. . in its own eccentric way, [The Owl and the Nightingale] is every bit as enticing as Gawain . . . it is arguably the greatest early Middle English poem we have. ProspectA graceful, elegant translation. GuardianFollowing his acclaimed translations of Sir Gawain and the Green Knight and Pearl, Simon Armitage shines light on another jewel of Middle English verse. In his highly engaging version, Armitage communicates the energy and humour of the tale with all the cut and thrust of the original. An unnamed narrator overhears a fierce verbal contest between the two eponymous birds, which moves entertainingly from the eloquent and philosophical to the ribald and ridiculous. The disputed issues still resonate - concerning identity, cultural habits, class distinctions and the right to be heard. Excerpts were featured in the BBC Radio 4 podcast, The Poet Laureate Has Gone to His Shed. Including the lively illustrations of Clive Hicks-Jenkins, this is a book for the whole household to read and enjoy.

    Six persons are persuaded of its truth; and the hope of these six is to convince themselves it was an hallucination. Their difficulty is there are six of them. Each one alone perceives clearly that it never could have been. Unfortunately, they are close friends, and cannot get away from one another; and when they meet and look into each other's eyes the thing takes shape again. The one who told it to me, and who immediately wished he had not, was Armitage. He told it to me one night when he and I were the only occupants of the Club smoking-room.

    The world-famous competition that seeks to find the most atrocious opening sentence to a hypothetical lousy novel, presents a hilarious, even perversely instructive, collection of skilled ineptitude.

    This innovative, self-published book comprises 30 short short stories, and 30 brief essays on the psychology and practice of writing.

    Dick, who tells the story of a man trapped on a spaceship of the somnolent, unable to sleep and slowly losing his mind; Shirley Jackson, who takes us on a nightmarish trip across town with a young secretary; and Oliver Sacks, who presents us with an aging hippie who possesses no memory of anything that has taken place since the early seventies.What Lethem has done is nothing less than define a new genre of literature-the amnesia story-and in the process he invites us to sit down, pick up the book, and begin to forget.Also including: John Franklin Bardin, Donald Barthelme, Thomas M. Disch, Karn Joy Fowler, David Grand, Anna Kavan, Haruki Murakami, Flann O'Brien, Edmund White, and many others.Includes:Dream science by Thomas PalmerThe night fave up by Julio CortazarOther people by Martin AmisNightmare by Shirley JacksonMemories of amnesia by Lawrence ShainbergWarm by Robert SheckleySoul walker by Brian FawcettCowboys don't cry by L.J. DavisThe second coming by Walker PercyFunes, his memory by Jorge Luis BorgesThe black curtain by Cornell WoolrichThe third policeman by Flann O'BrienFive fucks by Jonathan LethemForgetting Elena by Edmund WhiteSarah Canary by Karen Joy FowlerThe last hippie by Oliver SacksNotes toward a history of the seventies by Geoffrey O'BrienTicket to ride by Dennis PotterThe fall of the Roman Empire, the 1881 Indian uprising, Hitler's invasion of Poland, and the realm of raging winds by Haruki MurakamiGeoffrey Sonnabend's obliscence: theories of forgetting and the problem of matter-an encapsulation by Valentine WorthI hope I shall arrive soon by Philip K. DickThe zebra struck by Anna KavanThe squirrel cage by Thomas M. DischLouse by David GrandGame by Donald BarthelmeThe affirmation by Christopher Priest by Kleinzeit by Russell HobanDays between stations by Steve EricsonThat in Aleppo once by Vladimir NabokovCarnation, lily, lily, rose by Kelly Link

    He is especially penetrating on Hermann Broch, and his exploration of the world of Kafka's novels vividly reveals the comic terror of Kafka's bureaucratized universe.Kundera's discussion of his own work includes his views on the role of historical events in fiction, the meaning of action, and the creation of character in the post-psychological novel.

    This is the story of one man's quest to get the entire Amazon Kindle library for free and the repercussions of what an insane obsession could bring.

    368 pp. 15,000 print.

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

    R. Pan and Nova Ren Suma, Foreshadow is so much more than a short story collection. A trove of unforgettable fiction makes up the beating heart of this book, and the accompanying essays offer an ode to young adult literature, as well as practical advice to writers.Featured in print for the first time, the thirteen stories anthologized here were originally released via the buzzed-about online platform Foreshadow. Ranging from contemporary romance to mind-bending fantasy, the Foreshadow stories showcase underrepresented voices and highlight the beauty and power of YA fiction. Each piece is selected and introduced by a YA luminary, among them Gayle Forman, Laurie Halse Anderson, Jason Reynolds, and Sabaa Tahir.What makes these memorable stories tick? What sparked them? How do authors build a world or refine a voice or weave in that deliciously creepy atmosphere to bring their writing to the next level? Addressing these questions and many more are essays and discussions on craft and process by Nova Ren Suma and Emily X. R. Pan. This unique compilation reveals and celebrates the magic of reading and writing for young adults.

    Whether books are your addiction or your phobia, Lit! offers up solid advice to help you think about reading in fresh ways.With all the practical suggestions built on a firm gospel foundation, this book will help you flourish in the essential skills necessary for a balanced reading diet of Scripture, serious works of theology, and moving devotional works, but without overlooking the importance of how-to books from expert practitioners, the storytelling genius of historians, and rich novels written by skilled artists of fiction.Literature scholar Leland Ryken calls Lit! “a triumph of scholarship,” but mostly it’s a practical and unpretentious book about the most urgent skills you need to enjoy a luminously literate life in honor of God.

    Each writer begins with a favorite passage from a novel, a song, a poem—something that gets them started and keeps them going with the creative work they love. From there, incredible lessons and stories of life-changing encounters with art emerge, like how sneaking books into his job as a night security guard helped Khaled Hosseini learn that nothing he creates will ever be truly finished. Or how a college reading assignment taught Junot Díaz that great art can be a healing conversation, and an unexpected poet led Elizabeth Gilbert to embrace an unyielding optimism, even in the face of darkness. LIGHT THE DARK collects the best of The Atlantic‘s much-acclaimed “By Heart” series edited by Joe Fassler and adds brand new pieces, each one paired with a striking illustration. Here is a guide to creative living and writing in the vein of Daily Rituals, Bird by Bird, and Big Magic for anyone who wants to learn how great writers find inspiration—and how to find some of your own.CONTRIBUTING AUTHORS: Elizabeth Gilbert, Junot Díaz, Marilynne Robinson, Jonathan Lethem, Michael Chabon, Aimee Bender, Mary Gaitskill, Stephen King, Neil Gaiman, Roxane Gay, Angela Flournoy, Jonathan Franzen, Yiyun Li, Leslie Jamison, Claire Messud, Edwidge Danticat, David Mitchell, Khaled Hosseini, Ayana Mathis, Kathryn Harrison, Azar Nafisi, Hanya Yanagihara, Jane Smiley, Nell Zink, Emma Donoghue, Jeff Tweedy, Eileen Myles, Maggie Shipstead, Sherman Alexie, Andre Dubus III, Billy Collins, Lev Grossman, Karl Ove Knausgaard, Charles Simic, Jim Shepard, T.C. Boyle, Tom Perrotta, Viet Than Nguyen, William Gibson, Mark Haddon, Ethan Canin, Jessie Ball, Jim Crace, and Walter Mosley.“As [these authors] reveal what inspires them, they, in turn, inspire the reader, all while celebrating the beauty and purpose of art.” –Booklist

    Alongside Louis C.K., Tig Notaro, John Turturro, and Meg Wolitzer, readers will encounter: an astronomer gazing at the surface of Pluto for the first time, an Afghan refugee learning how much her father sacrificed to save their family, a hip-hop star coming to terms with being a one-hit wonder, a young female spy risking everything as part of Churchill's secret army during World War II, and more. High-school student and neuroscientist alike, the storytellers share their ventures into uncharted territory and how their lives were changed indelibly by what they discovered there. With passion, and humor, they encourage us all to be more open, vulnerable, and alive."

    The poet trains to hear clearly and, as much as possible, without interruption, the voice of his or her mind, the voice that gathers, packs with meaning, and unpacks the language he or she knows. It can take a long time to learn to let this voice speak without getting in its way. This slow learning, the growth of this habit of inner attentiveness, is poetic development, and it is the substance of the poet’s art. Of course, this growth is rarely steady, never linear, and is sometimes not actually growth but diminishment—that’s all part of the compelling story of a poet’s way forward. —from the Introduction“The staggering thing about a life’s work is it takes a lifetime to complete,” Craig Morgan Teicher writes in these luminous essays. We Begin in Gladness considers how poets start out, how they learn to hear themselves, and how some offer us that rare, glittering thing: lasting work. Teicher traces the poetic development of the works of Sylvia Plath, John Ashbery, Louise Glück, and Francine J. Harris, among others, to illuminate the paths they forged—by dramatic breakthroughs or by slow increments, and always by perseverance. We Begin in Gladness is indispensable for readers curious about the artistic life and for writers wondering how they might light out—or even scale the peak of the mountain.

    It has its origins in a mode of self-examination and even self-obsession - 'it is many years now that I have had only myself as object of my thoughts', writes Montaigne in his essay 'Of Practice' - but it is just as accurately defined by its vagrant and curious scope, its capacity to suborn any and every object to its elegant remit. It may not in fact be 'well made' at all, but a thing of fragments and unfinished apercus, or an omnium-gatherum like Robert Burton's capacious but recognizably essayistic Anatomy of Melancholy. The essay may not even be written, but instead a photo essay, film essay, radio essay or some hybrid of these and the literary archetype. It may belong to a self-conscious genre and have been written by an essayist who self-declares as such; or it might be conjured from a milieu where the labels 'essay' and 'essayist' would make no sense at all. The essay, in short, is a varied and various artefact. Its occasion might be scholarly - there are academic essays, though they tend to be essays to the extent that they wish to stop being academic - or it may be journalistic, institutional or 'creative'. The essay can be tethered to a specific (perhaps polemical) context or written with an ambition to timeless or universal import. Whatever its motivation or avowed theme, the essay possesses a style and a voice. Generic, structural and contextual definitions will vary, but the essay is at least recognizable by its having a certain texture - the essay alters or interferes to some degree with the language of non-fiction. Essayism is a personal, critical and polemical book about the genre, its history and its contemporary possibilities, itself an example of what it describes: an essay that is curious and digressive and at the same time held together