For Jay, a retired research scientist this return to the classroom is his "one last chance" to learn the great literature he'd neglected in his youth--and, even more, a final opportunity to more fully understand his son, a writer and classicist. But through the sometimes uncomfortable months that the two men explore Homer's great work together--first in the classroom, where Jay persistently challenges his son's interpretations, and then during a surprise-filled Mediterranean journey retracing Odysseus's famous voyages--it becomes clear that Daniel has much to learn, too: Jay's responses to both the text and the travels gradually uncover long-buried secrets that allow the son to understand his difficult father at last.

    A VINTAGE ORIGINAL.What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page - a graceful ear there, a stray curl, a hat positioned just so - and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved - or reviled - literary figures.In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature - he thinks of himself first, and foremost, as a reader - into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    She invites us behind the scenes of novel-writing, sharing her own habits and spilling the secrets of her craft. And she offers priceless advice to aspiring authors. As she works her way through one hundred novels–from classics such as the thousand-year-old Tale of Genji to recent fiction by Zadie Smith and Alice Munro–she infects us anew with the passion for reading that is the governing spirit of this gift to book lovers everywhere.

    A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else.Is this Shakespeare? Well, sort of.But it doesn't tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. Now, Emma Smith - an intellectually, theatrically, and ethically exciting writer - takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd, the Spielberg and Tarantino of their day; flirting with and skirting round the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex, and the Shakespeare she reveals in this book poses awkward questions rather than offering bland answers, always implicating us in working out what it might mean.

    Collections of interviews with notable modern writers

    D. James, the undisputed queen of mystery, gives us an intriguing, inspiring and idiosyncratic look at the genre she has spent her life perfecting.   Examining mystery from top to bottom, beginning with such classics as Charles Dickens's Bleak House and Wilkie Collins's The Woman in White, and then looking at such contemporary masters as Colin Dexter and Henning Mankell, P. D. James goes right to the heart of the genre. Along the way she traces the lives and writing styles of Arthur Conan Doyle, Agatha Christie, Dashiell Hammett, and many more. Here is P.D. James discussing detective fiction as social history, explaining its stylistic components, revealing her own writing process, and commenting on the recent resurgence of detective fiction in modern culture. It is a must have for the mystery connoisseur and casual fan alike.

    Reprinted here for the first time is Franzen's controversial l996 investigation of the fate of the American novel in what became known as "the Harper's essay," as well as his award-winning narrative of his father's struggle with Alzheimer's disease, and a rueful account of his brief tenure as an Oprah Winfrey author.

    Norrie Epstein - whose The Friendly Shakespeare was called "spirited, informative and provocative" by The New York Times - strips away the polite veneer of Victorian society to reveal Dickens's life and times in all their squalor and glory, from his childhood days toiling in a blacking factory while his father languished in debtor's prison, to his first visit to the United States, where he was hailed as the greatest living writer. The Friendly Dickens includes an illuminating guide to all of Dickens's works and lively appreciations of characters both major and minor, interviews with aficionados from Patrick Stewart to biographer Phyllis Rose, eye-catching illustrations, copious quotations, a highly opinionated filmography and informative sidebars on almost every page.

    Written with passion, humor, and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart - to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; she is deeply moved by the brilliant characterization in George Eliot's Middlemarch. She looks to John Le Carré for a lesson in how to advance plot through dialogue and to Flannery O'Connor for the cunning use of the telling detail. And, most important, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted.

    Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the famous essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Lévi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.This edition has a new afterword, "Thirty Years Later," in which Sontag restates the terms of her battle against philistinism and against ethical shallowness and indifference.

    S. Eliot, E. M. Forster and D. H. Lawrence during 1922, the birth year of modernismThe World Broke in Two tells the fascinating story of the intellectual journey four legendary writers, Virginia Woolf, T. S. Eliot, E. M. Forster, and D. H. Lawrence, make over the course of one pivotal year. As 1922 begins, all four writers are literally at a loss for words, confronting an uncertain creative future despite success in the past. The literary ground is shifting beneath their feet, as Ulysses is published and Proust’s Remembrance of Things Past is translated into English. Yet, dismal as they felt in January, by the end of the year Woolf has started Mrs. Dalloway, Forster has returned to the pages that would become Passage to India, Lawrence has begun Kangaroo, and Eliot has finished The Waste Land.As Willa Cather put it, The world broke in two in 1922 or thereabouts, and what these writers were struggling with that year was in fact the invention of modernism. Based on original research in libraries and archives, The World Broke in Two captures both the literary breakthroughs and the intense personal dramas of these beloved writers as they strive for greatness.

    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.

    At her death in 1964, O'Connor left behind a body of unpublished essays and lectures as well as a number of critical articles that had appeared in scattered publications during her too-short lifetime. The keen writings comprising Mystery and Manners, selected and edited by O'Connor's lifelong friends Sally and Robert Fitzgerald, are characterized by the directness and simplicity of the author's style, a fine-tuned wit, understated perspicacity, and profound faith.The book opens with "The King of the Birds," her famous account of raising peacocks at her home in Milledgeville, Georgia. Also included are: three essays on regional writing, including "The Fiction Writer and His Country" and "Some Aspects of the Grotesque in Southern Fiction"; two pieces on teaching literature, including "Total Effect and the 8th Grade"; and four articles concerning the writer and religion, including "The Catholic Novel in the Protestant South." Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are widely seen as gems.This bold and brilliant essay-collection is a must for all readers, writers, and students of contemporary American literature.

    Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.