Ben Hecht: 1001 Afternoons in Chicago is a compilation of more than 60 columns written for the Chicago Daily News that Hecht's editor called "journalism extraordinary; journalism that invaded the realm of literature." The hardboiled audacity and wit that became Ben Hecht's signature as Hollywood's most celebrated screen-writer are conspicuous in these vignettes. Most of them are comic and sardonic, some strike muted tragic or somber atmospheric notes. . . . The best are timeless character sketches that have taken on an added interest as shards of social history. Ben Hecht's collection, as presented in 1001 Afternoons in Chicago, is a timeless caricature of urban American life in the jazz age. From the glittering opulence of Michigan Avenue to the darkest ruminations of an escaped convict, from captains of industry to immigrant day laborers, Ben Hecht captures 1920s Chicago in all its furor, intensity, and absurdity. Hecht's book offers scruffy time capsules of an earlier Chicago, an era that is long gone but still recognizable to readers'' imaginations. Michigan Avenue, Lake Michigan, street names such as Dearborn and Adams and LaSalle and Wabansia, places such as the Art Institute of Chicago--they''re all here. In Ben Hecht's words, Chicago is a razzle-dazzle of dreams, tragedies, fantasies, and his tales capture gorgeous scraps of it, vivid vignettes starring businessmen and hobos and cops and socialites and janitors. . . . Thanks to 1001 Afternoons in Chicago, Chicago of 1922 and the Chicago of 2009 bump into each other, shake hands, exchange greetings. Then, this being Chicago, they go for a drink and talk about old times.

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Taken from the journals of distinguished writer Leonard Michaels, Time Out of Mind chronicles the author's life as a friend, lover, husband, and father. With wrenching dramatic intensity, it captures the character and the mind of an extraordinary talent -- from his days as a struggling young writer in Greenwich Village, through the turbulent Vietnam era, to his years as a professor of English literature at Berkeley. This is an unforgettable portrait of an artist in the world -- from one of the most acclaimed authors of our time.

"To confront American culture is to feel oneself encircled by a thin but strong presence. I call it Emersonian, an imprecise term but one that directs us to a dominant spirit in the national experience." Thus Irving Howe, America's distinguished social critic and a longtime reader of the Sage of Concord, begins this illuminating discussion of Emerson and his disciples and doubters. What is the Emersonian spirit? What inspired it, what propelled it? And what does it mean to us today? History gave Emerson his opportunity and then took it away. Coming to manhood during the 1830s and 1840s, the time of "the newness" when Americans beheld the world with unbounded expectations, Emerson became the spokesman for the self-reliant new man he believed had arisen, ready to thrust aside mossy traditions and launch a new revolution of freewheeling thought. But the rapid pace of the American experience overtook the Emersonian vision; in the 1850s, the rising problems of slavery, a boom-and-bust economy, the vulgarity of mass culture overwhelmed the idealist. His satellite spirits wavered and shrouded the Emersonian optimism: Hawthorne, with his stories of moral breakdown; Thoreau, rooted in nature yet inclined to the cranky and fanatical; Melville, his fathomless blackness waiting beneath archetypal fables of innocence and evil also Walt Whitman, Orestes Brownson, Twain--all were influenced by, yet reacted against, the Emersonian "newness." Howe identifies three kinds of response: the literature of work (Melville and Mark Twain), the literature of Edenic fraternity (James Fenimore Cooper, Whitman, Twain again), and the literature of loss (all the post-Civil War writers). He lays before us the intellectual and personal tragedy of the first great American man of letters, yet also shows that Emerson's belief in the untapped power of free men pervades not only the lives and works of his contemporaries but is also a permanent part of the American psyche.

It is the summer of 1940, and Lisbon is one of the only neutral ports left in Europe - a city filled with spies, crowned heads and refugees of every nationality, tipping back absinthe to while away the time until their escape. Awaiting safe passage to New York on the S. S. Manhattan, two couples meet: Pete and Julia Winters, expatriate Americans fleeing their sedate life in Paris; and Edward and Iris Freleng, elegant, independently wealthy, bohemian, and beset by the social and sexual anxieties of their class. Swept up in the tumult, the hidden currents of the lives of these four characters - Julia's status as a Jew, Pete and Edward's affair, Iris's increasingly desperate efforts to save her tenuous marriage - begin to come loose. This journey will change the four of them irrevocably, as Europe sinks into war.

A great critic’s quarrels with himself and others, as revealed in his correspondence In the mid-twentieth century, Lionel Trilling was America’s most respected literary critic. His powerful and subtle essays inspired readers to think about how literature shapes our politics, our culture, and our selves. His 1950 collection, The Liberal Imagination , sold more than 100,000 copies, epitomizing a time that has been called the age of criticism. To his New York intellectual peers, Trilling could seem reserved and circumspect. But in his selected letters, Trilling is revealed in all his variousness and complexity. We witness his ardent courtship of Diana Trilling, who would become an eminent intellectual in her own right; his alternately affectionate and contentious rapport with former students such as Allen Ginsberg and Norman Podhoretz; the complicated politics of Partisan Review and other fabled magazines of the period; and Trilling’s relationships with other leading writers of the period, including Saul Bellow, Edmund Wilson, and Norman Mailer. In Life in Culture , edited by Adam Kirsch, Trilling’s letters add up to an intimate portrait of a great critic, and of America’s intellectual journey from the political passions of the 1930s to the cultural conflicts of the 1960s and beyond.

The Ladies of the Corridor is a novel written by Dorothy Parker, an American writer, poet, and critic. The book is a story about a group of elderly women living in a retirement home called the Tamarack Lodge. The main character, Mrs. Laura Sheridan, is a widow who has been living in the lodge for several years. She is bored with her life and feels trapped in the routine of the home. However, she finds solace in the company of her fellow residents, who are all women of a certain age.The novel explores the lives of these women and their experiences of aging, loneliness, and the loss of independence. The ladies of the corridor are portrayed as strong and resilient, despite their physical limitations. They find comfort in each other's company and support each other through the challenges of growing old.The story takes a dramatic turn when a new resident, Mrs. Pearl Jewett, arrives at the lodge. Mrs. Jewett is a vibrant and outspoken woman who challenges the status quo of the home. She encourages the other women to stand up for themselves and demand better treatment from the staff. Her arrival causes tension and conflict among the residents and staff, and the novel explores the dynamics of power and control in the home.Overall, The Ladies of the Corridor is a poignant and insightful novel about aging, friendship, and the resilience of the human spirit. Dorothy Parker's writing is sharp and witty, with a deep understanding of the human condition. The book is a must-read for anyone interested in the experiences of older women and the challenges they face in society.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

From a small, bogside cabin in rural New England, 38-year-old Aimee Slater unravels the story of her life, attempting to make sense of the tangled thread that leads from her mother's house-a short, unbridgeable distance away-to the world she now inhabits. It is soon after the Civil War; Aimee lives alone, but is graced with visits from two friends, a crippled man and a troubled eleven-year-old girl. She is perpetually caught between the sensual world she so desires and the divine retribution passed down to her by her mother's scorn. How Aimee ultimately creates a life for herself and bridges that distance makes for a moving story of love and loss. Told in a voice of spare New England lyricism, Unravelling is a remarkably haunting account of the power of redemption.

Running in Prospect Cemetery includes the best work from Susan Glickman's four previous volumes, as well as a large selection of superb new poems that continue to demonstrate her versatility, confidence, compassion and humour. Glickman has been a Signal poet since the publication of Complicity in 1983, a collection that prompted The Journal of Commonwealth Literature to hail her as "one of the finest of the new generation of Canadian writers," a promise she has brilliantly fulfilled in an extraordinary twenty-year career that has always stayed true to the poetry that, as she puts it in the title poem--is "wholly accepting of what I am / this small frame of muscle and bone." Susan Glickman was raised in Montreal and now makes her home in Toronto, where she teaches at the Lycée Français de Toronto. She is the author of four collections of poetry, and has won both the Gabrielle Roy Prize and the Raymond Klibansky Prize for her work of literary criticism The Picturesque & the Sublime: A Poetics of the Canadian Landscape. She is currently working on her second novel.

The haunting story of a woman who desires “something more, as if something more had been promised her that was not yet given.” Vivian Carpentier, confined by her role as an upper class woman in the 1940s, gleans meaning only from erotic love. Troubled by the elusiveness of men, yet convinced that they run the world, she can barely conceal her desperation to entice. Struggling with motherhood and the failure of marriage, she takes jobs to bridge intervals between lovers. She sings in a hotel bar, sells dresses, and nurses her father’s friend through his last illness, hoping to atone for a self-centered life. The constant in Vivian’s life is her son, David. Having seen her worst and best moments, he provides her with consolation and a reason for living.

The flowering of literary imagination known as the American Renaissance had few roots in the South. While Hawthorne, Emerson, Melville, Thoreau, and Whitman were creating a body of work that would endure, the only southern writer making a lasting contribution was Edgar Allan Poe. This failure on the part of antebellum southern writers has long been a subject of debate among students of southern history and literature. Now one of the region's most distinguished men of letters offers a cogently argued and gracefully written account of the circumstances that prevented early southern writers from creating transcendent works of art. Louis D. Rubin, Jr., brings forty years of critical integrity and imaginative involvement with the history and literature of the South to his informal inquiry into the foundations of the southern literary imagination. His exploration centers on the lives and works of three of the most important writers of the pre-Civil War South: Poe, William Gilmore Simms, and Henry Timrod. In a close and highly original reading of Poe's poetry and fiction, Rubin shows just how profoundly growing up in Richmond, Virginia, influenced that writer. The sole author of the Old South whose work has endured did not use southern settings or concern himself with his region's history or politics. Poe was, according to Rubin, in active rebellion against the middle-class community of Richmond and its materialistic values. Simms, on the other hand, aspired to the plantation society ideal of his native Charleston, South Carolina. He was not the most devoted and energetic of southern writers and one of the country's best-known and most respected literary figures before the Civil War. Rubin finds an explanation for much of the lost promise of antebellum southern literature in Simms's career. Here was a talented man who got caught up in the politically obsessed plantation community of Charleston, becoming an apologist for the system and an ardent defender of slavery. Timrod, also a Charlestonian native, was a highly gifted poet whose work attained the stature of literature when the Civil War gave him a theme. He was known as the poet laureate of the Confederacy. Only when his region was locked in a desperate military struggle for the right to exist did he suddenly find his enduring voice. Anyone interested in southern life and literature will welcome his provocative and engaging new look at southern writing from one of the region's most perceptive critics.

Renoir Drawings is a comprehensive collection of drawings by the renowned French artist Pierre-Auguste Renoir, compiled and curated by art historian John Rewald. The book features over 300 drawings, including sketches, studies, and finished works, spanning Renoir's entire career from his early years as a student to his later years as a master painter. The drawings are accompanied by insightful commentary and analysis by Rewald, providing readers with a deeper understanding of Renoir's artistic process and techniques. The book is a must-have for art lovers and collectors, as well as anyone interested in the history and evolution of Impressionism.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

The Ancient Rain: Poems 1956-1978 is San Francisco poet Bob Kaufman's third collection and his first to be published since the late 1960s. One of the original Beat poets (the coinage "beatnik" is his), Kaufman's work has always been essentially improvisational, often done to jazz accompaniment. And he became something of a legendary figure at the poetry readings in the early days of the San Francisco renaissance of the 1950s. With his extemporaneous technique, akin in many ways to Surrealist automatic writing, he has produced a body of work ranging from a visionary lyricism infused with satirical, almost Dadaistic elements to a prophetic poetry of political and social protest. Born in New Orleans of mixed Black and Jewish parentage, Kaufman was one of fourteen children. During twenty years in the Merchant Marine, he cultivated an intense taste for literature on his long sea voyages. Settling in California, in the '50s, he became active in the burgeoning West Coast literary scene. Disappointment, drugs, and imprisonment led him to take a ten-year vow of complete silence that lasted until 1973. The present volume includes previously uncollected poems written prior to his pledge and newer work composed in the years 1973-1978, before the poet once again lapsed into silence.

The poems of Anna Margolin (1887?1952), appearing here both in the original Yiddish and in English translation. Winner of the 2007 Yiddish Literature and Translation from Yiddish presented by the Helen and Stan Vine Annual Canadian Jewish Book Awards 2007 Runner Up of the National Jewish Book Award in Poetry Born Rosa Lebensboym in Belarus, Anna Margolin (1887?1952) settled permanently in America in 1913. A brilliant yet largely forgotten poet, her reputation rests on her volume of poetry published in Yiddish in 1929 in New York City. Although written in the 1920s, Margolin's poetry is remarkably fresh and contemporary, dealing with themes of anxiety, loneliness, sexual tensions, and the search for intellectual and spiritual identity, all of which were clearly reflected in her own life choices. Sensitively and beautifully translated here, the poems appear both in the original Yiddish and in English translation. Shirley Kumove's fascinating critical-biographical introduction highlights Margolin's tempestuous and unconventional life. An exceptionally beautiful and gifted woman, Margolin adopted a bohemian and an eccentric lifestyle, and threw herself into both intellectual pursuits and romantic attachments beyond her two marriages.

The Great American Novel (1923) is an experimental novel by William Carlos Williams. Although he is predominately known as a poet, Williams frequently pushed the limits of prose style throughout his career. In the defining decade of Modernism, Williams sought to try his hand at the so-called "Great American Novel," a concept fueling impassioned debate in academic and artistic circles nationwide. Far from conventional, Williams' novel is a metafictional foray into matters more postmodern than modern, a commentary masquerading as narrative and a satire of the all-American overreliance on cliché in form and content. "If there is progress then there is a novel. Without progress there is nothing. Everything exists from the beginning. I existed in the beginning. I was a slobbering infant. Today I saw nameless grasses--I tapped the earth with my knuckle. It sounded hollow. It was dry as rubber. Eons of drought. No rain for fifteen days. No rain. It has never rained. It will never rain." Williams' novel begins with the word and a birth. Language describes the experience of awakening to experience, of coming into consciousness as a living being in a living world. Using words from everyday speech, he builds a novel out of observations, a book that remains conscious of itself throughout. Like the child whose first experience with the written word often comes from names and slogans stretched over trucks and billboards, the reader eventually comes to accept their new reality, a world where people love and succeed and fail, where history and art intercede to make meaning where they can. The Great American Novel showcases Williams' experimental form, stretching the meaning of "novel" to its outermost limit. This edition of William Carlos Williams' The Great American Novel is a classic of American 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.

Drama Characters: 11 male 4 female Interior Set Two of Hollywood's top-drawer writers have here written a play that begins with an American family on any normal morning and culminates in one of the most chilling dilemmas in the literature of the theatre. Davie's father is a rich manufacturer who promises to help him build a tree-house when he comes home from school. But Davie does not come home today. From their worried calls his mother and father learn that he has been kidnapped from school by a woman impersonating his pediatrician's nurse. Then comes the demand for ranson: half a million dollars. His father is to give the kidnappers a signal on the TV program which his firm sponsors. Meantime they sweat out the waiting period and wonder if Davie will ever be seen alive again. At the very last moment Davie's father makes the ultimate moral decision in the life of himself and his family. He preempts the MC's spot to make one of the most startling extemporaneous speeches ever heard. He shows the money and then says that he will not pay it. He demands the return of the boy unharmed and promises not to prosecute. But failing this he promises to offer the half million as a reward for the apprehension of the kidnappers and he asks if they think their associates would prefer them to half a million dollars. For this speech Davie's father is universally condemned and the mother collapses in hysterics. In the calm eye of this storm comes the shattering denouement. "Appeals to the noblest most decent most universal emotions in all humanity."ýÿ Hollywood Reporter. "Tense harrowing and well worthwhile."ýÿLondon Daily Herald.

David Biespiel's long poetic lines crackle with rhythmic energy and a jazzy, bittersweet richness of language. Rolling out across the page like darkly luminous highways, his innovative, nine-line "American sonnets" promise adventure, offering a variant on the sonnet form that is both lyric and dramatic and bringing his masterful formal inventiveness to free verse. "I've come to imagine the nine-line sonnet to be like one of those classic Thunderbirds," says Biespiel, "something distinctly American: wide, roomy, and with a robust engine." The vastly varied voices within the poems are united by a wonderfully limber diction. Using with revelatory precision the vocabularies of history, science, art, sport, philosophy, religion, literature, government, and domestic life, Biespiel has crafted a hip, melodic, elastic language that travels the registers of expression: lush and coarse, gaudy and austere, pliant and rigidly tough. The civility of the poems is the form; the wildness is the bristling energy of the language. Passionate, resilient, rich with wit and word play, these poems affirm David Biespiel's increasing stature as a poet of remarkable accomplishment and promise. David Biespiel teaches English at Oregon State University and is Writer in Residence at The Attic in Portland, Oregon. His honors include a Stegner Fellowship in Poetry and the National Endowment for the Arts Fellowship in Literature. He is the author of Shattering Air. "Like microprocessors, the poems in Wild Civility deliver an almost incalculable amount of information instantaneously. As a result, they demonstrate the pure and powerful recombinant energy of language that is the essence of lyric poetry." - Michael Collier, Bread Loaf Writers' Conference "Wild in its imaginative thrust, civil in its formal command, this glowing new sequence represents David Biespiel's best poetry to date." - Stanley Plumly

Poetry. Jewish Studies. RENDING THE GARMENT is a narrative tapestry encompassing persona poems, prose poems, flash fiction, imagined meetings with historical figures, ancestral appearances, and ephemera. This series of linked poems explores the life and times of one Jewish family. "RENDING THE GARMENT tells a familiar tale, the Jewish immigrant family romance, but with an important difference: using shifting points of views and narrative interruptions (biographical essays, scolding notes from school Principals, diary entries), not to mention a cast of characters as lively as a borscht belt revue, Willa Schneberg tells her story from the inside, where grief and love live side by side in bed, 'neither old, nor young' bodies outside of time. A fresh, original and moving addition to our literature." Philip Schultz "RENDING THE GARMENT draws us intimately into one family and through them into the world of immigrant Jews born almost a century ago and their lives in America. Willa Schneberg has a fine ear and her poems capture their voices, their cadences, the way they think, mixing Yiddish with English, the old and the new. The people of her poems come alive on the page: irreverant, beautiful, flawed, funny, sad, loving, opinionated, stubborn, real. They embody a wealth of contradictions, perfectly exemplified in these lines that her mother who smoked so glamorously and lost her voice to cancer writes in a notebook near the end of her life, 'I'm Jewish. / There is no God.' I recognize these people and I come to care for them deeply." Ellen Bass "In RENDING THE GARMENT, Willa Schneberg juxtaposes humor and heartbreak, Jewish Brooklyn's cultural/ linguistic referents and post-modernity. Readers hear the iconic, self-mocking conversation of familial bickering and the deep devotion of a daughter charged with helping her parents die 'good' deaths. 'Soon it will be as if language never knew him, ' says one speaker of her father. With precise, unsparing detail, Schneberg's language rewards our journey into the difficult, mortal territory we all share." Robin Becker "In one memorable episode in Willa Schneberg's RENDING THE GARMENT, the author's dying mother sits by the hospital bed of the Israeli poet Abba Kovner. 'Stars don't go out when we die, ' he writes on her notepad. 'Now you're talking, ' she writes in reply. This funny, poignant imagined moment is representative of the moments Schneberg has gathered to create her richly woven memoir in poetry of a loving, contentious Jewish family and the world they lived in of junk men, corset shops, and immigrant ambitions." Lee Sharkey"