The greatly esteemed essayist, novelist, and philosopher reflects on the art of translation and on Rainer Maria Rilke's Duino Elegies and gives us his own translation of Rilke's masterwork.

    From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas’ will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book’s topics range from the “alien” experience of blacks in America to the “wake up” cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.

    These wide-ranging interviews are conducted by Pamela Paul, the editor of the Book Review, and here she brings together sixty-five of the most intriguing and fascinating exchanges, featuring personalities as varied as David Sedaris, Hilary Mantel, Michael Chabon, Khaled Hosseini, Anne Lamott, and James Patterson. The questions and answers admit us into the private worlds of these authors, as they reflect on their work habits, reading preferences, inspirations, pet peeves, and recommendations.By the Book contains the full uncut interviews, offering a range of experiences and observations that deepens readers' understanding of the literary sensibility and the writing process. It also features dozens of sidebars that reveal the commonalities and conflicts among the participants, underscoring those influences that are truly universal and those that remain matters of individual taste.For the devoted reader, By the Book is a way to invite sixty-five of the most interesting guests into your world. It's a book party not to be missed.

    She delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject.

    Here, Wallace turns his critical eye with equal enthusiasm toward Roger Federer and Jorge Luis Borges; Terminator 2 and The Best of the Prose Poem; the nature of being a fiction writer and the quandary of defining the essay; the best underappreciated novels and the English language's most irksome misused words; and much more.Both Flesh and Not restores Wallace's essays as originally written, and it includes a selection from his personal vocabulary list, an assembly of unusual words and definitions.

    In this ebullient book, America’s favorite librarian Nancy Pearl and noted-playwright Jeff Schwager interview a diverse range of America's most notable and influential writers about the books that shaped them and inspired them to leave their own literary mark.Illustrated with beautiful line drawings, The Writer’s Library is a revelatory exploration of the studies, libraries, and bookstores of today’s favorite authors—the creative artists whose imagination and sublime talent make America's literary scene the wonderful, dynamic world it is. A love letter to books and a celebration of wordsmiths, The Writer’s Library is a treasure for anyone who has been moved by the written word.The authors in The Writer’s Library are:Russell BanksTC BoyleMichael ChabonSusan ChoiJennifer EganDave EggersLouise ErdrichRichard FordLaurie FrankelAndrew Sean GreerJane HirshfieldSiri HustvedtCharles JohnsonLaila LalamiJonathan LethemDonna TarttMadeline MillerViet Thanh NguyenLuis Alberto UrreaVendela VidaAyelet WaldmanMaaza MengisteAmor Towles

    It is literature which draws on popular culture, and engages in speculation about science, history, and all varieties of social relations. This volume brings together essays by scholars and practitioners of science fiction, which look at the genre from different angles. It examines science fiction from Thomas More to the present day; and introduces important critical approaches (including Marxism, postmodernism, feminism and queer theory).

    From Gothic ghost stories to psychological horror to science fiction, women have been primary architects of speculative literature of all sorts. And their own life stories are as intriguing as their fiction. Everyone knows about Mary Shelley, creator of Frankenstein, who was rumored to keep her late husband’s heart in her desk drawer. But have you heard of Margaret “Mad Madge” Cavendish, who wrote a science-fiction epic 150 years earlier (and liked to wear topless gowns to the theater)? If you know the astounding work of Shirley Jackson, whose novel The Haunting of Hill House was reinvented as a Netflix series, then try the psychological hauntings of Violet Paget, who was openly involved in long-term romantic relationships with women in the Victorian era. You’ll meet celebrated icons (Ann Radcliffe, V. C. Andrews), forgotten wordsmiths (Eli Colter, Ruby Jean Jensen), and today’s vanguard (Helen Oyeyemi). Curated reading lists point you to their most spine-chilling tales.Part biography, part reader’s guide, the engaging write-ups and detailed reading lists will introduce you to more than a hundred authors and over two hundred of their mysterious and spooky novels, novellas, and stories.

    You should never quit your day job, but your ultimate goal should be to quit your day job. It's an endless, confusing, and often controversial conversation that, despite our bare-it-all culture, still remains taboo. In Scratch, Manjula Martin has gathered interviews and essays from established and rising authors to confront the age-old question: how do creative people make money? As contributors including Jonathan Franzen, Cheryl Strayed, Roxane Gay, Nick Hornby, Susan Orlean, Alexander Chee, Daniel Jose Older, Jennifer Weiner, and Yiyun Li candidly and emotionally discuss money, MFA programs, teaching fellowships, finally getting published, and what success really means to them, Scratch honestly addresses the tensions between writing and money, work and life, literature and commerce. The result is an entertaining and inspiring book that helps readers and writers understand what it's really like to make art in a world that runs on money-and why it matters.

    They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute’s involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman’s poetry to Ed Ruscha’s photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity’s only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.

    Here is his legacy to us: the universal values he pinpoints become the watchwords for our appreciation of Calvino himself.What should be cherished in literature? Calvino devotes one lecture, or memo to the reader, to each of five indispensable qualities: lightness, quickness, exactitude, visibility, and multiplicity. A sixth lecture, on consistency, was never committed to paper, and we are left only to ponder the possibilities. With this book, he gives us the most eloquent defense of literature written in the twentieth century as a fitting gift for the next millennium.

    Learn terms for the sunlight that filters through the leaves of trees, for dancing awkwardly but with relish, and for the look shared by two people who each wish the other would speak first. Other-Wordly is an irresistible gift for lovers of words and those lost for words alike.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    Wright argues for poetry as a way of being and seeing, and calls it "the one arena where I am not inclined to crank up the fog machine." Wright's passion for the genre is pure inspiration, and in her hands the answer to the question of poetry is poetry.From "In a Word":I love the nouns of a time in a place, where a sack once was a poke and native skag was junk glass not junk and junk was just junk not smack and smack entailed eating with your mouth open, and an Egyptian one-eye was an egg, sunny side up, and a nation sack was a flannel amulet, worn only by women, to be touched only by women, especially around Memphis. Red sacks for love and green for money…C.D. Wright's most recent volume, One With Others, was a National Book Award finalist. Among her many honors are the Griffin Poetry Prize and a MacArthur Fellowship. She teaches at Brown University and lives outside of Providence, Rhode Island.

    The sales figures of E. L. James or Dan Brown seem to be freakish—random occurrences in an unknowable market. So often we hear that nothing but hype explains their success, but what if there were an algorithm that could reveal a secret DNA of bestsellers, regardless of their genre? What if it knew, just from analyzing the words alone, not just why genre writers like John Grisham and Danielle Steel belong on the lists, but also that authors such as Junot Diaz, Jodi Picoult, and Donna Tartt had tell-tale signs of success all over their pages?Thanks to Jodie Archer and Matthew Jockers, the algorithm exists, the code has been cracked, and the results bring fresh new insights into how fiction works and why we read. The Bestseller Code offers a new theory for why Fifty Shades of Grey sold so well. It sheds light on the current craze for dark heroines. It reveals which themes tend to sell best. And all with fascinating supporting data taken from a five year study of 20,000 novels. Then there is the hunt for “the one”—the paradigmatic example of bestselling writing according to a computer’s analysis of thousands of points of data. The result is surprising, a bit ironic, and delightfully unorthodox.