In short, he traverses all of Asia top to bottom, and end to end. In the three decades since he first travelled this route, Asia has undergone phenomenal change. The Soviet Union has collapsed, China has risen, India booms, Burma slowly smothers, and Vietnam prospers despite the havoc unleashed upon it the last time Theroux passed through. He witnesses all this and so much more in a 25,000 mile journey, travelling as the locals do, by train, car, bus, and foot.His odyssey takes him from Eastern Europe, still hungover from Communism, through tense but thriving Turkey, into the Caucasus, where Georgia limps back toward feudalism while its neighbour Azerbaijan revels in oil-driven capitalism. As he penetrates deeper into Asia’s heart, his encounters take on an otherworldly cast. The two chapters that follow show us Turkmenistan, a profoundly isolated society at the mercy of an almost comically egotistical dictator, and Uzbekistan, a ruthless authoritarian state. From there, he retraces his steps through India, Mayanmar, China, and Japan, providing his penetrating observations on the changes these countries have undergone.Brilliant, caustic, and totally addictive, Ghost Train to the Eastern Star is Theroux at his very best.

    Regan Arts has teamed up with the literary charity 826National, which will receive a portion of the book’s proceeds to provide students ages 6–18 with opportunities to explore their creativity and improve their writing skills.Contributors include Al Roker, Carl Hiaasen, Dave Eggers, Emma Straub, Eric Idle, Fay Weldon, Fran Lebowitz, Gillian Flynn, Gregory Maguire, Jeff Kinney, Jim Shepard, Laura Lippmann, Lev Grossman, Liev Schreiber, Margaret Atwood, Mayim Bialik, Nelson DeMille, Rosanne Cash, Susan Orlean, Tim Gunn, and Tommy Hilfiger, among others.

    aIam reading the OED so you donat have to. If you are interested in vocabulary that is both spectacularly useful and beautifully useless, read on...a So reports Ammon Shea, the tireless, word-obsessed, and more than slightly masochistic author of Reading the OED, The word loveras Mount Everest, the OED has enthralled logophiles since its initial publication 80 years ago. Weighing in at 137 pounds, it is the dictionary to end all dictionaries. In 26 chapters filled with sharp wit, sheer delight, and a documentarianas keen eye, Shea shares his year inside the OED, delivering a hair-pulling, eye-crossing account of reading every word, and revealing the most obscure, hilarious, and wonderful gems he discovers along the way.

    Winner of the National Book Award for Marcel Proust, a sweeping examination of Proust's life and works, Shattuck now offers a useful and eminently readable guidebook to Proust's epic masterpiece, and a contemplation of memory and consciousness throughout great literature. Here, Shattuck laments Proust's defenselessness against zealous editors, praises some translations, and presents Proust as a novelist whose philosophical gifts were matched only by his irrepressible comic sense. Proust's Way, the culmination of a lifetime of scholarship, will serve as the next generation's guide to one of the world's finest writers of fiction.

    In an uncompromising, often irreverent survey of the genre from Edgar Allan Poe to Philip K. Dick to Star Trek, Thomas M. Disch analyzes science fiction's impact on technological innovation, fashion, lifestyle, military strategy, the media, and much more. An illuminating look at the art of science fiction (with a practitioner's insight into craft), as well as a work of pointed literary and cultural criticism, The Dreams Our Stuff Is Made Of reveals how this "pulp genre" has captured the popular imagination while transforming the physical and social world in which we live.

    Burroughs wrote novels, memoirs, technical manuals, and poetry. He painted, made collages, took thousands of photographs, produced hundreds of hours of experimental recordings, acted in movies, and recorded more CDs than most rock bands. Burroughs was the original cult figure of the Beat Movement, and with the publication of his novel Naked Lunch, which was originally banned for obscenity, he became a guru to the 60s youth counterculture. In Call Me Burroughs, biographer and Beat historian Barry Miles presents the first full-length biography of Burroughs to be published in a quarter century-and the first one to chronicle the last decade of Burroughs's life and examine his long-term cultural legacy. Written with the full support of the Burroughs estate and drawing from countless interviews with figures like Allen Ginsberg, Lucien Carr, and Burroughs himself, Call Me Burroughs is a rigorously researched biography that finally gets to the heart of its notoriously mercurial subject.

    And yet, very few of its readers know that the subject of the novel was inspired by a real-life case: the 1948 abduction of eleven-year-old Sally Horner.Weaving together suspenseful crime narrative, cultural and social history, and literary investigation, The Real Lolita tells Sally Horner’s full story for the very first time. Drawing upon extensive investigations, legal documents, public records, and interviews with remaining relatives, Sarah Weinman uncovers how much Nabokov knew of the Sally Horner case and the efforts he took to disguise that knowledge during the process of writing and publishing Lolita.Sally Horner’s story echoes the stories of countless girls and women who never had the chance to speak for themselves. By diving deeper in the publication history of Lolita and restoring Sally to her rightful place in the lore of the novel’s creation, The Real Lolita casts a new light on the dark inspiration for a modern classic.

    Now translated in its entirety for the first time, Theory of Prose not only anticipates structuralism and post-structuralism, but poses questions about the nature of fiction that are as provocative today as they were in the 1920s. Arguing that writers structure their materials according to artistic principles rather than from attempts to imitate "reality," Shklovsky uses Cervantes, Tolstoi, Sterne, Dickens, Bely, and Rozanov to give us a new way of thinking about fiction and, in his most impassioned moments, about the world. Benjamin Sher's lucid translation will allow Shklovsky's Theory of Prose to fulfill its destiny as a major theoretical work of the twentieth century. "A rambling, digressive stylist, Shklovsky throws off brilliant aper�us on every page. . . . Sixty-five years after it first appeared, Theory of Prose remains an exciting book: Like an architect's blueprint, it lays bare the joists and studs that hold up the house of fiction." (Michael Dirda, Washington Post Book World 5-5-91) "This 1929 book by one of the founding fathers of Russian formalism is one of the most important works in the history of literary theory. . . . Shklovsky's enormously influential work is brilliant, provocative, and, by turn, elliptical and digressive. It is also whimsical and sometimes chaotic." (Choice) "[The] essays published in Theory of Prose reveal why Shklovsky might have become the most important literary theorist of our century, had history taken a different course." (Poetics Today) "Clearly there is a happy congruity between Shklovsky's insights and the modern consensus. His observations on various authors and techniques cause one to ponder. A random paragraph causes sudden illumination. This is not a manifesto but the incisive thoughts of a scholar in the quiet of his study. Dalkey Archive Press is to be thanked for making it available again." (ZYX 9-92)

    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.

    Using Wilder’s stories, personal correspondence, an unpublished autobiography, and experiences in South Dakota, Hill has produced a historical-literary biography of the famous and much-loved author. Following the course of Wilder’s life, and her real family’s journey west, Hill provides a context, both familial and literary, for Wilder’s writing career.Laura Ingalls Wilder examines Wilder’s inspirations as a writer, particularly her tumultuous, but ultimately successful, professional and personal relationship with her daughter—the hidden editor—Rose Wilder Lane. Wilder produced her timeless classics with the help of, but not reliance upon, her daughter’s editorial insights. Over the course of more than thirty years, Lane and Wilder engaged in a dynamic working relationship, shifting between trust, distrust, and respect. Hill argues that they differed in their visions of the path Wilder’s career should follow, but eventually Lane’s editing brought out the best of her mother’s writing, and allowed her creativity, expression, and experiences to shine through.