T.S. Eliot maintained a healthy critical culture is vital to the survival of civilization and it is this thesis that Dr McDonald argues forcefully- referring as much to the literary and cultural climate of the USA as to that of the UK. The point of litera

As the new food critic for Key Zest magazine, Hayley Snow went from being a culinary groupie to one of Florida’s cutting-edge tastemakers. But as always, when life serves Haley a dream come true, it comes paired with a most exquisite murder.... The annual Key West literary conference is drawing the biggest names in food writing from all over the country, and Haley is there to catch a few fresh morsels of insider gossip. Superstar restaurant critic Jonah Barrows has already ruffled a few foodie feathers with his recent tell-all memoir, and as keynote speaker, he promises more of the same jaw-dropping honesty. But when Hayley discovers Jonah’s body in a nearby dipping pool, the cocktail-hour buzz takes a sour turn, and Hayley finds herself at the center of attention—especially with the police. Now it’s up to her to catch the killer before she comes to her own bitter finish.

Anatole is a most honorable mouse. When he realizes that humans are upset by mice sampling their leftovers, he is shocked! He must provide for his beloved family--but he is determined to find a way to earn his supper. And so he heads for the tasting room at the Duvall Cheese Factory. On each cheese, he leaves a small note--"good," "not so good," "needs orange peel"--and signs his name. When workers at the Duvall factory find his notes in the morning, they are perplexed--but they realize that this mysterious Anatole has an exceptional palate and take his advice. Soon Duvall is making the best cheese in all of Paris! They would like to give Anatole a reward--if only they could find him...

Said demonstrates that critical discourse has been strengthened by the writings of Derrida and Foucault and by influences like Marxism, structuralism, linguistics, and psychoanalysis. But, he argues, these forces have compelled literature to meet the requirements of a theory or system, ignoring complex affiliations binding the texts to the world.

NEW YORK TIMES BESTSELLER • From the Pulitzer Prize–winning critic comes an impassioned critique of America’s retreat from reason We live in a time when the very idea of objective truth is mocked and discounted by the occupants of the White House. Discredited conspiracy theories and ideologies have resurfaced, proven science is once more up for debate, and Russian propaganda floods our screens. The wisdom of the crowd has usurped research and expertise, and we are each left clinging to the beliefs that best confirm our biases. How did truth become an endangered species in contemporary America? This decline began decades ago, and in The Death of Truth, former New York Times critic Michiko Kakutani takes a penetrating look at the cultural forces that contributed to this gathering storm. In social media and literature, television, academia, and politics, Kakutani identifies the trends—originating on both the right and the left—that have combined to elevate subjectivity over factuality, science, and common values. And she returns us to the words of the great critics of authoritarianism, writers like George Orwell and Hannah Arendt, whose work is newly and eerily relevant. With remarkable erudition and insight, Kakutani offers a provocative diagnosis of our current condition and points toward a new path for our truth-challenged times.

This book is a history of love and the challenge love offers to the laws and customs of its times and places, as told through poetry from the Song of Songs to John Milton’s Paradise Lost. It is also an account of the critical reception afforded to such literature, and the ways in which criticism has attempted to stifle this challenge. Bryson and Movsesian argue that the poetry they explore celebrates and reinvents the love the troubadour poets of the eleventh and twelfth centuries called fin’amor: love as an end in itself, mutual and freely chosen even in the face of social, religious, or political retribution. Neither eros nor agape, neither exclusively of the body, nor solely of the spirit, this love is a middle path. Alongside this tradition has grown a critical movement that employs a 'hermeneutics of suspicion', in Paul Ricoeur’s phrase, to claim that passionate love poetry is not what it seems, and should be properly understood as worship of God, subordination to Empire, or an entanglement with the structures of language itself – in short, the very things it resists. The book engages with some of the seminal literature of the Western canon, including the Bible, the poetry of Ovid, and works by English authors such as William Shakespeare and John Donne, and with criticism that stretches from the earliest readings of the Song of Songs to contemporary academic literature. Lively and enjoyable in its style, it attempts to restore a sense of pleasure to the reading of poetry, and to puncture critical insistence that literature must be outwitted. It will be of value to professional, graduate, and advanced undergraduate scholars of literature, and to the educated general reader interested in treatments of love in poetry throughout history.

"This is a mystery with Gaillac flavor to be savored" --Mystery Scene Magazine "A finely crafted and surprising mystery" --Kirkus Reviews The body of Gil Petty, America's most celebrated wine critic, is found strung up in a French Gaillac vineyard, dressed in the ceremonial robes of the Order of the Divine Bottle and pickled in wine. For forensic expert Enzo Macleod, the key to this unsolved murder lies in decoding Petty's mysterious reviews, which could make or break a vineyard's reputation. As he digs deeper for the motivation behind the shocking crime, Macleod finds that beneath the tranquil façade of French viticulture lurks a back-stabbing community characterized by a deadly rivalry--and home to someone who is ready to stop him even if they have to kill again to stop the investigation.

The Peruvian Nobel laureate presents a collection of essays on the decline of intellectual life in the age of media spectacle. In the past, culture was a kind of vital consciousness that constantly rejuvenated and revivified everyday reality. Now it is largely a mechanism of distraction and entertainment. Notes on the Death of Culture is an examination and indictment of this transformation—penned by Mario Vargas Llosa, who is not only one of our finest novelists but one of the keenest social critics. Taking his cues from T.S. Eliot—whose essay “Notes Toward a Definition of Culture” is a touchstone precisely because the culture Eliot aimed to describe has since vanished—Vargas Llosa traces a decline whose ill effects have only just begun. He mourns, in particular, the figure of the intellectual: for most of the twentieth century, men and women of letters drove political, aesthetic, and moral conversations; today they have all but disappeared from public debate. But Vargas Llosa stubbornly refuses to fade into the background. A necessary gadfly, the Nobel laureate Vargas Llosa, here vividly translated by John King, provides a tough but essential critique of our time and culture.

A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.

SHORTLISTED FOR THE GORDON BURN PRIZE Mrs Death tells her intoxicating story in this life-affirming fire-starter of a novel Mrs Death has had enough. She is exhausted by her job and now seeks someone to unburden her conscience to. She meets Wolf, a troubled young writer, who – enthralled by her stories – begins to write Mrs Death’s memoirs. As the two reflect on the losses they have experienced (or facilitated), their friendship flourishes. All the while, despite her world-weariness, Death must continue to hold humans’ fates in her hands, appearing in our lives when we least expect her . . .