For decades, Janet Malcolm's books and dispatches for the New Yorker have poked and prodded at biographical convention, gesturing towards the artifice that underpins both public and private selves. Here, Malcolm turns her gimlet eye on her own life, examining twelve family photographs to construct a memoir from camera-caught moments, each of which pose questions of their own. She begins with the picture of a morose young girl on a train, leaving Prague at the age of five in 1939. From there we follow her to the Czech enclave of Yorkville in Manhattan, where her father, a psychiatrist and neurologist, and her mother, an attorney from a bourgeois family, traded their bohemian, Dada-inflected lives for the ambitions of middle-class America. From her early, fitful loves to evenings at the old Metropolitan Opera House to her fascination with what it might mean to be a "bad girl," Malcolm assembles a composite portrait of a New York childhood, one that never escaped the tug of Europe and the mysteries of fate and family. Later, Malcolm delves into her marriage to Gardner Botsford, the world of William Shawn's New Yorker, and the libel trial that led her to become a character in her own drama. Displaying the sharp wit and astute commentary that are Malcolmian trademarks, this brief volume develops into a memoir like no other.

In Reading Chekhov Janet Malcolm takes on three roles: literary critic, biographer and journalist. Her close readings of Chekhov's stories and plays are interwoven with episodes from his life and framed by an account of a recent journey she made to St Petersburg. Malcolm demonstrates how the shadow of death that hovered over most of Chekhov's literary career - he became consumptive in his twenties and died in his forties - is almost everywhere reflected in the work. She writes of his childhood, his relationship with his family, his marriage, his travels, his early success, his exile to Yalta - always with an eye to connecting them to his themes and characters.

Selected essays from America's foremost literary journalist and essayist, featuring ruminations on writers and artists as diverse as Edith Wharton, Diane Arbus and the Bloomsbury Group. This charismatic and penetrating collection includes Malcolm's now iconic essay about the painter David Salle.

The process known as psychoanalysis is sometimes revered, sometimes derided, and most often misunderstood. What good does it do? Can it help anyone? What risks does it pose to both patient and analyst? None of these questions can be easily answered, but in Janet Malcolm's narrative, in which all her skills as a reporter and interviewer come into play, their complexity is limpidly revealed.

Is it ever possible to know 'the truth' about Sylvia Plath and her marriage to Ted Hughes, which ended with her suicide? In The Silent Woman, renowned writer Janet Malcolm examines the biographies of Sylvia Plath, with particular focus on Anne Stevenson's Bitter Fame, to discover how Plath became an enigma in literary history. The Silent Woman is a brilliant, elegantly reasoned inquiry into the nature of biography, dispelling our innocence as readers, as well as shedding a light onto why Plath's legend continues to exert such a hold on our imaginations.

Through an intensive study of 'Aaron Green, ' a Freudian analyst in New York City, New Yorker writer Janet Malcolm reveals the inner workings of psychoanalysis

Through an intensive study of "Aaron Green," a Freudian analyst in New York City, New Yorker writer Janet Malcolm reveals the inner workings of psychoanalysis.

For decades, Janet Malcolm's books and dispatches for the New Yorker have poked and prodded at biographical convention, gesturing towards the artifice that underpins both public and private selves. Here, Malcolm turns her gimlet eye on her own life, examining twelve family photographs to construct a memoir from camera-caught moments, each of which pose questions of their own. She begins with the picture of a morose young girl on a train, leaving Prague at the age of five in 1939. From there we follow her to the Czech enclave of Yorkville in Manhattan, where her father, a psychiatrist and neurologist, and her mother, an attorney from a bourgeois family, traded their bohemian, Dada-inflected lives for the ambitions of middle-class America. From her early, fitful loves to evenings at the old Metropolitan Opera House to her fascination with what it might mean to be a "bad girl," Malcolm assembles a composite portrait of a New York childhood, one that never escaped the tug of Europe and the mysteries of fate and family. Later, Malcolm delves into her marriage to Gardner Botsford, the world of William Shawn's New Yorker, and the libel trial that led her to become a character in her own drama. Displaying the sharp wit and astute commentary that are Malcolmian trademarks, this brief volume develops into a memoir like no other.

Winner of the PEN/Jacqueline Bograd Weld Award for Biography: the story of the mystifying relationship between the brilliant and affable Gertrude Stein and her brooding companion, Alice B. Toklas "Janet Malcolm deftly captures Alice B. Toklas's legendary 40-year partnership with the brilliant modernist Gertrude Stein in Two Lives, clearing up a few mysteries along the way-including how two Jewish women were able to survive World War II in their provincial French chateau with the help of a Vichy collaborator."-Vogue "Shrewd, humane, and beautifully written."- John Gross, Wall Street Journal "How had the pair of elderly Jewish lesbians survived the Nazis?" Janet Malcolm asks at the beginning of this extraordinary work of literary biography and investigative journalism. The pair, of course, is Gertrude Stein, the modernist master "whose charm was as conspicuous as her fatness" and "thin, plain, tense, sour" Alice B. Toklas, the "worker bee" who ministered to Stein's needs throughout their forty-year expatriate "marriage." As Malcolm pursues the truth of the couple's charmed life in a village in Vichy France, her subject becomes the larger question of biographical truth. "The instability of human knowledge is one of our few certainties," she writes. The portrait of the legendary couple that emerges from this work is unexpectedly charged. The two world wars Stein and Toklas lived through together are paralleled by the private war that went on between them. This war, as Malcolm learned, sometimes flared into bitter combat. Two Lives is also a work of literary criticism. "Even the most hermetic of [Stein's] writings are works of submerged autobiography," Malcolm writes. "The key of 'I' will not unlock the door to their meaning-you need a crowbar for that-but will sometimes admit you to a kind of anteroom of suggestion." Whether unpacking the accessible Autobiography of Alice B. Toklas, in which Stein "solves the koan of autobiography," or wrestling with The Making of Americans, a masterwork of "magisterial disorder," Malcolm is stunningly perceptive. Praise for the author: "[Janet Malcolm] is among the most intellectually provocative of authors . . .able to turn epiphanies of perception into explosions of insight."-David Lehman, Boston Globe "Not since Virginia Woolf has anyone thought so trenchantly about the strange art of biography."-Christopher Benfey

'Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible'In equal measure famous and infamous, Janet Malcolm's book charts the true story of a lawsuit between Jeffrey MacDonald, a convicted murderer, and Joe McGinniss, the author of a book about the crime. Lauded as one of the Modern Libraries "100 Best Works of Nonfiction", The Journalist and the Murderer is fascinating and controversial, a contemporary classic of reportage.

Prizewinning journalist Janet Malcolm discovers the elements of Greek tragedy in a sensational New York City murder trial "Astringent and absorbing. . . . Iphigenia in Forest Hills casts, from its first pages, a genuine spell - the kind of spell to which Ms. Malcolm's admirers (and I am one) have become addicted."-Dwight Garner, New York Times "This is shrewd and quirky crime reporting at its irresistible and disabused best."-Louis Begley, Wall Street Journal "She couldn't have done it and she must have done it." This is the enigma at the heart of Janet Malcolm's riveting book about a murder trial in the insular Bukharan-Jewish community of Forest Hills, Queens, that captured national attention. The defendant, Mazoltuv Borukhova, a beautiful young physician, is accused of hiring an assassin to kill her estranged husband, Daniel Malakov, a respected orthodontist, in the presence of their four-year old child. The prosecutor calls it an act of vengeance: just weeks before Malakov was killed in cold blood, he was given custody of Michelle for inexplicable reasons. It is the "Dickensian ordeal" of Borukhova's innocent child that drives Malcolm's inquiry. With the intellectual and emotional precision for which she is known, Malcolm looks at the trial-"a contest between competing narratives"-from every conceivable angle. It is the chasm between our ideals of justice and the human factors that influence every trial-from divergent lawyering abilities to the nature of jury selection, the malleability of evidence, and the disposition of the judge-that is perhaps most striking. Surely one of the most keenly observed trial books ever written, Iphigenia in Forest Hills is ultimately about character and "reasonable doubt." As Jeffrey Rosen writes, it is "as suspenseful and exciting as a detective story, with all the moral and intellectual interest of a great novel." "Iphigenia in Forest Hills is another dazzling triumph from Janet Malcolm. Here, as always, Malcolm's work inspires the best kind of disquiet in a reader-the obligation to think." -Jeffrey Toobin, author of The Nine: Inside the Secret World of the Supreme Court "A remarkable achievement that ranks with Malcolm's greatest books. Her scrupulous reporting and interviews with protagonists on both sides of the trial make her own narrative as suspenseful and exciting as a detective story, with all the moral and intellectual interest of a great novel." -Jeffrey Rosen, author of The Supreme Court: The Personalities and Rivalries that Defined America

Who will inherit the secrets of Sigmund Freud? Who will protect his reputation? Who may destroy it? Janet Malcolm's investigation into the personalities who clash over Freud's legacy has become a celebrated story of seduction and betrayal, love and hatred, fantasy and reality. It is both a comedy and a tragedy. Malcolm's cast of characters includes K. R. Eissler, a venerable psychoanalyst and keeper of the Freud flame; Jeffrey Mason, a flamboyant Sanskrit scholar and virulent anti-Freudian; and Peter Swales, a former assistant to the Rolling Stones and indefatigable researcher. Each of them thinks they know the truth about Freud, and each needs the help of the other. Malcolm endeavours to untangle the causes of their rivalry and soured friendships, while the flaws and mysteries of Freud's early work tower in the background.

"Includes an afterword by the author"
"In the Freud Archives" tells the story of an unlikely encounter among three men: K. R. Eissler, the venerable doyen of psychoanalysis; Jeffrey Moussaieff Masson, a flamboyant, restless forty-two-year-old Sanskrit scholar turned psychoanalyst turned virulent anti-Freudian; and Peter Swales, a mischievous thirty-five-year-old former assistant to the Rolling Stones and self-taught Freud scholar. At the center of their Oedipal drama are the Sigmund Freud Archives--founded, headed, and jealously guarded by Eissler--whose sealed treasure gleams and beckons to the community of Freud scholarship as if it were the Rhine gold.
Janet Malcolm's fascinating book first appeared some twenty years ago, when it was immediately recognized as a rare and remarkable work of nonfiction. A story of infatuation and disappointment, betrayal and revenge, "In the Freud Archives" is essentially a comedy. But the powerful presence of Freud himself and the harsh bracing air of his ideas about unconscious life hover over the narrative and give it a tragic dimension.

In two previous books, Janet Malcolm explored the hidden sides of, respectively, institutional psychoanalysis and Freudian biography. In this book, she examines the psychopathology of journalism. Using a strange and unprecedented lawsuit as her larger-than-life example -- the lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision, a book about the crime -- she delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung.

Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.

Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her biographies of Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction - as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which become a dazzling portrait of an artist. "She is among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Forty-one False Starts brings together for the first time essays published over the course of several decades (many from The New Yorker and The New York Review of Books) that reflect Malcolm's preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores the "dominating passion" of Bloomsbury to create things visual and literary, the "passionate collaborations" behind Edward Weston's nudes, and the psyche of the German photographer Thomas Struth. She delves beneath the "onyx surface" of Edith Wharton's fiction, appreciates the black comedy of the Gossip Girl novels, and confronts the false starts of her own autobiography. As Ian Frazier writes in the introduction, "Over and over Malcolm has demonstrated that an article in a magazine-something we see every day-can rise to the highest level of literature."

A married woman restlessly seeks a deeper love. An insomniac ponders the meagreness of his life. A man loses the respect of his family because of a counterfeit coin. A duel of wits escalates into a clash of cultures - and more. The Duel and Other Stories is the second in an exclusive three-volume edition of Chekhov's stories. Encompassing the intricacy and range of social connection, these exquisitely crafted stories trace the mutability of our everyday relationships as they stall, separate or entwine. In the strangely lyrical deadpan prose so characteristic of Chekhov's drama, they expose the misplaced affections, broken vows, and brilliant dreams of what it is to be human. This unique collection offers a perfect introduction to one of Russia's - and the world's - greatest writers.

A young woman struggles to assert herself within a regrettable marriage. A boy learns about life on an epic summer's journey to a new school. A doctor attempts to befriend his most interesting patient. A young man tries to figure out the best way to live. This riverrun edition presents a selection of Chekhov's longer stories - novellas, effectively - in Constance Garnett's timeless translations. These four stories, Ward No.6, The Wife, The Steppe and My Life, tell of characters attempting to create meaning through work, connection with others and art; they deal with misunderstandings and loss; they celebrate brief joys, sudden passions and unsatisfied longings, all underscored by Chekhov's gentle wit and great humanity. This unique collection - selected and introduced by the celebrated Janet Malcolm - is unmissable for the enthusiast and a brilliant introduction to one of the nineteenth century's greatest writers.

"[N]o other writer tells better stories about the perpetual, the unwinnable, battle between narrative and truth." --The New York Times Book Review

The Crime of Sheila McGough is Janet Malcolm's brilliant exposé of miscarriage of justice in the case of Sheila McGough, a disbarred lawyer recently released from prison. McGough had served 2 1/2 years for collaborating with a client in his fraud, but insisted that she didn't commit any of the 14 felonies she was convicted.

An astonishingly persuasive condemnation of the cupidity of American law and its preference for convincing narrative rather than the truth, this is also a story with an unconventional heroine. McGough is a zealous defense lawyer duped by a white-collar con man; a woman who lives, at the age of 54, with her parents; a journalistic subject who frustrates her interviewer with her maddening literal-mindedness. Spirited, illuminating, delightfully detailed, The Crime of Sheila McGough is both a dazzling work of journalism and a searching meditation on character and the law.

The Purloined Clinic is a retrospective of essays, reviews, and reports that reflect the range and depth of Janet Malcolm's engagement with psychology, criticism, art, and literature.

She examines aspects of "that absurdist collaboration," the psychoanalytic dialogue, from which come "small, stray sell recognitions that no other human relationship yields, brought forward under conditions...that no other human relationship could survive." She addresses such subjects as Tom Wolfe's vendetta against modern architecture, Milan Kundera's literary experiments, and Vaclav Havel's prison letters. She explores the somewhat deflated world of post-revolutionary Prague, guides us through the labyrinthine New York art world of the eighties, and takes us behind the one-way mirror of Salvador Minuchin's school of family therapy.And to each subject she brings the incisive skepticism and dazzling epigrammatic style that are her hallmarks.