Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by", metaphors that can shape our perceptions and actions without our ever noticing them.In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.

    This is an exploration of her relationship with the literary form we have come to know as "science fiction,” a relationship that has been lifelong, stretching from her days as a child reader in the 1940s, through her time as a graduate student at Harvard, where she worked on the Victorian ancestor of the form, and continuing as a writer and reviewer.  This book brings together her three heretofore unpublished Ellmann Lectures from 2010: "Flying Rabbits," which begins with Atwood's early  rabbit superhero creations, and goes on to speculate about masks, capes, weakling alter egos, and Things with Wings; "Burning Bushes," which follows her into Victorian otherlands and beyond; and "Dire Cartographies," which investigates Utopias and Dystopias.  In Other Worlds also includes some of Atwood's key reviews and thoughts about the form. Among those writers discussed are Marge Piercy, Rider Haggard, Ursula Le Guin, Ishiguro, Bryher, Huxley, and Jonathan Swift. She elucidates the differences (as she sees them) between "science fiction" proper, and "speculative fiction," as well as between "sword and sorcery/fantasy" and "slipstream fiction." For all readers who have loved The Handmaid's Tale, Oryx and Crake, and The Year of the Flood, In Other Worlds is a must.  From the Hardcover edition.

    Commenting on this startling discovery at the time, noted Talmud scholar Daniel Boyarin argued that “some Christians will find it shocking—a challenge to the uniqueness of their theology.”Guiding us through a rich tapestry of new discoveries and ancient scriptures, The Jewish Gospels makes the powerful case that our conventional understandings of Jesus and of the origins of Christianity are wrong. In Boyarin’s scrupulously illustrated account, the coming of the Messiah was fully imagined in the ancient Jewish texts. Jesus, moreover, was embraced by many Jews as this person, and his core teachings were not at all a break from Jewish beliefs and teachings. Jesus and his followers, Boyarin shows, were simply Jewish. What came to be known as Christianity came much later, as religious and political leaders sought to impose a new religious orthodoxy that was not present at the time of Jesus’s life.In the vein of Elaine Pagels’s The Gnostic Gospels, here is a brilliant new work that will break open some of our culture’s most cherished assumptions.

    “Babel in California” told the true story of various human destinies intersecting at Stanford University during a conference about the enigmatic writer Isaac Babel. Over the course of several pages, Batuman managed to misplace Babel’s last living relatives at the San Francisco airport, uncover Babel’s secret influence on the making of King Kong, and introduce her readers to a new voice that was unpredictable, comic, humane, ironic, charming, poignant, and completely, unpretentiously full of love for literature. Batuman’s subsequent pieces—for The New Yorker, Harper’s Magazine, and the London Review of Books— have made her one of the most sought-after and admired writers of her generation, and its best traveling companion. In The Possessed we watch her investigate a possible murder at Tolstoy’s ancestral estate. We go with her to Stanford, Switzerland, and St. Petersburg; retrace Pushkin’s wanderings in the Caucasus; learn why Old Uzbek has one hundred different words for crying; and see an eighteenth-century ice palace reconstructed on the Neva. Love and the novel, the individual in history, the existential plight of the graduate student: all find their place in The Possessed. Literally and metaphorically following the footsteps of her favorite authors, Batuman searches for the answers to the big questions in the details of lived experience, combining fresh readings of the great Russians, from Pushkin to Platonov, with the sad and funny stories of the lives they continue to influence—including her own.

    But such a picture of Jesus is far from accurate, according to John Howard Yoder. This watershed work in New Testament ethics leads us to a Savior who was deeply concerned with the agenda of politics and the related issues of power, status, and right relations. By canvassing Luke's Gospel, Yoder argues convincingly that the true impact of Jesus' life and ministry on his disciples' social behavior points to a specific kind of Christian pacifism in which "the cross of Christ is the model of Christian social efficacy." This second edition of The Politics of Jesus provides up-to-date interaction with recent publications that touch on Yoder's timely topic. Following most of the chapters are new "epilogues" summarizing research conducted during the last two decades - research that continues to support the outstanding insights set forth in Yoder's original work.

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.

    His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war thought and literature. In What is Literature? Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write.

    Unsparing in his judgment, Mark Noll ask why the largest single group of religious Americans--who enjoy increasing wealth, status, and political influence--have contributed so little to rigorous intellectual scholarship in North America. In nourishing believers in the simple truths of the gospel, why have evangelicals failed at sustaining a serious intellectual life and abandoned the universities, the arts, and other realms of "high" culture? Noll is probing and forthright in his analysis of how this situation came about, but he doesn't end there. Challenging the evangelical community, he sets out to find, within evangelicalism itself, resources for turning the situation around.

    He believes that many modern translations take liberties with the biblical text that would not be allowed with any other type of literary work. Also, what readers are presented with as biblical text is actually far from the original text. In literature, a simplified version of Milton's work is not Milton, and neither is an edition written in contemporary English. Anyone who is interested in Milton would find any version that changes his words unacceptable for serious study. Ryken argues that the same dedication to reproducing literature texts as closely as possible needs to be present in biblical translation. To do so it is necessary to take into account the difficulty of working with original languages. Only an essentially literal, "word for word" translation of the Bible can achieve sufficiently high standards in terms of literary criteria and fidelity to the original text.Ryken does not contest that many modern translations have been used for good, and believes that there is a place for a range of Bible translations, including children's Bibles and Bible paraphrases. His purpose is not to say that the only Bible available should be one that is essentially literal. Instead, he defines the translation theory and principles that would result in the best Bible for English-speaking people and serious students of the Bible, and also for the English-speaking church as a whole. He believes that an essentially literal translation is the natural result of following these principles.Along with a short history of translation, Ryken evaluates presuppositions that impact translation theory. He also examines fallacies about the Bible, translations in general, and Bible readers that influence what translation decisions are made. Believing that those who undertake the serious work of translating God's Word have an obligation both to God and to others, he assesses the theological, ethical, and hermeneutical issues involved and surveys difficulties with modern translations. Ryken's literary expertise gives him the perspective needed to provide Christians with a standard for comparing contemporary Bible translations, as well as an understanding of why some translations may not convey the very words of God.

    She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other "minorities" have been barred from producing written art. In chapters entitled "Prohibitions," "Bad Faith," "Denial of Agency," Pollution of Agency," "The Double Standard of Content," "False Categorization," "Isolation," "Anomalousness," "Lack of Models," Responses," and "Aesthetics" Joanna Russ names, defines, and illustrates those barriers to art-making we may have felt but which tend to remain unnamed and thus insolvable.

    —New York Times Book ReviewNo writer I know of comes close to even trying to articulate the weird magic of poetry as Ruefle does. She acknowledges and celebrates in the odd mystery and mysticism of the act—the fact that poetry must both guard and reveal, hint at and pull back... Also, and maybe most crucially, Ruefle’s work is never once stuffy or overdone: she writes this stuff with a level of seriousness-as-play that’s vital and welcome, that doesn’t make writing poetry sound anything but wild, strange, life-enlargening fun. -The Kenyon ReviewProfound, unpredictable, charming, and outright funny...These informal talks have far more staying power and verve than most of their kind. Readers may come away dazzled, as well as amused... —Publishers WeeklyThis is a book not just for poets but for anyone interested in the human heart, the inner-life, the breath exhaling a completion of an idea that will make you feel changed in some way. This is a desert island book. —Matthew DickmanThe accomplished poet is humorous and self-deprecating in this collection of illuminating essays on poetry, aesthetics and literature... —San Francisco ExaminerOver the course of fifteen years, Mary Ruefle delivered a lecture every six months to a group of poetry graduate students. Collected here for the first time, these lectures include "Poetry and the Moon," "Someone Reading a Book Is a Sign of Order in the World," and "Lectures I Will Never Give." Intellectually virtuosic, instructive, and experiential, Madness, Rack, and Honey resists definition, demanding instead an utter—and utterly pleasurable—immersion. Finalist for the 2012 National Book Critics Circle Award.Mary Ruefle has published more than a dozen books of poetry, prose, and erasures. She lives in Vermont.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    In The Lost Art of Reading, David L. Ulin asks a number of timely questions - why is literature important? What does it offer, especially now? Blending commentary with memoir, Ulin addresses the importance of the simple act of reading in an increasingly digital culture. Reading a book, flipping through hard pages, or shuffling them on screen - it doesn't matter. The key is the act of reading, and it's seriousness and depth. Ulin emphasizes the importance of reflection and pause allowed by stopping to read a book, and the accompanying focus required to let the mind run free in a world that is not one's own. Are we willing to risk our collective interest in contemplation, nuanced thinking, and empathy? Far from preaching to the choir, The Lost Art of Reading is a call to arms, or rather, to pages.

    In considering such aspects, the author goes beyond the domain of pure aesthetics and offers an interpretation of some basic cultural problems of our time.

    Richard Hays shows how the New Testament provides moral guidance on the most troubling ethical issues of our time, including violence, divorce, homosexuality and abortion.