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A selection of essays on writing and reading by the master short-fiction writer Lydia Davis Lydia Davis is a writer whose originality, influence, and wit are beyond compare. Jonathan Franzen has called her “a magician of self-consciousness,” while Rick Moody hails her as "the best prose stylist in America." And for Claire Messud, “Davis's signal gift is to make us feel alive.” Best known for her masterful short stories and translations, Davis’s gifts extend equally to her nonfiction. In Essays One, Davis has, for the first time, gathered a selection of essays, commentaries, and lectures composed over the past five decades. In this first of two volumes, her subjects range from her earliest influences to her favorite short stories, from John Ashbery’s translation of Rimbaud to Alan Cote’s painting, and from the Shepherd’s Psalm to early tourist photographs. On display is the development and range of one of the sharpest, most capacious minds writing today.
Includes essays on Russian writers, Western poets, politics, and the author's native city, Leningrad.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
From writer/director Cazzie David comes a series of comedic essays about anxiety, social media, generational malaise, and growing up in a famous family.
Deluxe -- Thank You -- Pelham Road -- There Is No Mike Here -- Things People Said: An Essay in Seven Steps -- Temporary Talismans -- Six Hours from Anywhere You Want to Be -- No One Is Ordinary; Everyone Is Ordinary -- Ring Theory -- Saris and Sorrows -- Voice Texting with My Mother.
The sexual politics of a faculty wives dinner. The psychological gamesmanship of an inappropriate therapist. The emotional minefield of an extended family wedding . . . Whatever the subject, Emily Fox Gordon’s disarmingly personal essays are an art form unto themselves—reflecting and revealing, like mirrors in a maze, the seemingly endless ways a woman can lose herself in the modern world. With piercing humor and merciless precision, Gordon zigzags her way through “the unevolved paradise” of academia, with its dying breeds of bohemians, adulterers, and flirts, then stumbles through the perils and pleasures of psychotherapy, hoping to find a narrative for her life. Along the way, she encounters textbook feminists, partying philosophers, perfectionist moms, and an unlikely kinship with Kafka—in a brilliant collection of essays that challenge our sacred institutions, defy our expectations, and define our lives.
A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013
The essay is one of the richest of literary forms. Its most obvious characteristics are freedom, informality, and the personal touch--though it can also find room for poetry, satire, fantasy, and sustained argument. All these qualities, and many others, are on display in The Oxford Book of Essays. The most wide-ranging collection of its kind to appear for many years, it includes 140 essays by 120 writers: classics, curiosities, meditations, diversions, old favorites, recent examples that deserve to be better known. A particularly welcome feature is the amount of space allotted to American essayists, from Benjamin Franklin to John Updike and beyond. This is an anthology that opens with wise words about the nature of truth, and closes with a consideration of the novels of Judith Krantz. Some of the other topics discussed in its pages are anger, pleasure, Gandhi, Beau Brummell, wasps, party-going, gangsters, plumbers, Beethoven, potato crisps, the importance of being the right size, and the demolition of Westminster Abbey. It contains some of the most eloquent writing in English, and some of the most entertaining.
A writer for the Washington Post for twenty-five years, Colman McCarthy is well respected as a pacifist, teacher, journalist, and advocate of nonviolence. In his twice-weekly columns which are nationally syndicated, he has extolled nonviolence as both a philosophy and a practical way of life. As a high-school, college, and law school teacher, he has taught the principles and history of nonviolence to more than three thousand students in the past decade. What McCarthy has written over the years is, as he puts it, all of one peace. His consistency of vision derives from the indwelling of nonviolence. He blames no one for the culture of violence in which we live, but for a quarter-century he has spoken out honestly and passionately against that culture. All of One Peace is a major part of the body of work that has come to stand for integrity, reason, and candor in a time marked by lies, violence, and absurdity.
An intriguing collection of more than 70 Latin American essays, some never before translated into English, gives us the whole spectrum of concerns that have animated some of the greatest writers of our time--from Andres Bello, Pablo Neruda, and Alfonso Reyes to Carlos Fuentes, Gabriel Garcia Marquez, and Rosario Ferre--an assembly confident, ingenious, aware.