childhood, his youth at Oxford, the genesis of his forty-year career as a librarian, and the influences that initially steered his poetry. The second half of the book reflects Larkin's literary standards and opinions in often witty and surprising, always beautifully wrought, essays and reviews. His subjects range from Emily Dickinson (were her first lines her best?) to the contemporary mystery novel. Required Writing concludes with a selection of pieces on jazz music."Larkin is a punctilious, honest critic. He prefers good clear writing to pretentious eyewash; he prefers tunes to discordant wailing; and he prefers home to abroad. Unlike the majority of critics, he is clear-sighted enough to say so." --A. N. Wilson, Sunday Telegraph"I read the collection with growing excitement, agreement and admiration. It is the best contemporary account of the writer's true aims I have encountered." --John Mortimer, Sunday Times (London)"Subtle, supple, craftily at ease, Required Writing is on a par with Larkin's poetry--which is just about as high as praise can go." --Clive James, Observer Philip Larkin was the author of poetry collections, including High Windows, The Whitsun Weddings, and The Less Deceived; a book of essays entitled All What Jazz: A Record Diary; and two novels, Jill, and A Girl in Winter, published early in his career. Required Reading was originally published by Farrar, Straus & Giroux.

    Lynch was a British slave owner in the West Indies. He was invited to the colony of Virginia in 1712 to teach his methods to slave owners. He argues that he can ensure that slaves remain slaves for a 1000 years by way of dividing rule, using, age, gender, skin shade and geography, as strategy that appears to have worked with great success.

    He was supplied with a screenplay still in flux, writing his novelization even as the movie itself was being rewritten and as major roles were being recast (Michael J. Fox was not the first person to play Marty McFly). Partially because of this, and partially because of Gipe's natural writing style, the novelization is coo-coo bananas. It is totally insane. It's... kind of awesome?I feel like I should mention that after he submitted his manuscript, George Gipe was stung to death by bees.This book is the page-by-page reading guide to Gipe's novelization of Back to the Future, pointing out where things are different from the movie (often!) why and how they're worse (even more often!) and even when they're better (it happens, like, twice). It is written by Ryan North who writes the online strip Dinosaur Comics and the Adventure Time comic book. There are lots of pictures and lots of jokes and you will have a fun time reading (EVEN MORE SO THAN YOU NORMALLY DO).

    Iroquois Indians visit London in the early part of the eighteenth century and give birth to the "feathered people" in the British popular imagination.What do these seemingly disparate strands of culture share over three hundred years and several thousand miles of ocean? Artfully interweaving theatrical, musical, and ritual performance from the eighteenth century to the present in London and New Orleans, Cities of the Dead takes a look at a rich continuum of intercultural exchange that reinvents, recreates, and restores history.Complemented with fifty-five illustrations, including spectacular photos of the famed Mardi Gras Indians, this fascinating work employs an entirely unique approach to the study of culture. Rather than focusing on one region, Cities of the Dead explores broad cultural connections over place and time, showing through myriad examples how performance can revise the unwritten past.

    Sheik Al-Jabarti's chronicle is a unique combination of historical narration and reflection combined with daily observations about the atmosphere in Cairo and the mood among the local population. The book is an Arab view of a turning point in modern history. This expanded edition celebrates the 250th anniversary of Al-Jabarti's birth. The French view of these events is described by Napoleon's secretary; Edward W. Said, Columbia University, provides a stinging critique of French preoccupation with Egypt and the resulting cultural "Orientalism"; Robert Tignor (Princeton University) provides a scintillating introduction. An additional chapter by editor Shmuel Moreh examines the Arabic interpretation of Al-Jabarti's writings. Illustrated.

    Unlike many aid workers, Brkic was drawn there by her family history, and although fluent in the language, she was advised to avoid letting local workers discover her ethnicity. Brkic helped set up a morgue in Tuzla, assisting pathologists with autopsies and laying out personal effects for photographing. Later, she helped excavate graves at Srebenica, where many thousands had been indiscriminately slaughtered. This was not the only excavating she was doing. As she describes the gruesome work of recovering remains and transcribing the memories of survivors, she also explores her family's history in Yugoslavia, telling of her grandmother's childhood in Herzegovina, early widowhood, and imprisonment during World War II for hiding her Jewish lover. "The Stone Fields," deeply personal and wise, asks what it takes to prevent the violent loss of life, and what we are willing to risk in the process.

    Here is Denisov, who fears his greatest accomplishment in life will be the treatise he wrote and tore up. He is betrothed to Lora, an incessant talker who dreams of having a fluffy tail. We also read of Natasha, who searches Leningrad and her memory for her lost love; of Dmitry Ilich's elaborate seduction of Olga Mikhailovna; and more. In the tradition of such writers as Gogol and Chekhov, Tatyana Tolstaya transforms ordinary lives into something magical and strange.Translated from the Russian by Jamey GambrellFrom the Trade Paperback edition.

    Tally Jr. explores differing aspects of the spatial in literary studies today, providing:An overview of the spatial turn across literary theory, from historicism and postmodernism to postcolonialism and globalization Introductions to the major theorists of spatiality, including Michel Foucault, David Harvey, Edward Soja, Erich Auerbach, Georg Lukacs, and Fredric Jameson Analysis of critical perspectives on spatiality, such as the writer as map-maker, literature of the city and urban space, and the concepts of literary geography, cartographics and geocriticism.This clear and engaging study presents readers with a thought provoking and illuminating guide to the literature and criticism of 'space'.

    Many of those are thanks to Muscle Shoals Sound Studio and the Muscle Shoals Rhythm Section, dubbed "the Swampers."Some of the greatest names in rock, R&B and blues laid tracks in the original, iconic concrete-block building--the likes of Cher, Lynyrd Skynyrd, the Rolling Stones and the Black Keys. The National Register of Historic Places now recognizes that building, where Lynyrd Skynyrd recorded the original version of "Free Bird" and the Rolling Stones wrote "Brown Sugar" and "Wild Horses." By combing through decades of articles and music reviews related to Muscle Shoals Sound, music writer Carla Jean Whitley reconstructs the fascinating history of how the Alabama studio created a sound that reverberates across generations.

    He examines music, books, newspaper reporting, and more to explore such issues as racism, poverty, sexism, homophobia, and political and economic injustices from a black point of view.

    Idries Shah, the author of this gripping story, is the best-known Afghan writer of our time. His books on Sufism, philosophy, history, and travel, are known the world over. Shah was the descendant of a thousand-year-old Afghan family, and an author and teacher who found success explaining the East to the West. Kara Kush, first published in 1986, is his only novel: a fascinating adventure in which a gifted writer set out to inform the world about Afghan society, history, and culture. According to interviews with Shah, the novel is based on fact and eyewitness accounts.

    Literary Criticism. The two discussions in WHAT WE SHOULD HAVE KNOWN took place at the offices of n+1 in the summer of 2007. Eleven n+1 editors and contributors--including Caleb Crain, Meghan Falvey, Mark Greif, and Ilya Bernstein--met to talk frankly about regrets they have (or don't have) about college--what they wish they had read or had not read, listened to or not listened to, thought or not thought, been or not been. The idea for the discussions was prompted by a desire to give college students a directed guide, of some sort, to the world of literature, philosophy, and thought that they might not otherwise receive from the current highly specialized university environment. They were also an attempt to answer the "canon"-based approach to college study in two ways: by identifying canonical books produced by our contemporaries or near-contemporaries--something conservative writers have always refused to do--and, second, by articulating a better reason to read the best books ever written than that they authorize and underwrite a system of brutal economic competition and inequality.

    Anselmi covers the bands and musicians that have impacted those styles most―Black Sabbath, Candlemass, Melvins, Eyehategod, Godflesh, Neurosis, Saint Vitus, and many others―while diving into the cultural doom that has spawned such music, from the bombing of Birmingham and hurricane devastation of New Orleans to glaring economic inequality, industrial alienation, climate change, and widespread addiction. Along the way, Anselmi interweaves the musical experiences that have led him to proudly identify as one of the doomed.