The Prince Of Minor Writers

AN NYRB CLASSICS ORIGINAL Virginia Woolf called Max Beerbohm “the prince” of essayists, F. W. Dupee praised his “whim of iron” and “cleverness amounting to genius,” while Beerbohm himself noted that “only the insane take themselves quite seriously.” From his precocious debut as a dandy in 1890s Oxford until he put his pen aside in the aftermath of World War II, Beerbohm was recognized as an incomparable observer of modern life and an essayist whose voice was always and only his own. Here Phillip Lopate, one of the finest essayists of our day, has selected the finest of Beerbohm’s essays. Whether writing about the vogue for Russian writers, laughter and philosophy, dandies, or George Bernard Shaw, Beerbohm is as unpredictable as he is unfailingly witty and wise. As Lopate writes, “Today . . . it becomes all the more necessary to ponder how Beerbohm performed the delicate operation of displaying so much personality without lapsing into sticky confession.”

"Called by Virginia Woolf "the prince" of essayists and praised by F. W. Dupee for a "whim of iron, cleverness amounting to genius," Max Beerbohm himself noted that "only the insane take themselves quite seriously." Nonetheless, from his precocious debut as a dandy in 1890s Oxford until, after World War II, when he put the pen aside, Beerbohm was recognized as an incomparable observer of modern life and an essayist whose voice was always and only his own. Here Phillip Lopate, one of the finest essayists of our day, has selected the finest of Beerbohm's essays. Whether writing about the vogue for Russian writers, laughter and philosophy, dandies, or George Bernard Shaw, Beerbohm is as unpredictable as he is unfailingly witty and wise. As Lopate writes, "Today...it becomes all the more necessary to ponder how Beerbohm performed the delicate operation of displaying so much personality without lapsing into sticky confession.""--

"Called by Virginia Woolf "the prince" of essayists and praised by F. W. Dupee for a "whim of iron, cleverness amounting to genius," Max Beerbohm himself noted that "only the insane take themselves quite seriously." Nonetheless, from his precocious debut as a dandy in 1890s Oxford until, after World War II, when he put the pen aside, Beerbohm was recognized as an incomparable observer of modern life and an essayist whose voice was always and only his own. Here Phillip Lopate, one of the finest essayists of our day, has selected the finest of Beerbohm's essays. Whether writing about the vogue for Russian writers, laughter and philosophy, dandies, or George Bernard Shaw, Beerbohm is as unpredictable as he is unfailingly witty and wise. As Lopate writes, "Today...it becomes all the more necessary to ponder how Beerbohm performed the delicate operation of displaying so much personality without lapsing into sticky confession.

Acclaimed writers, family, friends, and more pay homage to the celebrated Southern author of The Prince of Tides and The Great Santini. New York Times–bestselling writer Pat Conroy (1945–2016) inspired a worldwide legion of devoted fans, but none are more loyal to him and more committed to sustaining his literary legacy than the many writers he nurtured over the course of his fifty-year career. In sharing their stories of Conroy, his fellow writers honor his memory and advance our shared understanding of his lasting impact on literary life in and well beyond the American South. Conroy’s fellowship drew from all walks of life. His relationships were complicated, and people and places he thought he’d left behind often circled back to him at crucial moments. The pantheon of contributors includes Rick Bragg, Kathleen Parker, Barbra Streisand, Janis Ian, Anthony Grooms, Mary Hood, Nikky Finney, Nathalie Dupree and Cynthia Graubart, Ron Rash, Sandra Brown, and Mary Alice Monroe; Conroy biographers Katherine Clark and Catherine Seltzer; his longtime friends; Pat’s students Sallie Ann Robinson and Valerie Sayers; members of the Conroy family; and many more. Each author in this collection shares a slightly different view of Conroy. Through their voices, a multifaceted portrait of him comes to life and sheds new light on who he was. Loosely following Conroy’s own chronology, the essays herewith wind through his river of a story, stopping at important ports of call. Cities he called home and longed to visit, along with each book he birthed, become characters that are as equally important as the people he touched along the way.

In this book, Steve Gronert Ellerhoff explores short stories by Ray Bradbury and Kurt Vonnegut, written between 1943 and 1968, with a post-Jungian approach. Drawing upon archetypal theories of myth from Joseph Campbell, James Hillman and their forbearer C. G. Jung, Ellerhoff demonstrates how short fiction follows archetypal patterns that can illuminate our understanding of the authors, their times, and their culture. In practice, a post-Jungian ‘mythodology’ is shown to yield great insights for the literary criticism of short fiction. Chapters in this volume carefully contextualise and historicize each story, including Bradbury and Vonnegut’s earliest and most imaginatively fantastic works. The archetypal constellations shaping Vonnegut’s early works are shown to be war and fragmentation, while those in Bradbury’s are family and the wholeness of the sun. Analysis is complemented by the explored significance of illustrations that featured alongside the stories in their first publications. By uncovering the ways these popular writers redressed old myths in new tropes—and coined new narrative elements for hopes and fears born of their era—the book reveals a fresh method which can be applied to all imaginative short stories, increasing understanding and critical engagement. Post-Jungian Psychology and the Short Stories of Ray Bradbury and Kurt Vonnegut is an important text for a number of fields, from Jungian and Post-Jungian studies to short story theoriesand American studies to Bradbury and Vonnegut studies. Scholars and students of literature will come away with a renewed appreciation for an archetypal approach to criticism, while the book will also be of great interest to practising depth psychologists seeking to incorporate short stories into therapy.

Essays on music, art, pop culture, literature, and politics by the renowned essayist and observer of contemporary life, now collected together for the first time. The Uncollected Essays of Elizabeth Hardwick is a companion collection to The Collected Essays, a book that proved a revelation of what, for many, had been an open secret: that Elizabeth Hardwick was one of the great American literary critics, and an extraordinary stylist in her own right. The thirty-five pieces that Alex Andriesse has gathered here—none previously featured in volumes of Hardwick’s work—make it clear that her powers extended far beyond literary criticism, encompassing a vast range of subjects, from New York City to Faye Dunaway, from Wagner’s Parsifal to Leonardo da Vinci’s inventions, and from the pleasures of summertime to grits soufflé. In these often surprising, always well-wrought essays, we see Hardwick’s passion for people and places, her politics, her thoughts on feminism, and her ability, especially from the 1970s on, to write well about seemingly anything.