Banner Message
Please note: Due to the renovations happening to the Pritzker building, the bookstore is in a temporary location without full access to the inventory. There might be items that appear online that are not currently accesible to us to ship to you. If you order these items, you will be refunded and the rest of your order will ship. Feel free to contact us with any questions.
Essays
Includes the essay "Notes on Camp," the inspiration for the 2019 exhibition Notes on Fashion: Camp at the Costume Institute of the Metropolitan Museum of Art
Against Interpretation was Susan Sontag's first collection of essays and is a modern classic. Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the groundbreaking essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Levi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.
At each step of this journey through American cultural history, Louis Menand has an original point to make: he explains the real significance of William James's nervous breakdown, and of the anti-Semitism in T. S. Eliot's writing. He reveals the reasons for the remarkable commercial successes of William Shawn's New Yorker and William Paley's CBS. He uncovers the connection between Larry Flynt's Hustler and Jerry Falwell's evangelism, between the atom bomb and the Scholastic Aptitude Test. He locates the importance of Richard Wright, Norman Mailer, Pauline Kael, Christopher Lasch, and Rolling Stone magazine. And he lends an ear to Al Gore in the White House as the Starr Report is finally presented to the public.
Like his critically acclaimed bestseller, The Metaphysical Club, American Studies is intellectual and cultural history at its best: game and detached, with a strong curiosity about the political underpinnings of ideas and about the reasons successful ideas insinuate themselves into the culture at large. From one of our leading thinkers and critics, known both for his "sly wit and reportorial high-jinks [and] clarity and rigor" (The Nation), these essays are incisive, surprising, and impossible to put down.
"All that kid wants to do is stick his nose in a book," Michael Dirda's steelworker father used to complain, worried about his son's passion for reading. In "An Open Book," one of the most delightful memoirs to emerge in years, the acclaimed literary journalist Michael Dirda re-creates his boyhood in rust-belt Ohio, first in the working-class town of Lorain, then at Oberlin College. In addition to his colorful family and friends, "An Open Book" also features the great writers and fictional characters who fueled Dirda's imagination: from Green Lantern to Sherlock Holmes, from Candy to Proust. The result is an affectionate homage to small-town America summer jobs, school fights, sweepstakes contests, and first dates as well as a paean to what could arguably be called the last great age of reading. "Dirda is a superb literary essayist." Harold Bloom "Michael Dirda's memoir no surprise to me is so good that I went up to the attic meaning to send him one of my antique Big Little books as a salute to excellence...A great job. I'll be buying "An Open Book" for my children and grandchildren." Russell Baker, author of "Growing Up" "Here, in "An Open Book," is the show and tell of a wonderful American story, everything coming together in the immemorial dance of literature and memory, of history and gossip, and of the deeply felt, bittersweet story (his own) of a young life. Read it and rejoice." George Garrett "A lovely, unapologetically nostalgic remembrance of growing up in a more innocent America, but it is also the touching story of one person's lifelong love affair with words." June Sawyer, "San Francisco Chronicle" "Dirda inhabits each book he reads. Inhabits it and makes a space alongside it for us to join him....He is a rare treasure." James Sallis, "Boston Sunday Globe""
Our most revered critic returns to his signature theme
"Literary criticism, as I attempt to practice it," writes Harold Bloom in The Anatomy of Influence, "is in the first place literary, that is to say, personal and passionate."For more than half a century, Bloom has shared his profound knowledge of the written word with students and readers. In this, his most comprehensive and accessible study of influence, Bloom leads us through the labyrinthine paths which link the writers and critics who have informed and inspired him for so many years. The result is "a critical self-portrait," a sustained meditation on a life lived with and through the great works of the Western canon: Why has influence been my lifelong obsessive concern? Why have certain writers found me and not others? What is the end of a literary life?
Featuring extended analyses of Bloom's most cherished poets--Shakespeare, Whitman, and Crane--as well as inspired appreciations of Emerson, Tennyson, Browning, Yeats, Ashbery, and others, The Anatomy of Influence adapts Bloom's classic work The Anxiety of Influence to show us what great literature is, how it comes to be, and why it matters. Each chapter maps startling new literary connections that suddenly seem inevitable once Bloom has shown us how to listen and to read. A fierce and intimate appreciation of the art of literature on a scale that the author will not again attempt, TheAnatomy of Influence follows the sublime works it studies, inspiring the reader with a sense of something ever more about to be.
"The rarest (and highest) of literary classes consist of that small group of authors who are absolutely inimitable . . . One of the half-dozen living American authors who belongs in this class is Wendell Berry." --Los Angeles Times "Berry is a philosopher, poet, novelist, and an essayist in the tradition of Emerson and Thoreau . . . like Thoreau, he marches to a different drummer, a drummer we would do well to be aware of, if not to march to." --San Francisco Chronicle
For thirty years Anne Enright--one of our greatest living novelists (Times)--has been paying attention: casting her lucid and distinctive gaze across the world, literature, and her own life, and gifting us with her precise insights. These essays, collated from across Enright's career, take us from Galway to Honduras, from keen-eyed memoir to urgent political writing. Enright writes about the free voices and controlled bodies of women in society: She interprets Sophocles' Antigone through the lens of the Mother and Baby Homes in Galway, writes on Ireland's successful 2018 referendum on abortion rights, and offers new perspectives on writers including Alice Munro, Toni Morrison, James Joyce, Helen Garner, and Angela Carter.
This stunning collection unites Enright's cultural criticism, literary, and autobiographical writing for the first time. True to the themes that saturate her award-winning fiction, Attention explores the intersection between the personal and political, the subtleties of bodily autonomy, complex family dynamics, and the challenges of intimacy in crystalline, urgent prose. Here we see Enright grappling with and answering these questions in nonfiction. It is a defining collection from one of our most distinguished literary voices.
What is the book in a digital age? Is it a physical object containing pages encased in covers? Is it a portable device that gives us access to entire libraries? The codex, the book as bound paper sheets, emerged around 150 CE. It was preceded by clay tablets and papyrus scrolls. Are those books? In this volume in the MIT Press Essential Knowledge series, Amaranth Borsuk considers the history of the book, the future of the book, and the idea of the book. Tracing the interrelationship of form and content in the book's development, she bridges book history, book arts, and electronic literature to expand our definition of an object we thought we knew intimately.
Contrary to the many reports of its death (which has been blamed at various times on newspapers, television, and e-readers), the book is alive. Despite nostalgic paeans to the codex and its printed pages, Borsuk reminds us, the term "book" commonly refers to both medium and content. And the medium has proved to be malleable. Rather than pinning our notion of the book to a single form, Borsuk argues, we should remember its long history of transformation. Considering the book as object, content, idea, and interface, she shows that the physical form of the book has always been the site of experimentation and play. Rather than creating a false dichotomy between print and digital media, we should appreciate their continuities.
Essayist Stephen Miller pursues a lifelong interest in conversation by taking an historical and philosophical view of the subject. He chronicles the art of conversation in Western civilization from its beginnings in ancient Greece to its apex in eighteenth-century Britain to its current endangered state in America. As Harry G. Frankfurt brought wide attention to the art of bullshit in his recent bestselling "On Bullshit," so Miller now brings the art of conversation into the light, revealing why good conversation matters and why it is in decline.
A Times Literary Supplement Best Book of the Year
A major new work by Charles Taylor: the long-awaited follow-up to The Language Animal, exploring the Romantic poetics central to his theory of language. The Language Animal, Charles Taylor's 2016 account of human linguistic capacity, was a revelation, illuminating our most fundamental selves. But, as Taylor noted in that work, there was more to be said. Cosmic Connections extends Taylor's exploration of innovations in language by turning to Romantic and post-Romantic responses to disenchantment. The fall of cosmic order left Romantics groping toward a new meaning of life. They turned to the symbols and music of poetry to recover contact with reality beyond fragmented existence, developing aesthetic forms that post-Romantics have carried into the present day. Taylor takes us from Hölderlin, Novalis, Keats, and Shelley to Hopkins, Rilke, Baudelaire, and Mallarmé, and on to Eliot, Milosz, and beyond. In seeking understanding and a new orientation to life, the language of poetry is not merely a pleasurable presentation of doctrines already elaborated elsewhere. Rather, Taylor insists, poetry persuades us through the experience of connection. The resulting conviction is very different from that gained through the force of argument. Poetry's reasoning will often be incomplete, tentative, and enigmatic. But at the same time, its insight is too moving--too obviously true--to be ignored.
This international bestseller is an encyclopedic A-Z masterpiece--the perfect introduction to the very core of Western humanism. Clive James rescues, or occasionally destroys, the careers of many of the greatest thinkers, humanists, musicians, artists, and philosophers of the twentieth century. Soaring to Montaigne-like heights, Cultural Amnesia is precisely the book to burnish these memories of a Western civilization that James fears is nearly lost.
NEW YORK TIMES BESTSELLER - NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE WASHINGTON POST AND KIRKUS REVIEWS
Hailed as "the indispensable critic" by The New York Review of Books, Harold Bloom--New York Times bestselling writer and Sterling Professor of Humanities at Yale University--has for decades been sharing with readers and students his genius and passion for understanding literature and explaining why it matters. Now he turns at long last to his beloved writers of our national literature in an expansive and mesmerizing book that is one of his most incisive and profoundly personal to date. A product of five years of writing and a lifetime of reading and scholarship, The Daemon Knows may be Bloom's most masterly book yet.
"Enrapturing . . . radiant . . . intoxicating . . . Harold Bloom, who bestrides our literary world like a willfully idiosyncratic colossus, belongs to the party of rapture."--Cynthia Ozick, The New York Times Book Review "The capstone to a lifetime of thinking, writing and teaching . . . The primary strength of The Daemon Knows is the brilliance and penetration of the connections Bloom makes among the great writers of the past, the shrewd sketching of intellectual feuds or oppositions that he calls agons. . . . Bloom's books are like a splendid map of literature, a majestic aerial view that clarifies what we cannot see from the ground."--The Washington Post
"Audacious . . . The Yale literary scholar has added another remarkable treatise to his voluminous body of work."--The Huffington Post
"The sublime The Daemon Knows is a veritable feast for the general reader (me) as well as the advanced (I assume) one."--John Ashbery
"Mesmerizing."--New York Journal of Books
"Bloom is a formidable critic, an extravagant intellect."--Chicago Tribune "As always, Bloom conveys the intimate, urgent, compelling sense of why it matters that we read these canonical authors."--Kirkus Reviews (starred review) "Few people write criticism as nakedly confident as Bloom's any more."--The Guardian (U.K.)
"[Grann is] one of the preeminent adventure and true-crime writers working today."--New York Magazine
Whether David Grann is investigating a mysterious murder, tracking a chameleon-like con artist, or hunting an elusive giant squid, he has proven to be a superb storyteller. In The Devil and Sherlock Holmes, Grann takes the reader around the world, revealing a gallery of rogues and heroes with their own particular fixations who show that truth is indeed stranger than fiction.
Look for David Grann's latest bestselling book, The Wager!
Growing up in Bulgaria, Julia Kristeva was warned by her father not to read Dostoyevsky. "Of course, and as usual," she recalls, "I disobeyed paternal orders and plunged into Dosto. Dazzled, overwhelmed, engulfed." Kristeva would go on to become one of the most important figures in European intellectual life--and she would return over and over again to Dostoyevsky, still haunted and enraptured by the force of his writing.
In this book, Kristeva embarks on a wide-ranging and stimulating inquiry into Dostoyevsky's work and the profound ways it has influenced her own thinking. Reading across his major novels and shorter works, Kristeva offers incandescent insights into the potent themes that draw her back to the Russian master: God, otherness, violence, eroticism, the mother, the father, language itself. Both personal and erudite, the book intermingles Kristeva's analysis with her recollections of Dostoyevsky's significance in different intellectual moments--the rediscovery of Bakhtin in the Thaw-era Eastern Bloc, the debates over poststructuralism in 1960s France, and today's arguments about whether it can be said that "everything is permitted." Brilliant and vivid, this is an essential book for admirers of both Kristeva and Dostoyevsky. It also features an illuminating foreword by Rowan Williams that reflects on the significance of Kristeva's reading of Dostoyevsky for his own understanding of religious writing.
It is generally assumed that whatever else has changed about the human condition since the dawn of civilization, basic human emotions - love, fear, anger, envy, shame - have remained constant. David Konstan, however, argues that the emotions of the ancient Greeks were in some significant respects different from our own, and that recognizing these differences is important to understanding ancient Greek literature and culture.
With The Emotions of the Ancient Greeks, Konstan reexamines the traditional assumption that the Greek terms designating the emotions correspond more or less to those of today. Beneath the similarities, there are striking discrepancies. References to Greek 'anger' or 'love' or 'envy, ' for example, commonly neglect the fact that the Greeks themselves did not use these terms, but rather words in their own language, such as orgê and philia and phthonos, which do not translate neatly into our modern emotional vocabulary. Konstan argues that classical representations and analyses of the emotions correspond to a world of intense competition for status, and focused on the attitudes, motives, and actions of others rather than on chance or natural events as the elicitors of emotion. Konstan makes use of Greek emotional concepts to interpret various works of classical literature, including epic, drama, history, and oratory. Moreover, he illustrates how the Greeks' conception of emotions has something to tell us about our own views, whether about the nature of particular emotions or of the category of emotion itself.
My aim is to take familiar things and make
Poetry of them, and do it in such a way
That it looks as if it was as easy as could be
For anybody to do it . . . the power of making
A perfectly wonderful thing out of nothing much.
--from "The Art of Poetry"