In André du Bouchet: Poetic Forms of Attention, Emma Wagstaff presents the creative and critical writing of a major twentieth-century poet and shows how reading his work advances our understanding of attention.

Upon his return to France, du Bouchet became a translator of English authors such as Shakespeare, Hopkins, and Joyce. He has also translated Holderlin, Celan, Madelstam, and Pasternak.

From comedian Quinta Brunson comes a deeply personal and funny collection of essays featuring anecdotes about trying to make it when you're broke, overcoming self-doubt and depression, and how she's used humor to navigate her career in unusual directions. Quinta Brunson is a master of viral Internet content: without any traditional background in media, her humorous videos were the first to break through on Instagram's platform, receiving millions of views. From there, Brunson's wryly observant POV attracted the attention of BuzzFeed's motion picture development department, leading her to produce viral videos there about topics like interracial dating, millennial malaise, and seeing your ex in public. Now, Brunson is bringing her comedic chops to the page in She Memes Well, an earnest, laugh-out-loud collection about her weird road to Internet notoriety. In her debut essay collection, Quinta applies her trademark humor and heart to discuss what it was like to go from student loan debt-broke to "halfway recognizable--'don't I know you somewhere?'" level-of-fame. With anecdotes that range from the funny and zany--like her experience trying to find her signature hairstyle--to more grounded material about living with depression, Brunson's voice is entirely authentic and eminently readable. Perfect for fans of Phoebe Robinson's You Can't Touch My Hair, Samantha Irby's We Are Never Meeting in Real Life, and Issa Rae's The Misadventures of Awkward Black Girl, She Memes Well will charm and entertain a growing, engaged audience.

Merging biography, memoir, and cultural history, this compelling book, a bestseller in France, traces the life of Dora Maar (1907–1997) through a serendipitous encounter with the artist’s address book. In search of a replacement for his lost Hermès agenda, Brigitte Benkemoun’s husband buys a vintage diary on eBay. When it arrives, she opens it and finds inside private notes dating back to 1951—twenty pages of phone numbers and addresses for Balthus, Brassaï, André Breton, Jean Cocteau, Paul Éluard, Leonor Fini, Jacqueline Lamba, and other artistic luminaries of the European avant-garde. After realizing that the address book belonged to Dora Maar—Picasso’s famous “Weeping Woman” and a brilliant artist in her own right—Benkemoun embarks on a two-year voyage of discovery to learn more about this provocative, passionate, and enigmatic woman, and the role that each of these figures played in her life. Longlisted for the prestigious literary award Prix Renaudot, Finding Dora Maar is a fascinating and breathtaking portrait of the artist. “Beautifully written and fascinating.”—Paris Match “One of the happy surprises of the end of the literary season.”—Livres Hebdo “A highly moving portrait of the artist.”—Elle (France) This book received support from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States through their publishing assistance program.

On the Art of Reading is a collection of lectures delivered by Arthur Quiller-Couch, a literary critic and professor at Cambridge, between 1916 and 1918. In these lectures, Quiller-Couch argues for the study of the masterpieces of English literature—Shakespeare, Milton, and so on. He opines that the most effective way of appreciating literature is to experience it as “What Is,” which is to say feeling as if one has become part of the story. Much of the lectures is devoted to studying ways in which teachers can engender that feeling in pupils—with Quiller-Couch going so far as to say that even small children can be taught to appreciate seemingly-complex literature like The Tempest or classical poetry like Homer. Quiller-Couch also spends time discussing his then-controversial opinion that the English translation of the Bible, as well as many Greek classics, are masterpieces of English literature that deserve careful study not just for their religions or philosophical importance, but for their beautiful prose style. These lectures form a companion to his earlier collection of lectures, On the Art of Writing, which explore similar themes of the place of writing and literature in the intellectual firmament. This book is part of the Standard Ebooks project, which produces free public domain ebooks.

Philippe Jaccottet's newest work follows in some ways the approach of Seedtime, his recent two-volume collection of notebooks. Similarly comprising on-the-spot jottings, philosophical reflections, literary commentary, dream narratives and sundry "notes," this book nonetheless differs from the preceding volumes in that the Swiss poet includes more personal material than ever before. Drawing on unpublished notebooks from the years 1952-2005, Jacottet offers here passages about his family, the death of his father-in-law and of his mother, his encounters with other major poets--such as René Char, Francis Ponge, Jean Tardieu, and his friends Yves Bonnefoy and André du Bouchet--and his trips abroad, as well as, characteristically, his walks in the countryside around the village of Grignan, in the south of France, where he has lived since 1953. For a poet who has been notoriously discreet about his life, this book offers unexpected glimpses of the private man. Above all, the entries in this notebook show how one of the greatest European poets grapples with the discouraging elements of existence, counterbalancing them by recording fleeting perceptions in which "something else," almost like a threshold, seems present.

Cynthia J. Brown explains why the advent of print in the late medieval period brought about changes in relationships among poets, patrons, and printers which led to a new conception of authorship. Examining such paratextual elements of manuscripts as title pages, colophons, and illustrations as well as such literary strategies as experimentation with narrative voice, Brown traces authors' attempts to underscore their narrative presence in their works and to displace patrons from their role as sponsors and protectors of the book. Her accounts of the struggles of poets, including Jean Lemaire, Jean Bouchet, Jean Molinet, and Pierre Gringore, over the design, printing, and sale of their books demonstrate how authors secured the status of literary proprietor during the transition from the culture of script and courtly patronage to that of print capitalism.

National Book Critics Circle Award Winner: Biography Category National Book Award Finalist 2015 Winner of the Sheridan Morley Prize for Theatre Biography American Academy of Arts and Letters’ Harold D. Vursell Memorial Award A Chicago Tribune 'Best Books of 2014' USA Today: 10 Books We Loved Reading Washington Post, 10 Best Books of 2014 The definitive biography of America's greatest playwright from the celebrated drama critic of The New Yorker. John Lahr has produced a theater biography like no other. Tennessee Williams: Mad Pilgrimage of the Flesh gives intimate access to the mind of one of the most brilliant dramatists of his century, whose plays reshaped the American theater and the nation's sense of itself. This astute, deeply researched biography sheds a light on Tennessee Williams's warring family, his guilt, his creative triumphs and failures, his sexuality and numerous affairs, his misreported death, even the shenanigans surrounding his estate. With vivid cameos of the formative influences in Williams's life—his fierce, belittling father Cornelius; his puritanical, domineering mother Edwina; his demented sister Rose, who was lobotomized at the age of thirty-three; his beloved grandfather, the Reverend Walter Dakin—Tennessee Williams: Mad Pilgrimage of the Flesh is as much a biography of the man who created A Streetcar Named Desire, The Glass Menagerie, and Cat on a Hot Tin Roof as it is a trenchant exploration of Williams’s plays and the tortured process of bringing them to stage and screen. The portrait of Williams himself is unforgettable: a virgin until he was twenty-six, he had serial homosexual affairs thereafter as well as long-time, bruising relationships with Pancho Gonzalez and Frank Merlo. With compassion and verve, Lahr explores how Williams's relationships informed his work and how the resulting success brought turmoil to his personal life. Lahr captures not just Williams’s tempestuous public persona but also his backstage life, where his agent Audrey Wood and the director Elia Kazan play major roles, and Marlon Brando, Anna Magnani, Bette Davis, Maureen Stapleton, Diana Barrymore, and Tallulah Bankhead have scintillating walk-on parts. This is a biography of the highest order: a book about the major American playwright of his time written by the major American drama critic of his time.

For millions of people around the world, Tibet is a domain of undisturbed tradition, the Dalai Lama a spiritual guide. By contrast, the Tibet Museum opened in Lhasa by the Chinese in 1999 was designed to reclassify Tibetan objects as cultural relics and the Dalai Lama as obsolete. Suggesting that both these views are suspect, Clare E. Harris argues in The Museum on the Roof of the World that for the past one hundred and fifty years, British and Chinese collectors and curators have tried to convert Tibet itself into a museum, an image some Tibetans have begun to contest. This book is a powerful account of the museums created by, for, or on behalf of Tibetans and the nationalist agendas that have played out in them. Harris begins with the British public’s first encounter with Tibetan culture in 1854. She then examines the role of imperial collectors and photographers in representations of the region and visits competing museums of Tibet in India and Lhasa. Drawing on fieldwork in Tibetan communities, she also documents the activities of contemporary Tibetan artists as they try to displace the utopian visions of their country prevalent in the West, as well as the negative assessments of their heritage common in China. Illustrated with many previously unpublished images, this book addresses the pressing question of who has the right to represent Tibet in museums and beyond.