The story of four modern American Catholics who made literature out of their search for GodIn the mid-twentieth century four American Catholics came to believe that the best way to explore the questions of religious faith was to write about them-in works that readers of all kinds could admire. The Life You Save May Be Your Own is their story-a vivid and enthralling account of great writers and their power over us.Thomas Merton was a Trappist monk in Kentucky; Dorothy Day the founder of the Catholic Worker in New York; Flannery O'Connor a "e;Christ-haunted"e; literary prodigy in Georgia; Walker Percy a doctor in New Orleans who quit medicine to write fiction and philosophy. A friend came up with a name for them-the School of the Holy Ghost-and for three decades they exchanged letters, ardently read one another's books, and grappled with what one of them called a "e;predicament shared in common."e;A pilgrimage is a journey taken in light of a story; and in The Life You Save May Be Your Own Paul Elie tells these writers' story as a pilgrimage from the God-obsessed literary past of Dante and Dostoevsky out into the thrilling chaos of postwar American life. It is a story of how the Catholic faith, in their vision of things, took on forms the faithful could not have anticipated. And it is a story about the ways we look to great books and writers to help us make sense of our experience, about the power of literature to change-to save-our lives.
I have sat and listened to too manywords of the collaborating muse,and plotted perhaps too freely with my life,not avoiding injury to others,not avoiding injury to myself-to ask compassion . . . this book, half fiction,an eelnet made by man for the eel fightingmy eyes have seen what my hand did.Winner of the 1974 Pulitzer Prize in Poetry, The Dolphin was controversial from the beginning: many of the poems include the letters that Robert Lowell's wife, the celebrated writer and critic Elizabeth Hardwick, wrote to him after he left her for the English socialite and writer Caroline Blackwood. He was warned by many, among them Elizabeth Bishop, that "e;art just isn't worth that much."e; Nevertheless, these poems are a powerful document of an impulsive love, and a moving record of Lowell's change from one life and marriage in America to a new life on new terms with a new family in England, rendered with the stunning technical power and control for which he was so celebrated. This new edition, which follows the 1973 edition, includes scans of the pages of Lowell's original manuscript, giving us a look into the brilliant and complicated mind of one of our most beloved and distinguished poets.
In The Beats: A Graphic History, those who were mad to live have come back to life through artwork as vibrant as the Beat movement itself. Told by the comic legend Harvey Pekar, his frequent artistic collaborator Ed Piskor, and a range of artists and writers, including the feminist comic creator Trina Robbins and the Mad magazine artist Peter Kuper, The Beats takes us on a wild tour of a generation that, in the face of mainstream American conformity and conservatism, became known for its determined uprootedness, aggressive addictions, and startling creativity and experimentation.What began among a small circle of friends in New York and San Francisco during the late 1940s and early 1950s laid the groundwork for a literary explosion, and this striking anthology captures the storied era in all its incarnations-from the Benzedrine-fueled antics of Kerouac, Ginsberg, and Burroughs to the painting sessions of Jay DeFeo's disheveled studio, from the jazz hipsters to the beatnik chicks, from Chicago's College of Complexes to San Francisco's famed City Lights bookstore. Snapshots of lesser-known poets and writers sit alongside frank and compelling looks at the Beats' most recognizable faces. What emerges is a brilliant collage of-and tribute to-a generation, in a form and style that is as original as its subject.
A New Translation From The French By Marion WieselNight is Elie Wiesel's masterpiece, a candid, horrific, and deeply poignant autobiographical account of his survival as a teenager in the Nazi death camps. This new translation by Marion Wiesel, Elie's wife and frequent translator, presents this seminal memoir in the language and spirit truest to the author's original intent. And in a substantive new preface, Elie reflects on the enduring importance of Night and his lifelong, passionate dedication to ensuring that the world never forgets man's capacity for inhumanity to man.Night offers much more than a litany of the daily terrors, everyday perversions, and rampant sadism at Auschwitz and Buchenwald; it also eloquently addresses many of the philosophical as well as personal questions implicit in any serious consideration of what the Holocaust was, what it meant, and what its legacy is and will be.
It is the astonishment of Louise Gluck's poetry that it resists collection. With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape-Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain-persistently emerge and reappear with the dark energy of the inevitable, shot through with the bright aspect of things new-made. From the outset ("e;Come here / Come here, little one"e;), Gluck's voice has addressed us with deceptive simplicity, the poems in lines so clear we "e;do not see the intervening fathoms."e; From within the earth'sbitter disgrace, coldness and barrennessmy friend the moon rises: she is beautiful tonight, but when is she not beautiful?To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.
Levels of the Game is John McPhee's astonishing account of a tennis match played by Arthur Ashe against Clark Graebner at Forest Hills in 1968.It begins with the ball rising into the air for the initial serve and ends with the final point. McPhee provides a brilliant, stroke-by-stroke description while examining the backgrounds and attitudes which have molded the players' games."This may be the high point of American sports journalism"- Robert Lipsyte, The New York Times
A daring novella about the loss of innocence in pre-war Germany.Reunion is the story of intense and innocent devotion between two young men growing up in "the soft, serene, bluish hills of Swabia," and the sinister (but all too mundane) forces that end both their friendship and their childhood.The year is 1932. Hans Schwartz is Jewish, the son of a Stuttgart doctor who asserts that the rise of the Nazis is "a temporary illness, something like measles which will pass off as soon as the economic situation improves." The Holocaust would be unthinkable for these characters, but of course it looms over the story: Hans's friend, the young Count Konradin von Hohenfels, has a mother who keeps a portrait of Hitler on her dresser. The two boys share their most private thoughts and trips to the countryside of southwest Germany, discuss poetry and the past and present of their country, and argue the existence of a benevolent God.The eventual disintegration of this cherished relationship foreshadows the fate of Europe's Jews-- but Uhlman doesn't end his story with neat polarities. Years later, exiled in America, Hans comes upon a revelation about von Hohenfels which provides a stunning denouement and leaves the reader recalling Uhlman's haunting, lyrical descriptions of the vineyards, opera houses, and dark forests of Württemberg."Hundreds of bulky tomes have now been written about the age when corpses were melted into soap to keep the master race clean; yet I sincerely believe that this slim volume will find its lasting place on the shelves."--Arthur Koestler, from the Introduction
In the late sixties and early seventies, an impromptu collection of musicians colonized a eucalyptus-scented canyon deep in the Hollywood Hills of Los Angeles and melded folk, rock, and savvy American pop into a sound that conquered the world as thoroughly as the songs of the Beatles and the Rolling Stones had before them. Thirty years later, the music made in Laurel Canyon continues to pour from radios, iPods, and concert stages around the world. During the canyon's golden era, the musicians who lived and worked there scored dozens of landmark hits, from "e;California Dreamin'"e; to "e;Suite: Judy Blue Eyes"e; to "e;It's Too Late,"e; selling tens of millions of records and resetting the thermostat of pop culture.In Laurel Canyon, veteran journalist Michael Walker tells the inside story of this unprecedented gathering of some of the baby boom's leading musical lights-including Joni Mitchell; Jim Morrison; Crosby, Stills, and Nash; John Mayall; the Mamas and the Papas; Carole King; the Eagles; and Frank Zappa, to name just a few-who turned Los Angeles into the music capital of the world and forever changed the way popular music is recorded, marketed, and consumed.
Prada stores carry a few obscenely expensive items in order to boost sales for everything else (which look like bargains in comparison). People used to download music for free, then Steve Jobs convinced them to pay. How? By charging 99 cents. That price has a hypnotic effect: the profit margin of the 99 Cents Only store is twice that of Wal-Mart. Why do text messages cost money, while e-mails are free? Why do jars of peanut butter keep getting smaller in order to keep the price the "same"? The answer is simple: prices are a collective hallucination.In Priceless, the bestselling author William Poundstone reveals the hidden psychology of value. In psychological experiments, people are unable to estimate "fair" prices accurately and are strongly influenced by the unconscious, irrational, and politically incorrect. It hasn't taken long for marketers to apply these findings. "Price consultants" advise retailers on how to convince consumers to pay more for less, and negotiation coaches offer similar advice for businesspeople cutting deals. The new psychology of price dictates the design of price tags, menus, rebates, "sale" ads, cell phone plans, supermarket aisles, real estate offers, wage packages, tort demands, and corporate buyouts. Prices are the most pervasive hidden persuaders of all. Rooted in the emerging field of behavioral decision theory, Priceless should prove indispensable to anyone who negotiates.
Eight years ago, Christian Wiman, a well-known poet and the editor of Poetry magazine, wrote a now-famous essay about having faith in the face of death. My Bright Abyss, composed in the difficult years since and completed in the wake of a bone marrow transplant, is a moving meditation on what a viable contemporary faith-responsive not only to modern thought and science but also to religious tradition-might look like. Joyful, sorrowful, and beautifully written, My Bright Abyss is destined to become a spiritual classic, useful not only to believers but to anyone whose experience of life and art seems at times to overbrim its boundaries. How do we answer this "burn of being"? Wiman asks. What might it mean for our lives-and for our deaths-if we acknowledge the "insistent, persistent ghost" that some of us call God? One of Publishers Weekly's Best Religion Books of 2013
"Sitting in an automobile was where I first remember understanding how drama works...Hidden in the back seat of a sedan, I quickly realized how deep the chasm or intense the claustrophobia could be inside your average family car." --Neil LaButeBe it the medium for clandestine couplings, arguments, shelter, or ultimately transportation, the automobile is perhaps the most authentically American of spaces. In Autobahn, Neil LaBute's provocative new collection of one-act plays set within the confines of the front seat, the playwright employs his signature plaintive insight to great effect, investigating the inchoate apprehension that surrounds the steering wheel. Each of these seven brief vignettes explore the ethos of perception and relationship--from a make-out session gone awry to a kidnapping thinly disguised as a road trip, a reconnaissance mission involving the rescue of a Nintendo 64 to a daughter's long ride home after her release from rehab. The result is an unsettling montage that gradually reveals the scabrous force of words left unsaid while illuminating the delicate interplay between intention and morality, capturing the essence of middle America and the myriad paths which cross its surface.
The Assistant, Bernard Malamud's second novel, originally published in 1957, is the story of Morris Bober, a grocer in postwar Brooklyn, who "wants better" for himself and his family. First two robbers appear and hold him up; then things take a turn for the better when broken-nosed Frank Alpine becomes his assistant. But there are complications: Frank, whose reaction to Jews is ambivalent, falls in love with Helen Bober; at the same time he begins to steal from the store.Like Malamud's best stories, this novel unerringly evokes an immigrant world of cramped circumstances and great expectations. Malamud defined the immigrant experience in a way that has proven vital for several generations of writers."His best novel . . . The Assistant is as tightly written as a prose poem." --Morris Dickstein in Leopards in the Temple: The Transformation of American Fiction 1945-1970
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