The rebellious life of a novelist, screenwriter and revolutionary activist Born in Poona, India, Farrukh Dhondy came to England in 1964 and immersed himself in radical politics and the counterculture. He kicked off a career in journalism interviewing Pink Floyd and Allen Ginsberg and covering the first meeting between the Beatles and Maharishi Mahesh Yogi. Dhondy was soon drawn into political activism. He joined the Indian Workers Association and the British Black Panther Movement. Within the radical activist collective Race Today, he worked alongside Darcus Howe and C. L. R. James. An award-winning writer, he co-wrote the ground-breaking sit-com Tandoori Nights. In 1984 he became Channel 4’s Commissioning Editor for multicultural programming and was a driving force behind Desmond’s, Salaam Bombay!, and the trailblazing Bandung File. In Fragments against My Ruin, Dhondy explores a life to salvage precious moments against the inevitable decay of age. The result is a fascinating social and historical document of the late twentieth century, addressing politics, culture, friendship, and the determination to break down boundaries. It is an autobiography packed with compelling anecdotes, such as an insightful take on Jeffrey Archer’s conviction, as well as portraits of Richard Attenborough, Arundhati Roy, V. S. Naipaul, Charles Sobhraj, and many others.

Julius's critically acclaimed study (looking both at the detail of Eliot's deployment of anti-Semitic discourse and at the role it played in his greater literary undertaking) has provoked a reassessment of Eliot's work among poets, scholars, critics and readers, which will invigorate debate for some time to come.

What is it about ruins that are so alluring, so puzzling, that they can hold some of us in endless wonder over the half-erased story they tell? In this elegant book, Robert Harbison explores the captivating hold these remains and broken pieces—from architecture, art, and literature—have on us. Why are we, he asks, so suspicious of things that are too smooth, too continuous? What makes us feel, when we look upon a fragment, that its very incompletion has a kind of meaning in itself? Is it that our experience on earth is inherently discontinuous, or that we are simply unable to believe in anything whole? Harbison guides us through ruins and fragments, both ancient and modern, visual and textual, showing us how they are crucial to understanding our current mindset and how we arrived here. First looking at ancient fragments, he examines the ways we have recovered, restored, and exhibited them as artworks. Then he moves on to modernist architecture and the ways that it seeks a fragmentary form, examining modern projects that have been designed into existing ruins, such as the Castelvecchio in Verona, Italy and the reconstruction of the Neues Museum in Berlin. From there he explores literature and the works of T. S. Eliot, Montaigne, Coleridge, Joyce, and Sterne, and how they have used fragments as the foundation for creating new work. Likewise he examines the visual arts, from Schwitters’ collages to Ruskin’s drawings, as well as cinematic works from Sergei Eisenstein to Julien Temple, never shying from more deliberate creators of ruin, from Gordon Matta-Clark to countless graffiti artists. From ancient to modern times and across every imaginable form of art, Harbison takes a poetic look at how ruins have offered us a way of understanding history and how they have enabled us to create the new.

Reading Jesus is a personal journey through the fundamental Biblical stories. As celebrated author Mary Gordon ponders the intense strangeness of a deity in human form, unresolved moral ambiguities within the text, and the problem posed to her as an enlightened reader by the miracle of the Resurrection. What she rediscovers—and reinterprets with her signature candor, intelligence, and straightforwardness—is a rich store of overlapping, sometimes conflicting teachings that feel both familiar and tantalizingly elusive.

Line-by-line analysis of T. S. Eliot's The Wasteland--Cover.

Timely, important, mischievous, powerful: in a word, exceptional Seventy-seven poems intended as a eulogy for what we have squandered, a reprimand for all we have allowed, a suggestion for what might still be salvaged, a poetic quarrel with our intolerant and greedy selves, a reflection on mortality and longing, as well as a long-running conversation with the mythological currents that flow throughout North America.

The last major verse written by Nobel laureate T. S. Eliot, considered by Eliot himself to be his finest work Four Quartets is a rich composition that expands the spiritual vision introduced in “The Waste Land.” Here, in four linked poems (“Burnt Norton,” “East Coker,” “The Dry Salvages,” and “Little Gidding”), spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. It is the culminating achievement by a man considered the greatest poet of the twentieth century and one of the seminal figures in the evolution of modernism.

Mary Oliver is one of America's best-loved poets, the winner of the Pulitzer Prize and the National Book Award. Her luminous poetry celebrates nature and beauty, love and the spirit, silence and wonder, extending the visionary American tradition of Whitman, Emerson, Frost and Emily Dickinson. Her extraordinary poetry is nourished by her intimate knowledge and minute daily observation of the New England coast, its woods and ponds, its birds and animals, plants and trees.

Even though she thinks Caleb's mom blames her for his accidental death two months ago, Jessa agrees to pack up her ex-boyfriend's bedroom, but every item she touches makes Jessa question what she knows about his death, his family, and their year-long relationship.

Winner of the PEN Award for Poetry in Translation • The electrifying collected works of “one of the most innovative and prominent avant-garde poets in early twentieth-century Japan” (The New Yorker). Translated by and with an introduction by Sawako Nakayasu An important and daringly experimental voice in Tokyo’s avant-garde poetry scene, Chika Sagawa broke with the gender-bound traditions of Japanese poetry. Growing up in isolated rural Japan, Sagawa moved to Tokyo at seventeen, and begin publishing her work at eighteen.She was immediately recognized as a leading light of the male-dominated Japanese literary scene; her work combines striking, unique imagery with Western influences. The results are short, sharp, surreal poems about human fragility and the beauty of nature from Japan’s first female Modernist poet. The Modern Library Torchbearers series features women who wrote on their own terms, with boldness, creativity, and a spirit of resistance. AMERICAN INDIAN STORIES • THE AWAKENING • THE CUSTOM OF THE COUNTRY • THE HEADS OF CERBERUS • LADY AUDLEY’S SECRET • LOVE, ANGER, MADNESS • PASSING • THE RETURN OF THE SOLDIER • THERE IS CONFUSION • THE TRANSFORMATION OF PHILIP JETTAN • VILLETTE