Now I hear since the Free State came in there is less freedom. The Church has made inroads everywhere, so that we are in fact becoming a bourgeois nation, with the Church supplying our aristocracy, and I do not see much hope for us intellectually. Once the Church is in command she will devour everything.’ -James Joyce in conversation with Arthur Power. This is the first paperback edition of Arthur Power’s unique and fascinating account of his friendship with James Joyce during the 1920s. Power, a young Irishman working as an art critic in Paris, first met Joyce in a Montparnasse dancehall, and the two men maintained a prickly friendship for several years. Power re-creates his conversations with the master, on a remarkable range of topics, literary and otherwise. We read of Joyce’s thoughts on writers past and present: Synge, Ibsen, Hardy, Turgenev, Tolstoy, Chekhov, Dostoevsky, Gide, Proust, T.S. Eliot, Tennyson and Shakespeare. Joyce also speaks of the looming might of America (‘Political influence, yes, but not cultural’); of religion (‘Do you believe in a next life?’ ‘I don’t think much of this life’); and of his own work.

    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.

    i & my parents2. i & their son3. i & selfdiscovery4. i & you & is5. i & now & him6. i & am & santa clausThese talks contain selections from the poetry of Wordsworth, Donne, Shakespeare, Dante, and others, including e.e. cummings. Together, it forms a good introduction to the work of e.e. cummings.

    By treating poetry not as a special use of language but as a distinct language—unlike the one used in prose and conversation—Koch clarifies the nature of poetic inspiration, how poems are written and revised, and what happens to the heart and mind while reading a poem. Koch also provides a rich anthology of more than ninety works from poets past and present. Lyric poems, excerpts from long poems and poetic plays, poems in English, and poems in translation from Homer and Sappho to Lorca, Snyder, and Ashbery; each selection is accompanied by an explanatory note designed to complement and clarify the text and to put pleasure back into the experience of poetry.

    His philosophical questioning, spiritual depth, and brilliantly inventive use of language would be profound influences on poets as diverse as William Carlos Williams, Hart Crane, Elizabeth Bishop, and John Ashbery. The Whole Harmonium presents Stevens within the living context of his times, as well as the creator of a poetry which has had a profound and lasting impact on the modern imagination itself.Stevens established his career as an executive even as he wrote his poetry, becoming a vice president with an insurance company in Hartford, Connecticut. His first and most influential book, Harmonium, was not published until he was forty-four years old. In these poems, Stevens drew on his interest in and understanding of modernism. Over time he became acquainted with the most accomplished of his contemporaries, Robert Frost and William Carlos Williams among them, but his personal style remained unique. He endured an increasingly unhappy marriage, losing himself by writing poetry in his study. Yet he had a witty, comic, and Dionysian side to his personality, including long fishing (and drinking) trips to Florida with his pals and a fascination with the sun-drenched tropics.People generally know two things about Wallace Stevens: that he is a “difficult” poet and that he was an insurance executive for most of his life. Stevens may be challenging to understand, but he is also greatly rewarding to read. Now, sixty years after Stevens’s death, biographer and poet Paul Mariani shows how over the course of his life, Stevens sought out the ineffable and spiritual in human existence in his search for the sublime.

    in between, Nine Gates illumines the nature of originality, translation, the various strategies by which meaning unfolds itself in language, poetry's roots in oral memory and the importance of the shadow to good art.A person who enters completely into the experience of a poem is initiated into a deeper intimacy with life. Delving into the nature of poetry, Jane Hirshfield also writes on the nature of the human mind, perception and experience. Nine Gates is about the underpinnings of poetic craft, but it is also about a way of being alive in the world -- alertly, musically, intelligently, passionately, permeably.In part a primer for the general reader, Nine Gates is also a manual for the working writer, with each "gate" exploring particular strategies of language and thought that allow a poem to convey meaning and emotion with clarity and force. Above all, Nine Gates is an insightful guide to the way the mind of poetry awakens our fundamental consciousness of what can be known when a person is most fully alive.

    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.

    These poems have contributed to her growth as a person, writer, poet, and thinker. Now, take this journey with Bialosky as she introduces you to each of these life-changing poems, recalling when she encountered each one, and how its importance and meaning to her has evolved over time.Witness Jill turning to poetry in dire moments to restore her faith and cope with loss; there are poems she turns to for inspiration and consolation; poems for when she is angry or disillusioned, or when she wants to see into another person’s soul. While Jill’s personal stories animate each poem, they touch on many universal experiences and life events that all can relate to, from crises of faith to sexual awakening from becoming a parent to growing creatively as a poet and artist.More than a creative chronicle of one woman’s life, Jill’s book celebrates the unique and enduring value of poetry as a means of conveying personal experience and as a source of comfort and connection.

    His range is virtuosic, encompassing Mark Twain and Richard Wright, Mahalia Jackson and Charlie Parker, The Birth of a Nation and the Dante-esque landscape of Harlem—“the scene and symbol of the Negro’s perpetual alienation in the land of his birth.” Throughout, he gives us what amounts to an episodic autobiography that traces his formation as a writer as well as the genesis of Invisible Man.On every page, Ellison reveals his idiosyncratic and often contrarian brilliance, his insistence on refuting both black and white stereotypes of what an African American writer should say or be. The result is a book that continues to instruct, delight, and occasionally outrage readers.

    . . And you wonder--what other highbrow writer, or indeed lowbrow writer has such a reflexive grasp of the street, the machine, the law courts, the rackets?" --Martin Amis, The New York Times Book Review The year 2015 marks several literary milestones: the centennial of Saul Bellow's birth, the tenth anniversary of his death, and the publication of Zachary Leader's much anticipated biography. Bellow, a Nobel Laureate, Pulitzer Prize winner, and the only novelist to receive three National Book awards, has long been regarded as one of America's most cherished authors. Here, Benjamin Taylor, editor of the acclaimed Saul Bellow: Letters, presents lesser-known aspects of the iconic writer.Arranged chronologically, this literary time capsule displays the full extent of Bellow's nonfiction, including criticism, interviews, speeches, and other reflections, tracing his career from his initial success as a novelist until the end of his life. Bringing together six classic pieces with an abundance of previously uncollected material, There Is Simply Too Much to Think About is a powerful reminder not only of Bellow's genius but also of his enduring place in the western canon and is sure to be widely reviewed and talked about for years to come.

    He found in the fabric of familiar episodes new shades of meaning, new configurations of character and intent. He brought a poetic imagination to the task of reconstructing a live tradition for Americans, and the result is a genuinely consistent and integrated expression of the American inheritance. Williams did not invent the native conscience, but he rediscovered it, often in the more remote gestures of history, and has here given it enduring stature in prose."In the American Grain is a fundamental book, essential if one proposes to come to terms with American literature." -- Times Literary Supplement

    In it, she confronts a meticulous diary that she has kept for twenty-five years. “I wanted to end each day with a record of everything that had ever happened,” she explains. But this simple statement belies a terror that she might forget something, that she might miss something important. Maintaining that diary, now eight hundred thousand words, had become, until recently, a kind of spiritual practice.Then Manguso became pregnant and had a child, and these two Copernican events generated an amnesia that put her into a different relationship with the need to document herself amid ongoing time.Ongoingness is a spare, meditative work that stands in stark contrast to the volubility of the diary—it is a haunting account of mortality and impermanence, of how we struggle to find clarity in the chaos of time that rushes around and over and through us.“Bold, elegant, and honest . . . Ongoingness reads variously as an addict’s testimony, a confession, a celebration, an elegy.” —The Paris Review“Manguso captures the central challenge of memory, of attentiveness to life . . . A spectacularly and unsummarizably rewarding read.” —Maria Popova, Brain Pickings

    Tolkien assembled in this new paperback edition were with one exception delivered as general lectures on particular occasions; and while they mostly arose out of Tolkien’s work in medieval literature, they are accessible to all. Two of them are concerned with Beowulf, including the well-known lecture whose title is taken for this book, and one with Sir Gawain and the Green Knight, given in the University of Glasgow in 1953.Also included in this volume is the lecture English and Welsh; the Valedictory Address to the University of Oxford in 1959; and a paper on Invented Languages delivered in 1931, with exemplification from poems in the Elvish tongues. Most famous of all is On Fairy-Stories, a discussion of the nature of fairy-tales and fantasy, which gives insight into Tolkien’s approach to the whole genre.The pieces in this collection cover a period of nearly thirty years, beginning six years before the publication of The Hobbit, with a unique ‘academic’ lecture on his invention (calling it A Secret Vice) and concluding with his farewell to professorship, five years after the publication of The Lord of the Rings.

    With an introduction by Peter Straub.

    The older artist, Rainer Maria Rilke (1875–1926), replied to the novice in this series of letters—an amazing archive of remarkable insights into the ideas behind Rilke's greatest poetry. The ten letters reproduced here were written during an important stage in Rilke's artistic development, and they contain many of the themes that later appeared in his best works. The poet himself afterwards stated that his letters contained part of his creative genius, making this volume essential reading for scholars, poetry lovers, and anyone with an interest in Rilke, German poetry, or the creative impulse.