Write all your notes and ideas into this lovely pink rose floral notebook (journal).- SIZE: 8.5 x 11 (Large).- PAPER: Lined Paper: 55 Pages (Ruled on the front and back).- COVER: Soft Cover.- PATTERN: Roses.- COLOR: Pink and Light Green (Matte).
Much of A.M. Klein's finest prose is to be found in the mass of uncompleted work that he abandoned at the time of his breakdown, and that became accessible only when his papers were deposited in the National Archives. Notebooks offers a generous selection of this work, revealing previously unsuspected facets of Klein's character and artistry. The fiction, criticism, and memoirs collected here focus on Klein's exploration of the role of the artist. The works illuminate crucial periods of his career, especially the early 1940s, when he was transforming himself into a modernist, and the early 1950s, when he was struggling to overcome the misgivings about his art that were to lead to his final breakdown. The semi-autobiographical text which Klein referred to as 'Raw Material' and the unfinished novel of prison life entitled 'Stranger and Afraid' cast a new light on Klein's often frustrating relationship with the Montreal Jewish community. In 'Marginalia' he discusses poetic form and technique and makes observations on the nature of poetry, thereby providing insights into his own concerns as a writer. In 'The Golem,' a profoundly ambiguous treatment of the act of creation, a self-portrait emerges of a storyteller who has lost faith in the power and value of his story. The volume includes a critical introduction, that places the material in the context of Klein's other works, as well as textual and explanatory notes.
Presented for the first time in English, the recently discovered early manuscripts of the twentieth century’s most towering literary figure offer uncanny glimpses of his emerging genius and the creation of his masterpiece. One of the most significant literary events of the century, the discovery of manuscript pages containing early drafts of Marcel Proust’s In Search of Lost Time put an end to a decades-long search for the Proustian grail. The Paris publisher Bernard de Fallois claimed to have viewed the folios, but doubts about their existence emerged when none appeared in the Proust manuscripts bequeathed to the Bibliothèque Nationale in 1962. The texts had in fact been hidden among Fallois’s private papers, where they were found upon his death in 2018. The Seventy-Five Folios and Other Unpublished Manuscripts presents these folios here for the first time in English, along with seventeen other brief unpublished texts. Extensive commentary and notes by the Proust scholar Nathalie Mauriac Dyer offer insightful critical analysis. Characterized by Fallois as the “precious guide” to understanding Proust’s masterpiece, the folios contain early versions of six episodes included in the novel. Readers glimpse what Proust’s biographer Jean-Yves Tadié describes as the “sacred moment” when the great work burst forth for the first time. The folios reveal the autobiographical extent of Proust’s writing, with traces of his family life scattered throughout. Before the existence of Charles Swann, for example, we find a narrator named Marcel, a testament to what one scholar has called “the gradual transformation of lived experience into (auto)fiction in Proust’s elaboration of the novel.” Like a painter’s sketches and a composer’s holographs, Proust’s folios tell a story of artistic evolution. A “dream of a book, a book of a dream,” Fallois called them. Here is a literary magnum opus finding its final form.
A Sunday Times bestseller In this "utterly unforgettable" debut (Catherine Ryan Howard), a disaffected, true crime-obsessed bookseller develops a dangerous obsession with a colleague. Roach would rather be listening to the latest episode of her favorite true crime podcast than assisting the boring and predictable customers at her local branch of the bookstore Spines, where she’s worked her entire adult life. A serious true crime junkie, Roach looks down her nose at the pumpkin-spice-latte-drinking casual fans who only became interested in the genre once it got trendy. But when Laura, a pretty and charismatic children’s bookseller, arrives to help rejuvenate the struggling bookstore branch, Roach recognizes in her an unexpected kindred spirit. Despite their common interest in true crime, Laura keeps her distance from Roach, resisting the other woman’s overtures of friendship. Undeterred, Roach learns everything she can about her new colleague, eventually uncovering Laura’s traumatic family history. When Roach realizes that she may have come across her very own true crime story, interest swiftly blooms into a dangerous obsession. A darkly funny suspense novel, Death of a Bookseller raises ethical questions about the fervor for true crime and how we handle stories that don’t belong to us.
The American Notebooks follows chronological order, tracing Hawthorne's development over a period of eighteen years. The individual entries, however, are quite random in their makeup and contain adages, animal folklore, and biblical references that captivated Hawthorne. Observations of people whom he saw in the streets of nineteenth century Salem, Boston, and North Adams, Massachusetts, are mixed with flights of fancy that occurred to Hawthorne as he labored at his writing. Quotations from early eighteenth century newspapers and church books chronicle Hawthorne's lifelong interest in New England history. In this sense, the notebooks provide not only a glimpse of Hawthorne's close observation as a writer but also a picture of New England in the early-to-mid-nineteenth century. - enotes.com.
Kerry Spence is unfulfilled by her soulless career in advertising, disappointed by her dysfunctional relationship, and horrified by the ever-increasing size of her ass. Ever since her gorgeous, self-absorbed boyfriend Sam demoted her to late night hook-up status, she has fortified herself with prime-time TV and blissful binges on cream cheese frosting, awaiting an epiphany that will reveal her next move. Of course, everybody in her life is full of advice. Her free-spirited divorcee mother–when not necking furiously with her much younger boyfriend– sagely counsels her daughter to do whatever it takes to snag Sam back, since, quite frankly, he is the best she can do. Her friends ply her with fruity cocktails and dispense bits of ‘Cosmo’ wisdom like “Divide your age in half and add seven–that’s the youngest man you are allowed to date” and “Scotch tape can eliminate forehead wrinkles.” And then there is Kerry’s shrink, the calm, unflappable therapist who suggests she start “a diary of past encounters with men that may be contributing to her negative and dysfunctional quasi-relationship.” Or, as Kerry sees it, a journal of mortifying moments. Beginning with a kissing game gone bad in grade school, the journal jump-starts Kerry’s stroll down memory lane of man troubles. But just as Kerry decides her poorly dressed therapist is as crazy as everybody else in her orbit, she begins to realize the journal may actually make some sense–as she plumbs the depths of her most embarrassing experiences on a quest for personal awareness that will give her the strength to turn her life around–and just maybe find love again. The Journal of Mortifying Moments is a hysterically funny glimpse into the quirky, slightly obsessive, and completely lovable mind of Kerry Spence. But somewhere amidst the laugh-out-loud hilarity of Kerry’s exploits emerges the story of a woman who learns to stop trying to be someone she’s not, and start loving the wonderful, quirky person she is, once and for all.