Readers who enjoyed Too Much Tuscan Sun will welcome this second book, which includes even more episodes from the author’s life growing up as a Chiantigiano.

    Rich with references ranging from Goethe's Werther to Winnicott, from Plato to Proust, from Baudelaire to Schubert, A Lover's Discourse artfully draws a portrait in which every reader will find echoes of themselves.

    Jack Kerouac, Allen Ginsberg, and William Burroughs had each seen the insides of a mental hospital and a prison by the age of thirty. A few months after they met, another member of their circle committed a murder that involved Kerouac and Burroughs as material witnesses. This book charts the transformation of these experiences into literature, and a literary movement that spread across the globe. From "The First Cut-Up"--the murder in New York in 1944--we end up in Paris in 1960 with William Burroughs at the Beat Hotel, experimenting with the technique that made him notorious, what Campbell calls "The Final Cut-Up." In between, we move to San Francisco, where Ginsberg gave the first public reading of Howl. We discover Burroughs in Mexico City and Tangiers; the French background to the Beats; the Buddhist influence on Kerouac, Gary Snyder, and others; the "Muses" Herbert Huncke and Neal Cassady; the tortuous history of On the Road; and the black ancestry of the white hipster.

    He has played everyone from Ned Ryerson in "Groundhog Day" to Sandy Ryerson in "Glee." He has amused thousands with his true stories on "The Tobolowsky Files" at Slashfilm.com. Here he shares some homespun philosophy and more true stories that prove tales of sex, drugs, and rock and roll are often the most humiliating and almost always the most enjoyable.

    Here, in this compelling assembly of writings, Pulitzer Prize-winning author Annie Dillard explores the world of natural facts and human meanings.

     When Nate Wilson looks at the world around him, he asks "What is this place? Why is this place? Who approved it? Am I supposed to take it seriously?" What could such an outlandish, fantastical world say about its Creator? In these sparkling chapters, Wilson gives an aesthetic examination of the ways in which humanity has tried to make sense of this overwhelming carnival ride of a world. He takes a whimsical, thought-provoking look at everything from the "magic" of quantum physics, to nature's absurdities, to the problem of evil, evolution and hell. These frequently humorous, and uniquely beautiful portraits express reality unknown to many Christians-the reality of God's story unfolding around and among us. As the author says, "Welcome to His poem. His play. His novel. His comedy. Let the pages flick your thumbs."

    What good does war do in a world where the flow of goods, services, and information is unstoppable, and the enemy is always behind the lines? In the most personal of the essays, Eco recalls experiencing liberation from fascism in Italy as a boy, and examines the various historical forms of fascism, always with an eye toward such ugly manifestations today. And finally, in an intensely personal open letter to an Italian cardinal, Eco reflects on a question underlying all the reflections in the book--what does it mean to be moral or ethical when one doesn't believe in God?

    Transferred to an experimental low-security "honor camp" in the redwood forest, he spent six months clearing brush and immersing himself in the life of the jail community, attempting to "bring light and color" to it. "This is crazier here than the nuthouse ever was," Kesey noted, and proceeded to record the scene in numerous notebooks, illustrated with intense and brilliantly colored artwork.Upon returning to Oregon, Kesey turned the raw notebook material into an illustrated collage that stretched across dozens of 18" x 23" boards. Upon realizing that publication of the elaborate, handwritten book was more than his publisher was willing to attempt, he put it aside. Almost thirty years later he returned to the project and brought it to completion during the final years of his life. Fans of Ken Kesey's singular American voice will rejoice to hear it again in this unique and long-overdue volume. Those unfamiliar with Kesey's artwork are in for a revelation.

    Risking her own health, she moved to Togo, West Africa-ranked by the United Nations as the least happy country in the world-to care for sick and suffering patients.Serving without pay in a mission hospital, she pondered the intersection of faith and medicine in her quest to help make the world "well."In the hospital wards, she witnessed death over and over again. In the outpatient clinic, she daily diagnosed patients with deadly diseases, many of which had simple but unavailable cures. She lived in austere conditions and nearly succumbed herself in a harrowing bout with malaria.She describes her experiences in gripping detail and reflects courageously about difficult and deep human connections-across race, culture, material circumstances, and medical access. Her experience exemplifies the triumph of surviving in order to share the stories that often go untold. In the end, WELL is an invitation to ask what happens when, instead of asking why God allows suffering to happen in the world, we ask, "Why do we?"

    Matthew Arnold called Emerson’s essays “the most important work done in prose.”   INCLUDES A MODERN LIBRARY READING GROUP GUIDE

    Starting with the band's origins in Oxford, journalist Martin Clarke covers the essential points: Radiohead's breakout single "Creep," the pivotal album OK Computer, Thom Yorke's continuing political and artistic evolution, and the band's future. This revised edition includes a close look at how the band escaped the rock straightjacket with Kid A and Amnesiac , as well as their most recent album, Hail to the Thief . Clark also offers an in-depth examination of the outspoken, mysterious Yorke, offering insight into the personal demons the vocalist has battled throughout his career as Radiohead's frontman. An incisive look at one of the world's most beloved, followed musical acts, Radiohead: Hysterical and Useless provides stimulating coverage of a provocative group.

    This 50th Anniversary edition contains a new foreword by his publisher and friend, Jay Shore, and an introduction by his sister, Diane Craddock, as well as a selection of photos, drawings and other writings by Craddock."Superb in the tradition of Kerouac’s On The Road, with overtones of Ken Kesey and Hunter Thompson’s Hell’s Angels, but Craddock’s style is all his own." — Robert Kirsch, Los Angeles Times"The definitive book of the acid-freak movement. A psychedelic pilgrim’s progress of beauty, intelligence, sensitivity." — Joseph Haas, Chicago Daily News"An astounding book, so good it defies praise. The writing is superb. Craddock is a born writer with an iceberg of talent." — Shane Stevens, Chicago Sun Times"Willam J. Craddock’s masterpiece, legendary to those in the know, is as exhilarating now as ever." — Elizabeth McKenzie, author of The Portable Veblen, long listed for the 2016 National Book AwardMostly autobiographical, Be Not Content begins with the 16-year-old Craddock riding his beloved Harley Davidson with the Hells Angels, the outlaw motorcycle club, and getting into brawls and being chased by the cops. It’s an unexpected anomaly for this bright, middle-class kid from Los Gatos, California. Craddock then takes us through his college days publishing an underground newspaper, attending poetry readings with Alan Ginsberg, tripping at one of the first acid tests, and taking for days on end the strongest, most pure doses LSD. All of it done for the purpose of Craddock discovering the meaning of life.Barely 21 when he finished writing it, Doubleday bought the book in 1968 but held up publication until 1970. The first edition sold out with collectors prizing the few copies available, and copies going for as much as $950 on the Internet. Be Not Content is a powerful literary coming of age narrative that millions of Americans can personally identify with – an unforgettable time in the cultural and sociological history of America.

    His simple but profound musings—as well as Civil Disobedience, his protest against the government's interference with civil liberty—have inspired many to embrace his philosophy of individualism and love of nature.

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.

    In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows, first on premium cable channels like HBO and then basic cable networks like FX and AMC, dramatically stretched television’s narrative inventiveness, emotional resonance, and artistic ambition. No longer necessarily concerned with creating always-likable characters, plots that wrapped up neatly every episode, or subjects that were deemed safe and appropriate, shows such as The Wire, The Sopranos, Mad Men, Deadwood, The Shield, and more tackled issues of life and death, love and sexuality, addiction, race, violence, and existential boredom. Just as the Big Novel had in the 1960s and the subversive films of New Hollywood had in 1970s, television shows became the place to go to see stories of the triumph and betrayals of the American Dream at the beginning of the twenty-first century. This revolution happened at the hands of a new breed of auteur: the all-powerful writer-show runner. These were men nearly as complicated, idiosyncratic, and “difficult” as the conflicted protagonists that defined the genre. Given the chance to make art in a maligned medium, they fell upon the opportunity with unchecked ambition. Combining deep reportage with cultural analysis and historical context, Brett Martin recounts the rise and inner workings of a genre that represents not only a new golden age for TV but also a cultural watershed. Difficult Men features extensive interviews with all the major players, including David Chase (The Sopranos), David Simon and Ed Burns (The Wire), Matthew Weiner and Jon Hamm (Mad Men), David Milch (NYPD Blue, Deadwood), and Alan Ball (Six Feet Under), in addition to dozens of other writers, directors, studio executives, actors, production assistants, makeup artists, script supervisors, and so on. Martin takes us behind the scenes of our favorite shows, delivering never-before-heard story after story and revealing how cable TV has distinguished itself dramatically from the networks, emerging from the shadow of film to become a truly significant and influential part of our culture.