In My Century the great Polish poet Aleksander Wat provides a spellbinding account of life in Eastern Europe in the midst of the terrible twentieth century. Based on interviews with Nobel Prize winner Czeslaw Milosz, My Century describes the artistic, sexual, and political experimentation—in which Wat was a major participant—that followed the end of World War I: an explosion of talent and ideas which, he argues, in some ways helped to open the door to the destruction that the Nazis and Bolsheviks soon visited upon the world. But Wat’s book is at heart a story of spiritual struggle and conversion. He tells of his separation during World War II from his wife and young son, of his confinement in the Soviet prison system, of the night when the sound of far-off laughter brought on a vision of “the devil in history.” “It was then,” Wat writes, “that I began to be a believer.”

Mary Mathieson has had an eventful life spanning almost a century. She has lived in small town Ontario, in Northern Ontario including the James Bay area where she was an itinerant nurse, and in cosmopolitan cities. She has spent time in some of the most interesting cities in Europe and the United States and she has been witness to the most momentous events of the 20th Century. Told in bite-size vignettes and longer tales, this is her recollection of a lifetime.

Here, Gunter Grass writes of great events and seemingly trivial ones, of technical developments and scientific discoveries, of achievements in culture, sport, of megolamania, persecution and murder, war and disasters and of new beginnnings.

A New York Times Book Review Editors' Choice Multilayered, subtle, insightful short stories from the inimitable Booker Prize–winning author, with an introduction by Anita Desai Nobody has written so powerfully of the relationship between and within India and the Western middle classes than Ruth Prawer Jhabvala. In this selection of stories, chosen by her surviving family, her ability to tenderly and humorously view the situations faced by three (sometimes interacting) cultures—European, post–Independence Indian, and American—is never more acute. In “A Course of English Studies,” a young woman arrives at Oxford from India and struggles to adapt, not only to the sad, stoic object of her infatuation, but also to a country that seems so resistant to passion and color. In the wrenching “Expiation,” the blind, unconditional love of a cloth shop owner for his wastrel younger brother exposes the tragic beauty and foolishness of human compassion and faith. The wry and triumphant “Pagans” brings us middle–aged sisters Brigitte and Frankie in Los Angeles, who discover a youthful sexuality in the company of the languid and handsome young Indian, Shoki. This collection also includes Jhabvala’s last story, “The Judge’s Will,” which appeared in The New Yorker in 2013 after her death. The profound inner experience of both men and women is at the center of Jhabvala’s writing: she rivals Jane Austen with her impeccable powers of observation. With an introduction by her friend, the writer Anita Desai, At the End of the Century celebrates a writer’s astonishing lifetime gift for language, and leaves us with no doubt of Ruth Prawer Jhabvala’s unique place in modern literature. "The stories—all of them elegantly plotted and unsentimental, with an addictive, told–over–tea quality—are largely character studies of people isolated, often tragically, by custom or self–delusion . . . Vivid, unsparing portraits are leavened with the kind of humanizing moments that evoke a total world within their compression."—Megan O’Grady, The New York Times Book Review

The incomparable John Updike selects the 55 finest short stories from America's bestselling anthology, published since 1915.

In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used--or stole, plagiarized, and expropriated--elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named "beautiful language" of this book's title, itself an appropriation from Guy Debord's collaged M & e ́moires). Redeployed, often in startling or pointed juxtapositions, these elements took on newly oppositional meanings. A famous photograph taken inside the occupied Sorbonne in May 1968, for example, shows a massive academic painting altered by a clever cartoonish speech bubble that transforms the painting into a parody of itself and memorializes an event very different from the one captured by the original artist."The Beautiful Language of My Century"describes the various forms of critical culture that culminated in the events of May 1968, and investigates the ways those forms have come down to us today. McDonough explores the montage practice developed by Guy Debord and his situationist colleagues under the name of d & e ́tournementand its expression in the later fifties as a form of cultural theft. He addresses the influence of colonialism on these practices, examining a 1961 exhibit of torn posters of the Algerian War ("La France d & e ́chir & e ́e"), Godard's early film Le Petit Soldat,and Christo's Project for a Temporary Wall of Steel Drums.He discusses the French left's adoption in the mid-sixties of the "end of art" as a theoretical position and describes the leftist idea of the f & e teas a Rabelaisian and revolutionary upwelling of everything that is low. This influential conception, inspired equally by the American urban revolts of the sixties and the writings of theorists Marcel Mauss and Georges Bataille, coalesced into a new image of revolution, a new model of contestation, in the events of May 1968--when the struggle over language and culture merged with a broader resistance to capitalist modernization.

When Thomas D. Clark was hired to teach history at the University of Kentucky in 1931, he began a career that would span nearly three-quarters of a century and would profoundly change not only the history department and the university but the entire Commonwealth. His still-definitive History of Kentucky (1937) was one of more than thirty books he would write or edit that dealt with Kentucky, the South, and the American frontier. In addition to his wide scholarly contributions, Clark devoted his life to the preservation of Kentucky's historical records. He began this crusade by collecting vast stores of Kentucky's military records from the War of 1812, the Mexican War, and the Civil War. His efforts resulted in the Commonwealth's first archival system and the subsequent creation of the Kentucky Library and Archives, the University of Kentucky Special Collections and Archives, the Kentucky Oral History Commission, the Kentucky History Center (recently named for him), and the University Press of Kentucky. Born in 1903 on a cotton farm in Louisville, Mississippi, Thomas Dionysius Clark would follow a long and winding path to find his life's passion in the study of history. He dropped out of school after seventh grade to work first at a sawmill and then on a canal dredgeboat before resuming his formal education. Clark's earliest memories—hearing about local lynch-mob violence and witnessing the destruction of virgin forest—are an invaluable window into the national issues of racial injustice and environmental depredation. In many ways, the story of Dr. Clark's life is the story of America in the twentieth century. In My Century in History, Clark offers vivid memories of his journey, both personal and academic, a journey that took him from Mississippi to Kentucky and North Carolina, to leadership of the nation's major historical organizations, and to visiting professorships in Austria, England, Greece, and India, as well as in universities throughout the United States. An enormously popular public lecturer and teacher, he touched thousands of lives in Kentucky and around the world. With his characteristic wit and insight, Clark now offers his many admirers one final volume of history—his own.

This work is a compendium of Professor of Philosophy Virgil Charles Aldrich's views on ethics, metaphysics, epistemology, phenomenonology, aesthetics, logic, and related philosophical disciplines.

The writing style in Willa Cather Is My Great Aunt and Other Stories is direct and honest. By describing specific moments in her life, Trish Schreiber creates an honest and interesting portrayal of her family.

In selecting Margaret Walker as the recipient of the Yale Series of Younger Poets in 1942—making her the first African American to receive this national literary award—Stephen Vincent Benét proclaimed hers a vibrant new voice, finding in her collection For My People “a controlled intensity of emotion and a language that, at times, even when it is most modern, has something of a surge of biblical poetry.” Today, more than seventy years later, Walker’s voice still resonates with particular power. Addressing the literature and culture of black America, This Is My Century, first published in 1989, marked a significant contribution to American poetry, bringing together Walker’s selection of one hundred of her own poems. On the eve of the centennial of Walker’s birth, the University of Georgia Press is proud to reissue this classic of American letters. In addition to her award-winning debut collection, the volume includes Prophets for a New Day (1970), a celebration of the civil rights movement; October Journey (1973), a collection of autobiographical and dedicatory poems; and thirty-seven previously uncollected poems.