"Mrs. Dalloway said she would buy the flowers herself." So begins Virginia Woolf's beloved fourth novel. First published in 1925, Mrs. Dalloway has long been considered Woolf's masterpiece. A pivotal work of literary modernism, its simple plot-centred on an upper-class Londoner preparing to give a party-is complicated by Woolf's satire of the English social system. For decades, Woolf's rapturous style and vision of individual consciousness have challenged and inspired readers, novelists and scholars alike. In this annotated volume based on the original British edition, acclaimed essayist and Oxford don Merve Emre mines Woolf's diaries and notes on writing to take us into the making of Mrs. Dalloway, revealing the novel's artistry and astonishing originality. Alongside her generous commentary, Emre offers hundreds of illustrations and little-seen photographs from Woolf's life. The result is not only an essential volume for students and Woolf devotees but an incomparable gift to all lovers of literature.

A SPECTATOR BOOK OF THE YEAR 'History that reads like biography that reads like a novel - a fluid narrative that defies expectations and plays against type' New York Times 'Brilliant and savage' Philip Hensher An unprecedented history of the personality test conceived a century ago by a mother and her daughter - fiction writers with no formal training in psychology - and how it insinuated itself into our boardrooms, classrooms, and beyond. The Myers-Briggs Type Indicator is the most popular personality test in the world. It has been harnessed by Fortune 100 companies, universities, hospitals, churches, and the military. Its language - of extraversion vs. introversion, thinking vs. feeling - has inspired online dating platforms and Buzzfeed quizzes alike. And yet despite the test's widespread adoption, experts in the field of psychometric testing, a $500 million industry, struggle to account for its success - no less validate its results. How did the Myers-Briggs insinuate itself into our jobs, our relationships, our internet, our lives? First conceived in the 1920s by the mother-daughter team of Katherine Briggs and Isabel Briggs Myers, a pair of aspiring novelists and devoted homemakers, the Myers-Briggs was designed to bring the gospel of Carl Jung to the masses. But it would take on a life of its own, reaching from the smoke-filled boardrooms of mid-century New York to Berkeley, California, where it was honed against some of the 20th century's greatest creative minds. It would travel across the world to London, Zurich, Cape Town, Melbourne, and Tokyo; to elementary schools, nunneries, wellness retreats, and the closed-door corporate training sessions of today. Drawing from original reporting and never-before-published documents, What's Your Type? examines nothing less than the definition of the self - our attempts to grasp, categorise and quantify our personalities. Surprising and absorbing, the book, like the test at its heart, considers the timeless question: What makes you you?

Like few other works of contemporary literature, Elena Ferrante's Neapolitan novels found an audience of passionate and engaged readers around the world. Inspired by Ferrante's intense depiction of female friendship and women's intellectual lives, four critics embarked upon a project that was both work and play: to create a series of epistolary readings of the Neapolitan Quartet that also develops new ways of reading and thinking together. In a series of intertwined, original, and daring readings of Ferrante's work and her fictional world, Sarah Chihaya, Merve Emre, Katherine Hill, and Juno Jill Richards strike a tone at once critical and personal, achieving a way of talking about literature that falls between the seminar and the book club. Their letters make visible the slow, fractured, and creative accretion of ideas that underwrites all literary criticism and also illuminate the authors' lives outside the academy. The Ferrante Letters offers an improvisational, collaborative, and cumulative model for reading and writing with others, proposing a new method the authors call collective criticism. A book for fans of Ferrante and for literary scholars seeking fresh modes of intellectual exchange, The Ferrante Letters offers incisive criticism, insouciant riffs, and the pleasure of giving oneself over to an extended conversation about fiction with friends.

Literature departments are staffed by, and tend to be focused on turning out, "good" readers attentive to nuance, aware of history, interested in literary texts as self-contained works. But the vast majority of readers are, to use Merve Emre's tongue-in-cheek term, "bad" readers. They read fiction and poetry to be moved, distracted, instructed, improved, engaged as citizens. How should we think about those readers, and what should we make of the structures, well outside the academy, that generate them? We should, Emre argues, think of such readers not as non-literary but as paraliterary thriving outside the institutions we take as central to the literary world. She traces this phenomenon to the postwar period, when literature played a key role in the rise of American power. At the same time as American universities were producing good readers by the hundreds, many more thousands of bad readers were learning elsewhere to be disciplined public communicators, whether in diplomatic and ambassadorial missions, private and public cultural exchange programs, multinational corporations, or global activist groups. As we grapple with literature's diminished role in the public sphere, Paraliterary suggests a new way to think about literature, its audience, and its potential, one that looks at the civic institutions that have long engaged readers ignored by the academy.

Like few other works of contemporary literature, Elena Ferrante's Neapolitan novels found an audience of passionate and engaged readers around the world. Inspired by Ferrante's intense depiction of female friendship and women's intellectual lives, four critics embarked upon a project that was both work and play: to create a series of epistolary readings of the Neapolitan Quartet that also develops new ways of reading and thinking together. In a series of intertwined, original, and daring readings of Ferrante's work and her fictional world, Sarah Chihaya, Merve Emre, Katherine Hill, and Juno Jill Richards strike a tone at once critical and personal, achieving a way of talking about literature that falls between the seminar and the book club. Their letters make visible the slow, fractured, and creative accretion of ideas that underwrites all literary criticism and also illuminate the authors' lives outside the academy. The Ferrante Letters offers an improvisational, collaborative, and cumulative model for reading and writing with others, proposing a new method the authors call collective criticism. A book for fans of Ferrante and for literary scholars seeking fresh modes of intellectual exchange, The Ferrante Letters offers incisive criticism, insouciant riffs, and the pleasure of giving oneself over to an extended conversation about fiction with friends.

An enlarged edition to celebrate the thirtieth anniversary of John Guillory’s formative text on the literary canon. Since its publication in 1993, John Guillory’s Cultural Capital has been a signal text for understanding the codification and uses of the literary canon. Cultural Capital reconsiders the social basis for aesthetic judgment and exposes the unequal distribution of symbolic and linguistic knowledge on which culture has long been based. Drawing from Pierre Bourdieu’s sociology, Guillory argues that canon formation must be understood less as a question of the representation of social groups and more as a question of the distribution of cultural capital in schools, which regulate access to literacy, to the practices of reading and writing.   Now, as the crisis of the canon has evolved into the so-called crisis of the humanities, Guillory’s groundbreaking, incisive work has never been more urgent. As scholar and critic Merve Emre writes in her introduction to this enlarged edition: “Exclusion, selection, reflection, representation—these are the terms on which the canon wars of the last century were fought, and the terms that continue to inform debates about, for instance, decolonizing the curriculum and the rhetoric of antiracist pedagogy.�

Literature departments are staffed by, and tend to be focused on turning out, "good" readers attentive to nuance, aware of history, interested in literary texts as self-contained works. But the vast majority of readers are, to use Merve Emre's tongue-in-cheek term, "bad" readers. They read fiction and poetry to be moved, distracted, instructed, improved, engaged as citizens. How should we think about those readers, and what should we make of the structures, well outside the academy, that generate them? We should, Emre argues, think of such readers not as non-literary but as paraliterary thriving outside the institutions we take as central to the literary world. She traces this phenomenon to the postwar period, when literature played a key role in the rise of American power. At the same time as American universities were producing good readers by the hundreds, many more thousands of bad readers were learning elsewhere to be disciplined public communicators, whether in diplomatic and ambassadorial missions, private and public cultural exchange programs, multinational corporations, or global activist groups. As we grapple with literature's diminished role in the public sphere, Paraliterary suggests a new way to think about literature, its audience, and its potential, one that looks at the civic institutions that have long engaged readers ignored by the academy.