Twenty of America’s bestselling memoirists share their innermost thoughts and hard-earned tips with veteran author Meredith Maran, revealing what drives them to tell their personal stories, and the nuts and bolts of how they do it. Speaking frankly about issues ranging from turning oneself into an authentic, compelling character to exposing hard truths, these successful authors disclose what keeps them going, what gets in their way, and what they love most—and least—about writing about themselves.

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

    Taking her own experience of translating Roland Barthes’s lecture notes as a starting point, the author threads various stories together to give us this portrait of translation as a compelling, complex and intensely relational activity. She recounts the story of Helen Lowe-Porter’s translations of Thomas Mann, and their posthumous vilification. She writes about the loving relationship between André Gide and his translator Dorothy Bussy. She recalls how Robinson Crusoe laboriously made a table, for him for the first time, on an undeserted island. With This Little Art, a beautifully layered account of a subjective translating experience, Kate Briggs emerges as a truly remarkable writer: distinctive, wise, frank, funny and utterly original.

    One of Library Journal's Best Books of 2020. One of our most beloved writers reassess the electrifying works of literature that have shaped her life I sometimes think I was born reading . . . I can't remember the time when I didn't have a book in my hands, my head lost to the world around me.Unfinished Business: Notes of a Chronic Re-reader is Vivian Gornick's celebration of passionate reading, of returning again and again to the books that have shaped her at crucial points in her life. In nine essays that traverse literary criticism, memoir, and biography, one of our most celebrated critics writes about the importance of reading--and re-reading--as life progresses. Gornick finds herself in contradictory characters within D. H. Lawrence's Sons and Lovers, assesses womanhood in Colette's The Vagabond and The Shackle, and considers the veracity of memory in Marguerite Duras's The Lover. She revisits Great War novels by J. L. Carr and Pat Barker, uncovers the psychological complexity of Elizabeth Bowen's prose, and soaks in Natalia Ginzburg, "a writer whose work has often made me love life more." After adopting two cats, whose erratic behavior she finds vexing, she discovers Doris Lessing's Particularly Cats.Guided by Gornick's trademark verve and insight, Unfinished Business is a masterful appreciation of literature's power to illuminate our lives from a peerless writer and thinker who "still read[s] to feel the power of Life with a capital L."

    For the next ten years, Hornby’s incandescently funny "Stuff I’ve Been Reading” chronicled a singular reading life — one that is measured not just in "books bought” and "books read,” as each column begins, but in the way our feelings toward Celine Dion say a lot about who we are, the way Body Shop Vanilla Shower Gel can add excitement to our days, and the way John Updike might ruin our sex lives. Hornby’s column is both an impeccable, wide-ranging reading list and an indispensable reminder of why we read.

    I write poetry... I believe poetry is a primal impulse within all of us. I believe we are all capable of it and furthermore that a small, often ignored corner of us positively yearns to try it. —Stephen Fry, The Ode Less Travelled Stephen Fry believes that if one can speak and read English, one can write poetry. Many of us have never been taught to read or write poetry and think of it as a mysterious and intimidating form. Or, if we have been taught, we remember uncomfortable silence when an English teacher invited the class to "respond" to a poem. In The Ode Less Travelled, Fry sets out to correct this problem by giving aspiring poets the tools and confidence they need to write poetry for pleasure. Fry is a wonderfully engaging teacher and writer of poetry himself, and he explains the various elements of poetry in simple terms, without condescension. His enjoyable exercises and witty insights introduce the concepts of Metre, Rhyme, Form, Diction, and Poetics. Aspiring poets will learn to write a sonnet, on ode, a villanelle, a ballad, and a haiku, among others. Along the way, he introduces us to poets we've heard of, but never read. The Ode Less Travelled is a lively celebration of poetry that makes even the most reluctant reader want to pick up a pencil and give it a try. BACKCOVER: Advanced Praise: “Delightfully erudite, charming and soundly pedagogical guide to poetic form… Fry has created an invaluable and highly enjoyable reference book.” —Publishers Weekly “A smart, sane and entertaining return to the basics… If you like Fry’s comic manner… this book has a lot of charm… People entirely fresh to the subject could do worse than stick with his cheerful leadership.” —The Telegraph (UK) “…intelligent and informative, a worthy enterprise well executed.” —Observer (UK) "If you learn how to write a sonnet, and Fry shows you how, you may or may not make a poem. But you will unlock the stored wisdom of the form itself." —Grey Gowrie, The Spectator (UK) “…intelligent and informative, a worthy enterprise well executed.” —Observer (UK)

    His aim is not to produce a work of criticism or philosophy, or a mere discussion of poetic technique. As he explains in his introduction, his ambition in these various pieces, published in different times and places, aimed higher than that, in the direction of disclosing poetry itself, the naked poem, the imagination manifesting itself in its domination of words. Stevens proves himself as eloquent and scintillating in prose as in poetry, as he both analyzes and demonstrates the essential act of repossessing reality through the imagination.

    Harking back to the beloved novels of his youth and ranging through the work of such writers as Tolstoy, Dostoevsky, Stendhal, Flaubert, Proust, Mann, and Naipaul, he explores the oscillation between the naive and the reflective, and the search for an equilibrium, that lie at the center of the novelist's craft. He ponders the novel's visual and sensual power--its ability to conjure landscapes so vivid they can make the here-and-now fade away. In the course of this exploration, he considers the elements of character, plot, time, and setting that compose the "sweet illusion" of the fictional world.Anyone who has known the pleasure of becoming immersed in a novel will enjoy, and learn from, this perceptive book by one of the modern masters of the art.

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    Through brilliant readings of poems by Bishop, Frost, Kunitz, Lawrence, and others, Voigt examines the signature musical scoring writers deploy to orchestrate meaning. "This structure—this architecture—is the essential drama of the poem's composition," she argues. The Art of Syntax is an indispensable book on the writer's craft by one of America's best and most influential poets and teachers.

    The complete translation, from the Greek of A. O. Prickard's Oxford text, features an introduction by Grube, establishing the historical and critical context of the work, and a biographical index.

    They call on the fluidity of the imagination, from poetic vision to social justice, from the badlands of political demoralization to an art that might wound, that may open scars when engaged in its work, but will finally suture and not tear apart.This volume collects Rich's essays from the last decade of the twentieth century, including four earlier essays, as well as several conversations that go further than the usual interview. Also included is her essay explaining her reasons for declining the National Medal for the Arts.

    Taking seriously Wittgenstein's remark that "philosophy ought really to be written only as a form of poetry," Perloff begins by discussing Wittgenstein the "poet." What we learn is that the poetics of everyday life is anything but banal."This book has the lucidity and the intelligence we have come to expect from Marjorie Perloff.—Linda Munk, American Literature"[Perloff] has brilliantly adapted Wittgenstein's conception of meaning and use to an analysis of contemporary language poetry."—Linda Voris, Boston Review"Wittgenstein's Ladder offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds."—David Clippinger, Chicago Review"Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic. . . . Entertaining, witty, and above all highly original."—Willard Bohn, Sub-Stance

    Writers from Homer to Heaney instruct us in the art of mental composition, even as their poems progress. Just as painters understand paint, composers musical instruments, and sculptors stone or metal, verbal artists understand the only material in which their creations will get made--the back-lit tissue of the human brain. In her brilliant synthesis of literary criticism, philosophy, and cognitive psychology, Elaine Scarry explores the principal practices by which writers bring things to life for their readers.

    Throughout, Chabon energetically argues for a return to the thrilling, chilling origins of storytelling, rejecting the false walls around "serious" literature in favor of a wide-ranging affection.Cover art by Jordan Crane.