Her chosen authors include Sven Birkerts, Allegra Goodman, Vivian Gornick, Patricia Hampl, Phillip Lopate, and Luc Sante; the objects of their literary affections range from Pride and Prejudice to Sue Barton, Student Nurse.These essays are not conventional literary criticism; they are about relationships. Rereadings reveals at least as much about the reader as about the book: each is a miniature memoir that focuses on that most interesting of topics, the protean nature of love. And as every bibliophile knows, no love is more life-changing than the love of a book.

    Dealing with writers such as Nabokov, Barth, Coover, Pynchon, Borges, García Márquez, Beckett, and Calvino, Annie Dillard shows why fiction matters and how it can reveal more of the modern world and modern thinking than all the academic sciences combined. Like Joyce Cary's Art and Reality, this is a book by a writer on the issues raised by the art of literature. Readers of Pilgrim at Tinker Creek and Holy the Firm will recognize Dillard's vivid writing, her humor, and the lively way in which she tackles the urgent questions of meaning in experience itself.

    "The most ordered, ranging and purposeful attempt...toward keeping the study of literature at once intelligent and liberal" (New York Times). Index.

    It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore."In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.

    An enchanting celebration of the printed word.

    Whether covering the three-ring circus of a vicious presidential race, plunging into the wars between dictionary writers, or confronting the World's Largest Lobster Cooker at the annual Maine Lobster Festival, Wallace projects a quality of thought that is uniquely his and a voice as powerful and distinct as any in American letters.Contains: "Big Red Son," "Certainly the End of Something or Other, One Would Sort of Have to Think," "Some Remarks on Kafka's Funniness from Which Probably Not Enough Has Been Removed," "Authority and American Usage," "The View from Mrs. Thompson's," "How Tracy Austin Broke My Heart," "Up, Simba," "Consider the Lobster," "Joseph Frank's Dostoevsky" and "Host."

    S. Naipaul left his Caribbean birthplace at the age of seventeen, his improbable life has followed the global movement of peoples, whose preeminent literary chronicler he has become. In The World Is What It Is, Patrick French offers the first authoritative biography of the controversial Nobel laureate, whose only stated ambition was greatness as a writer, in pursuit of which goal nothing else was sacred.Beginning with a richly detailed portrait of Naipaul's childhood in colonial Trinidad, French gives us the boy born to an Indian family, the displaced soul in a displaced community, who by dint of talent and ambition finds the only imaginable way out: a scholarship to Oxford. London in the 1950s offers hope and his first literary success, but homesickness and depression almost defeat Vidia, his narrow escape aided by Patricia Hale, an Englishwoman who will devote herself to his work and well-being. She will stand by him, sometimes tenuously, for more than four decades, even as Naipaul embarks on a twenty-four-year affair, which will awaken half-dead passions and feed perhaps his greatest wave of dizzying creativity. Amid this harrowing emotional life, French traces the course of the fierce visionary impulse underlying Naipaul's singular power, a gift to produce masterpieces of fiction and nonfiction.Informed by exclusive access to V. S. Naipaul's private papers and personal recollections, and by great feeling for his formidable body of work, French's revelatory biography does full justice to an enigmatic genius.

    In 1981, years before he sat down to tackle On Writing, Stephen King decided to address the topic of what makes horror horrifying and what makes terror terrifying. Here, in ten brilliantly written chapters, King delivers one colorful observation after another about the great stories, books, and films that comprise the horror genre—from Frankenstein and Dracula to The Exorcist, The Twilight Zone, and Earth vs. The Flying Saucers.With the insight and good humor his fans appreciated in On Writing, Danse Macabre is an enjoyably entertaining tour through Stephen King’s beloved world of horror.

    Turn on a single lamp and read it while you're alone in an otherwise dark room or while someone sleeps next to you. Say it over to yourself in a place where silence reigns and the din of culture-the constant buzzing noise that surrounds you-has momentarily stopped. This poem has come from a great distance to find you." So begins this astonishing book by one of our leading poets and critics. In an unprecedented exploration of the genre, Hirsch writes about what poetry is, why it matters, and how we can open up our imaginations so that its message-which is of vital importance in day-to-day life-can reach us and make a difference. For Hirsch, poetry is not just a part of life, it is life, and expresses like no other art our most sublime emotions. In a marvelous reading of world poetry, including verse by such poets as Wallace Stevens, Elizabeth Bishop, Pablo Neruda, William Wordsworth, Sylvia Plath, Charles Baudelaire, and many more, Hirsch discovers the meaning of their words and ideas and brings their sublime message home into our hearts. A masterful work by a master poet, this brilliant summation of poetry and human nature will speak to all readers who long to place poetry in their lives but don't know how to read it.

    Published originally in 1881, The Critic As Artist is one of Oscar Wilde's major aesthetic statements.

    In this selection of essays, he ranges from reflections on his boyhood schooling and the profession of writing to his views on the Spanish Civil War and British imperialism. The pieces collected here include the relatively unfamiliar and the more celebrated, making it an ideal compilation for both new and dedicated readers of Orwell's work.

    She has become our most important critic, while her brilliant novels and short fiction are, at long last, getting the recognition they deserve. Sontag is above all a writer, which is only to say that, though the form may differ, there is an essential unity in all her work. The truth of this is perhaps more evident in A Susan Sontag Reader than in any of Sontag's individual books. The writer selected a sampling of her work, meaning the choice both to reflect accurately a career and also to guide the reader toward those qualities and concerns which she prizes in her own writing.  A Susan Sontag Reader is arranged chronologically and draws on most of Sontag's books. There are selections from her two novels, The Benefactor and Death Kit,  and from her collections of short stories, I, etcetera. The famous essays from the 1960s--"Against Interpretation," "Notes on Camp," and "On Style"--which established Sontag's reputation and can be fairly said to have shaped the cultural views of a generation are included, as are selctions from her two subsequent volumes of essays, Styles of Radical Will and Under the Sign of Satury. A part of Sontag's best-selling On Photography is also included.  It is astonishing to read these works when they are detached from the books they appeared in and offered instead in the order in which Sontag wrote them. The connections between various literary forms, the progression of themes, are revealed in often startling ways. Moreover, Sontag has included a long interview in which she moves mroe informally over the whole range of her concerns and of her work. The volume ends with "Writing Itself," a previously uncollected essay on Roland Barthes which, in the eyes of many, is one of Sontag's finest achievements. This collection is, in a sense, both a self-potrait and a key for a reader to understand the work of one of the most imporant writers of our time.

    For, in this stylish, erudite and frequently hilarious book, de Botton dips deeply into Proust’s life and work—his fiction, letter, and conversations—and distills from them that rare self-help manual: one that is actually helpful.Here, tendered in prose almost as luminous as it’s subject’s, is advice on cultivating friendships, suffering successfully, recognizing love and understanding why you should never sleep with someone on the first date. And here, too, is a generously perceptive literary biography that suggests that the master is as relevant today as he was in fin de siècle Paris. At once slyly ironic and genuinely wise, How Proust Can Change Your Life is an unqualified delight.

    She covered civil rights demonstrations in the 1960s, places where she lived, locations she traveled to, theater she had seen, and murder trials that gripped her. She wrote sketches for various occasions and countless essays about literature, her greatest passion. For Hardwick, the essay was an imaginative endeavor. The continuous attention to language, the structure of observations, the line of interpretation— Hardwick deserves to be read and reread for the clarity of her perceptions and her enduring assessments of literature and society, and simply for the beauty of her writing alone.Edited and with an introduction by Darryl Pinckney, The Collected Essays of Elizabeth Hardwick gathers more than fifty essays for a retrospective of this writer or moral courage, as Joan Didion called her. Hardwick’s readings define literature itself.

    His insights into the works of Dostoyevsky, Mandelstam, Platonov, as well as non-Russian poets Auden, Cavafy and Montale are brilliant. While the Western popularity of many other Third Wavers has been stunted by their inability to write in English, Brodsky consumed the language to attain a "closer proximity" to poets such as Auden. The book, which won a National Book Critics Circle Award, opens and closes with revealing autobiographical essay.