★ Publishers Weekly starred review A Best Book of 2018 in Religion, Publishers Weekly Reading great literature well has the power to cultivate virtue, says acclaimed author Karen Swallow Prior. In this book, she takes readers on a guided tour through works of great literature both ancient and modern, exploring twelve virtues that philosophers and theologians throughout history have identified as most essential for good character and the good life. Covering authors from Henry Fielding to Cormac McCarthy, Jane Austen to George Saunders, and Flannery O'Connor to F. Scott Fitzgerald, Prior explores some of the most compelling universal themes found in the pages of classic books, helping readers learn to love life, literature, and God through their encounters with great writing. The book includes end-of-chapter reflection questions geared toward book club discussions, original artwork throughout, and a foreword by Leland Ryken. The hardcover edition was named a Best Book of 2018 in Religion by Publishers Weekly. "[A] lively treatise on building character through books.'"--Publishers Weekly (starred review)

Myra Jehlen's aim in these essays is to read for what she calls the edge of literature: the point at which writing seems unable to say more, which is also, for Jehlen, the threshold of the real. It is here, she argues, that the central paradoxes of the American project become clear—self-reliance and responsibility, universal equality and the pursuit of empire, writing from the heart and representing shared values and ideas. Developing these paradoxes to their utmost tension, American writers often produce penetrating critiques of American society without puncturing its basic myths. For instance, Mark Twain's Puddn'head Wilson begins as a slashing satire of racism, only to conclude by demonstrating that even an invisible portion of black blood can make a man a murderer. Throughout these essays Jehlen demonstrates the crucial role that the process of writing itself plays in unfolding these paradoxes, whether in the form of novels by Harriet Beecher Stowe and Virginia Woolf; the histories of Captain John Smith; or even a work of architecture, such as the Guggenheim museum in Bilbao.

Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

Understanding Literature is an innovative anthology and technology package representing the next generation of literary pedagogy for introduction to literature and literature for composition courses. Built on a balanced foundation of canonical and nontraditional reading selections, this text includes discussions of the formal literary elements--and integrates relevant and accessible coverage of contemporary criticism. This unique, integrated coverage of contemporary critical approaches offers students a richer, more engaging introduction to reading critically and writing about literature.

The Risk of Reading is a defense of the idea that deep and close readings of literature can help us to understand ourselves and the world around us. It explores some of the meaning and implications of modern life through the deep reading of significant books. Waxler argues that we need "fiction" to give our so-called "real life" meaning and that reading narrative fiction remains crucial to the making of a humane and democratic society. Beginning by exploring the implications of thinking about the importance of story in terms of "real life", The Risk of Reading focuses on the importance of human language, especially language shaped into narrative, and how that language is central to the human quest for identity. Waxler argues that we are "linguistic beings," and that reading literary narrative is a significant way to enrich and preserve the traditional sense of human identity and knowledge. This is especially true in the midst of a culture which too often celebrates visual images, spectacle, electronic devices, and celebrity. Reading narrative, in other words, should be considered a counter-cultural activity crucial on the quest to "know thyself." Reading literature is one of the best opportunities we have today to maintain a coherent human identity and remain self-reflective individuals in a world that seems particularly chaotic and confusing. Each chapter takes up a well-known work of nineteenth- or twentieth-century literature in order to discuss more fully these issues, exploring, in particular, the notion of life as a journey or quest and the crucial relationship between language and our contingent everyday existence. Of particular interest along the way is the question of what literary narrative can teach us about our mortality and how stories offer opportunities to reflect on the ambivalent and profound meaning of mortal knowledge.

Discover the essential thinking tools you’ve been missing with The Great Mental Models series by Shane Parrish, New York Times bestselling author and the mind behind the acclaimed Farnam Street blog and “The Knowledge Project” podcast. This first book in the series is your guide to learning the crucial thinking tools nobody ever taught you. Time and time again, great thinkers such as Charlie Munger and Warren Buffett have credited their success to mental models–representations of how something works that can scale onto other fields. Mastering a small number of mental models enables you to rapidly grasp new information, identify patterns others miss, and avoid the common mistakes that hold people back. The Great Mental Models: Volume 1, General Thinking Concepts shows you how making a few tiny changes in the way you think can deliver big results. Drawing on examples from history, business, art, and science, this book details nine of the most versatile, all-purpose mental models you can use right away to improve your decision making and productivity. This book will teach you how to: Avoid blind spots when looking at problems. Find non-obvious solutions. Anticipate and achieve desired outcomes. Play to your strengths, avoid your weaknesses, … and more. The Great Mental Models series demystifies once elusive concepts and illuminates rich knowledge that traditional education overlooks. This series is the most comprehensive and accessible guide on using mental models to better understand our world, solve problems, and gain an advantage.