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“Will make many readers smile with recognition.”—The New Yorker “Readaholics, meet your new best friend.”—People “This book is bliss.”—The Boston Globe Sometimes subtle, sometimes striking, the interplay between our lives and our books is the subject of this unique memoir by well-known publishing correspondent and self-described “readaholic” Sara Nelson. The project began as an experiment with a simple plan—fifty-two weeks, fifty-two books—that fell apart in the first week. It was then that Sara realized the books chose her as much as she chose them, and the rewards and frustrations they brought were nothing she could plan for. From Solzhenitsyn to Laura Zigman, Catherine M. to Captain Underpants, the result is a personal chronicle of insight, wit, and enough infectious enthusiasm to make a passionate reader out of anybody.
Suppose I were to begin by saying that I had fallen in love with a color . . . A lyrical, philosophical, and often explicit exploration of personal suffering and the limitations of vision and love, as refracted through the color blue. With Bluets, Maggie Nelson has entered the pantheon of brilliant lyric essayists. Maggie Nelson is the author of numerous books of poetry and nonfiction, including Something Bright, Then Holes (Soft Skull Press, 2007) and Women, the New York School, and Other True Abstractions (University of Iowa Press, 2007). She lives in Los Angeles and teaches at the California Institute of the Arts.
T'ao Ch'ien, (365 - 427, C.E.), one of the most revered poets in classical Chinese literature, is presented in a lucid translation with an introduction. "David Hinton is one of the most impressive of the younger translators of classical Chinese poetry.... His renderings are varied and imaginative while remaining faithful to the spirit of the original."--Burton Watson
National Bestseller "Beautifully written and delightfully strange...as earthy as it is sublime...in the truest sense, an eye-opener." --Daily News From Annie Dillard, the Pulitzer Prize-winning author of Pilgrim at Tinker Creek and one of the most compelling writers of our time, comes For the Time Being, her most profound narrative to date. With her keen eye, penchant for paradox, and yearning for truth, Dillard renews our ability to discover wonder in life's smallest--and often darkest--corners. Why do we exist? Where did we come from? How can one person matter? Dillard searches for answers in a powerful array of images: pictures of bird-headed dwarfs in the standard reference of human birth defects; ten thousand terra-cotta figures fashioned for a Chinese emperor in place of the human court that might have followed him into death; the paleontologist and theologian Teilhard de Chardin crossing the Gobi Desert; the dizzying variety of clouds. Vivid, eloquent, haunting, For the Time Being evokes no less than the terrifying grandeur of all that remains tantalizingly and troublingly beyond our understanding. "Stimulating, humbling, original--. [Dillard] illuminate[s] the human perspective of the world, past, present and future, and the individual's relatively inconsequential but ever so unique place in it."--Rocky Mountain News
Lod Airport, Israel: Two Concorde jets take off for a U.N. conference that will finally bring peace to the Middle East. Covered by F-14 fighters, accompanied by security men, the planes carry warriors, pacifists, lovers, enemies, dignitaries -- and a bomb planted by a terrorist mastermind. Suddenly they're forced to crash-land at an ancient desert site. Here, with only a handful of weapons, the men and women of the peace mission must make a desperate stand against an army of crack Palestinian commandos -- while the Israeli authorities desperately attempt a rescue mission. In a land of blood and tears, in a windswept place called Babylon, it will be a battle of bullets and courage, and a war to the last death.
"The Brontës had their moors, I have my marshes," Lorine Niedecker wrote of flood-prone Black Hawk Island in Wisconsin, where she lived most of her life. Her life by water, as she called it, could not have been further removed from the avant-garde poetry scene where she also made a home. Niedecker is one of the most important poets of her generation and an essential member of the Objectivist circle. Her work attracted high praise from her peers--Marianne Moore, William Carlos Williams, Louis Zukofsky, Cid Corman, Clayton Eshleman--with whom she exchanged life-sustaining letters. Niedecker was also a major woman poet who interrogated issues of gender, domesticity, work, marriage, and sexual politics long before the modern feminist movement. Her marginal status, both geographically and as a woman, translates into a major poetry. Niedecker's lyric voice is one of the most subtle and sensuous of the twentieth century. Her ear is constantly alive to sounds of nature, oddities of vernacular speech, textures of vowels and consonants. Often compared to Emily Dickinson, Niedecker writes a poetry of wit and emotion, cosmopolitan experimentation and down-home American speech. This much-anticipated volume presents all of Niedecker's surviving poetry, plays, and creative prose in the sequence of their composition. It includes many poems previously unpublished in book form plus all of Niedecker's surviving 1930s surrealist work and her 1936-46 folk poetry, bringing to light the formative experimental phases of her early career. With an introduction that offers an account of the poet's life and notes that provide detailed textual information, this book will be the definitive reader's and scholar's edition of Niedecker's work.
Coretta Scott King Illustrator Honor, ALA Notable Children's Book, CCBC Best Children's Book of the Year, Jane Addams Children's Book Award, Kirkus Best Children's Books, NCTE Notable In the 1930s, Lewis's dad, Lewis Michaux Sr., had an itch he needed to scratch—a book itch. How to scratch it? He started a bookstore in Harlem and named it the National Memorial African Bookstore. And as far as Lewis Michaux Jr. could tell, his father's bookstore was one of a kind. People from all over came to visit the store, even famous people—Muhammad Ali, Malcolm X, and Langston Hughes, to name a few. In his father's bookstore people bought and read books, and they also learned from each other. People swapped and traded ideas and talked about how things could change. They came together here all because of his father's book itch. Read the story of how Lewis Michaux Sr. and his bookstore fostered new ideas and helped people stand up for what they believed in.
Before Maggie Nelson’s name became synonymous with such genre-defying, binary-slaying writing as The Argonauts and The Art of Cruelty, this collection of poetry introduced readers to a singular voice in the making: exhilarating, fiercely vulnerable, intellectually curious, and one of a kind. These days/the world seems to split up/into those who need to dredge/and those who shrug their shoulders/and say, It’s just something/that happened. While Maggie Nelson refers here to a polluted urban waterway, the Gowanus Canal, these words could just as easily describe Nelson’s incisive approach to desire, heartbreak, and emotional excavation in Something Bright, Then Holes. Whether writing from the debris-strewn shores of a contaminated canal or from the hospital room of a friend, Nelson charts each emotional landscape she encounters with unparalleled precision and empathy. Since its publication in 2007, the collection has proven itself to be both a record of a singular vision in the making as well as a timeless meditation on love, loss, and―perhaps most frightening of all―freedom.
Suggests activities to be used at home to accompany the reading of Miss Nelson is missing by Harry Allard in the classroom.
Dana Nelson provides a study of the ways in which Anglo-American authors constructed "race" in their works from the time of the first British colonists through the period of the Civil War. She focuses on some eleven texts, ranging from widely-known to little-considered, that deal with the relations among Native, African, and Anglo-Americans, and places her readings in the historical, social, and material contexts of an evolving U.S. colonialism and internal imperialism. Nelson shows how a novel such as The Last of the Mohicans sought to reify the Anglo historical past and simultaneously suggested strategies that would serve Anglo-Americans against Native Americans as the frontier pushed farther west. Concluding her work with a reading of Harriet Jacobs's Incidents in the Life of a Slave Girl, Nelson shows how that text undercuts the racist structures of the pre-Civil War period by positing a revised model of sympathy that authorizes alternative cultural perspectives and requires Anglo-Americans to question their own involvement with racism.