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From the author of The Oxford Book of American Literary Anecdotes comes a fascinating collection of ribald, sad, and touching stories about the artists of the modern era. Includes nearly 800 anecdotes covering almost 200 artists--from Rousseau to Picasso to Warhol--and offers a unique glimpse into the private lives of many of the world's best-known artists.
A selection of the best and most representative contemporary American short fiction from 1970 to 2020, including such authors as Ursula K. LeGuin, Toni Cade Bambara, Jhumpa Lahiri, Sandra Cisneros, and Ted Chiang, hand-selected by celebrated editor and anthologist John Freeman In the past fifty years, the American short story has changed dramatically. New voices, forms, and mixtures of styles have brought this unique genre a thrilling burst of energy. The Penguin Book of the Modern American Short Story celebrates this avalanche of talent. This rich anthology begins in 1970 and brings together a half century of powerful American short stories from all genres, including—for the first time in a collection of this scale—science fiction, horror, and fantasy, placing writers such as Ursula K. Le Guin, Ken Liu, and Stephen King next to some beloved greats of the literary form: Raymond Carver, Grace Paley, Chimamanda Ngozi Adichie, and Denis Johnson. Culling widely, John Freeman, the former editor of Granta and now editor of his own literary annual, brings forward some astonishing work to be regarded in a new light. Often overlooked tales by Dorothy Allison, Percival Everett, and Charles Johnson will recast the shape and texture of today’s enlarging atmosphere of literary dialogue. Stories by Lauren Groff and Ted Chiang raise the specter of engagement in ecocidal times. Short tales by Tobias Wolff, George Saunders, and Lydia Davis rub shoulders with near novellas by Susan Sontag and Andrew Holleran. This book will be a treasure trove for readers, writers, and teachers alike.
"The inadequate acknowledgement of women short story writers in standard anthologies is a cause for wonder or affront. How else, indeed, can you view it, given the riches overlooked?" So states editor Patricia Craig in her introduction to The Oxford Book of Modern Women's Stories, a rich, wide-ranging collection that, at last, redresses this historical imbalance by bringing together forty examples of the very best women's stories--from established authors such as Edith Wharton, Virginia Woolf, Eudora Welty, and Katherine Mansfield, to such modern masters as Margaret Atwood, Alice Munro, Bharati Mukherjee, and Amy Tan. Here readers will find humor, passion, eccentricity, forcefulness, elan, intellectual vigor, subversion--indeed every shading of tone and mood, from ironic detachment to full-blooded engagement. Each writer has her own, perfectly realized angle of vision, whether it's the zestfulness of Angela Carter, the breathtaking evocations of Willa Cather, the quirkiness of Grace Paley, or the pungency of Flannery O'Connor. Breaking with tradition, editor Patricia Craig offers few stories about traditional "women's" topics. Instead, the entries in this collection range from an unforgettable tale of racism in South Africa to explorations of adultery, immigration, the importance of cultural identity, and the rootlessness of American cities. Craig also includes some provocative offerings from outside the mainstream of twentieth century fiction--a ghost story by Edith Wharton, a delightful fairy tale, and several engaging historical pieces. Eloquent and captivating, The Oxford Book of Modern Women's Stories offers a dazzling assortment of classic stories and overlooked gems that will amuse, intrigue, and challenge every lover of fine fiction.
The recollections presented herein are testimony to the transcendental character of His Divine Grace A.C. Bhaktivedanta Prabhupada the founder Acharya of the Hare Krsna movement, to spread pure love of Godhead.
A classic he-said-she-said romantic comedy! This updated anniversary edition offers story-behind-the-story revelations from author Wendelin Van Draanen. The first time she saw him, she flipped. The first time he saw her, he ran. That was the second grade, but not much has changed by the seventh. Juli says: “My Bryce. Still walking around with my first kiss.” He says: “It’s been six years of strategic avoidance and social discomfort.” But in the eighth grade everything gets turned upside down: just as Bryce is thinking that there’s maybe more to Juli than meets the eye, she’s thinking that he’s not quite all he seemed. This is a classic romantic comedy of errors told in alternating chapters by two fresh, funny voices. The updated anniversary edition contains 32 pages of extra backmatter: essays from Wendelin Van Draanen on her sources of inspiration, on the making of the movie of Flipped, on why she’ll never write a sequel, and a selection of the amazing fan mail she’s received. Awards and accolades for Flipped: SLJ Top 100 Children’s Novels of all time IRA-CBC Children’s Choice IRA Teacher’s Choice Honor winner, Judy Lopez Memorial Award/WNBA Winner of the California Young Reader Medal “We flipped over this fantastic book, its gutsy girl Juli and its wise, wonderful ending.” — The Chicago Tribune “Van Draanen has another winner in this eighth-grade ‘he-said, she-said’ romance. A fast, funny, egg-cellent winner.” — SLJ, Starred review “With a charismatic leading lady kids will flip over, a compelling dynamic between the two narrators and a resonant ending, this novel is a great deal larger than the sum of its parts.” —Publishers Weekly, Starred review
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Lara Jean is having the best senior year ever! She's head over heels in love with her boyfriend, her dad's getting remarried and Margot's coming home for the summer. But change is looming on the horizon. While Lara Jean is having fun, she can't ignore the big life decisions she has to make. Will she have to leave the boy she loves behind?
The narrative spell cast over politics and society Politics is no longer the art of the possible, but of the fictive. Its aim is not to change the world as it exists, but to affect the way that it is perceived. In Storytelling Christian Salmon looks at the twenty-first-century hijacking of creative imagination, anatomizing the timeless human desire for narrative form, and how this desire is abused by the marketing mechanisms that bolster politicians and their products: luxury brands trade on embellished histories, managers tell stories to motivate employees, soldiers in Iraq train on Hollywood-conceived computer games, and spin doctors construct political lives as if they were a folk epic. This “storytelling machine” is masterfully unveiled by Salmon, and is shown to be more effective and insidious as a means of oppression than anything dreamed up by Orwell.