A compelling ode to the essay form and the great essaysists themselves, from Montaigne to Woolf to Sontag. Essayism is a book about essays and essayists, a study of melancholy and depression, a love letter to belle-lettrists, and an account of the indispensable lifelines of reading and writing. Brian Dillon’s style incorporates diverse features of the essay. By turns agglomerative, associative, digressive, curious, passionate, and dispassionate, his is a branching book of possibilities, seeking consolation and direction from Michel de Montaigne, Virginia Woolf, Roland Barthes, Theodor Adorno, Walter Benjamin, Georges Perec, Elizabeth Hardwick, and Susan Sontag, to name just a few of his influences. Whether he is writing on origins, aphorisms, coherence, vulnerability, anxiety, or a number of other subjects, his command of language, his erudition, and his own personal history serve not so much to illuminate or magnify the subject as to discover it anew through a kaleidoscopic alignment of attention, thought, and feeling, a dazzling and momentary suspension of disparate elements, again and again.

Bring on the Books for Everybody is an engaging assessment of the robust popular literary culture that has developed in the United States during the past two decades. Jim Collins describes how a once solitary and print-based experience has become an exuberantly social activity, enjoyed as much on the screen as on the page. Fueled by Oprah’s Book Club, Miramax film adaptations, superstore bookshops, and new technologies such as the Kindle digital reader, literary fiction has been transformed into best-selling, high-concept entertainment. Collins highlights the infrastructural and cultural changes that have given rise to a flourishing reading public at a time when the future of the book has been called into question. Book reading, he claims, has not become obsolete; it has become integrated into popular visual media. Collins explores how digital technologies and the convergence of literary, visual, and consumer cultures have changed what counts as a “literary experience” in phenomena ranging from lush film adaptations such as The English Patient and Shakespeare in Love to the customer communities at Amazon. Central to Collins’s analysis and, he argues, to contemporary literary culture, is the notion that refined taste is now easily acquired; it is just a matter of knowing where to access it and whose advice to trust. Using recent novels, he shows that the redefined literary landscape has affected not just how books are being read, but also what sort of novels are being written for these passionate readers. Collins connects literary bestsellers from The Jane Austen Book Club and Literacy and Longing in L.A. to Saturday and The Line of Beauty, highlighting their depictions of fictional worlds filled with avid readers and their equations of reading with cultivated consumer taste.

"This is a book of book lists. Not of the '1,001 Books You MUST Read Before You Die' variety but lists that tell stories. Lists that make you smile, make you wonder, and see titles together in entirely new ways. From Bin Laden's bookshelf to the books most frequently left in hotels, from prisoners' favourite books to MPs' most borrowed books, these lists are proof that a person's bookcase tells you everything you need to know about them, and sometimes more besides."--

This book provides a concise introduction to lists in literature from the early modern period to the twenty-first century. Tracing the changing functions of the literary list across time, it offers a broad range of case studies which situate selected enumerations in their respective contexts and demonstrate the versatility and creative potential of the list form. Starting with a review of previous research on the literary list, the book discusses four main constellations of enumeration: series and the great chain of being; itemization and enumerative realism; ‘letteracettera’ and experimental list-making; ‘white noise’ and creative exploits of enumeration between formal playfulness and existential exploration. The epilogue offers an analytical toolkit for the study of literary lists based on rhetorical theory.

More than simply a vital collection development tool, this book can help librarians help young adults grow into the kind of independent readers and thinkers who will flourish at college.

Packed with fascinating facts, Literary Miscellany is sure to please both professor and pleasure reader alike. Wouldn’t it be great to be a fly on the wall as the great writers took pen to paper (or fingers to keyboard)? While reading this work, you’ll be just that. Here are behind-the-book stories and facts about authors, publishing and everything literary that will entertain both casual and serious readers. Among the questions asked and answered: • When Did Literature Finally Get Sexy? • Is Coffee or Opium Better for Literary Creativity? • Why Are the Best Autobiographies so Embarrassing? • Why Do Some Detectives Use Their Minds and Others Their Fists? Who knew that bestseller lists and children’s books could be the source of intense controversy? Or that even the biggest writers had to scrape by, with odd jobs and inventions like the Mark Twain Self-Pasting Scrapbook? In Literary Miscellany, examine the trend of “fake memoirs,” with a list of who lied about what, and a rogues’ gallery of hoaxers dating back centuries. From epic poetry and Homer to pulp fiction and Harry Potter, Literary Miscellany, now available for the first time in paperback, is a breezy tour through the literature of today and yesterday, packed with enough interesting facts to entertain both the erudite professor and pleasure reader.