There, a bore is "a person who talks when you wish him to listen," and happiness is "an agreeable sensation arising from contemplating the misery of another." This is the most comprehensive, authoritative edition ever of Ambrose Bierce’s satiric masterpiece. It renders obsolete all other versions that have appeared in the book’s ninety-year history.A virtual onslaught of acerbic, confrontational wordplay, The Unabridged Devil’s Dictionary offers some 1,600 wickedly clever definitions to the vocabulary of everyday life. Little is sacred and few are safe, for Bierce targets just about any pursuit, from matrimony to immortality, that allows our willful failings and excesses to shine forth.This new edition is based on David E. Schultz and S. T. Joshi’s exhaustive investigation into the book’s writing and publishing history. All of Bierce’s known satiric definitions are here, including previously uncollected, unpublished, and alternative entries. Definitions dropped from previous editions have been restored while nearly two hundred wrongly attributed to Bierce have been excised. For dedicated Bierce readers, an introduction and notes are also included.Ambrose Bierce’s Devil’s Dictionary is a classic that stands alongside the best work of satirists such as Twain, Mencken, and Thurber. This unabridged edition will be celebrated by humor fans and word lovers everywhere.

    The author looks back on Plath's life in an attempt to offer an objective account of why she killed herself. It discusses her life with her husband Ted Hughes, who had control of all her copyright works, as she killed herself without making a will. This edition brings the story full circle, as it includes the publication of "Birthday Letters", the death of Ted Hughes and Elaine Feinstein's biography of him, along with Erica Wagner's book "Ariel's Gift", the Al Alvarez autobiography which includes new material and Lucas Meyers's new book "Crow Steered Bergs Appeared".

    Exploring his greatest obsessions - including image and celebrity - he photographs wrestlers and politicians, the beautiful wealthy and the disenfranchised poor, Capote with the fresh scars of a facelift and Madonna hiding beneath a brunette bob. He writes about the country he loves, wishing he had died when he was shot, commercialism, fame and beauty.An America without Warhol is almost as inconceivable as Warhol without America, and this touching, witty tribute is the great artist of the superficial at his most deeply personal.

    Janet Malcolm brings her shrewd intelligence to bear on the legend of Sylvia Plath and the wildly productive industry of Plath biographies. Features a new Afterword by Malcolm.

    She asks what our privacy, our intimacy, and our own bodies are worth in the increasingly digital world of liking, linking, and sharing.Starting with Hodson’s own work experience, which ranges from the mundane to the bizarre—including modeling and working on a NASA Mars mission— Hodson expands outward, looking at the ways in which the human will submits, whether in the marketplace or in a relationship. Both tender and jarring, this collection is relevant to anyone who’s ever searched for what the self is worth.Hodson’s accumulation within each piece is purposeful, and her prose vivid, clear, and sometimes even shocking, as she explores the wonderful and strange forms of desire. This is a fresh, poetic debut from an exciting emerging voice, in which Hodson asks, “How much can a body endure?” And the resounding answer: "Almost everything."

    In The Best Minds of My Generation - a compilation of lectures from the course, expertly edited by renowned Beats scholar, Bill Morgan - Ginsberg gives us the convoluted origin story of the 'Beat' idea. Amongst anecdotes of meeting Kerouac, Burroughs and other figures for the first time, Ginsberg elucidates the importance of music, and particularly jazz rhythms, to Beat writing, discusses their many influences - literary, pharmaceutical and spiritual - and paints a portrait of a group who were leading a literary revolution. A unique document that works both as historical record and unconventional memoir, The Best Minds of My Generation is a vivid, personal and eye-opening look at one of the most important literary movements of the twentieth century.

    What began in 1959 as a simple homage to the modernist poet H.D. developed into an expansive and unique quest to arrive at a poetics that would fuel Duncan's great work in the 1970s. A meditation on both the roots of modernism and its manifestation in the work of H.D., Ezra Pound, D.H. Lawrence, William Carlos Williams, Edith Sitwell, and many others, Duncan's wide-ranging book is especially notable for its illumination of the role women played in creation of literary modernism. Until now, The H.D. Book existed only in mostly out-of-print little magazines in which its chapters first appeared. Now, for the first time published in its entirety, as its author intended, this monumental work--at once an encyclopedia of modernism, a reinterpretation of its key players and texts, and a record of Duncan's quest toward a new poetics--is at last complete and available to a wide audience.

    At least that’s how it works when you’re dealing with the legendary mind of Carl Reiner. In his 2013 memoir, “I Remember Me,” Carl treated us to ninety years of professional and personal anecdotes, ranging from witty, weird and heartwarming to insightful, informative, and always funny – usually a combination of at least two, sometimes three or four, of the aforementioned. Carl had taken us on a nostalgic trip through every corner, every nook and cranny, of his life. Or so we thought. But over the next two years, new “old memories” kept coming… and coming… and coming… until, before too long, another book was born. In addition to the above adjectives, “I Just Remembered” adds a whole new batch: the mysterious saga of the gold money clip and the rubber bands; the beautiful and bizarre Joyce Kuntz; the shocking story of Jack Parr and Fidel Castro; never before heard revelations about William Shakespeare; whimsical journeys down the information superhighway via Twitter, Google and YouTube; and for good measure, truly useful health tips for a long and happy life. “I Just Remembered” is the perfect companion to “I Remember Me,” and it will have you asking, over and over, “How could he have forgotten that?!” He didn’t. He just remembered.

    Combining memoir with artistic and philosophical musings, the poet and National Book Critics Circle Award winner (for My Alexandria) begins by confessing his obsession with the 17th-century Dutch still life that serves as the title of this book. As he analyzes the items depicted in the painting, he skillfully introduces his thoughts on our intimate relationships to objects and subsequently explains how they are often inextricably bound to the people and places of an individual lifetime. Further defined by imperfections attained from use, each object from an aging oak table to a chipped blue and white china platter forms a springboard for reflection. Doty intersperses personal reminiscences throughout, but he always returns to the subject of still-life painting and its silent eloquence. Doty's observations on balance, grief, beauty, space, love, and time are imparted with wisdom and poetic grace.Books like this, that address the sources of creation and the sources of our humanness, come along once in a decade. -Susan Salter Reynolds, Los Angeles Times"This small book is as wise, sensitive, intense, and affecting as anything I have read in recent years." -Doris Grumbach, author of Fifty Days of Solitude"A gem." -Library Journal"Mark Doty's prose is insistently exploratory, yet every aside, every detour, turns into pertinence, and it all seems effortless, as though the author were wondering, and marveling, aloud." -Bernard Cooper, author of Truth Serum"A dazzling accomplishment, its radiance bred of lucid attention and acute insight. The subject is the profoundly personal act of perception translated into description. Doty succeeds in rendering this most contemplative of arts-the still life-into a riveting drama." -Patricia Hampl, author of I Could Tell You Stories

    At the time of his death in 1962, at age sixty-eight, he was, after Robert Frost, the most widely read poet in the United States. E. E. Cummings was and remains controversial. He has been called “a master” (Malcolm Cowley); “hideous” (Edmund Wilson). James Dickey called him a “daringly original poet with more vitality and more sheer uncompromising talent than any other living American writer.” In Susan Cheever’s rich, illuminating biography we see Cummings’s idyllic childhood years in Cambridge, Massachusetts; his Calvinist father—distinguished Harvard professor and sternly religious minister of the Cambridge Congregational Church; his mother—loving, attentive, a source of encouragement, the aristocrat of the family, from Unitarian writers, judges, and adventurers.  We see Cummings—slight, agile, playful, a product of a nineteenth-century New England childhood, bred to be flinty and determined; his love of nature; his sense of fun, laughter, mimicry; his desire from the get-go to stand conventional wisdom on its head, which he himself would often do, literally, to amuse.  At Harvard, he roomed with John Dos Passos; befriended Lincoln Kirstein; read Latin, Greek, and French; earned two degrees; discovered alcohol, fast cars, and burlesque at the Old Howard Theater; and raged against the school’s conservative, exclusionary upper-class rule by A. Lawrence Lowell.  In Cheever’s book we see that beneath Cummings’s blissful, golden childhood the strains of sadness and rage were already at play. He grew into a dark young man and set out on a lifelong course of rebellion against conventional authority and the critical establishment, devouring the poetry of Ezra Pound, whose radical verses pushed Cummings away from the politeness of the traditional nature poem toward a more adventurous, sexually conscious form. We see that Cummings’s self-imposed exile from Cambridge—a town he’d come to hate for its intellectualism, Puritan uptightness, racism, and self-righteous xenophobia—seemed necessary for him as a man and a poet. Headstrong and cavalier, he volunteered as an ambulance driver in World War I, working alongside Hemingway, Joyce, and Ford Madox Ford . . . his ongoing stand against the imprisonment of his soul taking a literal turn when he was held in a makeshift prison for “undesirables and spies,” an experience that became the basis for his novel, The Enormous Room. We follow Cummings as he permanently flees to Greenwich Village to be among other modernist poets of the day—Marianne Moore, Hart Crane, Dylan Thomas—and we see the development of both the poet and his work against the backdrop of modernism and through the influences of his contemporaries: Stein, Amy Lowell, Joyce, and Pound. Cheever’s fascinating book gives us the evolution of an artist whose writing was at the forefront of what was new and daring and bold in an America in transition.(With 28 pages of black-and-white images.)

    The book's first two parts, "Recollections" and "Interviews," provide autobiographical glimpses of the very private Larkin's childhood, his youth at Oxford, the genesis of his forty-year career as a librarian, and the influences that initially steered his poetry. The second half of the book reflects Larkin's literary standards and opinions in often witty and surprising, always beautifully wrought, essays and reviews. His subjects range from Emily Dickinson (were her first lines her best?) to the contemporary mystery novel. Required Writing concludes with a selection of pieces on jazz music."Larkin is a punctilious, honest critic. He prefers good clear writing to pretentious eyewash; he prefers tunes to discordant wailing; and he prefers home to abroad. Unlike the majority of critics, he is clear-sighted enough to say so." --A. N. Wilson, Sunday Telegraph"I read the collection with growing excitement, agreement and admiration. It is the best contemporary account of the writer's true aims I have encountered." --John Mortimer, Sunday Times (London)"Subtle, supple, craftily at ease, Required Writing is on a par with Larkin's poetry--which is just about as high as praise can go." --Clive James, Observer Philip Larkin was the author of poetry collections, including High Windows, The Whitsun Weddings, and The Less Deceived; a book of essays entitled All What Jazz: A Record Diary; and two novels, Jill, and A Girl in Winter, published early in his career. Required Reading was originally published by Farrar, Straus & Giroux.

    In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing.

    They included Lord Byron, John Keats, and Mary Shelley, as well as a host of fascinating lesser-known figures: Mary Shelley’s stepsister and Byron’s mistress, Claire Clairmont; Hunt’s botanist sister-in-law, Elizabeth Kent; the musician Vincent Novello; the painters Benjamin Haydon and Joseph Severn; and writers such as Charles and Mary Lamb, Thomas Love Peacock, and William Hazlitt. They were characterized by talent, idealism, and youthful ardor, and these qualities shaped and informed their politically oppositional stances—as did their chaotic family arrangements, which often left the young women, despite their talents, facing the consequences of the men’s philosophies.In Young Romantics, Daisy Hay follows the group’s exploits, from its inception in Hunt’s prison cell in 1813 to its disintegration after Shelley’s premature death in 1822. It is an enthralling tale of love, betrayal, sacrifice, and friendship, all of which were played out against a background of political turbulence and intense literary creativity.

    The essays were written during a difficult time in Twain's life; he was deep in debt and had lost his wife and one of his daughters. The book consists of a series of short stories, many of which deal with God and Christianity. Twain penned a series of letters from the point-of-view of a dejected angel on Earth. This title story consists of letters written by the archangel Satan to archangels, Gabriel and Michael, about his observations on the curious proceedings of earthly life and the nature of man's religions. By analyzing the idea of heaven and God that is widely accepted by those who believe in both, Twain is able to take the silliness that is present and study it with the common sense that is absent. Not so much an attack as much as a cold dissection. Other short stories in the book include a bedtime story about a family of cats Twain wrote for his daughters, and an essay explaining why an anaconda is morally superior to Man. Twain's writings in Letters From the Earth find him at perhaps his most quizzical and questioning state ever.

    Having Lincoln and Emerson's most influential, memorable, and eloquent words along with Obama's historic inaugural address will be a gift of inspiration for every American for generations to come.