This Thing We Call Literature

In his fourth book of essays, acclaimed cultural critic Arthur Krystal surveys the world of letters in its academic, literary, and populist incarnations--just to make sure those divisions still apply. What he finds is that the ground has shifted. With Lionel Trilling at his back, Krystal casts a cold eye on contemporary culture and discerns a lack of discrimination between the truly great and the merely good, and the fairly good and just plain bad. Critical but not angst-ridden, he deplores tunnel vision on both sides of the culture wars. Presumptive cultural boundaries have no place here. Krystal admires Bob Dylan and Elmore Leonard without including them in a purely literary pantheon. He endorses the Great Books without necessarily voting the Republican ticket. In essays about the meaning of the novel, the role of music in poetry, genre fiction vs. literary fiction, the contributions of the superlative critic Erich Auerbach, and the strange alliance of neurology and aesthetics, as well as in lighter pieces about reviewing and list-making, Krystal brings his own brand of discriminating intelligence to a spectrum of received opinions whose flaws and cracks otherwise go unnoticed.

What is this thing called literature? Why should we study it? And how? Relating literature to topics such as dreams, politics, life, death, the ordinary and the uncanny, this beautifully written book establishes a sense of why and how literature is an exciting and rewarding subject to study. Bennett and Royle delicately weave an essential love of literature into an account of what literary texts do, how they work and what sort of questions and ideas they provoke. The book’s three parts reflect the fundamental components of studying literature: reading, thinking and writing. The authors use helpful, familiar examples throughout, offering rich reflections on the question ‘What is literature?’ and on what they term ‘creative reading’. Bennett and Royle’s lucid and friendly style encourages a deep engagement with literary texts. This book is not only an essential guide to the study of literature, but an eloquent defence of the discipline.

America is a nation making itself up as it goes alongÑa story of discovery and invention unfolding in speeches and images, letters and poetry, unprecedented feats of scholarship and imagination. In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history. In more than two hundred original essays, A New Literary History of America brings together the nationÕs many voices. From the first conception of a New World in the sixteenth century to the latest re-envisioning of that world in cartoons, television, science fiction, and hip hop, the book gives us a new, kaleidoscopic view of what ÒMade in AmericaÓ means. Literature, music, film, art, history, science, philosophy, political rhetoricÑcultural creations of every kind appear in relation to each other, and to the time and place that give them shape. The meeting of minds is extraordinary as T. J. Clark writes on Jackson Pollock, Paul Muldoon on Carl Sandburg, Camille Paglia on Tennessee Williams, Sarah Vowell on Grant WoodÕs American Gothic, Walter Mosley on hard-boiled detective fiction, Jonathan Lethem on Thomas Edison, Gerald Early on Tarzan, Bharati Mukherjee on The Scarlet Letter, Gish Jen on Catcher in the Rye, and Ishmael Reed on Huckleberry Finn. From Anne Bradstreet and John Winthrop to Philip Roth and Toni Morrison, from Alexander Graham Bell and Stephen Foster to Alcoholics Anonymous, Life, Chuck Berry, Alfred Hitchcock, and Ronald Reagan, this is America singing, celebrating itself, and becoming something altogether different, plural, singular, new. Please visit www.newliteraryhistory.com for more information.

Offers a thorough examination of the philosophy of literature, looking at the place of literature in human culture, what literature can be defined as and much more.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

When cultural critics with such wildly divergent views as Jacques Barzun, Christopher Hitchens, Joseph Epstein, Dana Gioia, and Morris Dickstein all agree about the merits of one contemporary essayist, shouldn't you find out why? "I never think except when I sit down to write." -- Attributed to Montaigne by Edgar Allan Poe From Montaigne in the sixteenth century to Orwell, Eliot, and Trilling in the twentieth, the best literary essayists combine a gift for observation with an abiding commitment to books. Although it may seem that books are becoming less essential and that a revolution in sensibility is taking place, the essays of Arthur Krystal suggest otherwise. Companionable without being chummy, engaged without being didactic, erudite without being stuffy, he demonstrates that literature, even in the digital age, remains the truest expression of the human condition. Covering subjects as diverse as aphorisms, dueling, the night, and the 1960s, the essays gathered here offer the common reader uncommon pleasure. In prose that is both vibrant and elegant, Krystal negotiates among myriad subjects-from historical writing as exemplified by Jacques Barzun to the art of screenwriting as not so happily represented by F. Scott Fitzgerald. His cardinal rule as a writer? William Hazlitt's "Confound it, man, don't be insipid." No fear of that. Except When I Write is thoughtful in the most joyful sense-brimming with ideas in order to give us the flow and cadence of someone actually thinking. Keenly observant and death on pretension, Krystal examines the world of books without ever losing sight of the world beyond them. Literature may be the bedrock on which these essays rest, but as F. R. Leavis aptly noted, "One cannot seriously be interested in literature and remain purely literary in interests." Except When I Write is a reminder of both the pleasure and the power of a well-tuned essay.

How does a literary historian end up thinking in terms of z-scores, principal component analysis, and clustering coefficients? The essays in Distant Reading led to a new and often contested paradigm of literary analysis. In presenting them here Franco Moretti reconstructs his intellectual trajectory, the theoretical influences over his work, and explores the polemics that have often developed around his positions. From the evolutionary model of "Modern European Literature," through the geo-cultural insights of "Conjectures of World Literature" and "Planet Hollywood," to the quantitative findings of "Style, inc." and the abstract patterns of "Network Theory, Plot Analysis," the book follows two decades of conceptual development, organizing them around the metaphor of "distant reading," that has come to define-well beyond the wildest expectations of its author-a growing field of unorthodox literary studies.

If he had been with me everything would have been different... I wasn't with Finn on that August night. But I should've been. It was raining, of course. And he and Sylvie were arguing as he drove down the slick road. No one ever says what they were arguing about. Other people think it's not important. They do not know there is another story. The story that lurks between the facts. What they do not know—the cause of the argument—is crucial. So let me tell you...