Great literature increases knowledge of and desire for the good life by showing readers what virtue looks like and where vice leads. It is not just what one reads but how one reads that cultivates virtue. Reading good literature well requires one to practice numerous virtues, such as patience, diligence, and prudence. And learning to judge wisely a character in a book, in turn, forms the reader's own character.Acclaimed author Karen Swallow Prior takes readers on a guided tour through works of great literature both ancient and modern, exploring twelve virtues that philosophers and theologians throughout history have identified as most essential for good character and the good life. In reintroducing ancient virtues that are as relevant and essential today as ever, Prior draws on the best classical and Christian thinkers, including Aristotle, Aquinas, and Augustine. Covering authors from Henry Fielding to Cormac McCarthy, Jane Austen to George Saunders, and Flannery O'Connor to F. Scott Fitzgerald, Prior explores some of the most compelling universal themes found in the pages of classic books, helping readers learn to love life, literature, and God through their encounter with great writing.In examining works by these authors and more, Prior shows why virtues such as prudence, temperance, humility, and patience are still necessary for human flourishing and civil society. The book includes end-of-chapter reflection questions geared toward book club discussions, features original artwork throughout, and includes a foreword from Leland Ryken.

    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.

    By turns passionate and ironic, "Aunt Fay" makes Alice think--not only about books and literature, but also life and culture.

    With elegance, humor, and sophistication, Gardner describes the life of a working novelist; warns what needs to be guarded against, both from within the writer and from without; and predicts what the writer can reasonably expect and what, in general, he or she cannot. "For a certain kind of person," Gardner writes, "nothing is more joyful or satisfying than the life of a novelist." But no other vocation, he is quick to add, is so fraught with professional and spiritual difficulties. Whether discussing the supposed value of writer's workshops, explaining the role of the novelist's agent and editor, or railing against the seductive fruits of literary elitism, On Becoming a Novelist is an indispensable, life-affirming handbook for anyone authentically called to the profession. "A miraculously detailed account of the creative process."—Anne Tyler, Baltimore Sun

    Whether he was profiling the rich and famous or creating indelible word-pictures of events and places near and far, Capote's eye for detail and dazzling style made his reportage and commentary undeniable triumphs of the form. "Portraits and Observations" is the first volume devoted solely to all the essays ever published by this most beloved of writers. From his travel sketches of Brooklyn, New Orleans, and Hollywood, written when he was twenty-two, to meditations about fame, fortune, and the writer's art at the peak of his career, to the brief works penned during the isolated denouement of his life, these essays provide an essential window into mid-twentieth-century America as offered by one of its canniest observers. Included are such celebrated masterpieces of narrative nonfiction as "The Muses Are Heard" and the short nonfiction novel "Handcarved Coffins," as well as many long-out-of-print essays, including portraits of Isak Dinesen, Mae West, Marcel Duchamp, Humphrey Bogart, and Marilyn Monroe. Among the highlights are "Ghosts in Sunlight: The Filming of In Cold Blood, "Preface to Music for Chameleons, in which Capote candidly recounts the highs and lows of his long career, and a playful self-portrait in the form of an imaginary self-interview. The book concludes with the author's last written words, composed the day before his death in 1984, the recently discovered"Remembering Willa Cather," Capote's touching recollection of his encounter with the author when he was a young man at the dawn of his career. "Portraits and Observations" puts on display the full spectrum of Truman Capote's brilliance. Certainly, Capote was, as Somerset Maugham famously called him, "a stylist of the first quality." But as the pieces gathered here remind us, he was also an artist of remarkable substance.

    On a late autumn day, near a little town called Franklin, 10,000 men will soon lie dead or dying in a battle that will change many lives for ever. None will be more changed than Carrie McGavock, who finds her home taken over by the Confederate army and turned into a field hospital. Taking charge, she finds the courage to face up to the horrors around her and, in doing so, finds a cause.Out on the battlefield, a tired young Southern soldier drops his guns and charges forward into Yankee territory, holding only the flag of his company's colours. He survives and is brought to the hospital. Carrie recognizes something in him - a willingness to die - and decides on that day, in her house, she will not let him.In the pain-filled days and weeks that follow, both find a form of mutual healing that neither thinks possible.In this extraordinary debut novel based on a true story, Robert Hicks has written an epic novel of love and heroism set against the madness of the American Civil War.

    Now, with warmth and honesty, Hood reveals the personal story behind these works of fiction.Growing up in a mill town in Rhode Island, in a household that didn’t foster the love of literature, Hood nonetheless learned to channel her imagination and curiosity by devouring The Bell Jar, Marjorie Morningstar, The Harrad Experiment, and other works. These titles introduced her to topics that could not be discussed at home: desire, fear, sexuality, and madness. Later, Johnny Got His Gun and The Grapes of Wrath influenced her political thinking as the Vietnam War became news; Dr. Zhivago and Les Miserables stoked her ambition to travel the world. With characteristic insight and charm, Hood showcases the ways in which books gave her life and can transform—even save—our own.

    In over 30 essays, written over 20 years, one of the world's great story-tellers meditates on story-telling. Warm, funny, generous, entertaining, and above all, deeply considered, they offer thoughts on a wide variety of topic, including the origin and composition of Philip's own stories, the craft of writing and the story-tellers who have meant the most to him. The art of story-telling is everywhere present in the essays themselves, in the instantly engaging tone, the vivid imagery and the striking phrases, the resonant anecdotes, the humour and learnedness. Together, they are greater than the sum of their parts.

    Shields evokes his deeply divided personality (his “ridiculous” ambivalence), his character flaws, his woes, his serious despairs. Books are his life raft, but when they come to feel un-lifelike and archaic, he revels in a new kind of art that is based heavily on quotation and consciousness. And he shares with us a final irony: he wants “literature to assuage human loneliness, but nothing can assuage human loneliness. Literature doesn’t lie about this––which is what makes it essential.”

    Looking back not only at his own much younger self, but also at the other writers who shared Paris with him - James Joyce, Wyndham Lewis, Scott and Zelda Fitzgerald - he recalls the time when, poor, happy, and writing in cafes, he discovered his vocation. Written during the last years of Hemingway's life, his memoir is a lively and powerful reflection of his genius that scintillates with the romance of the city.

    Our books shape us, define us, enchant us, and even sometimes infuriate us. Our books are a part of who we are as people, and we can't imagine life without them.I'd Rather Be Reading is the perfect literary companion for everyone who feels that way. In this collection of charming and relatable reflections on the reading life, beloved blogger and author Anne Bogel leads readers to remember the book that first hooked them, the place where they first fell in love with reading, and all of the moments afterward that helped make them the reader they are today. Known as a reading tastemaker through her popular podcast What Should I Read Next?, Bogel invites book lovers into a community of like-minded people to discover new ways to approach literature, learn fascinating new things about books and publishing, and reflect on the role reading plays in their lives.The perfect gift for the bibliophile in everyone's life, I'd Rather Be Reading will command an honored place on the overstuffed bookshelves of any book lover.

    In The New York Times Book Review, Sam Tanenhaus proclaimed it "a masterpiece of American fiction" and lauded its illumination, "through the steady radiance of its author's profound moral intelligence, [of] the world we thought we knew."In Farther Away, which gathers together essays and speeches written mostly in the past five years, Franzen returns with renewed vigor to the themes, both human and literary, that have long preoccupied him. Whether recounting his violent encounter with bird poachers in Cyprus, examining his mixed feelings about the suicide of his friend and rival David Foster Wallace, or offering a moving and witty take on the ways that technology has changed how people express their love, these pieces deliver on Franzen's implicit promise to conceal nothing. On a trip to China to see first-hand the environmental devastation there, he doesn't omit mention of his excitement and awe at the pace of China's economic development; the trip becomes a journey out of his own prejudice and moral condemnation. Taken together, these essays trace the progress of unique and mature mind wrestling with itself, with literature, and with some of the most important issues of our day. Farther Away is remarkable, provocative, and necessary.

    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 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.

    Home to an unrivaled twenty-five Nobel Prize winners and generation-defining authors like T. S. Eliot, Flannery O’Connor, Susan Sontag, Tom Wolfe, Joan Didion, Philip Roth, and Jonathan Franzen, it’s a cultural institution whose importance approaches that of The New Yorker or The New York Times. But FSG is no ivory tower—the owner's wife called the office a “sexual sewer”—and its untold story is as tumultuous and engrossing as many of the great novels it has published.Boris Kachka deftly reveals the era and the city that built FSG through the stories of two men: founder-owner Roger Straus, the pugnacious black sheep of his powerful German-Jewish family—with his bottomless supply of ascots, charm, and vulgarity of every stripe—and his utter opposite, the reticent, closeted editor Robert Giroux, who rose from working-class New Jersey to discover the novelists and poets who helped define American culture. Giroux became one of T. S. Eliot’s best friends, just missed out on The Catcher in the Rye, and played the placid caretaker to manic-depressive geniuses like Robert Lowell, John Berryman, Jean Stafford, and Jack Kerouac. Straus, the brilliant showman, made Susan Sontag a star, kept Edmund Wilson out of prison, and turned Isaac Bashevis Singer from a Yiddish scribbler into a Nobelist—even as he spread the gossip on which literary New York thrived.A prolific lover and an epic fighter, Straus ventured fearlessly, and sometimes recklessly, into battle for his books, his authors, and his often-struggling company. When a talented editor left for more money and threatened to take all his writers, Roger roared, “Over my dead body”—and meant it. He turned a philosophical disagreement with Simon & Schuster head Dick Snyder into a mano a mano media war that caught writers such as Philip Roth and Joan Didion in the crossfire. He fought off would-be buyers like S. I. Newhouse (“that dwarf”) with one hand and rapacious literary agents like Andrew Wylie (“that shit”) with the other. Even his own son and presumed successor was no match for a man who had to win at any cost—and who was proven right at almost every turn.At the center of the story, always, are the writers themselves. After giving us a fresh perspective on the postwar authors we thought we knew, Kachka pulls back the curtain to expose how elite publishing works today. He gets inside the editorial meetings where writers’ fates are decided; he captures the adrenaline rush of bidding wars for top talent; and he lifts the lid on the high-stakes pursuit of that rarest commodity, public attention—including a fly-on-the-wall account of the explosive confrontation between Oprah Winfrey and Jonathan Franzen, whose relationship, Franzen tells us, “was bogus from the start.”Vast but detailed, full of both fresh gossip and keen insight into how the literary world works, Hothouse is the product of five years of research and nearly two hundred interviews by a veteran New York magazine writer. It tells an essential story for the first time, providing a delicious inside perspective on the rich pageant of postwar cultural life and illuminating the vital intellectual center of the American Century.