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A NEW YORK TIMES BEST BOOK OF THE YEAR • An essential new translation of the author’s complete, uncensored diaries—a revelation of the idiosyncrasies and rough edges of one of the twentieth century’s most influential writers. “An invaluable addition to Kafka’s oeuvre.”— The New York Times An essential new translation of Franz Kafka’s complete, uncensored diaries—a revelation of the idiosyncrasies and rough edges of one of the twentieth century’s most important, influential, and visionary writers Dating from 1909 to 1923, Franz Kafka’s Diaries contains a broad array of writing, including accounts of daily events, assorted reflections and observations, literary sketches, drafts of letters, records of dreams, and unrevised texts of stories. This volume makes available for the first time in English a comprehensive reconstruction of Kafka’s handwritten diary entries and provides substantial new content, restoring all the material omitted from previous publications—notably, names of people and undisguised details about them, a number of literary writings, and passages of a sexual nature, some of them with homoerotic overtones. By faithfully reproducing the diaries’ distinctive— and often surprisingly unpolished—writing as it appeared in Kafka’s notebooks, translator Ross Benjamin brings to light not only the author’s use of the diaries for literary invention and unsparing self-examination but also their value as a work of genius in and of themselves.

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.

Michael Wolff knows Rupert Murdoch, Barry Diller, Jean-Marie Messier, Steve Ross and Ted Turner. He knows what they want, what fuels their appetites and what they can and can't see when they look in the mirror (or the financial pages). And he tells us all he knows in this report.

First published in 1973 – and followed by Volume II in 1976 and Volume III in 1980 – this anthology has assumed classic status in the field of Egyptology and portrays the remarkable evolution of the literary forms of one of the world’s earliest civilizations. Volume I outlines the early and gradual evolution of Egyptian literary genres, including biographical and historical inscriptions carved on stone, the various classes of literary works written with pen on papyrus, and the mortuary literature that focuses on life after death. Introduced with a new foreword by Antonio Loprieno. Volume II shows the culmination of these literary genres within the single period known as the New Kingdom (1550-1080 B.C.). With a new foreword by Hans-W. Fischer-Elfert. Volume III spans the last millennium of Pharaonic civilization, from the tenth century B.C. to the beginning of the Christian era. With a new foreword by Joseph G. Manning.

Originally published in 1980, this now classic work of literary theory explores the wilderness of positions that grew out of the collision between Anglo-American practical criticism and Continental philosophic criticism. This second edition includes a new preface by the author as well as a foreword by Hayden White. ?A key text for understanding ?the fate of reading' in the Anglophone world over the last fifty years.”?Hayden White, from the Foreword ? Criticism in the Wilderness may be the best, most brilliant, most broadly useful book yet written by an American about the sudden swerve from the safety of established decorum toward bravely theoretical, mainly European forms of literary criticism.”?Terrence Des Pres, Nation ?A polemical survey that reaffirms the value of the Continental tradition of philosophical literary criticism.”?Notable Books of the Year, New York Times Book Review

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

"If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread--or why so many people cannot resist its appeal, no matter how it changes or what form it takes. In this book, renowned fairy-tale expert Jack Zipes presents a provocative new theory about why fairy tales were created and retold--and why they became such an indelible and infinitely adaptable part of cultures around the world. Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, Zipes presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making his case, Zipes considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's "Bluebeard"; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions. While we may never be able to fully explain fairy tales, The Irresistible Fairy Tale provides a powerful theory of how and why they evolved--and why we still use them to make meaning of our lives."--Jacket.

Murder, marriage, and metaphysics link the bizarre series of events in this high-spirited comedy, winner of the Evening Standard's Best Play Award. George Moore is an aging professor of moral philosophy whose quest to compose a lecture on "Man--Good, Bad, or Indifferent?" is put on hold while he ponders the existence of his sock. He is joined by his youthful wife, Dotty, a former musical star on a downward spiral whose charm may explain the corpse in the next room; George's specially trained hare, Thumper; and a chorus of poorly trained gymnasts whose exploits set the stage for this topsy-turvy world. --from Amazon

Dive into a compelling work of literary criticism with "Drug themes in science fiction" by the esteemed Robert Silverberg. This authoritative volume offers a meticulous exploration and comprehensive bibliography of drug-related themes across speculative fiction. Silverberg, a master of the genre, insightfully examines the diverse ways drugs-real and imagined-have been portrayed within American and English science fiction. From their roles in societal commentary to their impact on individual characters and narrative progression, this book uncovers the profound and often complex presence of psychoactive substances in literary imagination. It serves as both a critical analysis of recurring motifs and an invaluable reference for anyone researching the genre. For readers captivated by literary themes, the history of science fiction, or the enduring dialogue between human experience and altered states of consciousness, "Drug themes in science fiction" provides an essential, detailed, and timeless perspective on a fascinating corner of literature. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The very best writing from one of America's most groundbreaking literary magazines. When Creative Nonfiction debuted in 1994, the literary genre it championed was largely the target of skepticism or downright ridicule. But at a time when few editors were interested in the personal essay, the magazine doggedly explored new ideas and fresh modes of expression, and over the next three decades, its contributors pioneered what would come to be known as the "fourth genre." The thirty-two essays collected here bring together some of the finest work Creative Nonfiction published over its seventy-eight issues. Read Pulitzer Prize-winner Charles Simic's boyhood remembrances of the bombing of Belgrade, Carolyn Forche's haunting, lyric catalog of her daily life as she faced down a cancer diagnosis, and John Edgar Wideman's meditation on the photo of a murdered boy his same age--Emmett Till--and how the image haunted him forever. Here, you'll find work by such luminaries as Adrienne Rich and John McPhee, but also essays from more contemporary voices like Brian Broome, Elizabeth Fortescue, and Anne McGrath. With an introduction by Lee Gutkind, Creative Nonfiction's founder and editor, this collection captures the evolution of a genre and the amazing work of the little magazine that helped make it all happen.

"It was one of history's great vanishing acts. As early as 3500 BCE, scribes in the mud-walled city-state of Sumer used a reed stylus to press tiny wedge-shaped symbols into clay. For three thousand years, the script chronicled the military conquests, scientific discoveries, and epic literature of the grand kingdoms of Mesopotamia - Assyria, Babylon, the mighty Achaemenid Empire - along with precious minutia about everyday life so long ago. But as the palaces of these once great kingdoms sank beneath the desert sands, the meaning of these characters was lost. London, 1857. Colossal sculptures of winged bulls and alabaster bas-reliefs depicting cities under siege and vassals bearing tributes to Biblical kings lined the halls of the British Museum. In the Victorian era's obsession with the triumph of human progress, the mysterious kingdoms of ancient Mesopotamia - the very cradle of civilization - had captured the public imagination. Yet Europe's best philologists struggled to decipher the strange characters. Cuneiform seemed to have thousands of symbols - with some scholars claiming each could be pronounced in up to eight, nine, even ten different ways. Others insisted they'd cracked the code and deciphered inscriptions that corresponded precisely to the Old Testament - proving the veracity of the Word of God. Was it all a hoax? A delusion? A rollicking adventure through the golden age of archaeology, The Writing on the Wall tracks the decades-long race to decipher the oldest script in the world. It's the story of a swashbuckling young archeologist, a suave British military officer, and a curmudgeonly Irish rector, all vying for glory - from the ruins of Persepolis to the opulence of Ottoman-era Baghdad - in a quest to unearth the relics of lost civilizations and unlock the secrets of humanity's past"--

Wallace Shawn's first new play in ten years, a dark moral fable. And so yes, well, I'd simply dropped that whole idea of being a good person, I'd dropped it right down into some hole in the street, and down it had gone into the city's sewers, and no one ever saw it again. And that was sad, if you thought it was sad, or I suppose it was sad, or some people probably would say it was sad. A dark moral fable, telling of an acclaimed writer's hedonistic lifestyle and its effects on his wife, son and mistress. Wallace Shawn's first new play in ten years, another viciously witty indictment of the liberal intelligentsia and its hidden depravity, will be staged in rep with a revival of The Fever at an Off-Broadway theatre in January 2026. "Wallace Shawn writes like no one else. His stuff is scary, gripping, and hilarious.", New Yorker

This book has hardback covers.Ex-library,With usual stamps and markings,In good all round condition.No dust jacket.

Natalia Ginzburg, arguably the most important woman writer of postwar Italy, always spoke of herself with irrepressible modesty. Yet the woman who claimed she "never managed to climb up mountains" in fact wrote the history of twentieth-century Italy with her sparse and captivating prose, chronicling Fascism, war, and the Nazi occupation as well as the intimacies of family life. Ginzburg's marriage to Leone Ginzburg, who met his death at the hands of the Nazis for his anti-Fascists activities, and her work for the Einaudi publishing house placed her squarely in the center of Italian political and cultural life. But whether writing about the Turin of her childhood, the Abruzzi countryside, where her family was interned during World War II, or contemporary Rome, Ginzburg never shied away from the traumas of history-even if she approached them only indirectly, through the mundane details and catastrophes of personal life. Intensely reserved, Ginzburg said that she "crept toward autobiography stealthily like a wolf." But she did openly discuss her life and her work in an extraordinary series of interviews for Italian radio in 1990. Never before published in English, It's Hard to Talk about Yourself presents a vivid portrait of Ginzburg in her own words on the forces that shaped her remarkable life-politics, publishing, literature, and family. This fluid translation will join Ginzburg's autobiography, Family Sayings , as one of the most important records of her life and, as the editors write in their preface, "the last, unexpected, original book by Natalia Ginzburg."

The struggle to write with deep emotion is the subject of this extraordinary book, the previously unpublished credo of one of America's greatest 20th-century writers. "You don't write a novel out of sheer pity any more than you blow a safe out of a vague longing to be rich," writes Nelson Algren in his only longer work of nonfiction, adding: "A certain ruthlessness and a sense of alienation from society is as essential to creative writing as it is to armed robbery." Nonconformity is about 20th-century America: "Never on the earth of man has he lived so tidily as here amidst such psychological disorder." And it is about the trouble writers ask for when they try to describe America: "Our myths are so many, our vision so dim, our self-deception so deep and our smugness so gross that scarcely any way now remains of reporting the American Century except from behind the billboards . . . [where there] are still . . . defeats in which everything is lost [and] victories that fall close enough to the heart to afford living hope." In Nonconformity, Algren identifies the essential nature of the writer's relation to society, drawing examples from Dostoyevsky, Chekhov, Twain, and Fitzgerald, as well as utility infielder Leo Durocher and legendary barkeep Martin Dooley. He shares his deepest beliefs about the state of literature and its role in society, along the way painting a chilling portrait of the early 1950s, Joe McCarthy's heyday, when many American writers were blacklisted and ruined for saying similar things to what Algren is saying here.

An exhaustive index in Yiddish and English to Yiddish-language periodicals and collective volumes of linguistic interest which were published in Europe and the US between 1913 and 1958. Annotation copyright Book News, Inc. Portland, Or.

The Catalogue of the Hebrew Manuscripts in the Bodleian Library and in the College Libraries of Oxford is a comprehensive reference book written by Adolf Neubauer. The book provides a detailed and systematic catalogue of all the Hebrew manuscripts that are held in the Bodleian Library and the College Libraries of Oxford. The author has meticulously researched and documented each manuscript, providing a brief historical background and detailed descriptions of their contents, including the language, script, and binding. The book is an invaluable resource for scholars and researchers interested in the study of Hebrew manuscripts, Jewish history, and culture. It is an essential reference work for anyone studying or researching the rich cultural heritage of the Jewish people.1886. Including MSS. in other languages, which are written with Hebrew characters, or relating to the Hebrew language or literature; and a few Samaritan MSS. With forty facsimiles. Partial Contents: Works Quoted; Concordances of the Old and New Numbers; Biblical MSS; Translation of the Bible; Midrash and its Commentaries; Commentaries and Super-Commentaries; Thalmud, Halakhah; Thalmud, Agadah; Liturgies and their Commentaries; Theology, Philosophy and Ethics; Masorah, Grammar and Lexicography; Kabbalah; Poetry and Rhymed Prose; Mathematics, Astronomy, Astrology, Magic and Cosmography; Medicine; Miscellaneous; Additional MSS and Omissions; College MSS; MSS written in Roman Characters in Connection with Hebrew Literature; Latest Acquisitions; and Additional Samaritan MSS. See other titles by this author available from Kessinger Publishing.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.

Space and Time magazine #148 offers an immersive journey into the captivating world of speculative fiction, poetry, and visionary artwork. Explore extraordinary narratives across the intriguing genres of science fiction, fantasy, and horror, each expertly crafted to push boundaries and spark your imagination. Discover chilling tales that stay with you, mesmerizing poetry that blurs reality, and evocative artwork designed to stimulate creative thought. Ideal for fans of speculative literature seeking fresh and compelling stories, Space and Time #148 is a must-have addition to your collection. Unlock endless adventures and unforgettable experiences today. Includes work from Linda D. Addison, Danny Robb, JJ de Melo, Sarah Walker, Lesley Hart Gunn, R Mac Jones, Larina Warnock, John C. Mannone, Adan Jerreat-Poole, Angela Yuriko Smith, Corey Niles, Valerie B. Williams, Mark A. Fisher, C.S. Magnuson, Richard Dansky, Matthew Roy, Frances Lu Pai Ippolito, Michael Getty, Nancy Taylor, Scot Noel, Darius Jones, Osmani Alcaraz-Ochoa, Scott J. Couturier, A J Dalton, Daniel M. Kimmel, Lee Murray, Sara Castaneda, Mark Guyer, Mark Dougherty, Nikki Dekeuster, Anthony R. Rhodes, Douglas Draper, Arthur Haywood, Thomas Nackid, Brad W. Foster, Mark Lavine, Al Sirois, Alfred Klosterman, Shikar Dixit and Anthony R. Rhodes. Interior design by Anthony R. Rhodes. Cover art from Arthur Haywood. Special thanks goes to the Space and Time Team that helped to bring this together: EDITOR-IN-CHIEF Angela Yuriko Smith, MANAGING EDITOR Ken Hueler, EDITOR FICTION EDITOR Gerard Houarner, POETRY EDITOR Linda D. Addison, ART EDITOR Diane Weinstein, TRANSLATIONS Luiz F. Peters, EDITORS EMERITUS Gordon Linzner and Hildy Silverman, FEATURE WRITERS Linda D. Addison, Daniel M. Kimmel, and Michael Wyatt, EDITORIAL ASSISTANTS Kyra Starr, J.W. Donley and Nikki DeKeuster.