New essays on theological, political, and contemporary themes, by the Pulitzer Prize winner Marilynne Robinson has plumbed the human spirit in her renowned novels, including Lila, winner of the National Book Critics Circle Award, and Gilead, winner of the Pulitzer Prize and the National Book Critics Circle Award. In this new essay collection she trains her incisive mind on our modern political climate and the mysteries of faith. Whether she is investigating how the work of great thinkers about America like Emerson and Tocqueville inform our political consciousness or discussing the way that beauty informs and disciplines daily life, Robinson’s peerless prose and boundless humanity are on full display. What Are We Doing Here? is a call for Americans to continue the tradition of those great thinkers and to remake American political and cultural life as “deeply impressed by obligation [and as] a great theater of heroic generosity, which, despite all, is sometimes palpable still.”
Love’s Work is at once a memoir and a work of philosophy. Written by the English philosopher Gillian Rose as she was dying of cancer, it is a book about both the fallibility and the endurance of love, love that becomes real and lasting through an ongoing reckoning with its own limitations. Rose looks back on her childhood, the complications of her parents’ divorce and her dyslexia, and her deep and divided feelings about what it means to be Jewish. She tells the stories of several friends also laboring under the sentence of death. From the sometimes conflicting vantage points of her own and her friends’ tales, she seeks to work out (seeks, because the work can never be complete—to be alive means to be incomplete) a distinctive outlook on life, one that will do justice to our yearning both for autonomy and for connection to others. With droll self-knowledge (“I am highly qualified in unhappy love affairs,” Rose writes, “My earliest unhappy love affair was with Roy Rogers”) and with unsettling wisdom (“To live, to love, is to be failed”), Rose has written a beautiful, tender, tough, and intricately wrought survival kit packed with necessary but unanswerable questions.
A vivid and provocative literary criticism of famous women writers from Virginia Woolf to Zelda Fitzgerald by a “gifted miniaturist biographer” (Joyce Carol Oates) The novelist and essayist Elizabeth Hardwick is one of contemporary America’s most brilliant writers, and Seduction and Betrayal, in which she considers the careers of women writers as well as the larger question of the presence of women in literature, is her most passionate and concentrated work of criticism. A gallery of unforgettable portraits—of Virginia Woolf and Zelda Fitzgerald, Dorothy Wordsworth and Jane Carlyle—as well as a provocative reading of such works as Wuthering Heights, Hedda Gabler, and the poems of Sylvia Plath, Seduction and Betrayal is a virtuoso performance, a major writer’s reckoning with the relations between men and women, women and writing, writing and life.
A New York Times Notable Book A lively, immersive history by an award-winning urbanist of New York City’s transformation, and the lessons it offers for the city’s future. Dangerous, filthy, and falling apart, garbage piled on its streets and entire neighborhoods reduced to rubble; New York’s terrifying, if liberating, state of nature in 1978 also made it the capital of American culture. Over the next thirty-plus years, though, it became a different place—kinder and meaner, richer and poorer, more like America and less like what it had always been. New York, New York, New York, Thomas Dyja’s sweeping account of this metamorphosis, shows it wasn’t the work of a single policy, mastermind, or economic theory, nor was it a morality tale of gentrification or crime. Instead, three New Yorks evolved in turn. After brutal retrenchment came the dazzling Koch Renaissance and the Dinkins years that left the city’s liberal traditions battered but laid the foundation for the safe streets and dotcom excess of Giuliani’s Reformation in the ‘90s. Then the planes hit on 9/11. The shaky city handed itself over to Bloomberg who merged City Hall into his personal empire, launching its Reimagination. From Hip Hop crews to Wall Street bankers, D.V. to Jay-Z, Dyja weaves New Yorkers famous, infamous, and unknown—Yuppies, hipsters, tech nerds, and artists; community organizers and the immigrants who made this a truly global place—into a narrative of a city creating ways of life that would ultimately change cities everywhere. With great success, though, came grave mistakes. The urbanism that reclaimed public space became a means of control, the police who made streets safe became an occupying army, technology went from a means to the end. Now, as anxiety fills New Yorker’s hearts and empties its public spaces, it’s clear that what brought the city back—proximity, density, and human exchange—are what sent Covid-19 burning through its streets, and the price of order has come due. A fourth evolution is happening and we must understand that the greatest challenge ahead is the one New York failed in the first three: The cures must not be worse than the disease. Exhaustively researched, passionately told, New York, New York, New York is a colorful, inspiring guide to not just rebuilding but reimagining a great city.
After enduring a vicious bear attack in the Russian Far East's Kamchatka Peninsula, a French anthropologist undergoes a physical and spiritual transformation that forces her to confront the tenuous distinction between animal and human. In the Eye of the Wild begins with an account of the French anthropologist Nastassja Martin’s near fatal run-in with a Kamchatka bear in the mountains of Siberia. Martin’s professional interest is animism; she addresses philosophical questions about the relation of humankind to nature, and in her work she seeks to partake as fully as she can in the lives of the indigenous peoples she studies. Her violent encounter with the bear, however, brings her face-to-face with something entirely beyond her ken—the untamed, the nonhuman, the animal, the wild. In the course of that encounter something in the balance of her world shifts. A change takes place that she must somehow reckon with. Left severely mutilated, dazed with pain, Martin undergoes multiple operations in a provincial Russian hospital, while also being grilled by the secret police. Back in France, she finds herself back on the operating table, a source of new trauma. She realizes that the only thing for her to do is to return to Kamchatka. She must discover what it means to have become, as the Even people call it, medka, a person who is half human, half bear. In the Eye of the Wild is a fascinating, mind-altering book about terror, pain, endurance, and self-transformation, comparable in its intensity of perception and originality of style to J. A. Baker’s classic The Peregrine. Here Nastassja Martin takes us to the farthest limits of human being.
These 20 short stories and novellas offer an exquisite portrait of Old New York, spanning from the Civil War through the Gilded Age (New York Times). “Edith Wharton . . . remains one of the most potent names in the literature of New York.” —New York Times Edith Wharton wrote about New York as only a native can. Her Manhattan is a city of well-appointed drawing rooms, hansoms and broughams, all-night cotillions, and resplendent Fifth Avenue flats. Bishops’ nieces mingle with bachelor industrialists; respectable wives turn into excellent mistresses. All are governed by a code of behavior as rigid as it is precarious. What fascinates Wharton are the points of weakness in the structure of Old New York: the artists and writers at its fringes, the free-love advocates testing its limits, widows and divorcées struggling to hold their own. The New York Stories of Edith Wharton gathers twenty stories of the city, written over the course of Wharton’s career. From her first published story, “Mrs. Manstey’s View,” to one of her last and most celebrated, “Roman Fever,” this new collection charts the growth of an American master and enriches our understanding of the central themes of her work, among them the meaning of marriage, the struggle for artistic integrity, the bonds between parent and child, and the plight of the aged. Illuminated by Roxana Robinson’s introduction, these stories showcase Wharton’s astonishing insight into the turbulent inner lives of the men and women caught up in a rapidly changing society.
WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD, THE LOS ANGELES TIMES BOOK PRIZE, THE MARK LYNTON HISTORY PRIZE, THE AMERICAN HISTORY BOOK PRIZE Book Four of Robert A. Caro’s monumental The Years of Lyndon Johnson displays all the narrative energy and illuminating insight that led the Times of London to acclaim it as “one of the truly great political biographies of the modern age. A masterpiece.” The Passage of Power follows Lyndon Johnson through both the most frustrating and the most triumphant periods of his career—1958 to1964. It is a time that would see him trade the extraordinary power he had created for himself as Senate Majority Leader for what became the wretched powerlessness of a Vice President in an administration that disdained and distrusted him. Yet it was, as well, the time in which the presidency, the goal he had always pursued, would be thrust upon him in the moment it took an assassin’s bullet to reach its mark. By 1958, as Johnson began to maneuver for the presidency, he was known as one of the most brilliant politicians of his time, the greatest Senate Leader in our history. But the 1960 nomination would go to the young senator from Massachusetts, John F. Kennedy. Caro gives us an unparalleled account of the machinations behind both the nomination and Kennedy’s decision to offer Johnson the vice presidency, revealing the extent of Robert Kennedy’s efforts to force Johnson off the ticket. With the consummate skill of a master storyteller, he exposes the savage animosity between Johnson and Kennedy’s younger brother, portraying one of America’s great political feuds. Yet Robert Kennedy’s overt contempt for Johnson was only part of the burden of humiliation and isolation he bore as Vice President. With a singular understanding of Johnson’s heart and mind, Caro describes what it was like for this mighty politician to find himself altogether powerless in a world in which power is the crucial commodity. For the first time, in Caro’s breathtakingly vivid narrative, we see the Kennedy assassination through Lyndon Johnson’s eyes. We watch Johnson step into the presidency, inheriting a staff fiercely loyal to his slain predecessor; a Congress determined to retain its power over the executive branch; and a nation in shock and mourning. We see how within weeks—grasping the reins of the presidency with supreme mastery—he propels through Congress essential legislation that at the time of Kennedy’s death seemed hopelessly logjammed and seizes on a dormant Kennedy program to create the revolutionary War on Poverty. Caro makes clear how the political genius with which Johnson had ruled the Senate now enabled him to make the presidency wholly his own. This was without doubt Johnson’s finest hour, before his aspirations and accomplishments were overshadowed and eroded by the trap of Vietnam. In its exploration of this pivotal period in Johnson’s life—and in the life of the nation—The Passage of Power is not only the story of how he surmounted unprecedented obstacles in order to fulfill the highest purpose of the presidency but is, as well, a revelation of both the pragmatic potential in the presidency and what can be accomplished when the chief executive has the vision and determination to move beyond the pragmatic and initiate programs designed to transform a nation. It is an epic story told with a depth of detail possible only through the peerless research that forms the foundation of Robert Caro’s work, confirming Nicholas von Hoffman’s verdict that “Caro has changed the art of political biography.”
The brilliant, controversial, bestselling critique of American culture that “hits with the approximate force and effect of electroshock therapy” (The New York Times)—now featuring a new afterword by Andrew Ferguson in a twenty-fifth anniversary edition. In 1987, eminent political philosopher Allan Bloom published The Closing of the American Mind, an appraisal of contemporary America that “hits with the approximate force and effect of electroshock therapy” (The New York Times) and has not only been vindicated, but has also become more urgent today. In clear, spirited prose, Bloom argues that the social and political crises of contemporary America are part of a larger intellectual crisis: the result of a dangerous narrowing of curiosity and exploration by the university elites. Now, in this twenty-fifth anniversary edition, acclaimed author and journalist Andrew Ferguson contributes a new essay that describes why Bloom’s argument caused such a furor at publication and why our culture so deeply resists its truths today.
Literary novel with a New York setting and a dash of speculative fiction, for fans of Colum McCann, Colm Toibin, and Dana Spiotta. Ghosts of New York is a novel in which the laws of time and space have been subtly suspended. It interweaves four strands: a photographer newly returned to the neighborhood where she grew up, after years spent living overseas; a foundling raised on 14th Street; a graduate student, his romantic partner, and his best friend entangled in a set of relationships with far-reaching personal and political repercussions; and a shopkeeper suffering from first love late in life. Mixing prophecy, history, and a hint of speculative fiction, its stories are bound together even as they are propelled into stranger territory. And undergirding it all is a song, which appears, disappears, and then resurfaces. Ghosts of New York explores complex lives through indelible renderings of settings-a bar, a night market, a recording studio-that alternate between familiar and unsettling. The work of a celebrated novelist and veteran of the art, film, and music scenes in New York and Austin (described as "a rare talent" by the New York Times and "a powerful literary voice" by Jeffrey Eugenides), this novel will immediately absorb readers intrigued by creative people and the places that sustain and challenge them.
A brilliant, lost feminist classic that is equal parts domestic drama and international intrigue. Shirley and Coenraad’s affair has been going on for decades, but her longing for him is as desperate as ever. She is a Toronto housewife; he works for an international organization known only as the Agency. Their rendezvous take place in Tangier, in Hong Kong, in Rome and are arranged by an intricate code based on notes slipped into issues of National Geographic. He recognizes her by her costume: a respectable black dress and string of pearls; his appearance, however, is changeable. But something has happened, the code has been discovered, and Coenraad sends Shirley (who prefers to be known as “Lola Montez”) to Toronto, the last place she wants to go. There the trail leads her through the sites of her impoverished immigrant childhood and sends her, finally, to her own house, where she discards her pearls and trades in her basic black for a dress of vibrant multicolored silk. Helen Weinzweig published her first novel when she was fifty-eight. Basic Black with Pearls, her second, won the Toronto Book Award and has since come to be recognized as a feminist landmark. Here Weinzweig imbues the formal inventiveness of the nouveau roman with psychological poignancy and surprising humor to tell a story of simultaneous dissolution and discovery.
