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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 book of pen-and-ink drawings by artist, poet, and fiction writer, Renee Gladman"--
To all of those familiar with the Gestalt model and its many creative extensions and applications, the name Joseph Zinker needs no introduction. A master Gestalt therapist and a cofounder of the Gestalt Institute of Cleveland, Joseph trained with Fritz Perls in the 1960's and has been influential in the growth and development of Gestalt theory and methodology for over three decades. His groundbreaking 1976 book, Creative Process in Gestalt Therapy, remains a best-seller and classic. It eloquently presents his unique contributions to the Gestalt method including dreamwork as theater, the choreography of expressive movement, experiment, and application of the arts to psychotherapy. In his most recent book, In Search of Good Form: Gestalt Therapy with Couples and Families, (Analytic Press, 1998) Joseph inspires a return to Gestalt therapy with couples and families, Joseph inspires a return to Gestalt therapy's roots in humanism, holism, and faith in the creative power of growth and integration that resides in each of us. Aside from his books, he has published many articles on psychotherapy, the arts, and the phenomenology of love. In recent years his focus has been on the development of couple and family therapy. He now leads workshops around the world and is well know as an engaging teacher, helping and inspiring therapists and lay people alike. Joseph has experienced drama and struggle in his rich life, resulting in a deep compassion for his fellow man. He is seen as lively and creative, at times funny, at others deeply moving as he lovingly reaches out to workshop participants.
Although several of Robert Louis Stevenson's major works -- Treasure Island, Kidnapped, The Strange Case of Dr. Jekyll and Mr. Hyde -- have been enshrined in the Western canon of popular literature, these novels represent only a fraction of a prodigious body of writing that spans virtually every genre. Stevenson was a prolific and preternaturally skilled writer, and in these essays, he offers insight, tips, and inspiration that will capture the imagination of both fans of his work and would-be writers.
Feminist essays for the #MeToo era from “the voice of the resistance,” the international bestselling author of Men Explain Things to Me (The New York Times Magazine). Who gets to shape the narrative of our times? The current moment is a battle royale over that foundational power, one in which women, people of color, non-straight people are telling other versions, and white people and men and particularly white men are trying to hang onto the old versions and their own centrality. In Whose Story Is This? Rebecca Solnit appraises what’s emerging and why it matters and what the obstacles are. Praise for Rebecca Solnit and her essays “Rebecca Solnit is essential feminist reading.” —The New Republic “In these times of political turbulence and an increasingly rabid and scrofulous commentariat, the sanity, wisdom and clarity of Rebecca Solnit’s writing is a forceful corrective. Whose Story Is This? is a scorchingly intelligent collection about the struggle to control narratives in the internet age.” —The Guardian “Solnit’s passionate, shrewd, and hopeful critiques are a road map for positive change.” —Kirkus Reviews “Solnit’s exquisite essays move between the political and the personal, the intellectual and the earthy.” —Elle “Rebecca Solnit reasserts herself here as one of the most astute cultural critics in progressive discourse.” —Publishers Weekly “No writer has better understood the mix of fear and possibility, peril and exuberance that’s marked this new millennium.” —Bill McKibben, founder of 350.org
REQUIRED, THE STORY-TELLER COULD HAVE AN AUDIENCE BUT IN THIS CASE HE WOULDN'T BE READING FROM HIS MS, BUT WOULD BE LOOKING AT THE VILLAGERS. I MUCH PREFER THE STORY-TELLER ALONE.
WINNER of the 2017 Firecracker Award for Nonfiction from CLMP A collection of linked essays concerned with the life and mind of the writer by one of the most original voices in contemporary literature. Each essay takes a day as its point of inquiry, observing the body as it moves through time, architecture, and space, gradually demanding a new logic and level of consciousness from the narrator and reader.
A dazzling collection of “remarkably elegant essays” (Newsday) on art—and the companion volume to the celebrated Just Looking and Still Looking—from one of the most gifted American writers of the twentieth century. In this book, readers are treated to a collection in which “the psychological concerns of the novelist drive the eye from work to work until a deep understanding of the art emerges” (The New York Times Book Review). Always Looking opens with “The Clarity of Things,” the Jefferson Lecture in the Humanities for 2008. Here, in looking closely at individual works by Copley, Homer, Eakins, Norman Rockwell, and others, the author teases out what is characteristically “American” in American art. This talk is followed by fourteen essays, most of them written for The New York Review of Books, on certain highlights in Western art of the last two hundred years: the iconic portraits of Gilbert Stuart and the sublime landscapes of Frederic Edwin Church, the series paintings of Monet and the monotypes of Degas, the richly patterned canvases of Vuillard and the golden extravagances of Klimt, the cryptic triptychs of Beckmann, the personal graffiti of Miró, the verbal-visual puzzles of Magritte, and the monumental Pop of Oldenburg and Lichtenstein. The book ends with a consideration of recent works by a living American master, the steely sculptural environments of Richard Serra. John Updike was a gallery-goer of genius. Always Looking is, like everything else he wrote, an invitation to look, to see, to apprehend the visual world through the eyes of a connoisseur.