William Evans, the award-winning poet and cofounder of the popular culture website Black Nerd Problems, offers an emotionally vulnerable poetry collection exploring the themes of inheritances, dreams, and injuries that are passed down from one generation to the next and delving into the lived experience of a black man in the American suburbs today. In We Inherit What the Fires Left, award-winning poet William Evans embarks on a powerful new collection that explores the lived experience of race in the American suburbs and what dreams and injuries are passed from generation to generation. Fall under the spell of Evans's boldly intimate, wise, and emotionally candid voice in these urgent, electrifying poems. This eloquent collection explores not only what these inheritances are composed of, but what price the bearer must pay for such legacies, and the costly tolls exacted on both body and spirit. Evans writes searingly from the perspective of the marginalized, delivering an unflinching examination of what it is like to be a black man raising a daughter in predominantly white spaces, and the struggle to build a home and a future while carrying the weight of the past. However, in beautiful and quiet scenes of domesticity with his daughter or in thoughtful reflection within himself, Evans offers words of hope to readers, proving that resilience can ultimately bloom even in the face of prejudice. Readers of Ta-Nehisi Coates and Hanif Abdurraqib will find a brilliant, fresh new talent to add to their lists in William Evans.

From her childhood in Whitby to her long old age in Cambridge, the life of Margaret Storm Jameson (1891-1986), novelist, autobiographer, and political activist, spanned almost the whole of the twentieth century. A self-styled Little Englander by nature, and European by nurture, equally at home, or out of place, in the North Yorkshire moors and seascape of her birth, metropolitan London, rural France, and the capitals of Central Europe, she wrote of country, cities and the exile from both with equal knowledge and sympathy. Out of the changing landscapes of her present, she fashioned her vision of the future. The title of her autobiography, Journey from the North, is a simultaneous evocation and erasure of nostalgia for lost commonality, and in her long life as writer and activist, President of wartime PEN (the association of Poets, Essayist, Novelists) committed to the values of freedom and social justice, she fought to reconcile the conflicting forms of emergent modernity. Her own journey is the generic experience of twentieth-century Britain, and the England she urges on her contemporaries is one that shares the life and mind of Europe. The present book traces the history of that shared experience. It recovers, through her writing, the aspirations and the disappointments of the generation of socialists that was Class 1914. The soldiers returning from the front in 1918, to unemployment and the General Strike of 1926, fight in 1940 alongside Frenchmen, and against Germans, who are victims of the same system: class conflict, nationalist rivalries, imperialist ambition, all for Jameson have the same defining economic horizon. At the end of the odyssey the stark alternatives take shape: Washington or Moscow, the madness of American capitalism, or the oppression of Stalinist Communism.
Alongside the narrative of Jameson's life, and the experiences as daughter, wife, and mother that shaped her personality and her career, the book explores her concern with issues of culture and society, cultural memory, and cultural landscapes, her fascination with aesthetic form and the relation of writing to politics, her insight into the materiality of words, and her persistent probing of the nature of the writing subject. It draws on unpublished archive material and brings new research on neglected areas of cultural history into conjunction with literary-critical analyses of Jameson's novels and studies of her journalism and essays. There is an extensive Bibliography of her work.

Katherine Lanpher, whose essays have appeared in the New York Times and More magazine, officially moved to Manhattan on a leap day, transferring from a rooted life in the Midwest to a new job, a new city, and a new sense of who she was. But re-invention is a tricky business and starting over in the middle of life isn't for the feint of heart. Katherine Lanpher's short essay on her first six months in New York - 'A Manhattan Admonition' was published last August in the New York Times op-ed page and remained on their list of most e-mailed stories for weeks. Now she has written a book chronicling how her past life and loves have prepared her for unexpected discoveries in her new home. Lanpher looks back on her marriage, her early days in newspapers, and her childhood in the Midwest. And, with startling insight, she examines her new world--how beauty is defined in New York, how the landscape differs from the Midwest, and how good food and books have been constants in her life.

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.

In the tradition of "The Glass Castle," two sisters confront schizophrenia in this poignant literary memoir about family and mental illness. Through stunning prose and original art, "The Memory Palace" captures the love between mother and daughter, the complex meaning of truth, and family's capacity for forgiveness.
"People have abandoned their loved ones for much less than you've been through," Mira Bartok is told at her mother's memorial service. It is a poignant observation about the relationship between Mira, her sister, and their mentally ill mother. Before she was struck with schizophrenia at the age of nineteen, beautiful piano protege Norma Herr had been the most vibrant personality in the room. She loved her daughters and did her best to raise them well, but as her mental state deteriorated, Norma spoke less about Chopin and more about Nazis and her fear that her daughters would be kidnapped, murdered, or raped.
When the girls left for college, the harassment escalated--Norma called them obsessively, appeared at their apartments or jobs, threatened to kill herself if they did not return home. After a traumatic encounter, Mira and her sister were left with no choice but to change their names and sever all contact with Norma in order to stay safe. But while Mira pursued her career as an artist--exploring the ancient romance of Florence, the eerie mysticism of northern Norway, and the raw desert of Israel--the haunting memories of her mother were never far away.
Then one day, a debilitating car accident changes Mira's life forever. Struggling to recover from a traumatic brain injury, she was confronted with a need to recontextualize her life--she had to relearn how to paint, read, and interact with the outside world. In her search for a way back to her lost self, Mira reached out to the homeless shelter where she believed her mother was living and discovered that Norma was dying.
Mira and her sister traveled to Cleveland, where they shared an extraordinary reconciliation with their mother that none of them had thought possible. At the hospital, Mira discovered a set of keys that opened a storage unit Norma had been keeping for seventeen years. Filled with family photos, childhood toys, and ephemera from Norma's life, the storage unit brought back a flood of previous memories that Mira had thought were lost to her forever.

Ernest Hemingway nearly defined machismo for many American men of the twentieth century. Yet, in recent years critics have discerned an "androgynous" sexuality beneath the surface stoicism of Hemingway's heroes. This study breaks new ground by examining the profoundly submissive and masochistic posture toward women exhibited by many of Hemingway's heroes, from Jake Barnes in "The Sun Also Rises "to David Bourne in "The Garden of Eden," The discussion draws on the ideas of authors as diverse as Sacher-Masoch, Freud, Deleuze, and others, and reveals that despite Hemingway's rugged and hypermasculine image, a "masochistic aesthetic" informs many of the texts. This accessible treatment of a complex subject will appeal to readers with an interest in Hemingway, gender issues, and American literature.

Winner of the 1993 Bancroft Prize and praised in The Nation as "the richest account we have yet of Fuller's formative years," the first volume of Margaret Fuller: An American Romantic Life was acclaimed by critics and scholars alike as the finest portrait available of Fuller's early life. Now, in the much-anticipated sequel, Charles Capper illuminates Fuller's "public years," focusing on her struggles to establish her identity as an influential intellectual woman in the Romantic Age.
Capper brings to life Fuller's dramatic mixture of inward struggles, intimate social life, and deep engagements with the major movements of her time--from outre Boston Transcendentalism to contentious New York journalism and European revolutionary ideas. Capper describes how Fuller struggled to reconcile high avant-garde cultural ideals and Romantic critical methods with democratic social and political commitments, and he reveals how she strove to articulate--through the lens of American idealism and European "experience"--a cosmopolitan vision for her nation's culture and politics. Capper also sheds light on Fuller's complex personal life. He offers fresh and often startlingly new treatments of Fuller's friendships with Ralph Waldo Emerson, Thomas Carlyle, and Giuseppe Mazzini and provides new insights into such badly understood intimates as the shadowy James Nathan, the poetic genius Adam Mickiewicz, and Fuller's Roman lover Giovanni Ossoli. Readers will also find lively portraits of many other famous figures with whom Fuller associated, including Henry David Thoreau, Nathaniel Hawthorne, Horace Greeley, Lydia Maria Child, George Sand, and Robert and Elizabeth Browning.
Filled with dramatic, ironic, and sometimes tragic turns, this superb biography captures the story of one of America's most extraordinary figures, producing at once the best life of Fuller ever written and one of the great biographies in American history.

An invaluable guide to the art and mind of Virginia Woolf, "A Writer's Diary" was drawn by her husband from the personal record she kept over a period of twenty-seven years. Included are entries that refer to her own writing and those that are clearly writing exercises, accounts of people and scenes relevant to the raw material of her work, and finally, comments on books she was reading. The first entry is dated 1918 and the last, three weeks before her death in 1941. Between these points of time unfolds the private world - the anguish, the triumph, the creative vision - of one of the great writers of our century.

Sent by their mother to live with their devout, self-sufficient grandmother in a small Southern town, Maya and her brother, Bailey, endure the ache of abandonment and the prejudice of the local "powhitetrash." At eight years old and back at her mother's side in St. Louis, Maya is attacked by a man many times her age-and has to live with the consequences for a lifetime. Years later, in San Francisco, Maya learns about love for herself and the kindness of others, her own strong spirit, and the ideas of great authors ("I met and fell in love with William Shakespeare") will allow her to be free instead of imprisoned.
Poetic and powerful, I Know Why the Caged Bird Sings is a modern American classic that will touch hearts and change minds for as long as people read.

When Haven Kimmel was born in 1965, Mooreland, Indiana, was a sleepy little hamlet of three hundred people. Nicknamed "Zippy" for the way she would bolt around the house, this small girl was possessed of big eyes and even bigger ears. In this witty and lovingly told memoir, Kimmel takes readers back to a time when small-town America was caught in the amber of the innocent postwar period–people helped their neighbors, went to church on Sunday, and kept barnyard animals in their backyards.

Laced with fine storytelling, sharp wit, dead-on observations, and moments of sheer joy, Haven Kimmel's straight-shooting portrait of her childhood gives us a heroine who is wonderfully sweet and sly as she navigates the quirky adult world that surrounds Zippy.

Now nearing ninety, Hall delivers a new collection of self-knowing, fierce, and funny essays on aging, the pleasures of solitude, and the sometimes astonishing freedoms arising from both. He intersperses memories of exuberant days - as in Paris, 1951, with a French girl memorably inclined to say, "I couldn't care less" - with writing, visceral and hilarious, on what he has called the "unknown, unanticipated galaxy" of extreme old age. "Why should a nonagenarian hold anything back?" Hall answers his own question by revealing several vivid instances of "the worst thing I ever did,' and through equally uncensored tales of literary friendships spanning decades, with James Wright, Richard Wilbur, Seamus Heaney, and other luminaries. Cementing his place alongside Roger Angell and Joan Didion as a generous and profound chronicler of loss, Hall returns to the death of his beloved wife, Jane Kenyon, in an essay as original and searing as anything he's written in his extraordinary literary lifetime.

A beautifully illustrated account of the letters and correspondence of Jane Austen. It has been said that Jane Austen the woman and Jane Austen the author are all of a piece, and nowhere is this more evident to the lovers of her novels than in the pages of her letters. This handsome celebration of Austen's letters is illustrated with portraits, facsimile letters, topographical engravings and fashion plates, all helping to bring to life the world Jane Austen inhabited. The letters, with an accompanying commentary by Penelope Hughes-Hallett, are separated into six periods of Jane Austen's life, between the years 1796, when she was twenty, and 1817, the year of her death. They celebrate Jane Austen's talent for expressing exactly what she perceived, making this an illuminating companion to her novels. Although the book follows a broadly chronological scheme, the letters are arranged round visual themes, including the Hampshire countryside, social life in Bath and London, domestic pursuits, paying visits and travelling by carriage. The author, who was born in Jane Austen's Hampshire village of Steventon, lectured on English Literature for the Open University and the Oxford University Department of External Studies.

'Entirely original and thrilling . . . this is Gatsby made real' JULIET NICOLSON 'This witty, fascinating book is a delight. Read it.' MIRIAM MARGOLYES In the 1920s a new generation stepped forward to invigorate the Bloomsbury Group - creative young people who tantalised the original 'Bloomsberries' with their captivating looks and provocative ideas. Young Bloomsbury introduces us to an extraordinarily colourful cast of characters, including novelist and music critic Eddy Sackville-West, 'who wore elaborate make-up and dressed in satin and black velvet'; sculptor Stephen Tomlin; and writer Julia Strachey. Talented and productive, these larger-than-life figures had high-achieving professional lives and extremely complicated emotional lives. Bloomsbury had always celebrated sexual equality and freedom in private, feeling that every person had the right to live and love in the way they chose. But as transgressive self-expression became more public, this younger generation gave Old Bloomsbury a new voice. Revealing an aspect of Bloomsbury history not yet explored, Young Bloomsbury celebrates an open way of living that would not be embraced for another hundred years.

Johnson himself wrote in 1782: "I know not that I have written any thing more generally commended than the Lives of the Poets." Always recognized as a major biographical and critical achievement, Samuel Johnson's last literary project is also one of his most readable and entertaining, written with characteristic eloquence and conviction, and at times with combative trenchancy.
Johnson's fifty-two biographies constitute a detailed survey of English poetry from the early seventeenth century down to his own time, with extended discussions of Cowley, Milton, Waller, Dryden, Addison, Prior, Swift, Pope, and Gray. The Lives also include Johnson's memorable biography of the enigmatic Richard Savage (1744), the friend of his own early years in London.
Roger Lonsdale's Introduction describes the origins, composition, and textual history of the Lives, and assesses Johnson's assumptions and aims as biographer and critic. The commentary provides a detailed literary and historical context, investigating Johnson's sources, relating the Lives to his own earlier writings and conversation, and to the critical opinions of his contemporaries, as well as illustrating their early reception. This is the first scholarly edition since George Birkbeck Hill's three-volume Oxford edition (1905).
This is volume one of four.

Johnson himself wrote in 1782: "I know not that I have written any thing more generally commended than the Lives of the Poets." Always recognized as a major biographical and critical achievement, Samuel Johnson's last literary project is also one of his most readable and entertaining, written with characteristic eloquence and conviction, and at times with combative trenchancy.
Johnson's fifty-two biographies constitute a detailed survey of English poetry from the early seventeenth century down to his own time, with extended discussions of Cowley, Milton, Waller, Dryden, Addison, Prior, Swift, Pope, and Gray. The Lives also include Johnson's memorable biography of the enigmatic Richard Savage (1744), the friend of his own early years in London.
Roger Lonsdale's Introduction describes the origins, composition, and textual history of the Lives, and assesses Johnson's assumptions and aims as biographer and critic. The commentary provides a detailed literary and historical context, investigating Johnson's sources, relating the Lives to his own earlier writings and conversation, and to the critical opinions of his contemporaries, as well as illustrating their early reception. This is the first scholarly edition since George Birkbeck Hill's three-volume Oxford edition (1905).
This is volume two of four.

Johnson himself wrote in 1782: "I know not that I have written any thing more generally commended than the Lives of the Poets." Always recognized as a major biographical and critical achievement, Samuel Johnson's last literary project is also one of his most readable and entertaining, written with characteristic eloquence and conviction, and at times with combative trenchancy.
Johnson's fifty-two biographies constitute a detailed survey of English poetry from the early seventeenth century down to his own time, with extended discussions of Cowley, Milton, Waller, Dryden, Addison, Prior, Swift, Pope, and Gray. The Lives also include Johnson's memorable biography of the enigmatic Richard Savage (1744), the friend of his own early years in London.
Roger Lonsdale's Introduction describes the origins, composition, and textual history of the Lives, and assesses Johnson's assumptions and aims as biographer and critic. The commentary provides a detailed literary and historical context, investigating Johnson's sources, relating the Lives to his own earlier writings and conversation, and to the critical opinions of his contemporaries, as well as illustrating their early reception. This is the first scholarly edition since George Birkbeck Hill's three-volume Oxford edition (1905).
This is volume three of four.

Johnson himself wrote in 1782: "I know not that I have written any thing more generally commended than the Lives of the Poets." Always recognized as a major biographical and critical achievement, Samuel Johnson's last literary project is also one of his most readable and entertaining, written with characteristic eloquence and conviction, and at times with combative trenchancy.
Johnson's fifty-two biographies constitute a detailed survey of English poetry from the early seventeenth century down to his own time, with extended discussions of Cowley, Milton, Waller, Dryden, Addison, Prior, Swift, Pope, and Gray. The Lives also include Johnson's memorable biography of the enigmatic Richard Savage (1744), the friend of his own early years in London.
Roger Lonsdale's Introduction describes the origins, composition, and textual history of the Lives, and assesses Johnson's assumptions and aims as biographer and critic. The commentary provides a detailed literary and historical context, investigating Johnson's sources, relating the Lives to his own earlier writings and conversation, and to the critical opinions of his contemporaries, as well as illustrating their early reception. This is the first scholarly edition since George Birkbeck Hill's three-volume Oxford edition (1905).
This is volume four of four.

Charlotte Brontes years in Belgium (184243) had a huge influence both on her life and her work. It was in Brussels that she not only honed her writing skills but fell in love and lived through the experiences that inspired two of her four novels: her first, The Professor, and her last and in many ways most interesting, Villette. Her feelings about Belgium are known from her novels and letters her love for her tutor Heger, her uncomplimentary remarks about Belgians, the powerful effect on her imagination of living abroad. But what about Belgian views of Charlotte Bronte? What has her legacy been in Brussels? How have Belgian commentators responded to her portrayal of their capital city and their society? Through Belgian Eyes explores a wide range of responses from across the Channel, from the hostile to the enthusiastic. In the process, it examines what The Professor and Villette tell Belgian readers about their capital in the 1840s and provides a wealth of detail on the Brussels background to the two novels. Unlike Paris and London, Brussels has inspired few outstanding works of literature. That makes Villette, considered by many to be Charlotte Brontes masterpiece, of particular interest as a portrait of the Belgian capital a decade after the country gained independence in 1830, and just before modernisation and expansion transformed the city out of all recognition from the villette (small town) that Charlotte knew. Her view of Brussels is contrasted with those of other foreign visitors and of the Belgians themselves. The story of Charlotte Brontes Brussels legacy provides a unique perspective on her personality and writing.

'Utterly, agonisingly compulsive ... a masterpiece' Liz Jensen, Guardian Following one woman's journey from a troubled girlhood in working-class Copenhagen through her struggle to live on her own terms, The Copenhagen Trilogy is a searingly honest, utterly immersive portrayal of love, friendship, art, ambition and the terrible lure of addiction, from one of Denmark's most celebrated twentieth-century writers. 'Sharp, tough and tender ... wrenching sadness and pitch-black comedy ... Ditlevsen can pivot from hilarity to heartbreak in a trice' Boyd Tonkin Spectator 'Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent' Observer 'The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling' New Statesman

A superb autobiography by one of the great literary figures of the twentieth century, Simone de Beauvoir's Memoirs of a Dutiful Daughter offers an intimate picture of growing up in a bourgeois French family, rebelling as an adolescent against the conventional expectations of her class, and striking out on her own with an intellectual and existential ambition exceedingly rare in a young woman in the 1920s.She vividly evokes her friendships, love interests, mentors, and the early days of the most important relationship of her life, with fellow student Jean-Paul Sartre, against the backdrop of a turbulent political time.