The Confessions of the Critics shatters a certain silence. Autobiographical criticism has until now skated relatively free from the challenges that usually assail a new literary critical method. It has had this immunity from critique largely because feminists and third-world liberation fighters--such as Alice Walker, Adrienne Rich and Jane Gallop--ushered it to the North American academic stage. Other women and men, including Rigoberta Menchu, Nawal al-Sadawi, Mahasweta Devi and Malcolm X, wrote in the tradition and genre of testimonio . These and other unimpeachably militant backgrounds gave confessional criticism a certain cache among the largely liberal community of literary scholars. We have hesitated to express misgivings about a form that seemed intrinsically tied to the most vital, powerful strivings. Telling stories about one's own past is probably our culture's richest way of characterizing the effects of social injustice and developing what it takes to resist various kinds of victimage, writes contributor Charles Altieri. Confessions of the Critics provides a revealing look into the thoughts and experiences of some of the most influential and important critics of the 20th century. The writers included avoid pretention and gross self-misrepresentation, giving way to raw, sometimes embarrassing, always wholly believable emotion. Describing cumulative literary shocks and episodes of self-recognition, contributors offer insights to their ruling passions and works. Powerful sensations, emotions, recognitions and revelations make up the heart of Confessions of the Critics. It is a book that none will put aside or easily forget. Contributors: Charles Altieri, William Andrews, Michael F. Berube, Timothy Brennan, Gillian Brown, Cathy Davidson, Elizabeth Fox-Genovese, Diane Freedman, Marjorie Garber, Gerald Graff, Stephen J. Greenblatt, Michael Hill, Marianne Hirsch, Alice Yeager Kaplan, Amitava Kumar, Candace Lang, Louis Menand, Judith Lowder Newton, Linda Orr, Vincent Pecora, David Simpson, Gayatri Chakravorty Spivak, Madelon Sprengnether, Jane Tompkins, Marianna Torgovnick, H. Aram Veeser, Jeffrey Williams, Elizabeth Young-Bruehl.

The memoir of a high-functioning, law-abiding (well, mostly) sociopath and a roadmap—right from the source—for dealing with the sociopath in your life. “[A] gripping and important book . . . revelatory . . . quite the memorable roller coaster ride.”—The New York Times Book Review As M.E. Thomas says of her fellow sociopaths, “We are your neighbors, your coworkers, and quite possibly the people closest to you: lovers, family, friends. Our risk-seeking behavior and general fearlessness are thrilling, our glibness and charm alluring. Our often quick wit and outside-the-box thinking make us appear intelligent—even brilliant. We climb the corporate ladder faster than the rest, and appear to have limitless self-confidence. Who are we? We are highly successful, noncriminal sociopaths and we comprise 4 percent of the American population.” Confessions of a Sociopath—part confessional memoir, part primer for the curious—takes readers on a journey into the mind of a sociopath, revealing what makes them tick while debunking myths about sociopathy and offering a road map for dealing with the sociopaths in your life. M. E. Thomas draws from her own experiences as a diagnosed sociopath; her popular blog, Sociopathworld; and scientific literature to unveil for the very first time these men and women who are “hiding in plain sight.”

A NEW YORK REVIEW E-BOOK ORIGINAL As former U.S. poet laureate Charles Simic has said, the secret to our identities lies not in grand events, but in the parentheses between events--and in these brief essays, we get a taste of this great poet's parenthetical observations and recollections. He takes us from his rattling house on a stormy New Hampshire night, to a park bench in Washington Square where two old men sit discussing the women they've known, to a business convention in Topeka where he reads a poem, to the vanished subterranean jazz clubs of old New York, and beyond. Part autobiographical fragment, part waking dream, these pieces are marked by Simic's characteristic wit, audacity, and awe before life's strangeness. Contents include: --Reminiscing about the Night Before --Strangers on a Train --Confessions of a Poet Laureate --The Blustering Blast --The Buster Keaton Cure --On Losing --On the Couch with Philip Roth, at the Morgue with Pol Pot

"The Art of Confession tells the history of this cultural shift and of the movement it created in American art: confessionalism. Like realism or romanticism, confessionalism began in one art form, but soon pervaded them all: poetry and comedy in the 1950s and '60s, performance art in the '70s, theater in the '80s, television in the '90s, and online video and social media in the 2000s. Everywhere confessionalism went, it stood against autobiography, the art of the closed book. Instead of just publishing, these artists performed--with, around, and against the text of their lives." --

“Every person wrongfully convicted of a crime at some point dreams of getting revenge against the system. In Confessions of an Innocent Man, the dream comes true and in a spectacular way.”—John Grisham, New York Times bestselling author of The Reckoning A thrillingly suspenseful debut novel and a fierce howl of rage that questions the true meaning of justice. Rafael Zhettah relishes the simplicity and freedom of his life. He is the owner and head chef of a promising Houston restaurant, a pilot with open access to the boundless Texas horizon, and a bachelor, content with having few personal or material attachments that ground him. Then, lightning strikes. When he finds Tieresse—billionaire, philanthropist, sophisticate, bombshell—sitting at one of his tables, he also finds his soul mate and his life starts again. And just as fast, when she is brutally murdered in their home, when he is convicted of the crime, when he is sentenced to die, it is all ripped away. But for Rafael Zhettah, death row is not the end. It is only the beginning. Now, with his recaptured freedom, he will stop at nothing to deliver justice to those who stole everything from him. This is a heart-stoppingly suspenseful, devastating, page-turning debut novel. A thriller with a relentless grip that wants you to read it in one sitting. David R. Dow has dedicated his life to the fight against capital punishment—to righting the horrific injustices of the death penalty regime in Texas. He delivers the perfect modern parable for exploring our complex, uneasy relationships with punishment and reparation in a terribly unjust world.

Umberto Eco published his first novel, The Name of the Rose, in 1980, when he was nearly fifty. In these “confessions,” the author, now in his late seventies, looks back on his long career as a theorist and his more recent work as a novelist, and explores their fruitful conjunction. He begins by exploring the boundary between fiction and nonfiction—playfully, seriously, brilliantly roaming across this frontier. Good nonfiction, he believes, is crafted like a whodunnit, and a skilled novelist builds precisely detailed worlds through observation and research. Taking us on a tour of his own creative method, Eco recalls how he designed his fictional realms. He began with specific images, made choices of period, location, and voice, composed stories that would appeal to both sophisticated and popular readers. The blending of the real and the fictive extends to the inhabitants of such invented worlds. Why are we moved to tears by a character’s plight? In what sense do Anna Karenina, Gregor Samsa, and Leopold Bloom “exist”? At once a medievalist, philosopher, and scholar of modern literature, Eco astonishes above all when he considers the pleasures of enumeration. He shows that the humble list, the potentially endless series, enables us to glimpse the infinite and approach the ineffable. This “young novelist” is a master who has wise things to impart about the art of fiction and the power of words.

Featuring 15 explosive new chapters, this new edition of the New York Times bestseller brings the story of Economic Hit Men up-to-date and, chillingly, home to the U.S.―but it also gives us hope and the tools to fight back. The previous edition of this now-classic book revealed the existence and subversive manipulations of "economic hit men. John Perkins wrote that they are highly paid professionals who cheat countries around the globe out of trillions of dollars. Their tools include fraudulent financial reports, rigged elections, payoffs, extortion, sex, and murder. In Perkins's case the tool was debt-convincing strategically important countries to borrow huge amounts of money for enormous, development projects that served the very rich while driving the country deeper into poverty and debt. And once indebted, these countries could be controlled. In this latest edition, Perkins provides revealing new details about how he and others did their work. But more importantly, in an explosive new section he describes how the EHM tools are being used around the world more widely than ever-even in the U. S. itself. The cancer has metastasized, yet most people still aren't aware of it. Fear and debt drive the EHM system. We are hammered with messages that terrify us into believing that we must pay any price, assume any debt, to stop the enemies who, we are told, lurk at our doorsteps. The EHM system-employing false economics, bribes, surveillance, deception, debt, coups, assassinations, unbridled military power-has become the dominant system of economics, government, and society today. It has created what Perkins calls a Death Economy. But Perkins offers hope: he concludes with dozens of specific, concrete suggestions for actions all of us can take to wrest control of our world away from the economic hit men, and help give birth to a Life Economy.

A Finalist for the Folio Prize, the Goldsmiths Prize, the Scotiabank Giller Prize, and the Baileys Women’s Prize for Fiction. One of The New York Times' Top Ten Books of the Year. Named a A New York Times Book Review Notable Book and a Best Book of the Year by The New Yorker, Vogue, NPR, The Guardian, The Independent, Glamour, and The Globe and Mail A luminous, powerful novel that establishes Rachel Cusk as one of the finest writers in the English language A man and a woman are seated next to each other on a plane. They get to talking—about their destination, their careers, their families. Grievances are aired, family tragedies discussed, marriages and divorces analyzed. An intimacy is established as two strangers contrast their own fictions about their lives. Rachel Cusk's Outline is a novel in ten conversations. Spare and stark, it follows a novelist teaching a course in creative writing during one oppressively hot summer in Athens. She leads her students in storytelling exercises. She meets other visiting writers for dinner and discourse. She goes swimming in the Ionian Sea with her neighbor from the plane. The people she encounters speak volubly about themselves: their fantasies, anxieties, pet theories, regrets, and longings. And through these disclosures, a portrait of the narrator is drawn by contrast, a portrait of a woman learning to face a great loss. Outline takes a hard look at the things that are hardest to speak about. It brilliantly captures conversations, investigates people's motivations for storytelling, and questions their ability to ever do so honestly or unselfishly. In doing so it bares the deepest impulses behind the craft of fiction writing. This is Rachel Cusk's finest work yet, and one of the most startling, brilliant, original novels of recent years.

Perkins, a former chief economist at a Boston strategic-consulting firm, confesses he was an "economic hit man" for 10 years, helping U.S. intelligence agencies and multinationals cajole and blackmail foreign leaders into serving U.S. foreign policy and awarding lucrative contracts to American business.