Ambiguity, according to Empson, includes "any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language." From this definition, broad enough by his own admission sometimes to see "stretched absurdly far," he launches into a brilliant discussion, under seven classifications of differing complexity and depth, of such works, among others, as Shakespeare's plays and the poetry of Chaucer, Donne, Marvell, Pope, Wordsworth, Gerard Manley Hopkins, and T. S. Eliot.

    One of the first Melvilleans to advance what has since become known as the "theory of the two Moby-Dicks," Olson argues that there were two versions of Moby-Dick, and that Melville's reading King Lear for the first time in between the first and second versions of the book had a profound impact on his conception of the saga: "the first book did not contain Ahab," writes Olson, and "it may not, except incidentally, have contained Moby-Dick." If literary critics and reviewers at the time responded with varying degrees of skepticism to the "theory of the two Moby-Dicks," it was the experimental style and organization of the book that generated the most controversy.

    From granular concerns, such as sentence structure and grammar, to big-picture issues, such as adhering to genre patterns for successful research and publishing and developing productive and rewarding writing habits, Hayot helps ambitious students, newly minted Ph.D.'s, and established professors shape their work and develop their voices.Hayot does more than explain the techniques of academic writing. He aims to adjust the writer's perspective, encouraging scholars to think of themselves as makers and doers of important work. Scholarly writing can be frustrating and exhausting, yet also satisfying and crucial, and Hayot weaves these experiences, including his own trials and tribulations, into an ethos for scholars to draw on as they write. Combining psychological support with practical suggestions for composing introductions and conclusions, developing a schedule for writing, using notes and citations, and structuring paragraphs and essays, this guide to the elements of academic style does its part to rejuvenate scholarship and writing in the humanities.

    River Hymns is the lyrical journey of a young black man’s spiritual reckoning with his family history.

    “There is no routine of an office to keep you going, only the blank page each morning, and you never know where your words are coming from, those divine words.” In The Spooky Art, Mailer discusses with signature candor the rewards and trials of the writing life, and recommends the tools to navigate it. Addressing the reader in a conversational tone, he draws on the best of more than fifty years of his own criticism, advice, and detailed observations about the writer’s craft.   Praise for The Spooky Art   “The Spooky Art shows Mailer’s brave willingness to take on demanding forms and daunting issues. . . . He has been a thoughtful and stylish witness to the best and worst of the American century.”—The Boston Globe   “At his best—as artists should be judged—Mailer is indispensable, an American treasure. There is enough of his best in this book for it to be welcomed with gratitude.”—The Washington Post  “[The Spooky Art] should nourish and inform—as well as entertain—almost any serious reader of the novel.”—Baltimore Sun“The richest book ever written about the writer’s subconscious.”—The Philadelphia Inquirer   “Striking . . . entrancingly frank.”—Entertainment Weekly   Praise for Norman Mailer   “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times   “A writer of the greatest and most reckless talent.”—The New Yorker   “A devastatingly alive and original creative mind.”—Life   “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books   “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune   “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati PostFrom the Hardcover edition.

    Rosenbaum's articles delve into some of America's greatest mysteries such as "Oswald's Ghost", "The Mysterious Death of J.F.K.'s Mistress", "Back on the Watergate Case with Inspector RN", and "Dead Ringers". Rosenbaum is a regular contributor to Vanity Fair and The New York Times.

    Most extraordinary of all, perhaps, through, is the haunting perfection, sentence by sentence, paragraph by paragraph, of the writing itself. Who is this Angela Pelster and where has she been all our lives?"-Lawrence WeschlerAngela Pelster's startling essay collection charts the world's history through its trees: through roots in the ground, rings across wood, and inevitable decay. These sharp and tender essays move from her childhood in rural Canada surrounded by skinny poplar trees in her backyard to a desert in Niger, where the "Loneliest Tree in the World" once grew. A squirrel's decomposing body below a towering maple prompts a discussion of the science of rot, as well as a metaphor for the ways in which nature programs us to consume ourselves. Beautiful, deeply thoughtful, and wholly original, Limber valiantly asks what it means to sustain life on this planet we've inherited.Angela Pelster's essays have appeared in Granta, the Gettysburg Review, Seneca Review, the Globe and Mail, Relief Magazine, and others. Her children's novel The Curious Adventures of India Sophia won the Golden Eagle Children's Choice award in 2006. She has an MFA from the University of Iowa's nonfiction writing program and lives with her family in Baltimore, Maryland, where she teaches at Towson University.

    The editors invited over fifty contemporary poets to select a poetic meter, stanza, or form, describe it, recount its history, and provide favorite examples. The essays represent a remarkably diverse range of literary styles and approaches, and show how the forms of contemporary English-language poetry derive from a wealth of different traditions.The forms range from hendecasyllabics to prose poetry, haiku to procedural poetry, sonnets to blues, rap to fractal verse. The range of poets included is equally impressive--from Amiri Baraka to John Frederick Nims, from Maxine Kumin to Marilyn Hacker, from Agha Shahid Ali to Pat Mora, from W. D. Snodgrass to Charles Bernstein. Achieving this level of eclecticism is a remarkable feat, especially given the strong opinions held by members of the various camps (e.g., the New Formalists, LANGUAGE poets, feminist and multicultural poets) that exist within today's poetry community. Poets who might never occupy the same room here occupy the same pages, perhaps for the first time. The net effect is a book that will surprise, inform, and delight a wide range of readers, whether as reference book, pleasure reading, or classroom text.Poet, translator, and critic Annie Finch is director of the Stonecoast low-residency MFA program at the University of Southern Maine. She is author of The Ghost of Meter: Culture and Prosody in American Free Verse, Eve, and Calendars. She is the winner of the eleventh annual Robert Fitzgerald Prosody Award for scholars who have made a lasting contribution to the art and science of versification.Kathrine Varnes teaches English at the University of Missouri-Columbia. She is the author of the book of poems, The Paragon. Her poems and essays have appeared in many books and journals.

    Maggie Nelson provides the first extended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitchell as well as a reconsideration of the work of many male New York School writers and artists from a feminist perspective.

    Subsequent essays include critical work on Gerard Manley Hopkins, William Wordsworth, John Keats, Robert Lowell, William Butler Yeats, John Montague, Patrick Kavanagh, Ted Hughes, Geoffrey Hill, and Philip Larkin.

    Inside/Out is like if Maggie Nelson had written Bluets about fucking men.” – ALEXANDER CHEE, author of Queen of the Night“I don't know that there is a writer in this country doing as much with queer theory, narrative momentum, whiteness, sexual identity and the literal outside as Joseph Osmundson. In Inside/Out, Osmundson manages to create an epic in less than fifty pages. Somehow, while welcoming readers into so many folds of his life, he manages to obliterate spectacle and really demands we ask ourselves who and what we are, and who and what we want to hide, from the inside out. Inside/Out is more than an intervention, more than a literary awakening; it is the terrifying and utterly gorgeous exploration of what love, loss, and fear do to us from the inside out. I have never read anything like this book.” – KIESE LAYMON, author of How To Slowly Kill Yourself and Others in AmericaJoseph Osmundson is a scientist and writer based in New York City. Originally from the rural Pacific Northwest, he has a PhD in Molecular Biophysics and is a Clinical Professor of Biology at NYU. He is the author of Capsid: A Love Song (2016) and a co-host of the podcast Food 4 Thot.

    . . A no‑brainer pickup for the sports collection.” —Booklist For over twenty-five years, The Best American Sports Writing has built a solid reputation by showcasing the greatest sports journalism of the previous year, culled from hundreds of national, regional, and specialty print and digital publications. Each year, the series editor and guest editor curate a truly exceptional collection. The only shared traits among all these diverse styles, voices, and stories are the extraordinarily high caliber of writing and the pure passion they tap into that can only come from sports.

    Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling."Judaic mythos, Freudian psychoanalysis, and e-mail all get fused into another staggeringly dense, brilliant slab of scholarship and suggestion."—The Guardian"[Derrida] convincingly argues that, although the archive is a public entity, it nevertheless is the repository of the private and personal, including even intimate details."—Choice"Beautifully written and clear."—Jeremy Barris, Philosophy in Review"Translator Prenowitz has managed valiantly to bring into English a difficult but inspiring text that relies on Greek, German, and their translations into French."—Library Journal

    Important, so inspiring... Please read this book" -Sonny Moore, Recording Artist "There are very few ways to get inside the mind of a lyricist. One way is through reading their diaries, the other through sleeping with them. Eric's book is the more entertaining of the options. It's a raw look inside the heart and mind of a rock 'n' roll spiritualist whose struggles with love (Chaplin) and versus the world (Keaton) are laid out bare like an exhibitionist on a double-dare." -Mike Shea, Founder, AP Magazine "Coma Therapy" is the sound of a powerful new voice in contemporary American literature. Victorino's brand of punchy prose often draws comparisons to the likes of Charles Bukowski and Hunter S. Thompson. This debut collection of poems and short stories draws a dangerously thin line between the heartwarming and the horrifying... Eric Victorino then mischievously walks that line all the way to the last page. Defiant, triumphant, hopeful and wise.

    In a book which uniquely captures 1950's America, Brainard constructs the story of his life through a series of brief entries, each beginning with the words "I remember", and continues with observations about family, film stars, lust, and the astonishing New York culture into which he moved to from Tulsa at the age of 18.