The first historically and internationally comprehensive collection of its kind, Essayists on the Essay is a path-breaking work that is nothing less than a richly varied sourcebook for anyone interested in the theory, practice, and art of the essay. This unique work includes a selection of fifty distinctive pieces by American, Canadian, English, European, and South American essayists from Montaigne to the present—many of which have not previously been anthologized or translated—as well as a detailed bibliographical and thematic guide to hundreds of additional works about the essay. From a buoyant introduction that provides a sweeping historical and analytic overview of essayists’ thinking about their genre—a collective poetics of the essay—to the detailed headnotes offering pointed information about both the essayists themselves and the anthologized selections, to the richly detailed bibliographic sections, Essayists on the Essay is essential to anyone who cares about the form. This collection provides teachers, scholars, essayists, and readers with the materials they need to take a fresh look at this important but often overlooked form that has for too long been relegated to the role of service genre—used primarily to write about other more “literary” genres or to teach young people how to write. Here, in a single celebratory volume, are four centuries of commentary and theory reminding us of the essay’s storied history, its international appeal, and its relationship not just with poetry and fiction but also with radio, film, video, and new media.

Following on from Writers at Work: The Paragraph and Writers at Work: the Short Composition, Writers at Work: The Essay will teach the basics of academic essay writing to intermediate-level students. In Writers at Work: The Essay, college and university students use the process approach to write different genres of essays common at the post-secondary level, the most important being expository writing, persuasive writing, and timed essay exams. Each chapter uses the same five-step approach to writing that is used in the two lower-level books. In each chapter, students analyze a model essay, noticing key organizational and linguistic features; brainstorm ideas; write multiple drafts; revise their work; engage in peer reviews; and share their finished work. Chapters recycle and build upon previously taught material.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

"Some of the finest examples of contemporary, genuinely American prose. White's style incorporates eloquence without affection, profundity without pomposity, and wit without frivolity or hostility. Like his predecessors Thoreau and Twain, White's creative, humane, and graceful perceptions are an education for the sensibilities." — Washington Post The classic collection by one of the greatest essayists of our time. Selected by E.B. White himself, the essays in this volume span a lifetime of writing and a body of work without peer. "I have chosen the ones that have amused me in the rereading," he writes in the Foreword, "alone with a few that seemed to have the odor of durability clinging to them." These essays are incomparable; this is a volume to treasure and savor at one's leisure.

The human presence that animates the personal essay is surely one of the most beguiling of literary phenomena, for it comes across in so familiar a voice that it’s easy to believe we are listening to the author rather than a textual stand-in. But the “person” in a personal essay is always a written construct, a fabricated character, its confessions and reminiscences as rehearsed as those of any novelist. In this first book-length study of the personal essay, Carl Klaus unpacks this made-up self and the manifold ways in which a wide range of essayists and essays have brought it to life. By reconceiving the most fundamental aspect of the personal essay—the I of the essayist—Klaus demonstrates that this seemingly uncontrived form of writing is inherently problematic, not willfully devious but bordering upon the world of fiction. He develops this key idea by explaining how structure, style, and voice determine the nature of a persona and our perception of it in the works of such essayists as Michel de Montaigne, Charles Lamb, E. B. White, and Virginia Woolf. Realizing that this persona is shaped by the force of culture and the impress of personal experience, he explores the effects of both upon the point of view, content, and voice of such essayists as George Orwell, Nancy Mairs, Richard Rodriguez, and Alice Walker. Throughout, in full command of the history of the essay, he calls up numerous passages in which essayists themselves acknowledge the element of impersonation in their work, drawing upon the perspectives of Joan Didion, Edward Hoagland, Joyce Carol Oates, Leslie Marmon Silko, Scott Russell Sanders, Annie Dillard, Vivian Gornick, Loren Eiseley, James Baldwin, and a host of other literary guides. Finally, adding yet another layer to the made-up self, Klaus succumbs to his addiction to the personal essay by placing some of the different selves that various essayists have called forth in him within the essays that he has crafted so carefully for this book. Making his way from one essay to the next with a persona variously learned, whimsical, and poignant, he enacts the palimpsest of ways in which the made-up self comes to life in the work of a single essayist. Thus over the course of this highly original, beautifully structured study, the personal essay is revealed to be more complex than many readers have supposed. With its lively analyses and illuminating examples, The Made-Up Self will speak to anyone who wishes to understand—or to write—personal essays.

A compelling ode to the essay form and the great essaysists themselves, from Montaigne to Woolf to Sontag. Essayism is a book about essays and essayists, a study of melancholy and depression, a love letter to belle-lettrists, and an account of the indispensable lifelines of reading and writing. Brian Dillon’s style incorporates diverse features of the essay. By turns agglomerative, associative, digressive, curious, passionate, and dispassionate, his is a branching book of possibilities, seeking consolation and direction from Michel de Montaigne, Virginia Woolf, Roland Barthes, Theodor Adorno, Walter Benjamin, Georges Perec, Elizabeth Hardwick, and Susan Sontag, to name just a few of his influences. Whether he is writing on origins, aphorisms, coherence, vulnerability, anxiety, or a number of other subjects, his command of language, his erudition, and his own personal history serve not so much to illuminate or magnify the subject as to discover it anew through a kaleidoscopic alignment of attention, thought, and feeling, a dazzling and momentary suspension of disparate elements, again and again.

Sets out in a new and authoritative way the history of the essay; explains how the essay has come to mean what it does, surveys the widely various incarnations of the form, offers new accounts of major essayists in English, and traces a wide range of significant themes.

A monumental, canon-defining anthology of three centuries of American essays, from Cotton Mather and Benjamin Franklin to David Foster Wallace and Zadie Smith—selected by acclaimed essayist Phillip Lopate "Not only an education but a joy. This is a book for the ages." —Rivka Galchen, author of Atmospheric Disturbances The essay form is an especially democratic one, and many of the essays Phillip Lopate has gathered here address themselves—sometimes critically—to American values. We see the Puritans, the Founding Fathers and Mothers, and the stars of the American Renaissance struggle to establish a national culture. A grand tradition of nature writing runs from Audubon, Thoreau, and John Muir to Rachel Carson and Annie Dillard. Marginalized groups use the essay to assert or to complicate notions of identity. Lopate has cast his net wide, embracing critical, personal, political, philosophical, literary, polemical, autobiographical, and humorous essays. Americans by birth as well as immigrants appear here, famous essayists alongside writers more celebrated for fiction or poetry. The result is a dazzling overview of the riches of the American essay.

This book offers a novel understanding of the epistemological strategies that are mobilized by the essay film, and of where and how such strategies operate. Against the backdrop of Adorno's discussion of the essay form's anachronistic, anti-systematic and disjunctive mode of resistance, and capitalizing on the centrality of the interstice in Deleuze's understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverse range of case studies discloses how the essay film can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film's disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts of political, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.