This deeper content - the metahistorical element - indicates what an appropriate historical explanation might be.In pursuing his thesis, White provides a book that will be of interest to philosophers as well as historians. He explicates the styles of such historians as Michelet, Ranke, Tocueville, and Borchardt and of such philosophers of history as Hegel, Marx, Nietzsche, and Croce.

    This book looks at Grohl’s career to date, placing the singer/guitarist/drummer in the context of his contemporaries and those who have influenced him. It covers all the recordings—from the monumental Nevermind, which rocketed Nirvana to superstardom, to the Foo Fighters’ million-selling album One by One, and its Grammy-winning single, All My Life. Finally, he looks at the lawsuit initiated by Kurt Cobain’s widow, Courtney Love, and Grohl’s emergence as the touring drummer for underground hard-rock outfit Queens of the Stone Age.

    Now, with U and I, Baker has written the most idiosyncratic and deftly illuminating essay on literary influence in recent memory, as he reveals his preoccupation with the work of John Updike.

    Scott Fitzgerald was at heart a moralist struck by the nation's shifting mood and manners after World War I. In Paradise Lost, David Brown contends that Fitzgerald's deepest allegiances were to a fading antebellum world he associated with his father's Chesapeake Bay roots. Yet as a midwesterner, an Irish Catholic, and a perpetually in-debt author, he felt like an outsider in the haute bourgeoisie haunts of Lake Forest, Princeton, and Hollywood--places that left an indelible mark on his worldview.In this comprehensive biography, Brown reexamines Fitzgerald's childhood, first loves, and difficult marriage to Zelda Sayre. He looks at Fitzgerald's friendship with Hemingway, the golden years that culminated with Gatsby, and his increasing alcohol abuse and declining fortunes which coincided with Zelda's institutionalization and the nation's economic collapse.Placing Fitzgerald in the company of Progressive intellectuals such as Charles Beard, Randolph Bourne, and Thorstein Veblen, Brown reveals Fitzgerald as a writer with an encompassing historical imagination not suggested by his reputation as "the chronicler of the Jazz Age." His best novels, stories, and essays take the measure of both the immediate moment and the more distant rhythms of capital accumulation, immigration, and sexual politics that were moving America further away from its Protestant agrarian moorings. Fitzgerald wrote powerfully about change in America, Brown shows, because he saw it as the dominant theme in his own family history and life.

    Propelled by the challenge and promise of bigger, more difficult waves, this adrenaline-fueled loner and polarizing figure travels the globe to ride the most dangerous swells the oceans have to offer, from calving glaciers to hurricane swells. But what motivates McNamara to go to such extremes—to risk everything for one thrilling ride? Is riding giant waves the ultimate exercise in control or surrender?Personal and emotional, readers will know GMac as never before, seeing for the first time the personal alongside the professional in an exciting, intimate look at what drives this inventive, iconoclastic man. Surfing awesome giants isn’t just thrill seeking, he explains—it’s about vanquishing fears and defeating obstacles past and present. Surfers and non-surfers alike will embrace McNamara’s story—as they have William Finnegan’s Barbarian Days—for an intimate look at the enigmatic pursuit of riding waves, big and small.Illustrated with sixteen pages of color photos, Hound of the Sea is a record of perseverance, passion, and healing. Thoughtful, suspenseful, and spiritually profound, McNamara reveals the beautiful soul of surfing through the eyes of one of its most daring and devoted disciples.

    Pulitzer Prize finalist William Souder explores Steinbeck’s long apprenticeship as a writer struggling through the depths of the Great Depression, and his rise to greatness with masterpieces such as The Red Pony, Of Mice and Men, and The Grapes of Wrath. Angered by the plight of the Dust Bowl migrants who were starving even as they toiled to harvest California’s limitless bounty, fascinated by the guileless decency of the downtrodden denizens of Cannery Row, and appalled by the country’s refusal to recognize the humanity common to all of its citizens, Steinbeck took a stand against social injustice—paradoxically given his inherent misanthropy—setting him apart from the writers of the so-called "lost generation."A man by turns quick-tempered, compassionate, and ultimately brilliant, Steinbeck could be a difficult person to like. Obsessed with privacy, he was mistrustful of people. Next to writing, his favorite things were drinking and womanizing and getting married, which he did three times. And while he claimed indifference about success, his mid-career books and movie deals made him a lot of money—which passed through his hands as quickly as it came in. And yet Steinbeck also took aim at the corrosiveness of power, the perils of income inequality, and the urgency of ecological collapse, all of which drive public debate to this day.Steinbeck remains our great social realist novelist, the writer who gave the dispossessed and the disenfranchised a voice in American life and letters. Eloquent, nuanced, and deeply researched, Mad at the World captures the full measure of the man and his work.

    In this new essay collection, Földényi considers the continuing fallout from the collapse of religion, exploring how Enlightenment traditions have not replaced basic elements of previously held religious mythologies—neither their metaphysical completeness nor their comforting purpose. Realizing beautiful writing through empathy, imagination, fascination, and a fierce sense of justice, Földényi covers a wide range of topics including a meditation on the metaphysical unity of a sculpture group and an analysis of fear as a window into our relationship with time.

    Every night, at a rundown tavern with a magnificent bar called the Cedar Tavern, an extraordinary group or painters, writers, poets, and hangers-on arrive to drink, argue, tell jokes, fight, start affairs, and bang out a powerful new aesthetic. Their style is playful, irreverent, tradition-shattering, and brilliant. Out of these friendships, and these conversations, will come the works of art and poetry that will define New York City as the capital of world culture--abstract expressionism and the New York School of Poetry.A richly detailed portrait of one of the great movements in American arts and letters, The Last Avant-Garde covers the years 1948-1966 and focuses on four fast friends--the poets Frank O'Hara, James Schuyler, John Ashbery, and Kenneth Koch. Lehman brings to vivid life the extraordinary creative ferment of the time and place, the relationship of great friendship to art, and the powerful influence that a group of visual artisits--especially Jane Freilicher, Larry Rivers, and Fairfield Porter--had on the literary efforts of the New York School.The Last Avant-Garde is both a definitive and lively view of a quintessentially American aesthetic and an exploration of the dynamics of creativity.