For a New Novel reevaluates the techniques, ethos, and limits of contemporary fiction. This is a work of immense importance for any discussions of the history of the novel, and for contemporary thinking about the future of fiction.

    Confronted with an unprecedented amount of texts and language, writers have the opportunity to move beyond the creation of new texts and manage, parse, appropriate, and reconstruct those that already exist.In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins this recent work to practices that date back to the early twentieth century. Writers and artists such as Walter Benjamin, Gertrude Stein, James Joyce, and Andy Warhol embodied an ethos in which the construction or conception of a text was just as important as the resultant text itself. By extending this tradition into the digital realm, uncreative writing offers new ways of thinking about identity and the making of meaning.

    Compiled and edited by Edmund Wilson shortly after Fitzgerald's death, "The Crack-Up" tells the story of Fitzgerald's sudden descent at age thirty-nine from a life of success and glamor to one of emptiness and despair, and his determined recovery. This vigorous and revealing collection of essays and letters renders the tale of a man whose personality still charms us all and whose reckless gaiety and genious made him a living symbol and the Jazz Age. For those who grew up with "The Great Gatsby" or "Tender is the Night," this extraordinary autobiographical collection provides a unique personal blend of the romance and reality embodied by Fitzgerald's literature and his life.

    With Bluets, Maggie Nelson has entered the pantheon of brilliant lyric essayists.

    Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"—which is for him nothing but an attempt to photograph theater and use it for the screen.Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money, and many other classic films, Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.

    The story of an adolescent whose life has been changed forever by his mother's suicide when he was twelve years old. The story of a man who leaves the constraints of his family and its community of dreamers, scholars, and failed businessmen to join a kibbutz, change his name, marry, have children. The story of a writer who becomes an active participant in the political life of his nation.(back cover)

    In this intimate account of a very public life, she tells of her first (non-consensual) sexual experience, her romance with the Yankee Clipper, and her prescient vision of herself as "the kind of girl they found dead in the hall bedroom with an empty bottle of sleeping pills in her hand." The Marilyn in these pages is a revelation: a gifted, intelligent, vulnerable woman who was far more complex than the unwitting sex siren she portrayed on screen. Lavishly illustrated with photos of Marilyn, this special book celebrates the life and career of an American icon—-from the unique perspective of the icon herself.

    Readers of all ages will enjoy stories of Lewis's boyhood in Ireland and the imaginary world he and his brother created. They will also gain an understanding of Lewis's quest for joy, his personal struggles, and the ways his stories reflect his deep and powerful experience of God.

    Lewis' The Chronicles of Narnia. Enchanted by its fantastic world as a child, prominent critic Laura Miller returns to the series as an adult to uncover the source of these small books' mysterious power by looking at their creator, Clive Staples Lewis. What she discovers is not the familiar, idealized image of the author, but a more interesting and ambiguous truth: Lewis's tragic and troubled childhood, his unconventional love life, and his intense but ultimately doomed friendship with J.R.R. Tolkien.Finally reclaiming Narnia "for the rest of us," Miller casts the Chronicles as a profoundly literary creation, and the portal to a life-long adventure in books, art, and the imagination.

    Autoportrait is a physical, psychological, sexual, political, and philosophical triumph. Beyond "sincerity," Levé works toward an objectivity so radical it could pass for crudeness, triviality, even banality: the author has stripped himself bare. With the force of a set of maxims or morals, Levé's prose seems at first to be an autobiography without sentiment, as though written by a machine—until, through the accumulation of detail, and the author's dry, quizzical tone, we find ourselves disarmed, enthralled, and enraptured by nothing less than the perfect fiction . . . made entirely of facts.

    It ended with the surrender of 76,000 Filipinos and Americans, the single largest defeat in American military history. The defeat, though, was only the beginning, as Michael and Elizabeth M. Norman make dramatically clear in this powerfully original book. From then until the Japanese surrendered in August 1945, the prisoners of war suffered an ordeal of unparalleled cruelty and savagery: forty-one months of captivity, starvation rations, dehydration, hard labor, deadly disease, and torture--far from the machinations of General Douglas MacArthur. The Normans bring to the story remarkable feats of reportage and literary empathy. Their protagonist, Ben Steele, is a figure out of Hemingway: a young cowboy turned sketch artist from Montana who joined the army to see the world. Juxtaposed against Steele's story and the sobering tale of the Death March and its aftermath is the story of a number of Japanese soldiers. The result is an altogether new and original World War II book: it exposes the myths of military heroism as shallow and inadequate; it makes clear, with great literary and human power, that war causes suffering for people on all sides.

    She had not heard the Gospel before, but was willing and eager to listen. So I spoke and Misaki San translated, and our hearts prayed most earnestly. `Lord Jesus, help her. O help her to understand and open her heart to Thee now.' She seemed to be just about to turn to Him in faith when she suddenly noticed my hands. It was cold weather and I had on fur gloves. `What are these?' she asked, stretching out her hand and touching mine. She was old and ill and easily distracted. I cannot remember whether or not we were able to recall her to what mattered so much more than gloves. But this I do remember. I went home, took off my English clothes, put on my Japanese kimono, and never again, I trust, risked so very much for the sake of so little."

    Thompson, Joyce Johnson, Richard Hell, and others. It includes rare pieces from the Rolling Stone archives by William Burroughs, Lester Bangs, and Robert Palmer as well as intimate photographs by Robert Frank, Annie Leibovitz, and rarely seen photos taken by the Beats themselves. A rich tapestry of voices and a visual treat, this treasury of Beat lore and literature is a true collector's item whose entertainment value will go on...and on."A huge dim sum cart of a book...a first-rate companion." --Publishers Weekly"Compelling reading."--The Denver Post

    But that year, at age forty-two, he found his footing again, finishing a play he had begun the previous autumn—King Lear—then writing two other great tragedies, Macbeth and Antony and Cleopatra.It was a memorable year in England as well—and a grim one, in the aftermath of a terrorist plot conceived by a small group of Catholic gentry that had been uncovered at the last hour. The foiled Gunpowder Plot would have blown up the king and royal family along with the nation’s political and religious leadership. The aborted plot renewed anti-Catholic sentiment and laid bare divisions in the kingdom.It was against this background that Shakespeare finished Lear, a play about a divided kingdom, then wrote a tragedy that turned on the murder of a Scottish king, Macbeth. He ended this astonishing year with a third masterpiece no less steeped in current events and concerns: Antony and Cleopatra.The Year of Lear sheds light on these three great tragedies by placing them in the context of their times, while also allowing us greater insight into how Shakespeare was personally touched by such events as a terrible outbreak of plague and growing religious divisions. For anyone interested in Shakespeare, this is an indispensable book.

    By inviting the reader to explore the imagination's grip on daily life and how one lives in the pressure of that grip, Baxter offers his own perspective on reading and writing contemporary fiction.