"I'm exactly as I appear," he once said of himself. "There is no warm, lovable person inside. Beneath my cold exterior, once you break the ice, you find cold water." Michael Mewshaw's Sympathy for the Devil, a memoir of his friendship with the stubbornly iconoclastic public intellectual, is a welcome corrective to this tired received wisdom. A complex, nuanced portrait emerges in these pages—and while "Gore" can indeed be brusque, standoffish, even cruel, Mewshaw also catches him in more vulnerable moments. The Gore Vidal the reader comes to know here is generous and supportive to younger, less successful writers; he is also, especially toward the end of his life, disappointed, even lonely. Sparkling, often hilarious, and filled with spicy anecdotes about expat life in Italy, Sympathy for the Devil is an irresistible inside account of a man who was himself—faults and all—impossible to resist. As enlightening as it is entertaining, it offers a unique look at a figure many only think they know.

    The pink covers, the flimsy paper, the zillion volumes in the series that kept you reading for your entire adolescence. Spurred by the commercial success of Sweet Valley High and The Babysitters Club, these were not the serious-issue YA novels of the 1970s, nor were they the blockbuster books of the Harry Potter and Twilight ilk. They were cheap, short, and utterly beloved.PAPERBACK CRUSH dives in deep to this golden age with affection, history, and a little bit of snark. Readers will discover (and fondly remember) girl-centric series on everything from correspondence (Pen Pals and Dear Diary) to sports (The Pink Parrots, Cheerleaders, and The Gymnasts) to a newspaper at an all-girls Orthodox Jewish middle school (The B.Y. Times) to a literal teen angel (Teen Angels: Heaven Can Wait, where an enterprising guardian angel named Cisco has to earn her wings “by helping the world’s sexist rock star.”) Some were blatant ripoffs of the successful series (looking at you, Sleepover Friends and The Girls of Canby Hall), some were sick-lit tearjerkers à la Love Story (Abby, My Love) and some were just plain perplexing (Uncle Vampire??) But all of them represent that time gone by of girl-power and endless sessions of sustained silent reading.In six hilarious chapters (Friendship, Love, School, Family, Jobs, Terror, and Tragedy), Bustle Features Editor Gabrielle Moss takes the reader on a nostalgic tour of teen book covers of yore, digging deep into the history of the genre as well as the stories behind the best-known series.

    Teaching Shakespeare is a major contribution to the knowledge and expertise of all teachers of Shakespeare in schools, colleges and institutions of higher education. It makes explicit the principles of active learning which underpin Cambridge School Shakespeare, and helps teachers to develop their existing good practice. Practical examples are given from the plays most frequently used in schools, but Rex Gibson shows that the principles apply equally to the less frequently studied plays, thereby extending the canon of school Shakespeare.

    This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless . . . . In our brief mortal lives, we are grinders of these lenses."This brooding, provocative, and almost unbearably lovely book displays one of the great writers of our time at his freest and most direct, addressing the themes that run beneath the surface of all his work, from Ways of Seeing to his Into Their Labours trilogy.In an extraordinary distillation of his gifts as a novelist, poet, art critic, and social historian, John Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He re-creates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today.A work of unclassifiable innovation and consummate beauty, And Our Faces, My Heart, Brief as Photos reminds us of Nabokov and Auden, Brecht and Lawrence, in its seamless fusion of the political and the personal.

    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.

    In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit www.folger.edu.

    Rodenburg calls this "a simple manual to start the journey into the heart of Shakespeare," and that is what she gives us. With the same insight she displayed in The Actor Speaks, Rodenburg tackles the playing of all Shakespeare's characters. She uses dramatic resonance, breathing, and placement to show how an actor can bring Hamlet, Rosalind, Puck and other characters to life. This is one book every working actor must have.

    In this deeply insightful and intimate work, Daylight describes how her reading has nourished her life, and how life has informed her reading. In both, she shows us that it's the small points of connection - the details - that really matter: what we notice when someone close to us dies, when we give birth, when we make friends. In life's disasters and delights, the details are what we can share and compare and carry with us. Daylight writes with invigorating candour and compassion about her mother's last days; her own experiences of childbearing and its aftermath (in her celebrated essay ‘Vagina'); her long admiration of Helen Garner and George Saunders; and her great loves and friendships. Each chapter is a revelation, and a celebration of how books offer not an escape from ‘real life' but a richer engagement with the business of living. The result is a work that will truly deepen your relationship with books, and with other readers. The delight is in the details.

    The Companion is illustrated with photographs from the author’s private collection and full-color reproductions of Hugo Award–winning artist Bob Eggleton’s eye-catching cover art for Lumley’s works. Contributors to The Brian Lumley Companion include some of today’s most noted experts on horror fiction, including W. Paul Ganley, founder of Weirdbook Press and two-time winner of the World Fantasy Award; Stephen Jones, coeditor of Horror: 100 Best Books and winner of multiple World Fantasy, British Fantasy, and Bram Stoker Awards; Robert M. Price, author of H. P. Lovecraft and the Cthulhu Mythos and one of the most respected analysts of Lovecraftian fiction; Robert G. Weinberg, an acknowledged specialist in weird fiction, and Stanley Wiater, host of the TV series “Dark Dreamers.”In The Brian Lumley Companion, Lumley aficionados will find an overview of Lumley’s career, from his first short fiction up to the present day; essays comparing Lumley and H. P. Lovecraft, a lengthy interview with the author that delves into the heart of Lumley’s relationship with the writers and editors who inspired him and the fans who support him, and analyses of Lumley’s short fiction and novels. An interview with Bob Eggleton gives insight into the development of his striking covers for the Necroscope series and other Lumley works. This companion also includes complete listings of the first publications of each of Lumley’s novels, short fiction, and poetry. Major attractions are the detailed concordances that focus on individual novels and series, including the three Psychomech titles, the Dreamlands and Primal Lands series, and each volume in the Necroscope series.As a special treat, The Brian Lumley Companion includes three short short stories by Brian Lumley, works that have never before appeared in book form.

     In Mary Boleyn in a Nutshell, Sarah Bryson discusses the controversies surrounding Mary Boleyn's birth, her alleged relationships with two kings, her portraiture and appearance, and her life and death. Mary survived the brutal events of 1536 and was able to make her own choices, defying the social rules of her times by marrying for love. It is from Mary that the Boleyn bloodline extends to the present day. Sarah Bryson, creator of the popular “Anne Boleyn: From Queen to History” Facebook page, brings together what is known about Mary Boleyn, the shadowy sister of Queen Anne Boleyn.

    This book argues that in several respects Kubrick was one of the cinema's last modernists.

    Len Deighton, author of the classic espionage novel 'The Ipcress File', knew both sides intimately. An acquaintance of Ian Fleming’s (who had praised Deighton’s debut novel in the 'Sunday Times') Deighton was also close to the man who was to become Fleming’s nemesis – Kevin McClory, a veteran of the British film industry. The history of Bond’s development under the arc lights becomes, in Deighton’s expert hands, a saga-like story of inflated egos and poisonous vendettas, exotic locations and claustrophobic courtooms, all involving household names. As an eye witness to the protracted disputes that complicated Bond’s depiction both on screen and on the page, Deighton is in a unique position to tell what he saw. Candid, comical, always steely-eyed, this hefty slice of cinematic memoir reads with all the high-powered pace of a Len Deighton thriller.

    But very few people could say just how its seemingly disparate jumble of writings — stories, letters, poems, collections of laws, religious visions — got there. Filling this knowledge gap, How the Bible Was Built clearly tells the story of how the Bible came to be. Penned by Charles Merrill Smith in response to his teenage granddaughter’s questions, the manuscript was discovered after Smith’s death and has been reworked by his friend James Bennett for a wider audience. Free of theological or sectarian slant, this little volume provides a concise, factual overview of the Bible’s construction throughout history, outlining how its various books were written and collected and later canonized and translated. Written in an easy conversational style and enhanced by two helpful appendixes (of biblical terms and dates), How the Bible Was Built will give a more informed understanding of the Bible to people of virtually any reading level and any religious persuasion. Did you know?The word “Bible” comes from biblion, a Greek word meaning “papyrus scroll.”It took several thousand years to construct the Bible.The book we call Deuteronomy was discovered hidden away in a dark corner during the reconstruction of the temple under King Josiah.The Apocrypha contains some of the earliest “detective” stories on record.Church councils had many disagreements about which books ought to be authoritative (a book called the Shepherd of Hermas almost made the cut; the book of Revelation almost didn’t).A heretic helped form the canon.Debate over the canon didn’t really end until the Protestant Reformation and the use of the printing press.

    Taking his title from the wounded cry of the once great Max Bialystock in The Producers -- “Look at me now! Look at me now! I’m wearing a cardboard belt!” -- Epstein gives us his largest and most comprehensive collection to date.Writing as a memoirist, polemicist, literary critic, and amused observer of contemporary culture, he uses to deft and devastating effect his signature gifts: wide-ranging erudition, sparkling humor, and a penetrating intelligence. In personally revealing essays about his father and about his years as a teacher, in deeply considered examinations of writers from Paul Valery to Truman Capote, and in incisive take-downs of such cultural pooh-bahs as Harold Bloom and George Steiner, this remarkable collection presents us with the best work of our country’s most singular talent, engaged with the richness and variety of life, witty in his response to the world, and always entertaining.

    It includes essays on writers, of course (Laurence Sterne, Franz Kafka, James Joyce, and Kathy Acker among them), but also on Gerhard Richter, David Lynch, and Sonic Youth and all of them are written with the same stylish and provocative flare that made McCarthy's Remainder such a hit. This is an indispensable introduction to the mind and work of one of today s most brilliant and controversial novelists."