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    This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless . . . . In our brief mortal lives, we are grinders of these lenses."This brooding, provocative, and almost unbearably lovely book displays one of the great writers of our time at his freest and most direct, addressing the themes that run beneath the surface of all his work, from Ways of Seeing to his Into Their Labours trilogy.In an extraordinary distillation of his gifts as a novelist, poet, art critic, and social historian, John Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He re-creates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today.A work of unclassifiable innovation and consummate beauty, And Our Faces, My Heart, Brief as Photos reminds us of Nabokov and Auden, Brecht and Lawrence, in its seamless fusion of the political and the personal.

    The genius of this biography is that it delves behind this image to reveal a life in which loss and heartache existed alongside rebellion and fierce ambition. Claire Harman seizes on a crucial moment in the 1840s when Charlotte worked at a girls' school in Brussels and fell hopelessly in love with the husband of the school's headmistress. Her torment spawned her first attempts at writing for publication, and the object of her obsession haunts the pages of every one of her novels--he is Rochester in Jane Eyre, Paul Emanuel in Villette. Another unrequited love--for her publisher--paved the way for Charlotte to enter a marriage that ultimately made her happier than she ever imagined. Drawing on correspondence unavailable to previous biographers, Harman establishes Brontë as the heroine of her own story, one as dramatic and triumphant as one of her own novels.

    Somerset Maugham's ode to the powerful forces behind creative genius. Charles Strickland is a staid banker, a man of wealth and privilege. He is also a man possessed of an unquenchable desire to create art. As Strickland pursues his artistic vision, he leaves London for Paris and Tahiti, and in his quest makes sacrifices that leave the lives of those closest to him in tatters. Through Maugham's sympathetic eye, Strickland's tortured and cruel soul becomes a symbol of the blessing and the curse of transcendent artistic genius, and the cost in humans' lives it sometimes demands.

    vegan diets from a number of perspectives (ethical, health, environmental, etc.), and gives practical advice for making a successful switch for your cats and dogs.

    When he died in New York in 1953, Thomas was only thirty-nine years old, and the myths soon took hold: he became the Keats and the Byron of his generation—the romantic poet who died too young, his potential unfulfilled. Making masterful use of original material from archives and personal papers, Lycett describes the development of the young poet, brings invaluable new insights to Thomas’s youthful poetry and the themes that continued to appear in his work, and unearth fascinating details about the poet's many affairs and his tempestuous marriage to his passionate Irish wife, Caitlin.The result is a poignant yet stirring portrait of the chaos of Thomas's personal life and a welcome re-evaluation of the lyricism and experimentalism of his poetry, plays, and short stories.

    Her masterworks were written after years of living an unconventional life, including a scandalous voyage to Europe with the married writer and editor George Henry Lewes. The scandal intensified when she moved in with Lewes after he separated from his wife. Eliot re-entered London's social life years later, when her literary success made it impossible for respectable society to dismiss her (even Queen Victoria enjoyed her books). She counted among her friends and supporters Dickens, Trollope, and several other Victorian literati. In this intimate biography, author Hughes provides insight into Eliot's life and work, weighing Eliot's motivations for her controversial actions, and examining the paradoxical Victorian society which she documented to perfection in her novels.

    He is famous for two masterpieces, Miss Lonelyhearts (1933) and The Day of the Locust (1939). Seventy years later, The Day of the Locust remains the most penetrating novel ever written about Hollywood. EILEEN MCKENNEY—accidental muse, literary heroine—was the inspiration for her sister Ruth’s humorous stories, My Sister Eileen, which led to stage, film, and television adaptations, including Leonard Bernstein’s 1953 musical Wonderful Town.  She grew up in Cleveland and moved to Manhattan at 21 in search of romance and adventure. She and her sister lived in a basement apartment in the Village with a street-level window into which men frequently peered.  Husband and wife were intimate with F. Scott Fitzgerald, Dorothy Parker, Katharine White, S.J. Perelman, Bennett Cerf, and many of the literary, theatrical, and movie notables of their era.  With Lonelyhearts, biographer Marion Meade, whose Bobbed Hair and Bathtub Gin earned accolades from the Washington Post Book World ("Wonderful") to the San Francisco Chronicle ("Like looking at a photo album while listening to a witty insider reminisce about the images"), restores West and McKenney to their rightful places in the rich cultural tapestry of interwar America.

    In every culture and in every epoch in human history, from ancient Egypt to modern Hollywood, imaginary beings have haunted dreams and fantasies, provoking in young and old shivers of delight, thrills of terror, and endless fascination. All known folklores brim with visions of looming and ferocious monsters, often in the role as adversaries to great heroes. But while heroes have been closely studied by mythologists, monsters have been neglected, even though they are equally important as pan-human symbols and reveal similar insights into ways the mind works. In Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors, anthropologist David D. Gilmore explores what human traits monsters represent and why they are so ubiquitous in people's imaginations and share so many features across different cultures.Using colorful and absorbing evidence from virtually all times and places, Monsters is the first attempt by an anthropologist to delve into the mysterious, frightful abyss of mythical beasts and to interpret their role in the psyche and in society. After many hair-raising descriptions of monstrous beings in art, folktales, fantasy, literature, and community ritual, including such avatars as Dracula and Frankenstein, Hollywood ghouls, and extraterrestrials, Gilmore identifies many common denominators and proposes some novel interpretations.Monsters, according to Gilmore, are always enormous, man-eating, gratuitously violent, aggressive, sexually sadistic, and superhuman in power, combining our worst nightmares and our most urgent fantasies. We both abhor and worship our monsters: they are our gods as well as our demons. Gilmore argues that the immortal monster of the mind is a complex creation embodying virtually all of the inner conflicts that make us human. Far from being something alien, nonhuman, and outside us, our monsters are our deepest selves.

    Kelly illuminates the radical subjects--slavery, poverty, feminism, the Church, evolution, among them--considered treasonous at the time, that Austen deftly explored in the six novels that have come to embody an age. The author reveals just how in the novels we find the real Jane Austen: a clever, clear-sighted woman "of information," fully aware of what was going on in the world and sure about what she thought of it. We see a writer who understood that the novel--until then seen as mindless "trash"--could be a great art form and who, perhaps more than any other writer up to that time, imbued it with its particular greatness.

    The celebrated author of 'Class' and 'Bad' focuses his lethal wit on habitual euphemizers, professional dissimulators, artistically pretentious third-rate novelists, sexual puritans, and the 'Disneyfiers of life.'

    Kathleen Jamie, award winning poet, has an eye and an ease with the nature and landscapes of Scotland as well as an incisive sense of our domestic realities. In Findings she draws together these themes to describe travels like no other contemporary writer. Whether she is following the call of a peregrine in the hills above her home in Fife, sailing into a dark winter solstice on the Orkney islands, or pacing around the carcass of a whale on a rain-swept Hebridean beach, she creates a subtle and modern narrative, peculiarly alive to her connections and surroundings.

    Sidney argues with wit and irony that poetry is the art which best teaches what is good and true.

    + XXXVIII) ranges from Gorgias and Plato to Sigmund Freud and Mikhail Bakhtin. Each of the 147 contributions has a headnote introducing the writer and making connections to other critics, theorists and movements. An introduction surveys the history of theory and criticism.

    Thoreau, a consummate lover of the outdoors and nature is right at home in the Cape and he details his excitement of the area with naturalist portraits of the indigenous species and animals. Any lover of nature or of Cape Cod in general will delight in this captivating depiction of the area in the early to mid 1800s.