A preeminent scholar, writer, and teacher, he has had a profound influence on millions of people. To him, mythology was the "song of the universe, the music of the spheres." With Bill Moyers, one of America's most prominent journalists, as his thoughtful and engaging interviewer, The Power Of Myth touches on subjects from modern marriage to virgin births, from Jesus to John Lennon, offering a brilliant combination of intelligence and wit.

    A VINTAGE ORIGINAL.What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page - a graceful ear there, a stray curl, a hat positioned just so - and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved - or reviled - literary figures.In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature - he thinks of himself first, and foremost, as a reader - into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.

    These fourteen essays cover the entire range of his work on these subjects, in chronological order beginning with his first published analysis of a work of literature, the 1907 "Delusion and Dreams in Jensen's Gradiva" and concluding with the 1940 posthumous publication of "Medusa's Head." Many of the essays included in this collection have been crucial in contemporary literary and art criticism and theory.Among the subjects Freud engages are Shakespeare's Hamlet, The Merchant of Venice, King Lear, and Macbeth, Goethe's Dichtung und Wahrheit, Michelangelo's Moses, E. T. A. Hoffman's "The Sand Man," Dostoevsky's The Brothers Karamazov, fairy tales, the effect of and the meaning of beauty, mythology, and the games of aestheticization. All texts are drawn from The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey. The volume includes the notes prepared for that edition by the editor.In addition to the writings on Jensen's Gradiva and Medusa, the essays are: "Psychopathic Characters on the Stage," "The Antithetical Meaning of Primal Words," "The Occurrence in Dreams of Material from Fairy Tales," "The Theme of the Three Caskets," "The Moses of Michelangelo," "Some Character Types Met with in Psycho-analytic Work," "On Transience," "A Mythological Parallel to a Visual Obsession," "A Childhood Recollection from Dichtung und Wahrheit," "The Uncanny," "Dostoevsky and Parricide," and "The Goethe Prize."

    Said shows how the approaching death of an artist can make its way into his work, examining essays, poems, novels, films, and operas by such artists as Beethoven, Genet, Mozart, Lampedusa, Euripides, Cavafy, and Mann, among others. He uncovers the conflicts and complexity that often distinguish artistic lateness, resulting in works that stood in direct contrast to what was popular at the time and were forerunners of what was to come in each artist's discipline-works of true genius. Eloquent and impassioned, brilliantly reasoned and revelatory, On Late Style is Edward Said's own great last work.

    She is a lover of art, the humanities, and the sciences. She is a novelist and a feminist. Her lively, lucid essays in A Woman Looking at Men Looking at Women begin to make some sense of those plural perspectives.Divided into three parts, the first section, “A Woman Looking at Men Looking at Women,” investigates the perceptual and gender biases that affect how we judge art, literature, and the world in general. Among the legendary figures considered are Picasso, De Kooning, Jeff Koons, Louise Bourgeois, Anselm Kiefer, Susan Sontag, Robert Mapplethorpe, the Guerrilla Girls, and Karl Ove Knausgaard.The second part, “The Delusions of Certainty,” is about the age-old mind/body problem that has haunted Western philosophy since the Greeks. Hustvedt explains the relationship between the mental and the physical realms, showing what lies beyond the argument—desire, belief, and the imagination.The final section, “What Are We? Lectures on the Human Condition,” discusses neurological disorders and the mysteries of hysteria. Drawing on research in sociology, neurobiology, history, genetics, statistics, psychology, and psychiatry, this section also contains a profound and powerful consideration of suicide.There has been much talk about building a beautiful bridge across the chasm that separates the sciences and the humanities. At the moment, we have only a wobbly walkway, but Hustvedt is encouraged by the travelers making their way across it in both directions. A Woman Looking at Men Looking at Women is an insightful account of the journeys back and forth.

    Herculine was designated female at birth. A pious girl in a Catholic orphanage, a bewildered adolescent enchanted by the ripening bodies of classmates, a passionate lover of a schoolmistress, she's suddenly reclassified as male. Alone & desolate, he commits suicide, aged 30, in a miserable Paris attic. Here's a lost voice of the sexual past in an erotic diary. Provocative, articulate, eerily prescient as she imagines her corpse under the probing instruments of scientists, Herculine brings a disturbing perspective to our notions of sexuality. Foucault, who discovered these memoirs in the archives of the French Department of Public Hygiene, presents them with the graphic medical descriptions of Herculine's body before & after death. In a striking contrast, a painfully confused young person & the doctors who examine her try to sort out the nature of masculine & feminine at the dawn of the age of modern sexuality. "Herculine Barbin can be savored like a libertine novel. The ingenousness of Herculine, the passionate yet equivocal tenderness which thrusts her into the arms, even into the beds, of her companions, gives these pages a charm strangely erotic...Michel Foucault has a genius for bringing to light texts & reviving destinies outside the ordinary."--Le Monde, 7/1978

    Edited and with a Preface by Gunther Stuhlmann

    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.

    Presenting itself as an investigation into the suicide of a close friend—perhaps real, perhaps fictional—more than twenty years earlier, Levé gives us, little by little, a striking portrait of a man, with all his talents and flaws, who chose to reject his life, and all the people who loved him, in favor of oblivion. Gradually, through Levé’s casually obsessive, pointillist, beautiful ruminations, we come to know a stoic, sensible, thoughtful man who bears more than a slight psychological resemblance to Levé himself. But Suicide is more than just a compendium of memories of an old friend; it is a near-exhaustive catalog of the ramifications and effects of the act of suicide, and a unique and melancholy farewell to life.

    From Homer to Hawthorne, Plato to Pascal, and Shakespeare to Solzhenitsyn, the great writers of Western civilization can be found in its pages. In addition, this new edition offers a much broader representation of women authors, such as Charlotte Brontë, Emily Dickinson and Edith Wharton, as well as non-Western writers such as Confucius, Sun-Tzu, Chinua Achebe, Mishima Yukio and many others. This fourth edition also features a simpler format that arranges the works chronologically in five sections (The Ancient World; 300-1600; 1600-1800; and The 20th Century), making them easier to look up than ever before. It deserves a place in the libraries of all lovers of literature.

    In this book Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live – a central motif of the horror genre.In the Dust of This Planet explores these relationships between philosophy and horror. In Thacker’s hands, philosophy is not academic logic-chopping; instead, it is the thought of the limit of all thought, especially as it dovetails into occultism, demonology, and mysticism. Likewise, Thacker takes horror to mean something beyond the focus on gore and scare tactics, but as the under-appreciated genre of supernatural horror in fiction, film, comics, and music. This relationship between philosophy and horror does not mean the philosophy of horror, if anything, it means the reverse, the horror of philosophy: those moments when philosophical thinking enigmatically confronts the horizon of its own existence. For Thacker, the genre of supernatural horror is the key site in which this paradoxical thought of the unthinkable takes place.

    Modeled on the "casebooks" often used in freshman English classes at the time, The Pooh Perplex contains twelve essays written in different critical voices, complete with ridiculous footnotes, tongue-in-cheek "questions and study projects," and hilarious biographical notes on the contributors. This edition contains a new preface by the author that compares literary theory then and now and identifies some of the real-life critics who were spoofed in certain chapters.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    Covering fiction, poetry, science and science fiction, memoir, travel writing, biography, children’s books, history, and more, 1,000 Books to Read Before You Die ranges across cultures and through time to offer an eclectic collection of works that each deserve to come with the recommendation, You have to read this. But it’s not a proscriptive list of the “great works”—rather, it’s a celebration of the glorious mosaic that is our literary heritage. Flip it open to any page and be transfixed by a fresh take on a very favorite book. Or come across a title you always meant to read and never got around to. Or, like browsing in the best kind of bookshop, stumble on a completely unknown author and work, and feel that tingle of discovery. There are classics, of course, and unexpected treasures, too. Lists to help pick and choose, like Offbeat Escapes, or A Long Climb, but What a View. And its alphabetical arrangement by author assures that surprises await on almost every turn of the page, with Cormac McCarthy and The Road next to Robert McCloskey and Make Way for Ducklings, Alice Walker next to Izaac Walton.  There are nuts and bolts, too—best editions to read, other books by the author, “if you like this, you’ll like that” recommendations , and an interesting endnote of adaptations where appropriate. Add it all up, and in fact there are more than six thousand titles by nearly four thousand authors mentioned—a life-changing list for a lifetime of reading.

    It traces the development of one individual consciousness, "playing over such issues as motherhood, racism, history, poetry, the uses of scholarship, the politics of language". A. Rich has written a headnote for each essay, briefly discussing the circumstances of its writing. "I find in myself both severe and tender thoughts toward the women I have been, whose thoughts I find here".