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"His writings have had enormous impact on the literary and political life of Peru: taking up the defense of exploited indigenous people, broadsiding the landowning oligarchy, and denouncing the social and political errors of the country.
"A new book of essays by the cultural critic Wayne Koestenbaum, author of The Queen's Throat and Jackie Under My Skin"--
A NEW YORK TIMES NEW & NOTEWORTHY BOOK Good bookshops are questions without answers. They are places that provoke you intellectually, encode riddles, surprise and offer challenges ... A pleasing labyrinth where you can’t get lost: that comes later, at home, when you immerse yourself in the books you have bought; lose yourself in new questions, knowing you will find answers. Picking up where the widely praised Bookshops: A Reader’s History left off, Against Amazon and Other Essays explores the increasing pressures of Amazon and other new technologies on bookshops and libraries. In essays on these vital social, cultural, and intellectual spaces, Jorge Carrión travels from London to Geneva, from Miami’s Little Havana to Argentina, from his own well-loved childhood library to the rosewood shelves of Jules Verne’s Nautilus and the innovative spaces that characterize South Korea’s bookshop renaissance. Including interviews with writers and librarians—including Alberto Manguel, Iain Sinclair, Luigi Amara, and Han Kang, among others—Against Amazon is equal parts a celebration of books and bookshops, an autobiography of a reader, a travelogue, a love letter—and, most urgently, a manifesto against the corrosive influence of late capitalism.
Winner of the 2018 National Book Critics Circle Award for Criticism A New York Times Notable Book From Zadie Smith, one of the most beloved authors of her generation, a new collection of essays Since she burst spectacularly into view with her debut novel almost two decades ago, Zadie Smith has established herself not just as one of the world's preeminent fiction writers, but also a brilliant and singular essayist. She contributes regularly to The New Yorker and the New York Review of Books on a range of subjects, and each piece of hers is a literary event in its own right. Arranged into five sections--In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free--this new collection poses questions we immediately recognize. What is The Social Network--and Facebook itself--really about? "It's a cruel portrait of us: 500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore." Why do we love libraries? "Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay." What will we tell our granddaughters about our collective failure to address global warming? "So I might say to her, look: the thing you have to appreciate is that we'd just been through a century of relativism and deconstruction, in which we were informed that most of our fondest-held principles were either uncertain or simple wishful thinking, and in many areas of our lives we had already been asked to accept that nothing is essential and everything changes--and this had taken the fight out of us somewhat." Gathering in one place for the first time previously unpublished work, as well as already classic essays, such as, "Joy," and, "Find Your Beach," Feel Free offers a survey of important recent events in culture and politics, as well as Smith's own life. Equally at home in the world of good books and bad politics, Brooklyn-born rappers and the work of Swiss novelists, she is by turns wry, heartfelt, indignant, and incisive--and never any less than perfect company. This is literary journalism at its zenith. Zadie Smith's new book, Grand Union, is on sale 10/8/2019.
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
An irresistible collection of favorite writings from an author celebrated for his bravura style and sheer unpredictability Francis Spufford's welcome first volume of collected essays gathers an array of his compelling writings from the 1990s to the present. He makes use of a variety of encounters with particular places, writers, or books to address deeper questions relating to the complicated relationship between story-telling and truth-telling. How must a nonfiction writer imagine facts, vivifying them to bring them to life? How must a novelist create a dependable world of story, within which facts are, in fact, imaginary? And how does a religious faith felt strongly to be true, but not provably so, draw on both kinds of writerly imagination? Ranging freely across topics as diverse as the medieval legends of Cockaigne, the Christian apologetics of C. S. Lewis, and the tomb of Ayatollah Khomeini, Spufford provides both fresh observations and thought-provoking insights. No less does he inspire an irresistible urge to turn the page and read on.
The writings of the "dean of the New York School of Abstract-Expressionist Painting." "The creative process lies not in imitating, but in paralleling nature; translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive and every work of art should be alive." Thus Hans Hofmann wrote nearly half a century ago. He left the Old World, Germany, for the New, at the age of 50. In 1948, when the retrospective exhibition was held at the Addison Gallery of American Art, Hofmann was 68; he had been in the United States for 18 years, a citizen for seven years. Yet he was scarcely recognized in Europe or America as an artist of significance and had never had a full-scale retrospective exhibition of his work. Beginning with a group exhibition in Germany in 1909, he had been given 12 one-man shows and had been included in four group exhibitions before the exhibit at Andover. Subsequently, he was to have 33 one-man shows and to be in over 60 group exhibitions, including the 1960 Venice Biennale, in which he was one of the four artists chosen to represent America. The catalogue of the 1948 retrospective at the Addison Gallery incorporated Hofmann's writings, all originally written in German, some pieces translated fluently, others awkwardly paraphrasing the original. He had written them over a period of 40 years for periodicals journals, or his own teaching purposes; occasionally they overlapped; there was no sequence of development. In the original volume of Search for the Real, published in 1948, it was felt desirable to edit his writing as little as possible, nevertheless to present the essays in the most lucid English true to his meaning, printed only with his approval. "The Search for the Real in the Visual Arts," "Sculpture," and "Painting and Culture" were all printed in full. The section "Excerpts from the Teaching of Hans Hofmann" was composed of selections from his essays "On the Aims of Art" and "Plastic Creation." The last brief section, "Terms," was gleaned from the other essays, lectures, diagrams, notes, and cryptic memoranda written to himself, headed by one of Hoffman's diagrams. It was a further distillation of his own definitions in the nature of a vocabulary. In the last 18 years of his life, recognition was his, nationally and internationally, in proportion to the originality and depth of his thinking, his versatility and comprehensiveness, his productivity and vigor. His was a prophetic visual expression of action in a three-dimensional world on a vibrating two-dimensional surface. He was a dynamic teacher; the wide range of his influence is to be seen in the list of artists comprising an exhibition "Hans Hofmann and His Students," circulated in America and abroad during the three years before his death in 1966. Among the 32 painters and sculptors in this exhibition were students as varied in their developed personal idioms as Helen Frankenthaler, Larry Rivers, Louise Nevelson, Richard Stankiewicz, and Alan Kaprow. Running simultaneously and also shown in South America and Europe as well as in the United States, a one-man show of 40 major works initiated by the Museum of Modern Art, New York, is a testimony to the words of the "dean of the New York School of Abstract-Expressionist Painting."
DigiCat Publishing presents to you this special edition of "The World's Last Night and Other Essays" by C. S. Lewis. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
“Impishly witty and ingeniously irreverent” essays on topics from cell phones to librarians, by the author of The Name of the Rose and Foucault’s Pendulum (The Atlantic Monthly). A cosmopolitan curmudgeon the Los Angeles Times called “the Andy Rooney of academia”—known for both nonfiction and novels that have become blockbuster New York Times bestsellers—Umberto Eco takes readers on “a delightful romp through the absurdities of modern life” (Publishers Weekly) as he journeys around the world and into his own wildly adventurous mind. From the mundane details of getting around on Amtrak or in the back of a cab, to reflections on computer jargon and soccer fans, to more important issues like the effects of mass media and consumer civilization—not to mention the challenges of trying to refrigerate an expensive piece of fish at an English hotel—this renowned writer, semiotician, and philosopher provides “an uncanny combination of the profound and the profane” (San Francisco Chronicle). “Eco entertains with his clever reflections and with his unique persona.” —Kirkus Reviews Translated from the Italian by William Weaver
This collection offers a fresh insight into the mind of innovative writer and artist, Steve Ditko. Part I collects all nine issues of The Four-Page Series, a newsletter he originally published between 2012 and 2015. Essay topics include flawed thinking and misbehavior of some comic book fans; choice, rationality, logic, emotion and the nature of artistic creation when more than one person is involved; how he made various decisions regarding his work; his thoughts and actions in developing prominent comics characters such as Spider-Man and Dr. Strange. The latter has been the subject of speculation (and outright fabrication) among fans in the decades since, but Ditko gives his first-hand accounts here. Part II includes over 20 additional essays in which Ditko explores history, philosophy, uncommon sense, the Law of Identity, the Founding Fathers, nature, comics and the creation of other characters he wrote and drew. Robin Snyder provides an introduction and other essays. Rodney Schroeter offers his thoughts in "Metaphysics and Fantasy." This book is part of a new, ongoing series: Ditko Complains.