Selected and annotated by Gertrude Himmelfarb, a distinguished historian of Victorian thought, the writings in this volume address a wide range of subjects, including religion, politics, history, science, art, socialism, and feminism, by eminent figures of the Victorian era.

Includes articles on Walter Benjamin, S.Y. Agnon, Martin Buber, and on Israel and the diaspora.

Christopher Hitchens assesses the life, the achievements, and the myth of the great political writer and participant George Orwell. In his emulative and contrarian style, Hitchens is both admiring and aggressive, sympathetic yet critical, taking true measure of his subject as hero and problem. Answering both the detractors and the false claimants, Hitchens tears down the facade of sainthood erected by the hagiographers and rebuts the critics point by point. He examines Orwell and his perspectives on fascism, empire, feminism, and Englishness, as well as his outlook on America, a country and culture towards which he exhibited much ambivalence.

NEW YORK TIMES BESTSELLER • A fascinating portrait of journalism and the people who make it, told through pieces collected from the incomparable six-decade career of bestselling author and longtime New Yorker writer Calvin Trillin “ The Lede contains profiles . . . that are acknowledged classics of the form and will be studied until A.I. makes hash out of all of us.”—Dwight Garner, The New York Times LONGLISTED FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD I’ve been writing about the press almost as long as I’ve been in the game. At some point, it occurred to me that disparate pieces from various places in various styles amounted to a picture from multiple angles of what the press has been like over the years since I became a practitioner and an observer. Calvin Trillin has reported serious pieces across America for The New Yorker, covered the civil rights movement in the South for Time, and written comic verse for The Nation . But one of his favorite subjects over the years—a superb fit for his unique combination of reportage and humor—has been his own professional environment: the American press. In The Lede, Trillin gathers his incisive, often hilarious writing on reporting, reporters, and the media world that is their orbit. He writes about a legendary crime reporter in Miami, a swashbuckling New York Times reporter, and an erudite film critic in Dallas who once a week transformed himself from an appreciator of the French nouvelle vague into a crude connoisseur of movies like Mother Riley Meets the Vampire . There are pieces on the House of Lords aspirations of a North American press baron, the paucity of gossip columns in Russia, the embroilment of a weekly newspaper in a missing person case, and the founding of a publication called Beautiful Spot: A Magazine of Parking . Uniting all of this is Trillin’s signature combination of empathy, humor, and graceful prose. The Lede is an unparalleled portrait of one of our fundamental American institutions from a master journalist.

Isaiah Berlin was one of the leading thinkers of the century, and one of the finest writers. The Proper Study Of Mankind selects some of the best of his essays. The full (and enormous) range of his work is represented here, from the exposition of his most distinctive doctrine - pluralism - to studies of Machiavelli, Tolstoy, Churchill and Roosevelt. In these pages he encapsulates the principal movements that characterise the modern romanticism, historicism, Fascism, relativism, irrationalism and nationalism. His ideas are always tied to the people who conceived them, so that abstractions are brought alive. His insights both illuminate the past and offer a key to the burning issues of the today.

Confessions of a verbivore--A celebration of English. Our abounding English language; Doing a number on English ; A guide to Britspeak, A to Zed --This American language. A declaration of language independence ; Talking turkey ; All-American dialects ; Slang as it is slung ; A circus of words ; Words from oure presidents ; Stamp out fadspeak! ; Like, what's happening to our language? -- The glamour of grammar. Conan the grammarian ; Laying down the law--without lying down on the job; Sex and the singular pronoun ; An open letter to Ann Landers--Spellbound. Under a spell ; I before E, except?..;Fairly familiar phrases--Getting the word out. Writing is ... ; How I write; Plane talk; Radio days; English with a Russian dressing--The collide-o-scope of language. How wise is proverbial wisdom? ; Words that never stray ; Heads without tails ; Our uppity English language ; On palindromes ; The long and the short of English--The romance of words. Toothsome etymologies ; Haunted words ; My kids the poker players ; On paradox ; A primer of political words; The true meaning of Christmas ; Literature lives!--It's a punderful life. Jest for the pun of it ; Pun your way to success ; Nothing works for me ; A bilingual pun is twice the fun ; My favorite monsters.

This collection of two decades of Susan Sontag essays reinforces our sense of her maverick importance. So stubbornly eclectic that she has been accused of squandering her genius, she explores what she pleases, delving into new subjects and new genres as she will. These essays, grouped into invitingly open sections ("Reading," "Seeing," "There & Here"), follow her enthusiasms through almost every branch of artistic venture and thought.

True stories of sudden death in the classic collection by a master of American journalism “Reporters love murders,” Calvin Trillin writes in the introduction to Killings. “In a pinch, what the lawyers call ‘wrongful death’ will do, particularly if it’s sudden.” Killings, first published in 1984 and expanded for this edition, shows Trillin to be such a reporter, drawn time after time to tales of sudden death. But Trillin is attracted less by violence or police procedure than by the way the fabric of people’s lives is suddenly exposed when someone comes to an untimely end. As Trillin says, Killings is “more about how Americans live than about how some of them die.” These stories, which originally appeared in The New Yorker between 1969 and 2010, are vivid portraits of lives cut short. An upstanding farmer in Iowa finds himself drastically changed by a woman he meets in a cocktail lounge. An eccentric old man in Eastern Kentucky is enraged by the presence of a documentary filmmaker. Two women move to a bucolic Virginia county to find peace, only to end up at war over a shared road. Mexican American families in California hand down a feud from generation to generation. A high-living criminal-defense lawyer in Miami acquires any number of enemies capable of killing him. Stark and compassionate, deeply observed and beautifully written, Killings is “that rarity, reportage as art” (William Geist, The New York Times Book Review ). Praise for Killings “Riveting tales of murder and mayhem. . . . [Calvin] Trillin is a superb writer, with a magical ability to turn even the most mundane detail into spellbinding wonder. Armed with this wealth of material, he utterly shines. Every piece here is a gem.” — The Seattle Times “What Mr. Trillin does so well, what makes Killings literature, is the way he pictures the lives that were interrupted by the murders. Even the most ordinary life makes a terrible noise . . . when it’s broken off.” —Anatole Broyard, The New York Times “Fascinating, troubling . . . In each of these stories is the basis of a Dostoevskian novel.” —Edward Abbey , Chicago Sun-Times “The stories . . . are unforgettable. They leave us, finally, with the awareness of the unknowable opacity of the human heart.” —Bruce Colman , San Francisco Chronicle “[Trillin] writes brilliantly. . . . These stories still hold up, as classics.” — The Buffalo News “In his artful ability to conjure up a whole life and a whole world, Trillin comes as close to achieving the power of a Chekhov short story as can anyone whose material is so implacably tied to fact.” —Frederick Iseman , Harper’s Bazaar “I have a book for you true-crime addicts if you’re caught up on the podcast Serial, the cascade on TV of 48 Hours and Dateline NBC episodes. . . . It’s time to pick up Calvin Trillin’s Killings .” — The New York Times Book Review “Well-crafted and thoughtfully composed, lacking judgment and admonishment, these are a true piece of quality journalism, which clearly continues to captivate audiences.” — Library Journal “With telling detail and shrewd insights, [Calvin Trillin] masterfully evokes the places and personalities that hatched these grim episodes.” — Publishers Weekly

“As far as the education of children is concerned,” states Natalia Ginzburg in this collection of her finest and best-known short essays, “I think they should be taught not the little virtues but the great ones. Not thrift but generosity and an indifference to money; not caution but courage and a contempt for danger; not shrewdness but frankness and a love of truth; not tact but a love of one’s neighbor and self-denial; not a desire for success but a desire to be and to know.” Whether she writes of the loss of a friend, Cesare Pavese; or what is inexpugnable of World War II; or the Abruzzi, where she and her first husband lived in forced residence under Fascist rule; or the importance of silence in our society; or her vocation as a writer; or even a pair of worn-out shoes, Ginzburg brings to her reflections the wisdom of a survivor and the spare, wry, and poetically resonant style her readers have come to recognize. “A glowing light of modern Italian literature . . . Ginzburg’s magic is the utter simplicity of her prose, suddenly illuminated by one word that makes a lightning streak of a plain phrase. . . . As direct and clean as if it were carved in stone, it yet speaks thoughts of the heart.” — The New York Times Book Review

In the Global Novel, acclaimed literary critic Adam Kirsch explores some of the 21st century's best-known writers--including Orhan Pamuk, Haruki Murakami, Roberto Bolaño, Chimamanda Ngozi Adichie, Mohsin Hamid, Margaret Atwood, Michel Houellebecq, and Elena Ferrante. They are employing a way of imagining the world that sees different places and peoples as intimately connected. From climate change and sex trafficking to religious fundamentalism and genetic engineering, today's novelists use 21st-century subjects to address the perennial concerns of fiction, like morality, society, and love. The global novel is not the bland, deracinated, commercial product that many critics of world literature have accused it of being, but rather finds a way to renew the writer's ancient privilege of examining what it means to be human. -- Back cover.

"A stunning, unclassifiable work by one of the 20th century's greatest thinkers and writers, this book is an inspiring amalgam of letters, poetry, and profound musings on everything from Caravaggio to the nature of time itself. 'Those who read or listen to our stories see everything as though through a lens. This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless ...In our brief mortal lives, we are grinders of these lenses'. When John Berger wrote this apparently unclassifiable book, it was to become a sensation, translated into nine languages and indelible from the minds of those who read it. This stunning work is a shoebox filled with delicate love letters containing poetry and thoughts on mortality, art, love, and absence, capturing moments in time that hover above Berger's surprising landscapes. From his lyrical description of the works of Caravaggio and profound explorations of death and immigration to the sight of some lilac at dusk in the mountains, this is a beautiful and most intimate response to the world around us"-- Provided by publisher.

In this astonishingly acrobatic work, Paul Auster traces the compulsion to make literature--or art--through essays on Franz Kafka, Samuel Beckett, Paul Celan, Laura Riding, Knut Hamsun, John Ashbery, and other vital figures of our century. In a section of interviews as well as in the revelatory ?The Red Notebook,? Auster reflects on his own work: on the need to break down the boundary between living and writing; on the use of certain genre conventions to penetrate matters of memory and identity. The Art of Hunger undermines and expands our accepted notions about literature and throws an uprecedented light on his own richly allusive writing.

The Purloined Clinic is a retrospective of essays, reviews, and reports that reflect the range and depth of Janet Malcolm's engagement with psychology, criticism, art, and literature. She examines aspects of "that absurdist collaboration," the psychoanalytic dialogue, from which come "small, stray sell recognitions that no other human relationship yields, brought forward under conditions . . . that no other human relationship could survive." She addresses such subjects as Tom Wolfe's vendetta against modern architecture, Milan Kundera's literary experiments, and Vaclav Havel's prison letters. She explores the somewhat deflated world of post-revolutionary Prague, guides us through the labyrinthine New York art world of the eighties, and takes us behind the one-way mirror of Salvador Minuchin's school of family therapy. And to each subject she brings the incisive skepticism and dazzling epigrammatic style that are her hallmarks. “Why don’t more people write like [Malcolm]? . . . She is cast from the mold of the Eastern European intellectual: beholden to modernism. as familiar with Kundera’s exile as she is with Freud’s Vienna. This sensibility must grant her the detachment she sometimes so mercilessly employs, but it also gives her an unassailable passion for getting to the center of things.” — Boston Globe

The Moment of Cubism is one of John Berger’s most important collections of art criticism. Whether considering Vermeer in his studio, Poussin’s poignant meditation on death, or the complexities of Rodin’s sculpture, Berger draws together the threads that bind individual artists to their social and political context. Here Berger argues that Cubism was a moment rather than a movement, one that came and went without the consent of its key figures – Picasso and Braque above all. He makes a case for Cubism’s revolutionary influence. As always, Berger helps us see the world in new ways

Richard Hofstadter, the distinguished historian and twice winner of the Pulitzer Prize, brilliantly assesses the ideas and contributions of the three major American interpretive historians of the twentieth Frederick Jackson Turner, Charles A. Beard and V.L. Parrington. These men, whose views of history were shaped in large part by the political battles of the Progressive era, provided the Progressive movement with a usable past and the American liberal mind with a historical tradition. The Progressive Historians is at once a critique of historical thought during this decisive period of American development and an account of how these three writers led American historians into the controversial political world of the twentieth century. Turner, in developing his idea that American democracy is the outcome of the experience of frontier expansion and the settlement of the West, introduced his fellow historians to a set of new concepts and methods, and in doing so doing re-drew the guidelines of American historiography. Beard insisted upon the elitist origins of the Constitution, crusaded for the economic interpretation of history, and ultimately staked his historical reputation on an isolationist view of recent American foreign policy. Parrington emphasized the moral and social functions of literature, and read the history of literature as a history of the national political mind. In recent years, the tide has run against the Progressive historians, as one specialist after another has taken issue with their interpretations. The movement of contemporary historical thought has led to a rediscovery of the complexity of the American past. Although he cannot share the faith of the Progressive historians in the sufficiency of American liberalism as a guide to the modern world, Richard Hofstadter believes we have much to learn about ourselves from a reconsideration of their insights.

Never before has Gordimer, awarded the Nobel Prize for Literature in 1991, published such a comprehensive collection of her nonfiction. Telling Tales represents the full span of her works in that field-from the twilight of white rule in South Africa to the fight to overthrow the apartheid regime, and most recently, her role over the past seven years in confronting the contemporary phenomena of violence and the dangers of HIV. The range of this book is staggering, and the work in totality celebrates the lively perseverance of the life-loving individual in the face of political tumult, then the onslaught of a globalized world. The abiding passionate spirit that informs "A South African Childhood," a youthful autobiographical piece published in The New Yorker in 1954, can be found in each of the book's ninety-one pieces that span a period of fifty-five years. Returning to a lifetime of nonfiction work has become an extraordinary experience for Gordimer. She takes from one of her revered great writers, Albert Camus, the conviction that the writer is a "responsible human being" attuned not alone to dedication to the creation of fiction but to the political vortex that inevitably encompasses twentieth- and twenty-first-century life. Born in 1923, Gordimer, who as a child was ambitious to become a ballet dancer, was recognized at fifteen as a writing prodigy. Her sensibility was as much shaped by wide reading as it was to eye-opening sight, passing on her way to school the grim labor compounds where black gold miners lived. These twin decisives-literature and politics-infuse the book, which includes historic accounts of the political atmosphere, firsthand, after the Sharpeville Massacre of 1960 and the Soweto uprising of 1976, as well as incisive close-up portraits of Nelson Mandela and Desmond Tutu, among others. Gordimer revisits the eternally relevant legacies of Tolstoy, Proust, and Flaubert, and engages vigorously with contemporaries like Susan Sontag, Octavio Paz, and Edward Said. But some of her most sensuous writing comes in her travelogues, where the politics of Africa blend seamlessly with its awe-inspiring nature-including spectacular recollections of childhood holidays beside South Africa's coast of the Indian Ocean and a riveting account of her journey the length of the Congo River in the wake of Conrad. Gordimer's body of work is an extraordinary vision of the world that harks back to the sensibilities-political, moral, and social-of Dickens and Tolstoy, but with a decidedly vivid contemporary consciousness. Telling Times becomes both a literary exploration and extraordinary document of social and political history in our times.