A sullen and arrogant graduate student, he never thought Austen would have anything to offer him. Then he read Emma—and everything changed. In this unique and lyrical book, Deresiewicz weaves the misadventures of Austen’s characters with his own youthful follies, demonstrating the power of the great novelist’s teachings—and how, for Austen, growing up and making mistakes are one and the same. Honest, erudite, and deeply moving, A Jane Austen Education is the story of one man’s discovery of the world outside himself.

    “Taken together,” as the editor Ignacio Echevarría remarks in his introduction, they provide “a personal cartography of the writer: the closest thing, among all his writings, to a kind of fragmented ‘autobiography.’” Bolaño’s career as a nonfiction writer began in 1998, the year he became famous overnight for The Savage Detectives; he was suddenly in demand for articles and speeches, and he took to this new vocation like a duck to water. Cantankerous, irreverent, and insufferably opinionated, Bolaño also could be tender (about his family and favorite places) as well as a fierce advocate for his heroes (Borges, Cortázar, Parra) and his favorite contemporaries, whose books he read assiduously and promoted generously. A demanding critic, he declares that in his “ideal literary kitchen there lives a warrior”: he argues for courage, and especially for bravery in the face of failure. Between Parentheses fully lives up to his own demands: “I ask for creativity from literary criticism, creativity at all levels.”

    Many of the best novels, plays, poetry, and films in the English language produced since Shakespeare’s death in 1616—from Jane Austen to The Godfather—are heavily influenced by Shakespeare’s stories, characters, language, and themes.  In a sense, his works are a kind of Bible for the modern world, bringing us together intellectually and spiritually.  Hamlet, Juliet, Macbeth, Ophelia, and a vast array of other singular Shakespearean characters have become the archetypes of our consciousness. To know some Shakespeare provides a head start in life.  In How to Teach Your Children Shakespeare, acclaimed playwright Ken Ludwig provides the tools you need to instill an understanding, and a love, of Shakespeare’s works in your children, and to have fun together along the way.Ken Ludwig devised his methods while teaching his own children, and his approach is friendly and easy to master. Beginning with  memorizing short specific passages from Shakespeare's plays, this method then instills children with cultural references they will utilize for years to come. Ludwig’s approach includes understanding of the time period and implications of Shakespeare’s diction as well as the invaluable lessons behind his words and stories.  Colorfully incorporating the history of Shakespearean theater and society, How to Teach Your Children Shakespeare guides readers on an informed and adventurous journey through the world in which the Bard wrote.This book’s simple process allows anyone to impart to children the wisdom of plays like A Midsummer Night’s Dream, Twelfth Night, Macbeth, and Romeo and Juliet. And there’s fun to be had along the way. Shakespeare novices and experts, and readers of all ages, will each find something delightfully irresistible in How to Teach Your Children Shakespeare.

    Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

    Asking and answering some very specific questions about what goes on in her novels, he reveals the inner workings of their greatness.In twenty short chapters, each of which explores a question prompted by Austen's novels, Mullan illuminates the themes that matter most in her beloved fiction. Readers will discover when Austen's characters had their meals and what shops they went to; how vicars got good livings; and how wealth was inherited. What Matters in Jane Austen? illuminates the rituals and conventions of her fictional world in order to reveal her technical virtuosity and daring as a novelist. It uses telling passages from Austen's letters and details from her own life to explain episodes in her novels: readers will find out, for example, what novels she read, how much money she had to live on, and what she saw at the theater.Written with flair and based on a lifetime's study, What Matters in Jane Austen? will allow readers to appreciate Jane Austen's work in greater depth than ever before.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    H. Auden. This is no accident: McCall Smith has long been fascinated by Auden. Indeed, the novelist, best known for his No. 1 Ladies Detective Agency series, calls the poet not only the greatest literary discovery of his life but also the best of guides on how to live. In this book, McCall Smith has written a charming personal account about what Auden has done for him — and what he just might do for you.Part self-portrait, part literary appreciation, the book tells how McCall Smith first came across the poet's work in the 1970s, while teaching law in Belfast, a violently divided city where Auden's "September 1, 1939," a poem about the outbreak of World War II, strongly resonated. McCall Smith goes on to reveal how his life has related to and been inspired by other Auden poems ever since. For example, he describes how he has found an invaluable reflection on life's transience in "As I Walked Out One Evening," while "The More Loving One" has provided an instructive meditation on unrequited love. McCall Smith shows how Auden can speak to us throughout life, suggesting how, despite difficulties and change, we can celebrate understanding, acceptance, and love for others.An enchanting story about how art can help us live, this book will appeal to McCall Smith's fans and anyone curious about Auden.

    The author, a lifelong accumulator of books both ancient and modern, lives in a house large enough to accommodate his many thousands of books, as well as overspill from the libraries of his friends. While his musings on the habits of collectors past and present are learned, witty and instructive, his advice on cataloguing may even save the lives of those whose books are so prodigiously piled as to be a hazard... The Phantoms on the Bookshelves ranges from classical Greece to contemporary Iceland, from Balzac and Moby Dick to Google, offering up delicious anecdotes along the way. This elegantly produced volume will be a lasting delight to specialist collectors, librarians, bibliophiles and all those who treasure books.

    A hilarious and cutting critique of what not to do, this deliciously wicked essay also lays out what writers should and must do if they wanttheir fiction to live and breathe--as Twain's own fiction always does. In How to Tell a Story, the title piece, Twain takes on such mysteries as the perfectly-timed pause and the uses of the dead-pan mask, and candidly describes his own efforts to hone his platform skills. In What Paul BourgetThinks of Us, Twain lays out a job description for the native novelist that is as fresh and accurate today as when Twain first wrote it. Anyone who cares about storytelling or writing will find Twain's sage suggestions in this volume compelling and engaging.

    Throughout, the emphasis is on promoting a plain English style. This little book can help you communicate more effectively by showing you how to enliven your sentences.

    

    1 in 1938, introduced the world to something both unprecedented and timeless: Superman, a caped god for the modern age. In a matter of years, the skies of the imaginary world were filled with strange mutants, aliens, and vigilantes: Batman, Wonder Woman, the Fantastic Four, Iron Man, and the X-Men—the list of names as familiar as our own. In less than a century, they’ve gone from not existing at all to being everywhere we look: on our movie and television screens, in our videogames and dreams. But what are they trying to tell us?For Grant Morrison, arguably the greatest of contemporary chroniclers of the “superworld,” these heroes are powerful archetypes whose ongoing, decades-spanning story arcs reflect and predict the course of human existence: Through them we tell the story of ourselves, our troubled history, and our starry aspirations. In this exhilarating work of a lifetime, Morrison draws on art, science, mythology, and his own astonishing journeys through this shadow universe to provide the first true history of the superhero—why they matter, why they will always be with us, and what they tell us about who we are . . . and what we may yet become.

    I had no idea that nearly 40 years later, I would not only still be using it as the most reliable route to the thing I've come to call my work, but I'd also be showing others how to use it too, as a place to practice a physical activity — in this case writing and drawing by hand — with a certain state of mind.This practice can result in what I've come to consider a wonderful side effect: a visual or written image we can call 'a work of art,' although a work of art is not what I'm after when I'm practicing this activity.What am I after? I'm after what Marilyn Frasca called "being present and seeing what's there."This book is a collection of bits and pieces from the many notebooks I kept during my first three years of trying to figure out how to teach this practice to my students at the University of Wisconsin-Madison."

    This witty, wry, and unique new book rectifies that wrong. Part detective story, part history lesson, part exposé, The Book of Lost Books is the first guide to literature’s what-ifs and never-weres.In compulsively readable fashion, Stuart Kelly reveals details about tantalizing vanished works by the famous, the acclaimed, and the influential, from the time of cave drawings to the late twentieth century. Here are the true stories behind stories, poems, and plays that now exist only in imagination:·Aristophanes’ Heracles, the Stage Manager was one of the playwright’s several spoofs that disappeared. ·Love’s Labours Won may have been a sequel to Shakespeare’s Love’s Labours Lost–or was it just an alternative title for The Taming of the Shrew?·Jane Austen’s incomplete novel Sanditon, was a critique of hypochondriacs and cures started when the author was fatally ill.·Nikolai Gogol burned the second half of Dead Souls after a religious conversion convinced him that literature was paganism.·Some of the thousand pages of William Burroughs’s original Naked Lunch were stolen and sold on the street by Algerian street boys.·Sylvia Plath’s widower, Ted Hughes, claimed that the 130 pages of her second novel, perhaps based on their marriage, were lost after her death.Whether destroyed (Socrates’ versions of Aesop’s Fables), misplaced (Malcolm Lowry’s Ultramarine was pinched from his publisher’s car), interrupted by the author’s death (Robert Louis Stevenson’s Weir of Hermiston), or simply never begun (Vladimir Nabokov’s Speak, America, a second volume of his memoirs), these missing links create a history of literature for a parallel world. Civilized and satirical, erudite yet accessible, The Book of Lost Books is itself a find.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.