“Almost indecently readable . . . captures [Burroughs’s] destructive energy, his ferocious pessimism, and the renegade brilliance of his style.”—Vogue With a new preface as well as a final chapter on William S. Burroughs’s last years, the acclaimed Literary Outlaw is the only existing full biography of an extraordinary figure. Anarchist, heroin addict, alcoholic, and brilliant writer, Burroughs was the patron saint of the Beats. His avant-garde masterpiece Naked Lunch shook up the literary world with its graphic descriptions of drug abuse and illicit sex—and resulted in a landmark Supreme Court ruling on obscenity. Burroughs continued to revolutionize literature with novels like The Soft Machine and to shock with the events in his life, such as the accidental shooting of his wife, which haunted him until his death. Ted Morgan captures the man, his work, and his friends—Allen Ginsberg and Paul Bowles among them—in this riveting story of an iconoclast.

Davis makes extensive use of untapped literary archives to weave a fascinating portrait of six Texas writers, calling themselves the Mad Dogs, who came of age during a period of rapid social change: Bud Shrake, Larry L. King, Billy Lee Brammer, Gary Cartwright, Dan Jenkins, and Peter Gent.

For a decade--from 1973 to 1982--John Gardner was one of America's most famous writers and certainly its most flamboyantly opinionated. His 1973 novel, The Sunlight Dialogues, was on the New York Times bestseller list for fourteen weeks. Once in the limelight, he picked public fights with his peers, John Barth, Joseph Heller, and Norman Mailer among them, and wrote five more bestsellers. Gardner's personal life was as chaotic as his writing life was prolific. At twenty, he married his cousin Joan, and after a long marriage that was both passionate and violent, left her for Liz Rosenberg, a student. Only a few years later, he left Rosenberg for another student, Susan Thornton. Famous for disregarding his own safety, he rode his motorcycle at crazy speeds, incurred countless concussions, and once broke both of his arms. He survived what was diagnosed as terminal colon cancer only to resume his prodigious drinking and to die in a motorcycle accident at age forty-nine, a week before his third wedding. Biographer Barry Silesky captures John Gardner's fabulously contradictory genius and his capacity to both dazzle and infuriate. He portrays Gardner as a man of unrestrained energy and blatant contempt for convention and also as a man whose charisma drew students and devoted followers wherever he went. Amazingly, Gardner published twenty-nine books in all, including eleven fiction titles, a book-length epic poem, six books of medieval criticism, and a major biography. Twenty-one years after his death, his On Moral Fiction and The Art Of Fiction are still read and debated in MFA programs across the country. This is a full-scale biography of a writer who was, for ten years, almost bigger than life. It lives up to its subject magnificently.

In this angry, eloquent outcry against the oppression of homosexuals, the author of the classic City of Night gives "an explosive non-fiction account, with commentaries, of three days and nights in the sexual underground" of Los Angeles in the 1970s--the "battlefield" of the sexual outlaw. Using the language and techniqus of the film, Rechy deftly intercuts the despairing, joyful, and defiant confessions of a male hustler with the "chorus" of his own subversive reflections on sexual identity and sexual politics, and with stark documentary reports our society directs against homosexuals--"the only minority against whose existence there are laws."

A central feature of English Renaissance humanism was its reverence for classical Latin as the one true form of eloquent expression. Yet sixteenth-century writers increasingly came to believe that England needed an equally distinguished vernacular language to serve its burgeoning national community. Thus, one of the main cultural projects of Renaissance rhetoricians was that of producing a "common" vernacular eloquence, mindful of its classical origins yet self-consciously English in character. The process of vernacularization began during Henry VIII’s reign and continued, with fits and starts, late into the seventeenth century. In Outlaw Rhetoric, Jenny C. Mann examines the substantial and largely unexplored archive of vernacular rhetorical guides produced in England between 1500 and 1700. Writers of these guides drew upon classical training as they translated Greek and Latin figures of speech into an everyday English that could serve the ends of literary and national invention. In the process, however, they confronted aspects of rhetoric that run counter to its civilizing impulse. For instance, Mann finds repeated references to Robin Hood, indicating an ongoing concern that vernacular rhetoric is "outlaw" to the classical tradition because it is common, popular, and ephemeral. As this book shows, however, such allusions hint at a growing acceptance of the nonclassical along with a new esteem for literary production that can be identified as native to England. Working across a range of genres, Mann demonstrates the effects of this tension between classical rhetoric and English outlawry in works by Spenser, Shakespeare, Sidney, Jonson, and Cavendish. In so doing she reveals the political stakes of the vernacular rhetorical project in the age of Shakespeare.

Arguing that outlaw narratives become particularly popular and poignant at moments of national ecological and political crisis, Sarah Harlan-Haughey examines the figure of the outlaw in Anglo-Saxon poetry and Old English exile lyrics such as Beowulf, works dealing with the life and actions of Hereward, the Anglo-Norman romance of Fulk Fitz Waryn, the Robin Hood ballads, and the Tale of Gamelyn. Although the outlaw's wilderness shelter changed dramatically from the menacing fens and forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, Harlan-Haughey observes that the outlaw remained strongly animalistic, other, and liminal. His brutality points to a deep literary ambivalence towards wilderness and the animal, at the same time that figures such as the Anglo-Saxon resistance fighter Hereward, the brutal yet courtly Gamelyn, and Robin Hood often represent a lost England imagined as pristine and forested. In analyzing outlaw literature as a form of nature writing, Harlan-Haughey suggests that it often reveals more about medieval anxieties respecting humanity's place in nature than it does about the political realities of the period.

A “compulsively readable” history of how Waylon Jennings, Willie Nelson, and Kris Kristofferson redefined country music (Publishers Weekly, starred review). Outlaw delves into the country music scene of the late ’60s and early ’70s, when three rebels—Waylon Jennings, Willie Nelson, and Kris Kristofferson found themselves in Music City writing songs and vying for record deals. Channeling the unrest of the times, all three Country Music Hall of Famers resisted the music business’s unwritten rules and emerged as leaders of the outlaw movement that ultimately changed the recording industry. This account offers a broad portrait of the outlaw movement in Nashville that includes a diverse secondary cast of characters, such as Johnny Cash, Rodney Crowell, Kinky Friedman, and Billy Joe Shaver, among others. With archival photographs throughout, Outlaw is a comprehensive examination of a fascinating shift in country music, and the three unbelievably talented musicians who forged the way. “[An] engaging cultural history . . . a fascinating chronicle.” —The Washington Post “Riveting.” —The Wall Street Journal

NATIONAL BESTSELLER • A riveting, adrenaline-fueled tour of a vast, lawless, and rampantly criminal world that few have ever seen: the high seas. There are few remaining frontiers on our planet. But perhaps the wildest, and least understood, are the world's oceans: too big to police, and under no clear international authority, these immense regions of treacherous water play host to rampant criminality and exploitation. Traffickers and smugglers, pirates and mercenaries, wreck thieves and repo men, vigilante conservationists and elusive poachers, seabound abortion providers, clandestine oil-dumpers, shackled slaves and cast-adrift stowaways—drawing on five years of perilous and intrepid reporting, often hundreds of miles from shore, Ian Urbina introduces us to the inhabitants of this hidden world. Through their stories of astonishing courage and brutality, survival and tragedy, he uncovers a globe-spanning network of crime and exploitation that emanates from the fishing, oil, and shipping industries, and on which the world's economies rely. Both a gripping adventure story and a stunning exposé, this unique work of reportage brings fully into view for the first time the disturbing reality of a floating world that connects us all, a place where anyone can do anything because no one is watching.