Enwrapped in indescribable mysteriousness, ‘The Figure in the Carpet’ (1896) is a short story by the American-born British writer Henry James. It explores the meaning of art and how it is found in what other people see. Hugh Vereker is a famous author who says the secret to his greatness and skill is hidden in his works ‘like a complex figure in a Persian carpet’. When the narrator of the story meets Vereker, he becomes obsessed with discovering the secret meaning of his favourite author's works. Those who enjoy Henry James' short story will likely find ́Eureka ́ by Anthony Quinn interesting as The Figure is an important part of the plot. Henry James (1843-1916) was an American-born, British author, and one of the founders of the school of realism in fiction. His inventive use of interior monologues and unreliable narrators, brought a complexity and depth to his work that made him hugely popular. A prolific writer, he published numerous novels, articles, travel books, biographies and plays. Many of his stories have been adapted for TV and film, such as ‘What Maisie Knew’ (2012) starring Steve Coogan and Julianne Moore. However, it is his celebrated Gothic novella ‘The Turn of the Screw’ (1898), regarded as one of the greatest ghost stories ever written, that has been adapted more than any other. Most recently, the eponymous 2009 BBC TV series starring Michelle Dockery, and the Netflix series, ‘The Haunting of Bly Manor’ (2020). James was nominated for the Nobel Prize in Literature in 1911, 1912, and 1916.

Five British children discover in their new carpet an egg, which hatches into a phoenix that takes them on a series of fantastic adventures around the world.

This unique blend of memoir and history takes “a multi-layered look at jigsaw puzzles . . . charming [and] fascinating” (Publishers Weekly, starred review). Award-winning author Margaret Drabble weaves her own story into a history of games, in particular jigsaws, which have offered her and many others relief from melancholy and depression. Alongside curious facts and discoveries—for example, that the 1929 stock market crash was followed by a boom in puzzle sales—Drabble introduces us to her beloved Auntie Phyl, and describes childhood visits to the house in Long Bennington on the Great North Road, their first trip to London together, the books they read, and the jigsaws they completed. With penetrating sketches of her parents, siblings, and children, Drabble shares her thoughts on the importance of childhood play, art and writing, aging and memory. And she does so with her customary intelligence, energy, and wit.

Since its publication in 1984, The Mysteries of Harris Burdick has stimulated the minds of readers of all ages and backgrounds. Now the original fourteen drawings are available in a large portfolio edition of loose sheets. In addition, a newly discovered fifteenth drawing, titled The Youngest Magician, has been added, as well as an updated introduction by the author. The puzzles of these mysterious drawings will be even more provocative because of the larger size and the exceptional printing quality. For the first time, the drawings can be shared with groups or displayed singly. The Mysteries of Harris Burdick was a New York Times Best Illustrated Book of 1984.

A magical journey into the land where stories come from “[A] sweet-toned, summer-fun story.” —The New York Times Book Review When Tuesday McGillycuddy and her beloved dog, Baxterr, discover that Tuesday's mother—the famous author Serendipity Smith—has gone missing, they set out on a magical adventure. In their quest to find Serendipity, they discover the mysterious and unpredictable place that stories come from. Here, Tuesday befriends the fearless Vivienne Small, learns to sail an enchanted boat, tangles with an evil pirate, and discovers the truth about her remarkable dog. Along the way, she learns what it means to be a writer and how difficult it can sometimes be to get all the way to The End. This title has Common Core connections. Finding Serendipity by Angelica Banks, with illustrations by Stevie Lewis, is the first in a series. that continues with book two, A Week Without Tuesday. “This enchanting story . . . celebrates the imagination and the connection writers feel with their stories. Spunky characters; spot-on pacing, providing perfectly timed plot revelations; and fully imagined worlds make this a charming winner.” —Booklist, starred review “With cinematic imagery and keen wit, the authors construct an inventive novel.” —Publishers Weekly, starred review “Young writers will find inspiration in the tale—especially those who have a story within them but might be too shy to tell it.” —The New York Times Book Review

Can a bout of laziness or a digressive spell actually open up paths to creativity and unexpected insights? In Obstruction Nick Salvato suggests that for those engaged in scholarly pursuits laziness, digressiveness, and related experiences can be paradoxically generative. Rather than being dismissed as hindrances, these obstructions are to be embraced, clung to, and reoriented. Analyzing an eclectic range of texts and figures, from the Greek Cynics and Denis Diderot to Dean Martin and the Web series Drunk History, Salvato finds value in five obstructions: embarrassment, laziness, slowness, cynicism, and digressiveness. Whether listening to Tori Amos's music as a way to think about embarrassment, linking the MTV series Daria to using cynicism to negotiate higher education's corporatized climate, or examining the affect of slowness in Kelly Reichardt's films, Salvato expands our conceptions of each obstruction and shows ways to transform them into useful provocations. With a unique, literary, and self-reflexive voice, Salvato demonstrates the importance of these debased obstructions and shows how they may support alternative modes of intellectual activity. In doing so, he impels us to rethink the very meanings of thinking, work, and value.

More than two decades of letters from one of the greatest writers of the twentieth century—the author of The Metamorphosis and The Trial—to the people in his life, from his years as a student in Prague in the early 1900s to his final months in the sanatorium near Vienna where he died in 1924. Sometimes surprisingly humorous, sometimes wrenchingly sad, these letters, collected after Kafka's death by his friend and literary executor Max Brod, include charming notes to school friends; fascinating accounts to Brod about his work in its various stages of publication; correspondence with his publisher, Kurt Wolff, about manuscripts in progress, suggested book titles, type design, and late royalty statements; revealing exchanges with other young writers of the day, including Martin Buber and Felix Weltsch, on life, literature, and girls; and heartbreaking reports to his parents, sisters, and friends on the declining state of his health in the last months of his life.