A compelling intellectual and literary history of midcentury America In a midcentury American cultural episode forgotten today, intellectuals of all schools shared a belief that human nature was under threat. The immediate result was a glut of dense, abstract books on the "nature of man." But the dawning "age of the crisis of man," as Mark Greif calls it, was far more than a historical curiosity. In this ambitious intellectual and literary history, Greif recovers this lost line of thought to show how it influenced society, politics, and culture before, during, and long after World War II. During the 1930s and 1940s, fears of the barbarization of humanity energized New York intellectuals, Chicago protoconservatives, European Jewish émigrés, and native-born bohemians to seek "re-enlightenment," a new philosophical account of human nature and history. After the war this effort diffused, leading to a rebirth of modern human rights and a new power for the literary arts. Critics' predictions of a "death of the novel" challenged writers to invest bloodless questions of human nature with flesh and detail. Hemingway, Faulkner, and Richard Wright wrote flawed novels of abstract man. Succeeding them, Ralph Ellison, Saul Bellow, Flannery O'Connor, and Thomas Pynchon constituted a new guard who tested philosophical questions against social realities—race, religious faith, and the rise of technology—that kept difference and diversity alive. By the 1960s, the idea of "universal man" gave way to moral antihumanism, as new sensibilities and social movements transformed what had come before. Greif's reframing of a foundational debate takes us beyond old antagonisms into a new future, and gives a prehistory to the fractures of our own era.

An inside look at the politics of book reviewing, from the assignment and writing of reviews to why critics think we should listen to what they have to say Taking readers behind the scenes in the world of fiction reviewing, Inside the Critics’ Circle explores the ways critics evaluate books despite the inherent subjectivity involved and the uncertainties of reviewing when seemingly anyone can be a reviewer. Drawing on interviews with critics from such venues as the New York Times, Los Angeles Times, and Washington Post, Phillipa Chong delves into the complexities of the review-writing process, including the considerations, values, and cultural and personal anxieties that shape what critics do. Chong explores how critics are paired with review assignments, why they accept these time-consuming projects, how they view their own qualifications for reviewing certain books, and the criteria they employ when making literary judgments. She discovers that while their readers are of concern to reviewers, they are especially worried about authors on the receiving end of reviews. As these are most likely peers who will be returning similar favors in the future, critics’ fears and frustrations factor into their willingness or reluctance to write negative reviews. At a time when traditional review opportunities are dwindling while other forms of reviewing thrive, book reviewing as a professional practice is being brought into question. Inside the Critics’ Circle offers readers a revealing look into critics’ responses to these massive transitions and how, through their efforts, literary values get made.

"This is a mystery with Gaillac flavor to be savored" --Mystery Scene Magazine "A finely crafted and surprising mystery" --Kirkus Reviews The body of Gil Petty, America's most celebrated wine critic, is found strung up in a French Gaillac vineyard, dressed in the ceremonial robes of the Order of the Divine Bottle and pickled in wine. For forensic expert Enzo Macleod, the key to this unsolved murder lies in decoding Petty's mysterious reviews, which could make or break a vineyard's reputation. As he digs deeper for the motivation behind the shocking crime, Macleod finds that beneath the tranquil façade of French viticulture lurks a back-stabbing community characterized by a deadly rivalry--and home to someone who is ready to stop him even if they have to kill again to stop the investigation.

FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD AND THE PEN ART OF THE ESSAY AWARD Over the past decade and a half, Daniel Mendelsohn’s reviews for The New York Review of Books, The New Yorker, and The New York Times Book Review have earned him a reputation as “one of the greatest critics of our time” (Poets & Writers). In Waiting for the Barbarians, he brings together twenty-four of his recent essays—each one glinting with “verve and sparkle,” “acumen and passion”—on a wide range of subjects, from Avatar to the poems of Arthur Rimbaud, from our inexhaustible fascination with the Titanic to Susan Sontag’s Journals. Trained as a classicist, author of two internationally best-selling memoirs, Mendelsohn moves easily from penetrating considerations of the ways in which the classics continue to make themselves felt in contemporary life and letters (Greek myth in the Spider-Man musical, Anne Carson’s translations of Sappho) to trenchant takes on pop spectacles—none more explosively controversial than his dissection of Mad Men. Also gathered here are essays devoted to the art of fiction, from Jonathan Littell’s Holocaust blockbuster The Kindly Ones to forgotten gems like the novels of Theodor Fontane. In a final section, “Private Lives,” prefaced by Mendelsohn’sNew Yorker essay on fake memoirs, he considers the lives and work of writers as disparate as Leo Lerman, Noël Coward, and Jonathan Franzen. Waiting for the Barbarians once again demonstrates that Mendelsohn’s “sweep as a cultural critic is as impressive as his depth.”

Anatole is a most honorable mouse. When he realizes that humans are upset by mice sampling their leftovers, he is shocked! He must provide for his beloved family--but he is determined to find a way to earn his supper. And so he heads for the tasting room at the Duvall Cheese Factory. On each cheese, he leaves a small note--"good," "not so good," "needs orange peel"--and signs his name. When workers at the Duvall factory find his notes in the morning, they are perplexed--but they realize that this mysterious Anatole has an exceptional palate and take his advice. Soon Duvall is making the best cheese in all of Paris! They would like to give Anatole a reward--if only they could find him...

With contributions from 30 leading media scholars, this collection provides a comprehensive overview of the main methodologies of critical media studies. Chapters address various methods of textual analysis, as well as reception studies, policy, production studies, and contextual, multi-method approaches, like intertextuality and cultural geography. Film and television are at the heart of the collection, which also addresses emergent technologies and new research tools in such areas as software studies, gaming, and digital humanities. Each chapter includes an intellectual history of a particular method or approach, a discussion of why and how it was used to study a particular medium or media, relevant examples of influential work in the area, and an in-depth review of a case study drawn from the author's own research. Together, the chapters in this collection give media critics a complete toolbox of essential critical media studies methodologies.

The #1 New York Times bestselling author of Mrs. Everything and In Her Shoes masterfully combines Stephen King with Donna Tartt, plus a twist of Shirley Jackson, in this timely tale that spikes horror with humor and asks whose stories matter—and who gets to decide. Laurel Spellman is the most respected and feared literary critic in America. For years—more than she wants to admit—she’s written acid-etched reviews, gleefully goring sacred cows, anointing Great American Novelists, keeping the mob of scribbling women in their place while enjoying all the perks of her position. She doesn’t want to lose her spot on top of the literary world—not any more than she wants to replace her decades-old cartoon head shot with a new photograph. But when Laurel ends up taking a group of bibliophiles on a tour of literary Paris, she meets her worst nightmare: an eager debut author of commercial fiction named Tess Kravitz. Laurel despises books like Tess’s: easy reads with happy endings, where the fat girl finds true love, or happiness through yoga. She can’t stand Tess herself, a chirpy, chunky blond with a totebag full of a seemingly inexhaustible supply of her book, The Comfort Diet. But Tess is undeterred by Laurel’s scorn. She makes it clear that she’ll do anything—absolutely anything—to get her book on Laurel’s radar. As author and critic play cat and mouse in Paris, ominous tokens appear, dark secrets are revealed, and Laurel finds herself haunted by her history and tormented by Tess’s book. The line between reality and fantasy begins to blur in a clash between an aging critic who will do anything to hold on to what she has, and a desperate author, who will stop at nothing to get what she wants.