In the original edition, Steiner provided readers with the first systematic investigation since the eighteenth century of the phenomenologyand processes of translation both inside and between languages. Taking issue with the principal emphasis of modern linguistics, he finds the root of the Babel problem in our deep instinct for privacy and territory, noting that every people has in its language a unique body of shared secrecy. Withthis provocative thesis he analyzes every aspect of translation from fundamental conditions of interpretation to the most intricate of linguistic constructions. For the long-awaited second edition, Steiner entirely revised the text, added new and expanded notes, and wrote a new preface setting the work in the present context of hermeneutics, poetics, and translation studies. This new edition brings the bibliography up to the present with substantiallyupdated references, including much Russian and Eastern European material. Like the towering figures of Derrida, Lacan, and Foucault, Steiner's work is central to current literary thought. After Babel, Third Edition is essential reading for anyone hoping to understand the debates raging in theacademy today.

    Illness set him free to write a series of philosophical fragments: some narratives, some single images, some parables. These “aphorisms” appeared, sometimes with a few words changed, in other writings–some of them as posthumous fragments published only after Kafka’s death in 1924. While working on K., his major book on Kafka, in the Bodleian Library, Roberto Calasso realized that the Zürau aphorisms, each written on a separate slip of very thin paper, numbered but unbound, represented something unique in Kafka’s opus–a work whose form he had created simultaneously with its content.The notebooks, freshly translated and laid out as Kafka had intended, are a distillation of Kafka at his most powerful and enigmatic. This lost jewel provides the reader with a fresh perspective on the collective work of a genius.

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    Equally at home discussing Charles Dickens and Charlie Chaplin, he moved back and forth across the porous borders between essay and journalism, high art and low. A frequent commentator on literature, language, film, and drama throughout his career, Orwell turned increasingly to the critical essay in the 1940s, when his most important experiences were behind him and some of his most incisive writing lay ahead. All Art Is Propaganda follows Orwell as he demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary."how to be interesting, line after line."Contents:Charles DickensBoys' WeekliesInside the WhaleDrama Reviews: The Tempest, The Peaceful InnFilm Review: The Great DictatorWells, Hitler and the World StateThe Art of Donald McGillNo, Not OneRudyard KiplingT.S. EliotCan Socialists Be Happy?Benefit of Clergy: Some Notes on Salvador DaliPropaganda and Demotic SpeechRaffles and Miss BlandishGood Bad BooksThe Prevention of LiteraturePolitics and the English LanguageConfessions of a Book ReviewerPolitics vs. Literature: An Examination of Gulliver's TravelsLear, Tolstoy and the FoolWriters and LeviathanReview of The Heart of the Matter by Graham GreeneReflections on Gandhi

    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.

    In this volume, stories from writers including Sylvia Plath and Ray Bradbury capture the tattoo experience.

    Fleabag: The Scriptures includes new writing from Phoebe Waller-Bridge alongside the filming scripts and the never-before-seen stage directions from the award-winning series.

    

     As she contemplates the pleasure of artistic labor, finding solace and safety within the woods, and the joyful and rhythmic beating of wings, Oliver intimately shares with her readers her quiet discoveries, boundless curiosity, and exuberance for the grandeur of our world. This radiant collection of her work, with some pieces published here for the first time, reaffirms Oliver as a passionate and prolific observer whose thoughtful meditations on spiders, writing a poem, blue fin tuna, and Ralph Waldo Emerson inspire us all to discover wonder and awe in life's smallest corners.

    She has been called “an American virtuoso of the short story form” (Salon) and “one of the quiet giants . . . of American fiction” (Los Angeles Times Book Review). Now, for the first time, Davis’s short stories will be collected in one volume, from the groundbreaking Break It Down (1986) to the 2007 National Book Award nominee Varieties of Disturbance. The Collected Stories of Lydia Davis is an event in American letters.

    E. Cummings's biographer, include his most popular poems, spanning his earliest creations, his vivacious linguistic acrobatics, up to his last valedictory sonnets. Also featured are thirteen drawings, oils, and watercolors by Cummings, most of them never before published.The selection includes most of the favorites plus many fresh and surprising examples of Cummings's several poetic styles. The corrected texts established by George J. Firmage have been used throughout.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    Written with a commanding sureness of tone and linguistic precision, The White Album is a central text of American reportage and a classic of American autobiography.

    In it, Roger Housden offers us poems on life and death, happiness, seeing ourselves in relation to the world, and, of course, the ineffable--the things that really matter when the chips are down. He describes these passionate poems as "bread for the soul and fire for the spirit."The poets Housden has chosen are Billy Collins, Hayden Carruth, Dorianne Laux, James Wright, Naomi Shihab Nye, and Mary Oliver from the United States, D. H. Lawrence and John Keats from England, Rainer Maria Rilke from Germany, Fleur Adcock from New Zealand, and Seng-Ts'an from sixth-century China. And yes, that adds up to eleven, not ten. Housden decided to include a bonus poem for his faithful readers in this, the final volume of the series. As before, Housden's luminous essays provide an elegant and easy passage into the sometimes daunting world of poetry, enabling readers to feel that in him they have found a trusted guide and mentor.

    Vivid, eloquent, haunting, For the Time Being evokes no less than the terrifying grandeur of all that remains tantalizingly and troublingly beyond our understanding.