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More than 150 years after its initial publication, Bartlett's
Familiar Quotations now enters its nineteenth edi tion. First
compiled by John Bartlett, a bookseller in Cambridge,
Massachusetts, as a commonplace book of only 258 pages, the
original 1855 edition mainly featured selections from the Bible,
Shakespeare, and the great English poets. Today, Bartlett's
includes more than 20,000 quotes from roughly 4,000 con tributors.
Spanning centuries of thought and culture, it remains the finest
and most popular compendium of quotations ever assembled. While
continuing to draw on timeless classi cal references, this edition
also incorporates more than 3,000 new quotes from more than 700 new
sources, including Alison Bechdel, Ta-Nehisi Coates, Pope Francis,
Atul Gawande, Ruth Bader Ginsburg, Hilary Mantel, Lin-Manuel
Miranda, Claudia Rankine, Fred Rogers, Bernie Sanders, Patti Smith,
and Malala Yousafzai. Bartlett's showcases the thoughts not only of
renowned figures from the arts, literature, politics, science,
sports, and business, but also of otherwise unknown individuals
whose thought-provoking ideas have moved, unsettled, or inspired
readers and listeners throughout the ages. Bartlett's makes
searching for the perfect quote easy in three ways: alphabetically
by author, chrono logically by the author's birth date, or
thematically by subject. Whether one is searching for appropriate
remarks for a celebration, comforting thoughts for a serious
occasion, or simply to answer the question "Who said that?"
Bartlett's offers readers and schol ars alike a stunning treasury
of words that have influ enced
The Walworth family was the very symbol of virtue and distinction
for decades, rising to prominence as part of the splendor of New
York's aristocracy. When Frank Walworth travels to New York to
"settle a family difficulty" by shooting his father at point blank
range, his family must reveal their inner demons in a spectacular
trial to save him from execution. The resulting testimony exposes a
legacy of mania and abuse, and the stately reputation of the family
crumbles in a Gothic drama which the "New York Tribune "called
"sensational to the last degree."
"The Fall of the House of Walworth "gives us both the intimate
history of a family torn apart by violent obsessions, and a rich
portrait of the American social worlds in which they moved. In the
tradition of Edith Wharton, this is a riveting true story which
"rival s] the most extravagant Gothic novels of the day" ("The
Chicago Tribune)."
From one of the most original writers now at work, an expansive,
learned, and utterly charming reverie on what it means to be lost
in a book. . Louis Menand, writing in The New Yorker , called
Geoffrey O'Brien's The Phantom Empire "a prose poem about the
pleasures and distractions of movie-watching," "an ambitiously
literary attempt to write about the [mystery of the] medium as
though it were a dream the author had just awakened from." Now, in
The Browser's Ecstasy , O'Brien has written a prose poem about
reading, a playful, epigrammatic nocturne upon the dream-state one
falls into when "lost in a book," upon the uncanny, trancelike
pleasure of making silent marks on paper utter sounds inside one's
head. We call The Browser's Ecstasy a "Meditation on Reading," but
like any truly original book-and especially the short book that
goes both far and deep-it resists easy summary and classification.
As Luc Sante once wrote, "The density of O'Brien's work makes word
count irrelevant as an index of substance; he is seemingly capable
of compressing entire encyclopedias into his parenthetical asides.
I defy you to name any precedent for what he does. He's a school
unto himself."
The Phantom Empire is a brilliant, daring, and utterly original
book that analyzes (even as it exemplifies) the effect that the
image saturation of a hundred years of moving pictures have had on
human culture and consciousness.
Dashiell Hammett, Mickey Spillane, James M. Cain, Raymond Chandler,
Jim Thompson, David Goodis ... these are a few of the masters of
noir responsible for the great lurid paperbacks of the thirties,
forties, and fifties. With titles like "The Big Sleep, Kiss
Tomorrow Goodbye, "and "Street of the Lost, "with racy cover lines
like "My gun-butt smashed his skull!" and "Ruthless terror ripped
away the mask that hid cold fear," and with some of the most
extraordinary cover illustrations ever to grace American
literature, these paperbacks held the ingredients of American
nightmares. In "Harboiled America"--lavishly illustrated with 135
paperback covers, and expanded with new material on Thompson,
Goodis, and others--Geoffrey O'Brien masterfully explores the art,
history, and ideas of the American paperback.
In "Bardic Deadlines," writer and editor Geoffrey O'Brien collects
twenty of his essays on poetry that originally appeared in the
"Voice Literary Supplement" and the "New York Review of Books,"
O'Brien surveys an array of some of the most striking and
innovative poets to emerge in recent decades, including Susan Howe,
August Kleinzahler, Clark Coolidge, Nathaniel Mackey, Gustaf Sobin,
and Michael O'Brien. Discussions of contemporary work are
juxtaposed with considerations of other traditions going as far
back as the second-century Chinese anthology "The Songs of the
South" and the Sanskrit master Kalidasa, traditions considered
highly relevant to current practice.
There are engaging, in-depth portraits of the work of poets John
Clare, Hugh MacDiarmid, Emily Bronte, Kenji Miyazawa, and Frank
O'Hara, among others. There is also an exploration of the poetics
of Walt Whitman that highlights themes addressed throughout the
collection: the physicality and musicality of language, the spatial
dimension of poetry, the intimate bond between poet and reader, and
the secret and often obsessive strategies by which the poet hides
secrets in plain sight and enlists the reader in the making of the
poem. Each essay focuses on poetry as experience that impinges on
basic questions of identity and being.
Geoffrey O'Brien is the author of a number of nonfiction books and
poetry collections, including "Hardboiled America: Lurid Paperbacks
and the Masters of Noir," "Floating City: Selected Poems
1978-1995," and "The Hudson Mystery," and a fictional work, "The
Times Square Story," He is editor-in-chief of the Library of
America.
" . . . so this picture we're talking about is The Times Square
Story this is New York, show biz, crossroads of the world,
entertainment capital, international center for scope and variety
and pacing, everything open after midnight, not just a bunch of
dumb gangsters pushing people around, this one has jazz, exotic
nightlife, hipster talk, blacks tights, psychoanalysis . . . "
Imagine Damon Runyon on speed, with a graduate degree in cultural
studies and access to the world's most extensive video archive of
low-budget exploitation films, and you'll get some idea of the
ultra-hip mind-movie that is Geoffrey O'Brien's The Times Square
Story. It evokes the one-time glitter, the glamour, and the grunge
of this fabled piece of real estate before it became Disneyfied -
its grind houses and strip joints and freak shows and novelty
stores and night clubs and peep shows and fleabag hotels. The Times
Square Story also celebrates the world of below-the-line filmmaking
as the kid, the producer, the broken-down actor, and Miss Columbus
1952 struggle to bring Fury of Macumba to the big screen-their
artistic impulses crippled by financial reality and human frailty.
With more than fifty evocative photographs from the golden era of
this mythic patch of asphalt, The Times Square Story is a
roller-coaster ride through gaudy, seedy, glorious cultural
territory.
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