By the 1930s, Stefan Zweig, born to an affluent Jewish family in Vienna, had become the most widely translated living author in the world. His novels, short stories, and biographies became instant bestsellers, and his cultural patronage, his generosity, and his literary connections, were legendary. In 1934, following Hitler's rise to power, Zweig left Vienna for England, then New York, and, finally, Petropolis, a suburb of Rio de Janeiro. With the destruction of the cultural milieu of pre-Nazi Europe, Zweig's life in exile became increasingly isolated. In 1942 he and his wife, Lotte Altmann, were found dead. They had committed suicide, just after Zweig had completed his famous autobiography, The World of Yesterday. The Impossible Exile tells the mesmerizing and tragic story of Zweig's extraordinary rise and fall, the gulf between the world of ideas in Europe and in America, and the alienation of the refugees forced into exile. Zweig embodied and witnessed the end of an era: the great Central European civilization of Vienna and Berlin.

'A huge, fizzing omnium-gatherum of a book . . . marvellous' Daily Telegraph 'Witty, wise and elegant . . . a classic of history itself' The Spectator 'Grave and witty, suave yet pointed . . . full of energy' Hilary Mantel 'An enthralling investigation . . . consistently entertaining' The Times 'Epic . . . whatever Cohen writes about he writes about with brio' New Yorker Who writes the past? And how do the biases of storytellers - whether Julius Caesar, William Shakespeare or Simon Schama - influence our ideas about history today? Epic, authoritative and entertaining, Making History delves into the lives of those who have charted human history - professional historians, witnesses, novelists, journalists and propagandists - to discover the agendas that informed their world views, and which in so many ways have informed ours. From the origins of history-writing through to television and the digital age, Making History abounds in captivating figures brought to vivid life, from Thucydides and Tacitus to Voltaire and Gibbon, from Winston Churchill to Mary Beard. Rich in character, complex truths and surprising anecdotes, the result is a unique exploration of both the aims and craft of history-making that will lead us to think anew about our past and ourselves.

Though better known for his literary merits, Shakespeare made money, wrote about money and enabled money-making by countless others in his name. With chapters by leading scholars on the economic, financial and commercial ramifications of his work, this multifaceted volume connects the Bard to both early modern and contemporary economic conditions, revealing Shakespeare to have been a serious economist in his own right.

A guide to writing fiction by the Booker Prize-winning author of Vernon God Little.Part biography, part reflection and part practical guide, Release the Bats explores the mysteries of why and how we tell stories, and the craft of writing fiction. DBC Pierre reveals everything he learned the hard way.

A retelling of American modernism through the lines of solidarity and division within and among ethnic and religious identities found in poetry. What happens if we approach the reading and writing of poetry not as an individual act, but as a public one? Answering this question challenges common assumptions about modern poetry and requires that we explore the important questions that define genre: Where is this poem situated, and how did it get there? Joshua Logan Wall's Situating Poetry studies five poets of the New York literary scene rarely considered together: James Weldon Johnson, Charles Reznikoff, Lola Ridge, Louis Zukofsky, and Robert Hayden. Charting their works and careers from 1910-1940, Wall illustrates how these politically marginalized writers from drastically different religious backgrounds wrestled with their status as American outsiders. These poets produced a secularized version of America in which poetry, rather than God, governed individual obligations to one another across multiethnic barriers. Adopting a multiethnic and pluralist approach, Wall argues that each of these poets-two Black, two Jewish, and one Irish-American anarchist-shares a desire to create more truly democratic communities through art and through the covenantal publics created by their poems despite otherwise sitting uncomfortably, at best, within a more standard literary history. In this unique account of American modernist poetics, religious pluralism creates a lens through which to consider the bounds of solidarity and division within and among ethnic identities and their corresponding literatures.

Sharatchandra Chattopadhyay has been the most popular writer of novels and short stories in his native Bengaland in India at large. Despite this, he remains unrecognized in the English speaking world. Narasingha P. Sil fills this void by presenting a historical critical assessment of his upbringing and the experiences that influenced his masterful and magnificent work. The Life of Sharatchandra Chattopadhyay rescues the authentic man, a caste-conscious and patriarchal Brahmin of colonial Bengal, from the cuckoo land of gratuitous praise and panegyric showered on the Aparajeya Kathasilpi, the "invincible" wordsmith. The author exposes Sharatchandra's innate conservative worldview and his romantic platonic concept of human sexuality that inform all his love stories. In many respects Sharatchandra resembles his formidable European forbear, Jean Jacques Rousseau of Enlightenment France. The concluding chapter of Sil's biographical study introduces this pioneering comparison between the two men-a veritable tour de force.

With a style that combined biting sarcasm with the "language of the free lunch counter," Henry Louis Mencken shook politics and politicians for nearly half a century. Now, fifty years after Mencken's death, the Johns Hopkins University Press announces The Buncombe Collection, newly packaged editions of nine Mencken classics: "Happy Days," "Heathen Days," "Newspaper Day"s, "Prejudices," "Treatise on the Gods," "On Politics," "Thirty-Five Years of Newspaper Work," "Minority Report," and "A Second Mencken Chrestomathy."

Most of these autobiographical writings first appeared in the "New Yorker." Here Mencken recalls memories of a safe and happy boyhood in the Baltimore of the 1880s.

'...a beautiful wrought study that belongs in every good library'. Publishers' Weekly '...remains a major contribution to Hardy studies' - Charles Osborne, Sunday Telegraph Originally published in 1971 and now for the first time reprinted, Thomas Hardy: His Career as a Novelist has long been recognized as a major - and exceptionally well-written - work of Hardy criticism that also set new standards for Hardy scholarship. A recent survey refers to it as 'one of the most permanently useful' of Hardy studies, characterized by an 'admirably clear, unpretentious style'. Although the central chapters are predominantly critical, offering independent readings of each of the novels (including those customarily considered 'minor'), those readings are developed within the context of available knowledge of Hardy's personal and intellectual backgrounds, his friendships and family relationships, and his evolution as a professional writer. Extensive use is made of Hardy's own manuscripts, notebooks, nd letters and of the correspondence and reminiscences of those who knew him, and in a new preface Michael Millgate speaks of having sought to resolve 'the standard work/life dichotomy' by pursuing 'the unitary conception of a career'.

This book is an intimate, fond and funny memoir of one of the greatest novelists of the last century. This colourful, personal, anecdotal, indiscreet and admiring memoir charts the course of Muriel Spark's life revealing her as she really was. Once, she commented sitting over a glass of chianti at the kitchen table, that she was upset that the academic whom she had appointed her official biographer did not appear to think that she had ever cracked a joke in her life. Alan Taylor here sets the record straight about this and many other things. With sources ranging from notebooks kept from his very first encounter with Muriel and the hundreds of letters they exchanged over the years, this is an invaluable portrait of one of Edinburgh's premiere novelists. The book will be published to celebrate the 100th anniversary of Muriel's birth in 2018.

Winner of the Edgar(R) Award for Best Fact Crime The true account of one boy's lifelong search for his boarding-school bully. Equal parts childhood memoir and literary thriller, Whipping Boy chronicles prize-winning author Allen Kurzweil's search for his twelve-year-old nemesis, a bully named Cesar Augustus. The obsessive inquiry, which spans some forty years, takes Kurzweil all over the world, from a Swiss boarding school (where he endures horrifying cruelty) to the slums of Manila, from the Park Avenue boardroom of the world's largest law firm to a federal prison camp in Southern California. While hunting down his tormentor, Kurzweil encounters an improbable cast of characters that includes an elocution teacher with ill-fitting dentures, a gang of faux royal swindlers, a crime investigator "with paper in his blood," and a onocled grand master of the Knights of Malta. Yet for all its global exoticism and comic exuberance, Kurzweil's riveting account is, at its core, a heartfelt and suspenseful narrative about the "parallel lives" of a victim and his abuser. A scrupulously researched work of nonfiction that renders a childhood menace into an unlikely muse, Whipping Boy is much more than a tale of karmic retribution; it is a poignant meditation on loss, memory, and mourning, a surreal odyssey born out of suffering, nourished by rancor, tempered by wit, and resolved, unexpectedly, in a breathtaking act of personal courage. Whipping Boy features two 8-page black-and-white photo inserts and 83 images throughout.

'A smart and highly entertaining portrait of a literary powerhouse' - THE TIMES BOOKS OF THE YEAR 'A riveting portrait' - GUARDIAN BOOKS OF THE YEAR *** 'Christie lovers should read this biography for the same reason they read her novels.' - The Times 'A model of how to combine biographical information, analysis and literary criticism into a propulsive narrative' - Daily Telegraph 'Worsley's book excels in bringing a broader historical perspective to Christie's life and work, and her enthusiasm is infectious.' - Observer Ms Worsley herself writes engagingly... She combines an almost militant support for her subject with a considered analysis of her books and plays.' - Economist 'Nobody in the world was more inadequate to act the heroine than I was.' Why did Agatha Christie spend her career pretending that she was 'just' an ordinary housewife, when clearly she wasn't? As Lucy Worsley says, 'She was thrillingly, scintillatingly modern'. She went surfing in Hawaii, she loved fast cars, and she was intrigued by the new science of psychology, which helped her through devastating mental illness. So why - despite all the evidence to the contrary - did Agatha present herself as a retiring Edwardian lady of leisure? She was born in 1890 into a world which had its own rules about what women could and couldn't do. Lucy Worsley's biography is not just of an internationally renowned bestselling writer. It's also the story of a person who, despite the obstacles of class and gender, became an astonishingly successful working woman. With access to personal letters and papers that have rarely been seen, Lucy Worsley's biography is both authoritative and entertaining and makes us realise what an extraordinary pioneer Agatha Christie was - truly a woman who wrote the twentieth century.

Nude Descending a Staircase is one of the best known works of art in tihs century. It caused a sensation at the historic Armory Show of 1913, being damned by one critic as "an explosion in a shingle factory." Yet the criticism in no way perturbed it imperturable creator, Marcel Duchamp. Duchamp's "readymades" (the urinal singed by R. Mutt and entitled Fountain, the snow shovel entitled In Advance of the Broken Arm, and other objects bought and exhibits as works of art) are by now familiar objecs of critical derision and delight. And Duchamp's influence has been pervasive throughout modern art, fosterin Neo-Dada, Op Art, Pop Art, and Conceptual Art. Marcel Duchamp's major work, The Bride Stripped Bare by her Bachelors, Even (also known as The Large Glass) was left in a state of "definitive incompletion" in 1923. The notes for this extradordinarywork form the largest part of SALT SELLER. Duchamp collected many of them for his Green Box in 1934, when their publication was immediately hailed by Andre Breton as a major intellectual event. The notes themselves will help the curious but mystified spectator of The Large Glass in no simple or straighforward way. They do, however, demonstrate wht an extraordinarily original process the making of The Bride Stripped Barde by Her Bachelors, Even was. Duchamp's wit is nowhere in greater evidence than in the section "Rrose Selavy & Co." Duchamp was photographed in women's apparel by Man Ray and created a "readymade" female alter-ego Rrose Selavy ("Eros c'est la vie" or "arroser la vie" - drink it up; celebrate life). Rrose printed a calling card and her company advertised - "For practical wear, a Rrose Selavy creation: The oblong cress, designed exclusively for ladies afflicted with hiccups." The company also had a service department which made "...home deliveries: domestic mosquitoes (half stock.)" The surrealists had proclaimed in the twenties that words were no longer playing around but had started making clove. This description seems to fit the sayings of Rrose Selavy who fashioned some of the most joyour and ingenious couplings and uncouplings in modern literautre.' In the section "Marcel Duchamp, Criticavit", the more serious side of Duchamp is represented by two informative interviews and two important statements on art, "The Creative Act" and "Apropos of Readymades." His more experimental writings are grouped under the title "Texticles." Taken together these varied writings constitute a major document of modern art. Whether the reader sits back and enjoys the charms of Duchamp or studies and attempts to decipher his inner-most secrets, the reader will find SALT SELLAR a compendium of delight.

Mary Henley Rubio has spent over two decades researching Montgomery's life, and has put together a comprehensive and penetrating picture of this Canadian literary icon, all set in rich social context. Extensive interviews with people who knew Montgomery - her son, maids, friends, relatives, all now deceased - are only part of the material gathered in a journey to understand Montgomery that took Rubio to Poland and the highlands of Scotland.
From Montgomery's apparently idyllic childhood in Prince Edward Island to her passion-filled adolescence and young adulthood, to her legal fights as world-famous author, to her shattering experiences with motherhood and as wife to a deeply troubled man, this fascinating, intimate narrative of her life will engage and delight.

"From the Hardcover edition."

This unique collection brings together essays by experts from a variety of disciplines, including history, sociology, education, journalism, creative writing and literary criticism, to offer new insights into the writer, his work and his legacy. Featuring a range of distinguished contributors, including Roy Foster, Paula Meehan, Frank McGuinness and Melvyn Bragg, along with a previously unpublished McGahern interview, the collection enhances the existing body of criticism, extending the McGahern conversation into new areas and deepening appreciation of the considerable achievements of this great writer. The volume, which also features an original poem by Paula Meehan written in honour of McGahern, will stimulate the interest of students, researchers and general readers of Irish literature and culture. -- .

This literary biography study offers a comprehensive account of Emily Dickinson's life, as a poet as well as a daughter of a prominent Amherst, Massachusetts, family. For many years accompanied by her large dog, she well knew the worlds of nature and natural beauties. For many more years, she chronicled her life - especially her life of the imagination - in hundreds of letters, as well as the nearly 1,800 poems that have been found. Such rich material informs this book's narrative, building a picture of a woman loyal to her parents and her myriad of friends, as well as siblings, niece and nephews, and her sister-in-law Susan Gilbert Dickinson, her constant muse. Never content with passive acceptance, or a live that conformed to the dutiful unmarried daughter's role, Dickinson the poet worked all her mature life to bring her art to its consistently firm - and always brilliant - greatness.

* TOLKIEN * Now a major motion picture Acclaimed as 'the best book about Tolkien', this award-winning biography explores J.R.R. Tolkien's wartime experiences and their impact on his life and his writing of The Hobbit and The Lord of The Rings. "To be caught in youth by 1914 was no less hideous an experience than in 1939 ... by 1918 all but one of my close friends were dead." So J.R.R. Tolkien responded to critics who saw The Lord of the Rings as a reaction to the Second World War. Tolkien and the Great War tells for the first time the full story of how he embarked on the creation of Middle-earth in his youth as the world around him was plunged into catastrophe. This biography reveals the horror and heroism that he experienced as a signals officer in the Battle of the Somme and introduces the circle of friends who spurred his mythology to life. It shows how, after two of these brilliant young men were killed, Tolkien pursued the dream they had all shared by launching his epic of good and evil. John Garth argues that the foundation of tragic experience in the First World War is the key to Middle-earth's enduring power. Tolkien used his mythic imagination not to escape from reality but to reflect and transform the cataclysm of his generation. While his contemporaries surrendered to disillusionment, he kept enchantment alive, reshaping an entire literary tradition into a form that resonates to this day. This is the first substantially new biography of Tolkien since 1977, meticulously researched and distilled from his personal wartime papers and a multitude of other sources.

One of Egypt's greatest contemporary writers, Gamal al-Ghitani (1945-2015) was born into a family of modest means in the Egyptian countryside. He trained as a carpet maker before turning his attention to writing, publishing over a dozen novels and several collections of short stories. This haunting memoir, one of seven autobiographical "notebooks" written before Ghitani's death, weaves together a series of vignettes in a style that mimics the uneven, discontinuous nature of memory itself. These fragments, or traces, are summoned from across the span of a singular lifetime, from Ghitani's rural birthplace in Upper Egypt to Cairo, to the Arab world and beyond. We read of his childhood adventures, his erotic awakenings, his time as a political prisoner, and his reports from the battlefront in Iraq and the corridors of power in Syria. There are vivid passages that capture fleeting glances of strangers through car windows, flavors and scents of delicacies he still savored, dreams and sorrows of neighbors in the apartment blocks of Cairo before Nasser, as well as recollections of chance conversations at points of transit, in cafes and on elegant streets, and trysts with unnamed paramours. These memories, and Ghitani's musings on memory's own finitude and mutability, make Traces both memoir and a meditation on memory itself, in all its inscrutable workings and inevitable betrayals.

Arthur Ransome was, from 1930 to the early 1960s, what J.K. Rowling is today: author of a series of children's books which shaped the imagination of a generation. Rooted in the heyday of the British Empire, Swallows and Amazons and its sequels described a nostalgic Utopia. Yet before that, Arthur Ransome was famous for different reasons. Between 1917 and 1924, as Russian correspondent for the Daily News and Manchester Guardian, he was an uncritical apologist for the Bolshevik regime, with unique access to the revolutionary leaders. As the Red Army engaged with an Allied invasion of Russia, Ransome was conducting a love affair with Evgenia Shelepina, private secretary to Leon Trotsky, then Soviet Commissar for War. As the intimate friend of Karl Radek, the Bolshevik Chief of Propaganda, he denied the Red Terror and compared Lenin to Oliver Cromwell. No English journalist was considered more controversial, or more damaging to British security. At Whitehall, he was accused of being the paid agent of a hostile power and only narrowly escaped prosecution for treason. This is a fascinating, often chilling revision of an English icon through the most formative decade of the twentieth century.

R. P. Blackmur was an American critic and poet, as well as a professor of English literature and creative writing at Princeton University. At the time of his death, he had completed five books and a number of plays and short stories. His poetry mattered most to him and some of it is permanent work. He devoted much of his life to a biography of Henry Adams, someone he saw in himself. In his lifetime, he received his share of adulation, but he was not successful in the way that success is commonly measured.

In this work, Russell Fraser follows the course of Blackmur's self-declared failed genius. He tells the story of his precocious youth in Cambridge; his eclectic education; his years of poverty and renown as a poet, novelist, freelance music critic, and essayist; his obsessive marriage to artist Helen Dickson; his entangled friendships with T. S. Eliot, Delmore Schwartz, Allen Tate, and John Berryman; and his passion for rural Maine on the Tidal Water. He discusses Blackmur's crucial role in the literary magazines of the twenties and thirties; his unique influence as instructor of creative writing; the emotional and professional price he paid for a doubtful security at Princeton University; and the torment of wavering between intellectual inertia and prolific inspiration.

With empathy and insight, Fraser shows how the trajectory of Blackmur's career parallels the movements in the American literary scene; the experiments in poetry and fiction; the development of the New Criticism; the writer's conflict between order and anarchy, taxonomy and the full response; and the emergence of the critic as artist. A biography, intellectual history, and literary criticism, "A Mingled Yarn" unravels Blackmur's complex character and celebrates his great achievement.

Do we remember only the stories we can live with?

The ones that make us look good in the rearview mirror? In "The Night of the Gun," David Carr redefines memoir with the revelatory story of his years as an addict and chronicles his journey from crack-house regular to regular columnist for "The New York Times." Built on sixty videotaped interviews, legal and medical records, and three years of reporting, "The Night of the Gun" is a ferocious tale that uses the tools of journalism to fact-check the past. Carr's investigation of his own history reveals that his odyssey through addiction, recovery, cancer, and life as a single parent was far more harrowing -- and, in the end, more miraculous -- than he allowed himself to remember. Over the course of the book, he digs his way through a past that continues to evolve as he reports it.

That long-ago night he was so out of his mind that his best friend had to pull a gun on him to make him go away? A visit to the friend twenty years later reveals that Carr was pointing the gun.

His lucrative side business as a cocaine dealer? Not all that lucrative, as it turned out, and filled with peril.

His belief that after his twins were born, he quickly sobered up to become a parent? Nice story, if he could prove it.

The notion that he was an easy choice as a custodial parent once he finally was sober? His lawyer pulls out the old file and gently explains it was a little more complicated than that.

In one sense, the story of "The Night of the Gun" is a common one -- a white-boy misdemeanant lands in a ditch and is restored to sanity through the love of his family, a God of his understanding, and a support group that will go unnamed. But when the whole truth is told, it does not end there. After fourteen years -- or was it thirteen? -- Carr tried an experiment in social drinking. Double jeopardy turned out to be a game he did not play well. As a reporter and columnist at the nation's best newspaper, he prospered, but gained no more adeptness at mood-altering substances. He set out to become a nice suburban alcoholic and succeeded all too well, including two more arrests, one that included a night in jail wearing a tuxedo.

Ferocious and eloquent, courageous and bitingly funny, "The Night of the Gun" unravels the ways memory helps us not only create our lives, but survive them.

Memorials of Harriet Martineau by Maria Weston Chapman was published in 1877 as volume three of Harriet Martineau's Autobiography. While the triple-decker was a popular format of the era, the configuration of a two-volume autobiography authored by one and a one-volume biography written by another is unusual. Indeed, the work's publishing history reveals that, in reissues of the Autobiography, the Memorials volume was not reproduced; while some might claim that the problem is with the editor-American abolitionist Chapman-rather than the contents, the fact remains that the bulk of the volume consists of primary materials written by Martineau that are available nowhere else, published or archival. Chapman's participation in the project was originally conceived as supplemental, in the event that the ailing Martineau did not live long enough to complete her memoirs; as it happened, Martineau-who finished the two volumes and had them privately printed in 1855-lived another twenty-one years. Whereas the Autobiography records what Martineau called the "interior life" or subjective perspective on her career, Chapman's volume addressed the exterior by offering a biographical overview of her friend's life and work, a record of her last decades, and a collection of posthumous memorials by those with whom her private and public lives intersected. Chapman's role was to "take up the parallel thread of her exterior life,-to gather up and co-ordinate from the materials placed in my hands the illustrative facts and fragments by her omitted or forgotten; and to show . . . what no mind can see for itself,-the effect of its own personality on the world." This volume is the first scholarly edition of the Memorials-a biography of one of the foremost intellectual women of the nineteenth century, told primarily in her own words.