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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
A Dominican-born academic tells the story of how the Great Books transformed his life—and why they have the power to speak to people of all backgrounds What is the value of a liberal education? Traditionally characterized by a rigorous engagement with the classics of Western thought and literature, this approach to education is all but extinct in American universities, replaced by flexible distribution requirements and ever-narrower academic specialization. Many academics attack the very idea of a Western canon as chauvinistic, while the general public increasingly doubts the value of the humanities. In Rescuing Socrates, Dominican-born American academic Roosevelt Montás tells the story of how a liberal education transformed his life, and offers an intimate account of the relevance of the Great Books today, especially to members of historically marginalized communities. Montás emigrated from the Dominican Republic to Queens, New York, when he was twelve and encountered the Western classics as an undergraduate in Columbia University’s renowned Core Curriculum, one of America’s last remaining Great Books programs. The experience changed his life and determined his career—he went on to earn a PhD in English and comparative literature, serve as director of Columbia’s Center for the Core Curriculum, and start a Great Books program for low-income high school students who aspire to be the first in their families to attend college. Weaving together memoir and literary reflection, Rescuing Socrates describes how four authors—Plato, Augustine, Freud, and Gandhi—had a profound impact on Montás’s life. In doing so, the book drives home what it’s like to experience a liberal education—and why it can still remake lives.
This early work by Radclyffe Hall was originally published in 1928 and we are now republishing it with a brand new introductory biography. 'The Well of Loneliness' is a novel that follows an upper-class Englishwoman who falls in love with another woman while serving as an ambulance driver in World War I. Marguerite Radclyffe Hall was born on 12th August 1880, in Bournemouth, England. Hall's first novel The Unlit Lamp (1924) was a lengthy and grim tale that proved hard to sell. It was only published following the success of the much lighter social comedy The Forge (1924), which made the best-seller list of John O'London's Weekly. Hall is a key figure in lesbian literature for her novel The Well of Loneliness (1928). This is her only work with overt lesbian themes and tells the story of the life of a masculine lesbian named Stephen Gordon.
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.
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.
In this collection of nonfiction pieces, John Updike gathers his responses to nearly two hundred invitations into print, each “an opportunity to make something beautiful, to find within oneself a treasure that would otherwise remain buried.” Introductions, reviews, and humorous essays, paragraphs on New York, religion, and lust—here is “more matter” commissioned by an age that, as the author remarks in his Preface, calls for “real stuff . . . not for the obliquities and tenuosities of fiction.” Still, the novelist’s shaping hand, his gift for telling detail, can be detected in many of these literary considerations. Books by Edith Wharton, Dawn Powell, John Cheever, and Vladimir Nabokov are incisively treated, as are biographies of Isaac Newton, Abraham Lincoln, Queen Elizabeth II, and Helen Keller. As George Steiner observed, Updike writes with a “solicitous, almost tender intelligence. The critic and the poet in him . . . are at no odds with the novelist; the same sharpness of apprehension bears on the object in each of Updike’s modes.”
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.
There are the acknowledged classics of world literature: the canonical works assigned in schools, topping every must-read list . . . and then there are the B-Sides. These are the books that slipped through the cracks, went unread, missed their rightful appointment with posterity. They were ahead of their times or behind their times or on a whole different schedule than the rest of the universe. What do you do when a book that you love has been neglected or dismissed by everyone else? In B-Side Books, leading writers, critics, and scholars show why their favorite forgotten books deserve a new audience. From dusty westerns and far-out science fiction to obscure Czech novelists and romance-novel precursors, the contributors advocate for the unsung virtues of overlooked books. They write about unheralded novels, poetry collections, memoirs, and more with understanding, respect, passion, and love. In these thoughtful, often personal essays, contributors—including Stephanie Burt, Caleb Crain, Merve Emre, Ursula K. Le Guin, Carlo Rotella, and Namwali Serpell—read books by writers such as Helen DeWitt, Shirley Jackson, Stanislaw Lem, Dambudzo Marechera, Paule Marshall, and Charles Portis.
This collection of original essays explores the relationship between publishing and literature in America. "Right at the leading edge of scholarship on the history of the book". -- William Gilmore-Lehne
“Utterly delightful” essays from the creator of the HBO’s Bored to Death reveal intimate details of his life as a famously neurotic New York writer (Brendan Halpin, Los Angeles Times). Jonathan Ames has drawn comparisons across the literary spectrum, from David Sedaris to F. Scott Fitzgerald to P.G. Wodehouse, and his books, as well as his abilities as a performer, have made him a favorite on the Late Show with David Letterman. Whether he’s chasing deranged cockroaches around his apartment, kissing a beautiful actress on the set of an avant-garde film, finding himself stuck perilously on top of a fence in the middle of the night in Memphis, or provoking fights with huge German men, Jonathan Ames has an uncanny knack for getting himself into outlandish situations. In I Love You More Than You Know, Ames once again turns his own adventures, neuroses, joys, heartaches, and insights into profound and hilarious tales. Alive with love and tenderness for his son, his parents, his great-aunt—and even strangers in bars—Ames looks beneath the surface of our world to find the beauty in the perverse, the sweetness in loneliness, and the humor in pain in essays that are “both poignant and silly—an irresistible mix” (John Dicker, Philadelphia Weekly).