Critical Companion to Herman Melville examines the life and work of a writer who spent much of his career in obscurity.

The first-ever collection of 50+ writings from the 20th-century critic who “redefined the possibilities of the literary essay”—including works not seen in print for decades (The New Yorker) Elizabeth Hardwick wrote during the golden age of the American literary essay. For Hardwick, the essay was an imaginative endeavor, a serious form, criticism worthy of the literature in question. In the essays collected here, she covers civil rights demonstrations in the 1960s, describes places where she lived and locations she visited, and writes about the foundations of American literature—Melville, James, Wharton—and the changes in American fiction. She contemplates writers’ lives—women writers, rebels, Americans abroad—and the literary afterlife of biographies, letters, and diaries. Selected and with an introduction by Darryl Pinckney, the Collected Essays gathers more than 50 essays for a 50-year retrospective of Hardwick’s work from 1953 to 2003. “For Hardwick,” writes Pinckney, “the poetry and novels of America hold the nation’s history.” Here is an exhilarating chronicle of that history. “An authoritative immersion in American writing . . . Here are Dylan Thomas’s last days in New York . . . Truman Capote’s ‘unique crocodilian celebrity’; WH Auden, Isherwood, Henry James, Nabokov, Mailer, Frost, Elizabeth Bishop, to name but a few . . . ” —Financial Times

The first-ever collection of essays from across Elizabeth Hardwick's illustrious writing career, including works not seen in print for decades. A New York Times Notable Book of 2017 Elizabeth Hardwick wrote during the golden age of the American literary essay. For Hardwick, the essay was an imaginative endeavor, a serious form, criticism worthy of the literature in question. In the essays collected here she covers civil rights demonstrations in the 1960s, describes places where she lived and locations she visited, and writes about the foundations of American literature—Melville, James, Wharton—and the changes in American fiction, though her reading is wide and international. She contemplates writers’ lives—women writers, rebels, Americans abroad—and the literary afterlife of biographies, letters, and diaries. Selected and with an introduction by Darryl Pinckney, the Collected Essays gathers more than fifty essays for a fifty-year retrospective of Hardwick’s work from 1953 to 2003. “For Hardwick,” writes Pinckney, “the poetry and novels of America hold the nation’s history.” Here is an exhilarating chronicle of that history.

Fifty five unforgettable essays by the finest American writers of the twentieth century.

The first biography of the extraordinary essayist, critic, and short story writer Elizabeth Hardwick, author of the semiautobiographical novel Sleepless Nights. Born in Kentucky, Elizabeth Hardwick left for New York City on a Greyhound bus in 1939 and quickly made a name for herself as a formidable member of the intellectual elite. Her eventful life included stretches of dire poverty, romantic escapades, and dustups with authors she eviscerated in The New York Review of Books, of which she was a cofounder. She formed lasting friendships with literary notables—including Mary McCarthy, Adrienne Rich, and Susan Sontag—who appreciated her sharp wit and relish for gossip, progressive politics, and great literature. Hardwick’s life and writing were shaped by a turbulent marriage to the poet Robert Lowell, whom she adored, standing by faithfully through his episodes of bipolar illness. Lowell’s decision to publish excerpts from her private letters in The Dolphin greatly distressed Hardwick and ignited a major literary controversy. Hardwick emerged from the scandal with the clarity and wisdom that illuminate her brilliant work—most notably Sleepless Nights, a daring, lyrical, and keenly perceptive collage of reflections and glimpses of people encountered as they stumble through lives of deprivation or privilege. A Splendid Intelligence finally gives Hardwick her due as one of the great postwar cultural critics. Ranging over a broad territory—from the depiction of women in classic novels to the civil rights movement, from theater in New York to life in Brazil, Kentucky, and Maine—Hardwick’s essays remain strikingly original, fiercely opinionated, and exquisitely wrought. In this lively and illuminating biography, Cathy Curtis offers an intimate portrait of an exceptional woman who vigorously forged her own identity on and off the page.

This is a concise yet comprehensive treatment of the American short story that includes an historical overview of the topic as well as discussion of notable American authors and individual stories, from Benjamin Franklin’s “The Speech of Miss Polly Baker” in 1747 to “The Joy Luck Club”. Includes a selection of writers chosen not only for their contributions of individual stories but for bodies of work that advanced the boundaries of short fiction, including Washington Irving, Sarah Orne Jewett, Stephen Crane, Jamaica Kincaid, and Tim O’Brien Addresses the ways in which American oral storytelling and other narrative traditions were integral to the formation and flourishing of the short story genre Written in accessible and engaging prose for students at all levels by a renowned literary scholar to illuminate an important genre that has received short shrift in scholarly literature of the last century Includes a glossary defining the most common terms used in literary history and in critical discussions of fiction, and a bibliography of works for further study

No, that diminutive but independent vocable, begins its great role early in human life and never loses it. For not only can it head a negative sentence, announcing its judgement, or answer a question, implying its negated content, it can, and mostly does, in the beginning of speech, express an assertion of the resistant will--sometimes just that and nothing more. The adult antiphony to the toddler's incessant no is another no, that of preventive command, and the great commandments of later life continue to be prohibitions: Nine of the Ten Commandments are in the negative. Eva Brann explores nothingness in the third book of her trilogy, which has treated imagination, time and now naysaying. If we want to understand something of imagination, memory and time, she argues, we must mount an inquiry into what it means to say something is not what it claims to be or is not there or is nonexistent or is affected by Nonbeing.

How is performer-object interaction enacted and perceived in the theatre? How thereby are varieties of 'meaning' also enacted and perceived? Using cognitive theory and ecological ontology, Paavolainen investigates how the interplay of actors and objects affords a degree of enjoyment and understanding, whether or not the viewer speaks the language.

Nearly forty years have passed since Ruth Hyde Paine, a Quaker housewife in suburban Dallas, offered shelter and assistance to a young man named Lee Harvey Oswald and his Russian wife, Marina. For nine months in 1963, Mrs. Paine was so deeply involved in the Oswalds’ lives that she eventually became one of the Warren Commission’s most important witnesses. Mrs. Paine’s Garage is the tragic story of a well-intentioned woman who found Oswald the job that put him six floors above Dealey Plaza—into which, on November 22, he fired a rifle he’d kept hidden inside Mrs. Paine’s house. But this is also a tale of survival and resiliency: the story of a devout, open-hearted woman who weathered a whirlwind of investigation, suspicion, and betrayal, and who refused to allow her enmeshment in the calamity of that November to crush her own life. Thomas Mallon gives us a disturbing account of generosity and secrets, of suppressed memories and tragic might-have-beens, of coincidences more eerie than conspiracy theory. His book is unlike any other work that has been published on the murder of President Kennedy.