Many of the pieces have never appeared in any other collection, some have never appeared in English, and more than one has been suppressed. This expanded edition contains fifty pages of brand new interviews.The interviews add a personal dimension to the full breadth of Chomsky’s impressive written canon—equally covering his analysis in linguistics, philosophy, and politics. This updated, annotated, fully indexed new edition contains an extensive bibliography, as well as an intro-duction by editor Carlos Otero on the relationship between Chomsky’s language and politics.Praise for previous edition:"For those who know [Chomsky] only as media analyst and critic of foreign policy, this wide-ranging book offers glimpses of his studies on language, anarchist theory, and critiques of radical politics."—NACLANoam Chomsky is a renowned scholar, the founder of the modern science of linguistics, a philosopher, a poli-tical and social analyst, a media critic, and author of more than one hundred books. Recipient of numerous prizes and awards, Chomsky ranks with Marx, Shakespeare and the Bible as one of the ten most quoted sources in the -humanities. His previous works include the best selling 9-11, and the critically acclaimed AK Audio Collection.Carlos Otero, who also edited Radical Priorities by Noam Chomsky, teaches linguistics at the University of California at Los Angeles.

    In this classic work, Herbert Marcuse takes as his starting point Freud's statement that civilization is based on the permanent subjugation of the human instincts, his reconstruction of the prehistory of mankind - to an interpretation of the basic trends of western civilization, stressing the philosophical and sociological implications.

    Harking back to the beloved novels of his youth and ranging through the work of such writers as Tolstoy, Dostoevsky, Stendhal, Flaubert, Proust, Mann, and Naipaul, he explores the oscillation between the naive and the reflective, and the search for an equilibrium, that lie at the center of the novelist's craft. He ponders the novel's visual and sensual power--its ability to conjure landscapes so vivid they can make the here-and-now fade away. In the course of this exploration, he considers the elements of character, plot, time, and setting that compose the "sweet illusion" of the fictional world.Anyone who has known the pleasure of becoming immersed in a novel will enjoy, and learn from, this perceptive book by one of the modern masters of the art.

    As with every art, love demands practice and concentration, as well as genuine insight and understanding.In his classic work, The Art of Loving, renowned psychoanalyst and social philosopher Erich Fromm explores love in all its aspects—not only romantic love, steeped in false conceptions and lofty expectations, but also brotherly love, erotic love, self-love, the love of God, and the love of parents for their children.

    Dick is the magnificent and imaginative final work of an author who dedicated his life to questioning the nature of reality and perception, the malleability of space and time, and the relationship between the human and the divine. Edited and introduced by Pamela Jackson and Jonathan Lethem, this will be the definitive presentation of Dick’s brilliant, and epic, final work. In The Exegesis, Dick documents his eight-year attempt to fathom what he called "2-3-74," a postmodern visionary experience of the entire universe "transformed into information." In entries that sometimes ran to hundreds of pages, Dick tried to write his way into the heart of a cosmic mystery that tested his powers of imagination and invention to the limit, adding to, revising, and discarding theory after theory, mixing in dreams and visionary experiences as they occurred, and pulling it all together in three late novels known as the VALIS trilogy. In this abridgment, Jackson and Lethem serve as guides, taking the reader through the Exegesis and establishing connections with moments in Dick’s life and work.

    One of the most controversial figures on the intellectual scene, Ayn Rand was the proponent of a moral philosophy - an ethic of rational self-interest - that stands in sharp opposition of the ethics of altruism and self-sacrifice. The fundamentals of this morality - "a philosophy for living on earth" - are here vibrantly set forth by the spokesman for a new class, "For the New Intellectual."

    For Foucault this was "by far the book I wrote most easily and with the greatest pleasure". Here, Foucault explores theory, criticism and psychology through the texts of Raymond Roussel, one of the fathers of experimental writing, whose work has been celebrated by the likes of Cocteau, Duchamp, Breton, Robbe Grillet, Gide and Giacometti.This revised edition includes an Introduction, Chronology and Bibliography to Foucault's work by James Faubion, an interview with Foucault, conducted only nine months before his death, and concludes with an essay on Roussel by the poet John Ashbery.

    We see, hear, and feel Umberto Eco, the passionate reader who has gotten lost over and over again in the woods, loved it, and come back to tell the tale, The Tale of Tales. Eco tells us how fiction works, and he also tells us why we love fiction so much. This is no deconstructionist ripping the veil off the Wizard of Oz to reveal his paltry tricks, but the Wizard of Art himself inviting us to join him up at his level, the Sorcerer inviting us to become his apprentice.

    In these ten unsettling tales of unexpected madness master storyteller Roald Dahl explores what happens when we let go our sanity. .Among other stories, you'll meet the husband with a jealous fixation on the family cat, the landlady who wants her guests to stay forever, the man whose taste for pork leads him astray and the wife with a pathological fear of being late.Roald Dahl reveals even more about the darker side of human nature in the four centenary editions featuring his own stories: Madness, Deception, Cruelty and Lust.--back cover

    But you have not yet received it. Yes, its lack or excess of address prepares it to fall into all hands: a post card, an open letter in which the secret appears, but indecipherably. What does a post card want to say to you? On what conditions is it possible? Its destination traverses you, you no longer know who you are. At the very instant when from its address it interpellates, you, uniquely you, instead of reaching you it divides you or sets you aside, occasionally overlooks you. And you love and you do not love, it makes of you what you wish, it takes you, it leaves you, it gives you. On the other side of the card, look, a proposition is made to you, S and p, Socrates and plato. For once the former seems to write, and with his other hand he is even scratching. But what is Plato doing with his outstretched finger in his back? While you occupy yourself with turning it around in every direction, it is the picture that turns you around like a letter, in advance it deciphers you, it preoccupies space, it procures your words and gestures, all the bodies that you believe you invent in order to determine its outline. You find yourself, you, yourself, on its path. The thick support of the card, a book heavy and light, is also the specter of this scene, the analysis between Socrates and Plato, on the program of several others. Like the soothsayer, a "fortune-telling book" watches over and speculates on that-which-must-happen, on what it indeed might mean to happen, to arrive, to have to happen or arrive, to let or to make happen or arrive, to destine, to address, to send, to legate, to inherit, etc., if it all still signifies, between here and there, the near and the far, da und fort, the one or the other. You situate the subject of the book: between the posts and the analytic movement, the pleasure principle and the history of telecommunications, the post card and the purloined letter, in a word the transference from Socrates to Freud, and beyond. This satire of epistolary literature had to be farci, stuffed with addresses, postal codes, crypted missives, anonymous letters, all of it confided to so many modes, genres, and tones. In it I also abuse dates, signatures, titles or references, language itself.J. D."With The Post Card, as with Glas, Derrida appears more as writer than as philosopher. Or we could say that here, in what is in part a mock epistolary novel (the long section is called "Envois," roughly, "dispatches" ), he stages his writing more overtly than in the scholarly works. . . . The Post Card also contains a series of self-reflective essays, largely focused on Freud, in which Derrida is beautifully lucid and direct."—Alexander Gelley, Library Journal

    Whether it was the Bremen Literature Prize, the Grillparzer Prize, or the Austrian State Prize, his participation in the acceptance ceremony—always less than gracious, it must be said—resulted in scandal (only at the awarding of the prize from Austria’s Federal Chamber of Commerce did Bernhard feel at home: he received that one, he said, in recognition of the great example he set for shopkeeping apprentices). And the remuneration connected with the prizes presented him with opportunities for adventure—of the new-house and luxury-car variety. Here is a portrait of the writer as a prizewinner: laconic, sardonic, and shaking his head with biting amusement at the world and at himself. A revelatory work of dazzling comedy, the pinnacle of Bernhardian art.

    Lewis, get your daily dose of inspiration from this one-of-a-kind devotional collecting 365 readings from the beloved Chronicles of Narnia. C.S. Lewis channeled his profound spiritual understanding into The Lion, the Witch and the Wardrobe, Prince Caspian, The Voyage of the Dawn Treader, and the other books in his seminal fantasy series. This enthralling anthology (with lavish illustrations by Pauline Baynes) is the perfect gift for fans of the beloved children's books, and a peerless set of meditations for anyone looking to step through that secret door to their own world of devotion.

    A lively and still one of the best introductions to philosophy, this book pays off both a closer reading for students and specialists, and a casual reading for the general public.

    With case studies and advice for a fitter life, this is an intriguing and thought-provoking book, one which should be read by anyone who cares about their wellbeing.

    Sebald completed this controversial book before his death in December 2001. On the Natural History of Destruction is his harrowing and precise investigation of one of the least examined silences of our time. In it, the novelist examines the devastation of German cities by Allied bombardment and the reasons for the astonishing absence of this unprecedented trauma from German history and culture. This historical void is in part a repression of things -- such as the death by fire of the city of Hamburg at the hands of the RAF -- too terrible to bear. But rather than record the crises about them, writers sought to retrospectively justify their actions under the Nazis. For Sebald, this is an example of deliberate cultural amnesia. His analysis of its effects in and outside Germany has already provoked angry painful debate. Sebald's novels are rooted in meticulous observation. His essays are novelistic. They include his childhood recollections of the war that spurred his horror at the collective amnesia around him. There are moments of black humor and, throughout, the sensitivity of his intelligence. This book is a study of suffering and forgetting, of the morality hidden in artistic decisions, and of both compromised and genuine heroics.