'[A] lively, tender tale . . . In her zingy new novel [Solomons] gives the Mona Lisa . . . power, casting her as the fanciful narrator of her own story' THE TIMES 'A wonderfully written story of art, but also of obsession, friendship and love - I absolutely adored this novel' Jillian Cantor, author of The Lost Letter and In Another Time Listen to my history. My adventures are worth hearing. I have lived many lifetimes and been loved by emperors, kings and thieves. I have survived kidnap and assault. Revolution and two world wars. But this is also a love story. And the story of what we will do for those we love. In Leonardo da Vinci's studio, bursting with genius imagination, towering commissions and needling patrons, as well as discontented muses, friends and rivals, sits the painting of the Mona Lisa. For five hundred tumultuous years, amid a whirlwind of power, money, intrigue, the portrait of Lisa del Giocondo is sought after and stolen. Over the centuries, few could hear her voice, but now she is ready to tell her own story, in her own words - a tale of rivalry, murder and heartbreak. Weaving through the years, she takes us from the dazzling world of Florentine studios to the French courts at Fontainebleau and Versailles, and into the Twentieth Century. I, Mona Lisa is a deliciously vivid, compulsive and illuminating story about the lost and forgotten women throughout history. 'Solomons' prose is lyrical and her detail immense. No longer can I look at the Mona Lisa without hearing her. But more, now I know her' PRESS ASSOCIATION 'Oh, my god, I love this book! Extraordinarily inventive, a beautifully written, literary tour-de-force - a delicious historical and artistic feast' John Ironmonger, author of Not Forgetting the Whale

'It never really occurred to her that literary men, if they like women at all, do not want literary women but girls.' The May of Teck Club 'exists for the Pecuniary Convenience and Social Protection of Ladies of Slender Means below the age of Thirty Years'. Nevertheless, and though there is a war on, they find the time between elocution lessons to jostle one another over suitors (some more suitable than others) and a single Schiaparelli gown. But can a love of literature, fine clothes and amorous young men save these young ladies from the horrors of the real world? 'Unsettling and exhilarating' William Boyd, Daily Telegraph 'An enduring genius' Guardian

In an act of literary appropriation by turns witty, affectionate, and shameless, Jonathan Lethem and Carter Scholz seize a helpless Franz Kafka by the lapels and thrust him into the cultural wreckage of twentieth-century America. In the collaboratively written "Receding Horizon," Hollywood welcomes Kafka as a scriptwriter for Frank Capra's It's a Wonderful Life, with appropriately morbid results. Scholz's "The Amount to Carry" transports "the legal secretary of the Workman's Accident Insurance Institute" to a professional conference with fellow insurance executives Wallace Stevens and Charles Ives, for a night of musing on what can and can't be insured. And Lethem's "K for Fake" brings together Orson Welles, Jerry Lewis, and Rod Serling in a kangaroo trial where Kafka faces, needless to say, fraudulent charges. Taking Modernism's presiding genius for a literary joyride, the authors portray an absurd, ominous world that Kafka might have invented but could never have survived. Book jacket.

Written as a cultural weapon and a call to arms, Howl touched a raw nerve in Cold War America and has been controversial from the day it was first read aloud nearly fifty years ago. This first full critical and historical study of Howl brilliantly elucidates the nexus of politics and literature in which it was written and gives striking new portraits of Allen Ginsberg, Jack Kerouac, and William Burroughs. Drawing from newly released psychiatric reports on Ginsberg, from interviews with his psychiatrist, Dr. Philip Hicks, and from the poet's journals, American Scream shows how Howl brought Ginsberg and the world out of the closet of a repressive society. It also gives the first full accounting of the literary figures―Eliot, Rimbaud, and Whitman―who influenced Howl, definitively placing it in the tradition of twentieth-century American poetry for the first time. As he follows the genesis and the evolution of Howl, Jonah Raskin constructs a vivid picture of a poet and an era. He illuminates the development of Beat poetry in New York and San Francisco in the 1950s--focusing on historic occasions such as the first reading of Howl at Six Gallery in San Francisco in 1955 and the obscenity trial over the poem's publication. He looks closely at Ginsberg's life, including his relationships with his parents, friends, and mentors, while he was writing the poem and uses this material to illuminate the themes of madness, nakedness, and secrecy that pervade Howl. A captivating look at the cultural climate of the Cold War and at a great American poet, American Scream finally tells the full story of Howl―a rousing manifesto for a generation and a classic of twentieth-century literature.

This book is the fourth of six that describe mysteries solved by the Black Widowers, based on a literary dining club he belonged to known as the Trap Door Spiders. It collects twelve stories by Asimov, together with a general introduction and an afterword following each story by the author. Nine of the stories were previously published; "The Driver," "The Wrong House" and "The Intrusion" are new to this collection. Each story involves the club members' knowledge of trivia. Nearly every story here is about decoding a riddle, each of which provides a clue based on dying or last words, misunderstood words, forgotten words, or withheld words. A few are based on facts that are, perhaps, not generally known to the public Asimov was a frequent writer of popular science and his inclination to explain anything and everything for the general public carried over into other fields, such as history and sociology but all the mysteries play fair with the reader, who is given either enough information to figure out the solution or a satisfying conclusion that is based on previously given facts and personality qualities.

From one of the preeminent literary voices in Israel comes a darkly funny collection of surrealist stories exploring the increasingly complex relationship between humans and technology. Set in our world, alternate realities, distant futures, and the immortal realm, the stories in Autocorrect traverse the wide range of human experience. With wit and creativity, Keret blends the absurd and the profound, juxtaposing life's smallest details with weighty existential questions. A man names an asteroid after his wife only to find that it's on a collision course with Earth in "For the Woman Who Has Everything." In "Squirrels," a widower's husband reincarnates as a rodent, and "Eating Olives at the End of the World" considers proper social etiquette in the face of destruction. Keret's collection speaks to the uncertainty and fragility of our time, expertly capturing its misunderstandings and miscommunications. His stories probe society's uncomfortable truths, searching for meaning in our ever-changing world.

Does gender have a poetics: What difference does gender make? How does it affect writing, reading, and the functions of text in society? The Poetics of Gender is a brilliant assembly of leading feminist critics whose collective effort presents the most up-to-date research on these important issues. The range of techniques and theories represented here are applied across a broad spectrum of texts and cultural forms, extending from women's writing of the Renaissance and the fiction of George Sand to the relation between quiltmaking and nineteenth-century literary forms, the pornography of Georges Bataille, and the theories of Julia Kristeva.

The most famous collection of short fiction by acclaimed Yugoslavian writer Danilo Kis. In these nine stories Kis depicts human relationships, encounters, landscapes--the multitude of details that make up a human life. Kis combines fiction and history in postmodern style, and in a postscript provides fascinating historical backgrounds and other notes for the reader that add interest and context. An enduring classic of Slavic literary fiction.

Wallace Stegner was the premier chronicler of the twentieth-century western American experience, and his novels, the Pulitzer Prize–winning Angle of Repose and the National Book Award–winning The Spectator Bird, brought the life and landscapes of the West to national and international attention. Now, in this illuminating biography, Philip L. Fradkin goes beyond Stegner’s iconic literary status to give us, as well, the influential teacher and visionary conservationist, the man for whom the preservation and integrity of place was as important as his ability to render its qualities and character in his brilliantly crafted fiction and nonfiction. From his birth in 1909 until his death in 1993, Stegner witnessed nearly a century of change in the land that he loved and fought so hard to preserve. We learn of his hardscrabble youth on the Canadian frontier and in Utah, and of his painful relationship with his father, a bootlegger and gambler. We follow his intellectual awakening as a young man and his years as a Depression-era graduate student at the University of Iowa, during its earliest days as a literary center. We watch as he finds his home, with his wife, Mary, in the foothills above Palo Alto, which provided him with a long-awaited sense of belonging and a refuge in which he would write his most treasured works. And here are his years as the legendary founder of the Stanford Creative Writing Program, where his students included Ken Kesey, Edward Abbey, Robert Stone, and Wendell Berry. But the changes wrought by developers and industrialists were too much for Stegner, and he tirelessly fought the transformation of his Garden of Eden into Silicon Valley. His writings on the importance of establishing national parks and wilderness areas—not only for the preservation of untouched landscape but also for the enrichment of the human spirit—played a key role in the passage of historic legislation and comprise some of the most beautiful words ever written about the natural world. Here, too, is the story—told in full for the first time—of the accusations of plagiarism that followed the publication of Angle of Repose, and of the shadow they have cast on his greatest work. Rich in personal and literary detail, and in the sensual description of the country that shaped his work and his life—this is the definitive account of one of the most acclaimed and admired writers, teachers, and conservationists of our time.

In 'the stifling heat of equatorial Newark', a terrifying epidemic is raging, threatening the children of the New Jersey city with maiming, paralysis, life-long disability, even death. This is the startling and surprising theme of Roth's wrenching new book: a wartime polio epidemic in the summer of 1944 and the effect it has on a closely-knit, family-oriented Newark community and its children. At the centre of Nemesis is a vigorous, dutiful, twenty-three-year old playground director, Bucky Cantor, a javelin thrower and a weightlifter, who is devoted to his charges and disappointed with himself because his weak eyes have excluded him from serving in the war alongside his contemporaries. Focusing on Cantor's dilemmas as polio begins to ravage his playground - and on the everyday realities he faces - Roth leads us through every inch of emotion such a pestilence can breed: the fear, the panic, the anger, the bewilderment, the suffering, and the pain. Moving between the smouldering, malodorous streets of besieged Newark and Indian Hill, a pristine children's summer camp high in the Poconos - whose 'mountain air was purified of all contaminants' - Roth depicts a decent, energetic man with the best intentions struggling in his own private war against the epidemic. Roth is tenderly exact at every point about Cantor's passage into personal disaster and no less exact about the condition of childhood. Through this story runs the dark question that haunts all four of Roth's late short novels, Everyman , Indignation , The Humbling , and now, Nemesis : what choices fatally shape a life? How powerless is each of us up against the force of circumstances?

"Contemporary fairy tales, cushioned by goofy humor and a deep tenderness for her characters, that aren't always as dark or as sinister as they initially appear." -- The New York Times Book Review Aimee Bender’s Willful Creatures conjures a fantastical world in which authentic love blooms. This is a place where a boy with keys for fingers is a hero, a woman’s children are potatoes, and a little boy with an iron for a head is born to a family of pumpkin heads. With her singular mix of surrealism, musical prose, and keenly felt emotion, Bender once again proves herself to be a masterful chronicler of the human condition.

"Acclaimed New Yorker writer Brodkey set the literary world ablaze with this much-talked-about debut novel--a literary tour de force about an adopted child in the early 1930s who is raised in the St. Louis household of his cousins."--Goodreads

Within a Budding Grove (1919) is the second volume of Marcel Proust's seven-part novel In Search of Lost Time . Written while Proust was virtually confined to his bedroom from a lifelong respiratory illness, Within a Budding Grove is a story of memory, history, family, and romance from a master of Modernist literature. Praised by Virginia Woolf, Vladimir Nabokov, Michael Chabon, and Graham Greene, In Search of Lost Time explores the nature of memory and time while illuminating the history of homosexuality in nineteenth century Europe. After years of admiring the Swann family from a distance, the narrator befriends the lovely young Gilberte. Through her, he gains access to her parents and their home, where artists and intellectuals gather to discuss their lofty ideals alongside the latest gossip. Despite his attraction to Gilberte, he finds himself enthralled with her mother, a careworn beauty so often ignored by her husband. As he grows and learns, he begins to recognize the reality concealed by convention: the secret liaisons between lovers; the petty competitions of artists; the fleeting nature of affection and lust alike. Written in flowing prose, Within a Budding Grove is a masterpiece of twentieth century fiction that continues to entertain and astound over a century after it appeared in print. This edition of Marcel Proust's Within a Budding Grove is a classic work of French literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

"In 1973 celebrated writer and editor Harlan Ellison announced the third and final volume of his unprecedented anthology series, which began with Dangerous Visions and continued with Again, Dangerous Visions. But for reasons undisclosed, The Last Dangerous Visions was never completed. Provocative and controversial, socially conscious and politically charged, wildly imaginative yet deeply grounded, the thirty-two never-before-published stories, essays, and poems in The Last Dangerous Visions stand as a testament to Ellison's lifelong pursuit of art, uniting a diverse range of science fiction writers both famous and newly minted, including Max Brooks, Edward Bryant, Cecil Castellucci, James S. A. Corey, Howard Fast, P. C. Hodgell, Dan Simmons, Robert Sheckley, Adrian Tchaikovsky, Mildred Downey Broxon, and Cory Doctorow, among others. The historic publication of The Last Dangerous Visions completes the long-awaited final chapter in an incredible literary legacy."--Amazon.

This volume covers a pivotal era in the formation of American identity. Four leading scholars connect the literature with the massive historical changes then underway. Richard Brodhead describes the foundation of a permanent literary culture in America. Nancy Bentley locates the origins of nineteenth century Realism in an elite culture's responses to an emergent mass culture, embracing high literature (writers like William Dean Howells and Henry James) as well as a wide spectrum of cultural outsiders: African Americans, women, and Native Americans. Walter Benn Michaels emphasizes the critical role that turn-of-the-century fiction played in the re-evaluation of the individual at the advent of modern bureaucracy. Susan L. Mizruchi analyzes the literary responses to a new national heterogeneity that helped shape the multicultural future of modern America. Together, these narratives constitute the richest, most detailed account to date of American literature and culture between 1860 and 1920.

Between 1948 and 1961, Earnest Hemingway and A. E. Hotchner traveled together from New York to Paris to Spain, fished the waters off Cuba, hunted in Idaho, and ran with the bulls in Pamplona. And everywhere they talked. For 14 years, Hotchner and Hemingway shared a conversation. Hemingway reminisced about his childhood, recalled the Paris literary scene in the twenties, remembered his early years as a writer, and recounted the real events that lay behind his fiction. And Hotchner took it all down. His notes on the many occasions he spent with his friend Papa - in Venice and Rome, in Key West, on the Riviera, in Ketchum, Idaho, where Hemingway died by his own hand in 1961 - provide the material for this utterly truthful, profoundly compassionate bestselling memoir of the Nobel and Pulitzer Prize-winning author. What emerges is an extraordinary portrait of a great writer who had, and determined, the time of his life.

"Rainforests occupy a special place in the imagination. Literary, historical and cinematic depictions range from a ghastly Green Hell to an idyllic Garden of Eden. In terms of fiction, they fired the already fervent imaginations of storytellers as diverse as Sir Arthur Conan Doyle, Edgar Rice Burroughs, Rudyard Kipling and even George Lucas and Steven Spielberg in whose books and films they are inhabited by dinosaurs, trod by Indiana Jones, prowled by Mowgli the Jungle Boy and swung through by Tarzan of the Apes. But rainforest fact is no less fascinating than rainforest fiction. Brimming with mystery and intrigue, these forests still harbor lost cities, uncontacted tribes, ancient shamans, and powerful plants than can kill - and cure. The rainforest bestiary extends far beyond the requisite lions, tigers and bears. Flying foxes and winged lizards, arboreal anteaters, rainforest giraffes, cross-dressing spiders that disguise themselves as ants and bats the size of a bumblebees all flourish in these most fabulous of forests along with other zoological denizens that are equally bizarre and spectacular. And no scientist immersed in these ecosystems believes that all the wonders have been found or revealed. Tropical rainforests merit their moniker. They flourish in the tropics - the more than 3000 mile-wide equatorial band between the Tropic of Cancer and the Tropic of Capricorn. And these forests are hot, humid and wet, receiving in the Amazon, on average from 60 to 120 inches of rain per year - as compared to a mere 25 inches in London or 45 inches in Manhattan. However, several sites in the rainforests of northeastern India, of west Africa and western Colombia are drenched by over 400 inches of precipitation per annum. To a large degree, rainfall in the tropics is determined by the so-called "Intertropical Convergence Zone" (ICZ), a band of clouds around the equator created by the meeting of the northeast and southeast trade winds. Also referred to as the "Monsoon Trough," and known to - and dreaded by - sailors over the centuries as the "Doldrums," since the extended periods of calm that sometimes manifested there could strand a sailing vessel for weeks. The constant cloud cover due to the ICZ, the ferocious heat, and the abundant rainfall combine to produce high humidity, sometimes close to 95 per cent in the Amazon, a challenge for visitors unused to such torpor. According to Rhett Butler of Mongabay: "Each canopy tree transpires 200 gallons of water annually, translating roughly into 20,000 gallons transpired into the atmosphere for every acre of canopy trees. Large rainforests (and their humidity) contribute to the formation of rain clouds, and generate as much as 75 per cent of their own rain and are therefore responsible for creating as much as 50 per cent of their own precipitation.""--

"Young Lions: How Jewish Authors Reinvented the American War Novel shows how Jews, traditionally castigated as weak and cowardly, for the first time became the popular literary representatives of what it meant to be a soldier and what it meant to be an American. Revisiting best-selling works ranging from Norman Mailer's The Naked and the Dead to Joseph Heller's Catch-22, and uncovering a range of unknown archival material, Leah Garrett shows how Jewish writers used the theme of World War II to reshape the American public's ideas about war, the Holocaust, and the role of Jews in postwar life. In contrast to most previous war fiction these new Jewish war novels were often ironic, funny, and irreverent and sought to teach the reading public broader lessons about liberalism, masculinity, and pluralism"--Page 4 of cover.

On the twentieth anniversary of Bernard Malamud's death, Janna Malamud Smith explores her renowned father's life and literary legacy. Malamud was among the most brilliant novelists of his era, the author of the Pulitzer Prize winner The Fixer, as well as The Natural and The Assistant -- named one of the best "100 All-Time Novels" by Time. He counted among his friends Philip Roth, Saul Bellow, Theodore Roethke, and Shirley Jackson. Yet Malamud was also very private. Only his family has had full access to his personal papers, including revealing letters and journals that offer unique insight into the man and his work. In her candid, evocative, and loving memoir, his daughter brings Malamud to vivid life as no one else can. Bernard Malamud, the son of Russian-Jewish immigrants, grew up in Brooklyn in a home overshadowed by poverty and mental illness. Unable to earn a living in New York, he took a teaching position in Oregon and moved his young family there. For Janna, it was an idyllic time and place. Her father was warm, funny, and passionate about his writing, which was gaining national attention. In 1961, an appointment to Bennington College brought the Malamuds back east and right into the middle of the heady, often hilarious free-for-all that was campus life in that radically changing time. But Bennington's anything-goes atmosphere and Malamud's growing fame came at a price to his family: his deep belief that one should live morally crashed into his premise that one should live fully. Janna Malamud Smith speaks as only a daughter can of a fraught relationship with an adored father. In glowing praise of My Father Is a Book, Susan Cheever -- who also wrote memorably of her own father, John Cheever -- says, "This loving portrait of a writer's family from the inside describes good times and difficulties with affection and candor and provides a fascinating backstory for Malamud's great fiction."

Jacques Derrida is probably the most famous European philosopher alive today. The University of Nebraska Press makes available for the first English translation of his most important work to date, Glas . Its appearance will assist Derrida's readers pro and con in coming to terms with a complex and controversial book. Glas extensively reworks the problems of reading and writing in philosophy and literature; questions the possibility of linear reading and its consequent notions of theme, author, narrative, and discursive demonstration; and ingeniously disrupts the positions of reader and writer in the text. Glas is extraordinary in many ways, most obviously in its typography. Arranged in two columns, with inserted sections within these, the book simultaneously discusses Hegel’s philosophy and Jean Genet’s fiction, and shows how two such seemingly distinct kinds of criticism can reflect and influence one another. The customary segregation of philosophy, rhetoric, psychoanalysis, linguistics, history, and poetics is systematically subverted. In design and content, the books calls into question “types” of literature (history, philosophy, literary criticism), the ownership of ideas and styles, the glorification of literary heroes, and the limits of literary representation.