Newspapers proclaimed his genius in glowing personal profiles and quipped that “the doctor has been called” because the great man “has not invented anything since breakfast.” Starting with the first public demonstrations of the phonograph in 1878 and extending through the development of incandescent light, a power generation and distribution system to sustain it, and the first motion picture cameras—all achievements more astonishing in their time than we can easily grasp today—Edison’s name became emblematic of all the wonder and promise of the emerging age of technological marvels.But as Randall Stross makes clear in this critical biography of the man who is arguably the most globally famous of all Americans, Thomas Edison’s greatest invention may have been his own celebrity. Edison was certainly a technical genius, but Stross excavates the man from layers of myth-making and separates his true achievements from his almost equally colossal failures. How much credit should Edison receive for the various inventions that have popularly been attributed to him—and how many of them resulted from both the inspiration and the perspiration of his rivals and even his own assistants? How much of Edison’s technical skill helped him overcome a lack of business acumen and feel for consumers’ wants and needs?This bold reassessment of Edison’s life and career answers these and many other important questions while telling the story of how he came upon his most famous inventions as a young man and spent the remainder of his long life trying to conjure similar success. We also meet his partners and competitors, presidents and entertainers, his close friend Henry Ford, the wives who competed with his work for his attention, and the children who tried to thrive in his shadow—all providing a fuller view of Edison’s life and times than has ever been offered before. The Wizard of Menlo Park reveals not only how Edison worked, but how he managed his own fame, becoming the first great celebrity of the modern age.

    His range is wide, and his insights are acute, frequently ironic, and often downright funny. Translated by William Weaver. A Helen and Kurt Wolff Book

    Major revisions take this popular Complete Idiot's Guide to a new level, offering readers a better way to unlock their creativity from the first page. Exercises help them explore their talents and experiment with different genres and forms of writing, including short stories, narrative fiction, memoirs, magazine articles, poetry, drama, blogging, and freewriting.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    It is not pious, it is wise; and its wisdom is delivered with extraordinary lucidity and charm. This is how Montaigne would have written about the dizzy and increasingly dolorous age of the Internet. May So Many Books fall into so many hands."—Leon Wieseltier"Reading liberates the reader and transports him from his book to a reading of himself and all of life. It leads him to participate in conversations, and in some cases to arrange them…It could even be said that to publish a book is to insert it into the middle of a conversation."—from So Many BooksJoin the conversation! In So Many Books, Gabriel Zaid offers his observations on the literary condition: a highly original analysis of the predicament that readers, authors, publishers, booksellers, librarians, and teachers find themselves in today—when there are simply more books than any of us can contemplate."With cascades of books pouring down on him from every direction, how can the twenty-first-century reader keep his head above water? Gabriel Zaid answers that question in a variety of surprising ways, many of them witty, all of them provocative."—Anne Fadiman, Author of Ex-Libris"A truly original book about books. Destined to be a classic!"—Enrique Krauze, Author of Mexico: Biography of Power, Editor of Letras Libres"Gabriel Zaid's small gem of a book manages to be both delectable and useful, like chocolate fortified with vitamins. His rare blend of wisdom and savvy practical sense should make essential and heartening reading for anyone who cares about the future of books and the life of the mind."—Lynne Sharon Schwartz, Author of Ruined by Reading: A Life in Books"Gabriel Zaid is a marvelously elegant and playful writer—a cosmopolitan critic with sound judgment and a light touch. He is a jewel of Latin American letters, which is no small thing to be. Read him—you'll see."—Paul Berman"'So many books,' a phrase usually muttered with despair, is transformed into an expression of awe and joy by Gabriel Zaid. Arguing that books are the essential part of the great conversation we call culture and civilization, So Many Books reminds us that reading (and, by extension, writing and publishing) is a business, a vanity, a vocation, an avocation, a moral and political act, a hedonistic pursuit, all of the aforementioned, none of the aforementioned, and is often a miracle."—Doug Dutton"Zaid traces the preoccupation with reading back through Dr. Johnson, Seneca, and even the Bible ('Of making many books there is no end'). He emerges as a playful celebrant of literary proliferation, noting that there is a new book published every thirty seconds, and optimistically points out that publishers who moan about low sales 'see as a failure what is actually a blessing: The book business, unlike newspapers, films, or television, is viable on a small scale.' Zaid, who claims to own more than ten thousand books, says he has sometimes thought that 'a chastity glove for authors who can't contain themselves' would be a good idea. Nonetheless, he cheerfully opines that 'the truly cultured are capable of owning thousands of unread books without losing their composure or their desire for more.'"—New YorkerGabriel Zaid's poetry, essays, social and cultural criticism, and business writings have been widely published throughout the Spanish-speaking world. He lives in Mexico City with the artist Basia Batorska, her paintings, three cats, and ten thousand books.Natasha Wimmer is an editor and a translator in New York City. Her recent translations include The Savage Detectives and 2666 by Roberto Bolaño andThe Way to Paradise by Mario Vargas Llosa.

    Yet little is known about why for-profits have expanded so quickly and even less about how the power and influence of this big-money industry impact individual lives. Lower Ed, the first book to link the rapid expansion of for-profit degrees to America’s increasing inequality, reveals the story of an industry that exploits the pain, desperation, and aspirations of the most vulnerable and exposes the conditions that allow for-profit education to thrive.Tressie McMillan Cottom draws on her personal experience as a former counselor at two for-profit colleges and dozens of interviews with students, senior executives, and activists to detail how these schools have become so successful and to decipher the benefits, credentials, pitfalls, and real costs of a for-profit education. By humanizing the hard choices about school and survival that millions of Americans face, Lower Ed nimbly parses the larger forces that deliver some of us to Yale and others to For-Profit U in an office park off Interstate 10.

    In THE DEATHLY HALLOWS LECTURES, John Granger reveals the Potter finale's brilliant details, themes and meaning, and the answers to questions like these:* What five writing tricks does Joanne Rowling use to work her story magic? What story-points in Deathly Hallows tell us she wants us to read beneath the surface of her story?* Why are Lily's eyes green and what does that colour reveal about Snape's death?* Why does Harry choose to dig Dobby's grave by hand?* Who are Aeschylus and William Penn - and why do their quotations open Deathly Hallows?* What do Mad-Eye Moody's magical blue eye and the triangular symbol of the three Hallows have in common?* Why do a lot of Christians really love Deathly Hallows?* Is there a reason that wands have a mind of their own? Why does Ollivander prefer the wand cores he does?* Why does Harry go underground seven times in Deathly Hallows?

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    She takes us from the Paleolithic period and the myths of the hunters right up to the “Great Western Transformation” of the last five hundred years and the discrediting of myth by science. The history of myth is the history of humanity, our stories and beliefs, our curiosity and attempts to understand the world, which link us to our ancestors and each other. Heralding a major series of retellings of international myths by authors from around the world, Armstrong’s characteristically insightful and eloquent book serves as a brilliant and thought-provoking introduction to myth in the broadest sense—and explains why if we dismiss it, we do so at our peril.

    She was the underdog for so long -- narrowly missing out on medals in the 1999 World Championships and the 2000 Sydney Olympics -- that fans longed to see her win. Paula's rosy manner hides a tough resolve to succeed and in 2002 her luck began to turn. She won gold medals at both the Commonwealth and European championships and started to grab the headlines, bringing Britain's focus back to athletics. Paula's bravery is not limited to the track, however. She has become a passionate spokesperson against drug cheats and, inspired by her own battle with the condition, she is widely admired for her patronage of asthma charities. And even though Athens in 2004 proved to be more Greek tragedy than triumph, her popularity remains undimmed. Her remarkable life story of highs and lows is fully chronicled in this fascinating and inspiring autobiography.

    It presents historical perspectives on the development of nursing theory, assessments of concept and theory development and theory evaluation, middle-range theories, and shared theories from other disciplines in the sociologic, behavioral, and biomedical sciences, focusing on the application of theory. Learning features found throughout the text include case studies and end-of-chapter summaries that help to reinforce essential concepts.

    Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it.   Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.

    This autobiography traces Janet Frame's childhood in a poor but intellectually intense family, life as a student, years of incarceration in mental hospitals and eventual entry into the saving world of writers.

    In the pages of MetaMaus, Art Spiegelman re-enters the Pulitzer prize-winning Maus, the modern classic that has altered how we see literature, comics, and the Holocaust ever since it was first published twenty-five years ago. Does he probe the questions that Maus most often evokes—Why the Holocaust? Why mice? Why comics?—and gives us a new and essential work about the creative process. MetaMaus includes a bonus DVD-R that provides a digitized reference copy of The Complete Maus linked to a deep archive of audio interviews with his survivor father, historical documents, and a wealth of Spiegelman’s private notebooks and sketches. Compelling and intimate, MetaMaus is poised to become a classic in its own right.

    Part  critical history, part personal memoir, part celebration,  and part meditation, this critically acclaimed  work resurrects a generation on all its glory and  tragedy.