Excerpt from Reactions: And Other Essays Discussing Those States of Feeling and Attitudes of Mind That Find Expressions in Our Individual Qualities When I began to write my daily essay I won dered if some morning I might not discover that subjects had given out. Now I know that they are inexhaustible. The more one writes about the teeming life of humankind the more one finds to write about. There are times when so many sub feets present themselves that I feel regret at not being able to keep up with them all. Then, too, many subjects are suggested by readers. Some of them, for one reason or another, I cannot use. Others are among the most serviceable.ten readers compliment me on having so much to say I feel like smiling. They have just as much to say. Some of them have more. We all live in an ocean of thoughts. Through the air they are continually oating. To catch them one does not need to be a writer. For writing represents only one kind of expression. Besides, the most thoughtful people are often those who take in most and say least. In the silence they may receive messages that seldom or never reach our ears, that they ex press mainly, perhaps wholly, by their living. Thoughts are common property. Many of those I express in this volume have been given to me by others, both consciously given and unconsciously. If a writer depended on his own thoughts alone he would be in a plight. Perhaps there is no such thing as one's own thoughts. Whatever we think that is worth thinking at all is valuable as it serves. Our best thoughts are likely to be those other people are thinking and have long thought, perhaps for generations. To keep a good thought to oneself, to lock it up in consciousness, is to change its nature. What I express here is finding expression all about us. It is part of the thinking and feeling of the world to-day. For this reason, maybe for this reason alone, some readers have responded to it and found in it the pleasure of verification. Most of us like to read what we already believe, not through vanity alone, but through our desire to reach out to spirits akin to ourselves. In this volume I touch on many subjects that perplex those much wiser than I am and much more capable of offering counsel. My excuse is that I do not claim to solve problems or to possess any special clues to guidance. What I like best to do isto talk things over. If the reader will talk with me and agree or disagree according to his choice I shall be satisfied. For some readers the best a writer can do is to express what they would like to express if they happened to be writers. Some of the most cheering letters I receive come from readers who in words I have used have found echoes of their own thinking. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."

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

This work is a supplement to the 10-volume series "Early Responses to Hume", which is an edited and annotated collection of eighteenth-and nineteenth-century critical reactions to Scottish philosopher David Hume (1711-1776) . Both a philosopher and historian, he was infamous in his day for his skeptical views on human nature, knowledge, metaphysics, and religion.

The Essays Only You Can Write offers a perspective on essay writing that spotlights a writer’s uniqueness. Resisting the perception that personal and academic writing are at odds with one another, it treats the impulse to write “personally” as potential fuel for a variety of writing purposes. The book encourages students to think like academics—pursuing their enthusiasms, trusting their ideas, and questioning their conclusions—by leading them through three main writing assignments: a personal essay, an essay based on texts, and a research essay. Each chapter offers exercises and strategies for various stages in the pre-writing, drafting, and revision processes. Freewriting; extensive attention to planning; devising a structure and order of ideas that both promote and reflect engagement with a topic; developing rhetorical awareness and knowledge of conventions; and an advocacy for expressive, socially-responsible writing—all are central elements of the text’s instruction. By acknowledging the emotions inherent in the writing process, many of which can muddle thinking—I don’t want anyone to see this; what if I make mistakes?; what if the writing isn’t good?; I don’t want to be critiqued; etc.—Papoulis helps beginning college writers to navigate the psychological as well as the technical roadblocks that can get in the way of their best personal and academic writing.

This work is the last in the 10-volume series "Early Responses to Hume", which is an edited and annotated collection of eighteenth-and nineteenth-century critical reactions to Scottish philosopher David Hume (1711-1776) . Both a philosopher and historian, he was infamous in his day for his skeptical views on human nature, knowledge, metaphysics, and religion.

On Skidelsky's Keynes and Other Essays is a collection of essays, biographies, review articles and tributes, focusing on the lives and times of the Cambridge School of Economists, and the immense contribution that these thinkers, including the author, made to the discipline.

Interpreting Susan Sontag’s Essays: Radical Contemplative offers its readers a scholarly examination of her essays within the context of philosophy and aesthetic theory. This study sets up a dialogue between her works and their philosophical counterparts in France and Germany, including the works of Hannah Arendt, Jacques Derrida, Roland Barthes, and Walter Benjamin. Artists and concepts discussed in relation to Sontag’s essays include the works of Andy Warhol, Pop Art, French New Wave Cinema, the music of John Cage, and the cinematic art of Robert Bresson, Leni Riefenstahl, Ingmar Bergman, and Jean-Luc Godard. Her aesthetic formalism is compared with Harold Bloom, and this is the first volume to examine her late works and their position within the American events of 9/11/01 and the War on Terror(ism).