In Nobody Really Has Their Sh*t Together, illustrator star Luke John Matthew Arnold shares his no-bullshit, somewhat inspirational and very hilarious doodles. This bold little book is a beautiful gift for yourself or anyone you love, to bring a smile in tough moments. For most of us, every day comes with a new set of ‘holy shits’ and ‘what the fucks’. But as a fella who lives with OCD and anxiety while also being an artist, Luke John Matthew Arnold often couldn't afford a shrink. So instead, he started doodling. These cute doodles hugged Luke's eyeballs, kissed his heart and spanked his negative thinking on the big ol’ bum. These doodles have helped him traverse through the deepest of shit puddles and come out the other side – moist and smelly, but okay. And now they're in a book. Nobody Really Has Their Sh*t Together is here for you to open at any page, any time, with the comfort of knowing that whatever doodle you look at is totally cheese-free, somewhat absurd and has worked to cheer up one person (Luke). Hopefully you're number two.

Matthew Arnold's Culture and Anarchy (1869), is one of the most celebrated works of social criticism ever written. It has become a reference point for all subsequent discussion of the relations between politics and culture. This edition establishes the authoritative text of this much-revised work, and places it alongside Arnold's three most important essays on political subjects. The introduction sets these works in the context of nineteenth-century intellectual and political history. This edition also contains a chronology of Arnold's life, a bibliographical guide and full notes on the names and historical events mentioned in the texts.

By the middle of the nineteenth century, culture was often considered to be nothing but a meaningless 'smattering of Latin and Greek'. In this work, first published in 1869, Matthew Arnold (1822-88) redefines culture as a striving for 'the best that has been thought or said', and as a contrast to 'philistinism' and the over-valuation of the practical. Critical of the uninspiring lifestyles of many of his religious and non-religious contemporaries, he raises the controversial issue of how to lead a good life, aesthetically, intellectually and morally. He introduces a middle road between classical and Judaeo-Christian ideals ('Hellenism' and 'Hebraism') which promotes the state over the individual, a position that has often prompted his critics to consider him an authoritarian thinker. A fascinating piece of social and political criticism, and an adjunct to Arnold's poetry, this work was both controversial when it was first published, and enormously influential thereafter.

Manifesting the special intelligence of a literary critic of original gifts, Culture and Anarchy is still a living classic. It is addressed to the flexible and the disinterested, to those who are not committed to the findings of their particular discipline, and it assumes in its reader a critical intelligence that will begin its work with the reader himself. Arnold employs a delicate and stringent irony in an examination of the society of his time: a rapidly expanding industrial society, just beginning to accustom itself to the changes in its institutions that the pace of its own development called for. Coming virtually at the end of the decade (1868) and immediately prior to W. E. Forster's Education Act, Culture and Anarchy phrases with a particular cogency the problems that find their centre in the questions: what kind of life do we think individuals in mass societies should be assisted to lead? How may we best ensure that the quality of their living is not impoverished? Arnold applies himself to the detail of his time: to the case of Mr Smith 'who feared he would come to poverty and be eternally lost', to the Reform agitation, to the commercial values that working people were encouraged to respect, and to the limitations of even the best Rationalist intelligence. The degree of local reference is therefore high, but John Dover Wilson's introduction and notes to this edition supply valuable assistance to a reader fresh to the period.

The University Press of Virginia edition of "The Letters of Matthew Arnold, "edited by Cecil Y. Lang, represents the most comprehensive and assiduously annotated collection of Arnold's correspondence available. When complete in six volumes, this edition will include close to four thousand letters, nearly five times the number in G.W.E. Russell's two-volume compilation of 1895. The letters, at once meaty and delightful, appear with a consecutiveness rare in such editions, and they contain a great deal of new information, both personal (sometimes intimate) and professional. Two new diaries are included, a handful of letters to Matthew Arnold, and many of his own that will appear in their entirety here for the first time. Renowned as a poet and critic, Arnold will be celebrated now as a letter writer. Nowhere else is Arnold's appreciation of life and literature so extravagantly evident as in his correspondence. His letters amplify the dark vision of his own verse, as well as the moral background of his criticism. As Cecil Lang writes, the letters "may well be the finest portrait of an age and of a person, representing the main movements of mind and of events of nearly half a century and at the same time revealing the intimate life of the participant-observer, in any collection of letters in the nineteenth century, possibly in existence."

In this final volume of the Virginia edition of Arnold's letters, Arnold joins for the last time a Royal Commission on Education, traveling first to Germany, and then on to Switzerland and Paris. Following his wife and younger daughter, Arnold also makes his second American visit, this time to see "the Midget," his first grandchild. Both missions reveal his well-known and characteristic zest for people and places--new acquaintances, new scenery, the total experience of living--observing, absorbing, recording, and moving on.

Finally, with maximum nostalgia and minimum regret, he resigns the inspectorship of schools in which he had spent nearly all of his adult existence and settles down, in sweet, bucolic content, to the life of a country squire. Then, tragically, abruptly, and predictably, it screeches to a halt. Manifestly, he had lived daily with intimations of mortality.

The series-cumulative index included with this volume is an invaluable resource for tracking Arnold's records of his active life.

The University Press of Virginia edition of "The Letters of Matthew Arnold, "edited by Cecil Y. Lang, represents the most comprehensive and assiduously annotated collection of Arnold's correspondence available. When complete in six volumes, this edition will include close to four thousand letters, nearly five times the number in G.W.E. Russell's two-volume compilation of 1895. The letters, at once meaty and delightful, appear with a consecutiveness rare in such editions, and they contain a great deal of new information, both personal (sometimes intimate) and professional. Two new diaries are included, a handful of letters to Matthew Arnold, and many of his own that will appear in their entirety here for the first time. Renowned as a poet and critic, Arnold will be celebrated now as a letter writer. Nowhere else is Arnold's appreciation of life and literature so extravagantly evident as in his correspondence. His letters amplify the dark vision of his own verse, as well as the moral background of his criticism. As Cecil Lang writes, the letters "may well be the finest portrait of an age and of a person, representing the main movements of mind and of events of nearly half a century and at the same time revealing the intimate life of the participant-observer, in any collection of letters in the nineteenth century, possibly in existence."

The letters in this volume show Arnold, now midway in his professional career, publishing his first volume of poems in a decade and emerging as a critic--simultaneously--of society, of education, of religion, and, as always, of politics. In 1867 he published New Poems, containing several of his best-known and most beloved works, "Dover Beach," "Thyrsis," "Stanzas from the Grand Chartreuse" and many others, including the first reprint since 1852 of "Empedocles on Etna," and in 1869 Culture and Anarchy, of which the germ is visible in a remarkable letter to his mother in 1867, as well as the influential reports on continental schools, and the seminal St. Paul and Protestantism.

The marvelous letters to his mother and other family members continue unabated; two of his sons die, their deaths recorded in wrenching accents; his essays, possibly by design, draw flak from all directions, which Arnold evades (any poet to any critic) as adroitly or disarmingly as usual; for two years he takes into his home an Italian prince; and he is awarded an honorary Oxford degree. He remains in every way both Establishment and anti-Establishment, both courteous, as has been said, and something better than courteous: honest.

'One has often wondered whether upon the whole earth there is anything so unintelligent, so unapt to perceive how the world is really going, as an ordinary young Englishman of our upper class.' Poet, education reformer, social theorist and passionate critic of Victorian England, Matthew Arnold condemned an industrial society in 'bondage to machinery' and argued instead that the wonder and joy of culture - in particular the 'sweetness and light' of classical civilization - were essential to human life. The other pieces here, on literary criticism, schools, France, journalism and democracy, form a powerful call to arms from a writer who believed that the English needed to be taught not what to think, but how to think. Edited with an introduction by P. J. Keating.