The acclaimed author of "Inflating a Dog" and "Herb n' Lorna" presents a journey from fiction to truth and back again as he follows the fortunes of a professional memoirist.

The Passionate Spectator collects essays, reviews, and art criticism by John Yau, an internationally lauded poet, critic, and curator. In this wide-ranging collection, Yau explores the intersection of art and poetry, dissolving boundaries between the artistic traditions and reimagining what it means to see and to write. Whether he is interpreting the poetic use of titles in Jessica Stockholder’s paintings, reviewing the collaborative book project between American poet Robert Creeley and German artist Georg Baselitz, or considering the significance of Frank O’Hara’s decision to have his portrait drawn wearing nothing but army boots, Yau is consistently daring, original, and contemporary. Yau’s diverse critical sensibilities permeate The Passionate Spectator as he moves seamlessly between the visual and literary arts. Highlights of this collection include an essay on the poet as art critic, a study of the relationship between Kevin Young’s poetry and the paintings of Jean-Michel Basquiat, and an imaginative piece in which Yau speculates about what Jorge Luis Borges would have created had he been a visual artist. In the title essay, Yau lays out the duty of the spectator—a duty shared by viewer, reader, critic, and artist: “it is up to us to experience art, to engage and believe in its power.” .

Dana Brand traces the origin of the flaneur to seventeenth-century English literature and to nineteenth-century American literature.

The Passionate Spectator collects essays, reviews, and art criticism by John Yau, an internationally lauded poet, critic, and curator. In this wide-ranging collection, Yau explores the intersection of art and poetry, dissolving boundaries between the artistic traditions and reimagining what it means to see and to write. Whether he is interpreting the poetic use of titles in Jessica Stockholder’s paintings, reviewing the collaborative book project between American poet Robert Creeley and German artist Georg Baselitz, or considering the significance of Frank O’Hara’s decision to have his portrait drawn wearing nothing but army boots, Yau is consistently daring, original, and contemporary. Yau’s diverse critical sensibilities permeate The Passionate Spectator as he moves seamlessly between the visual and literary arts. Highlights of this collection include an essay on the poet as art critic, a study of the relationship between Kevin Young’s poetry and the paintings of Jean-Michel Basquiat, and an imaginative piece in which Yau speculates about what Jorge Luis Borges would have created had he been a visual artist. In the title essay, Yau lays out the duty of the spectator—a duty shared by viewer, reader, critic, and artist: “it is up to us to experience art, to engage and believe in its power.” .

In Passionate Spectator, memoirist Peter Leroy and his wife, Albertine, are living in Manhattan-by the skin of their teeth. Casting about for a source of income, Peter purchases a book from a homeless street corner peddler, Creative Self-Promotion for Taxidermists, hoping he can adapt its techniques to promote his fledgling business: Memoirs While You Wait, a writing service designed to satisfy the contemporary compulsion for confession and self-revelation. "Middle age, mortality, and the meaning of life: all are examined with the lightest touch imaginable." Kirkus Reviews "Ebullient, canny, and entertaining." Booklist "As devious as a Möbius strip, turning in on itself, doubling back through events that have already occurred, and generally subverting our Newtonian world view." St. Petersburg Times "Nothing less than an assessment of each person's place in the universe . . . as a spectator who gives shape to life simply by watching and remembering." Nashville Scene

In "Passionate Spectator," memoirist Peter Leroy and his wife Albertine are living by the skin of their teeth in Manhattan. Casting about for a source of income, Peter purchases a book from a homeless peddler, "Creative Self-Promotion for Taxidermists," hoping he can adapt its techniques to promote his fledgling business: Memoirs While You Wait. That book opens into a beguiling journey from fiction to truth and back again, involving Peter, his childhood friend Matthew Barber (who is undergoing emergency heart surgery), and Peter's witty, urbane alter-ego, Bertram W. Beath--an erotic opportunist and "passionate spectator"of life's pageant.

The classic realist text has long been derided by post-structuralist critics as an unsophisticated and reactionary form. In this study, first published in 1992, John Rignall makes a powerful case for the rehabilitation of realism as a self-aware and reflexive genre. Using the novels of Scott, Balzac, Dickens, George Eliot, Flaubert, James, Ford and Conrad, Rignall argues for an understanding of realism through the recurrent figure of the flâneur. The flâneur is the strolling spectator whose problematic vision both of and in the novel makes him the representative figure of the realist text. A significant contribution to the field, this title will be of particular view to students of realism, literary theory, and comparative literature.