In this remarkable blend of memoir and criticism, James Wood, noted contributor to the New Yorker, has written a master class on the connections between fiction and life. He argues that, of all the arts, fiction has a unique ability to describe the shape of our lives and to rescue the texture of those lives from death and historical oblivion. The act of reading is understood here as the most sacred and personal of activities, and there are brilliant discussions of individual works - among others, Chekhov's story "The Kiss," W.G. Sebald's The Emigrants, and Penelope Fitzgerald's The Blue Flower. Wood reveals his own intimate relationship with the written word: we see the development of a provincial boy growing up in a charged Christian environment, the secret joy of his childhood reading, the links he makes between reading and blasphemy, or between literature and music. The final section discusses fiction in the context of exile and homelessness. The Nearest Thing to LifeÊis not simply a brief, tightly argued book by a man commonly regarded as our finest living critic - it is also an exhilarating personal account that reflects on, and embodies, the fruitful conspiracy between reader and writer (and critic), and asks us to reconsider everything that is at stake when we read and write fiction.

The Art Of series is a new line of books reinvigorating the practice of craft and criticism. Each book will be a brief, witty, and useful exploration of fiction, nonfiction, or poetry by a writer impassioned by a singular craft issue. The Art Of volumes will provide a series of sustained examinations of key but sometimes neglected aspects of creative writing by some of contemporary literature's finest practioners. In The Art of Time in Memoir, critic and memoirist Sven Birkerts examines the human impulse to write about the self. By examining memoirs such as Vladimir Nabokov's Speak, Memory; Virginia Woolf's unfinished A Sketch of the Past; and Mary Karr's The Liars' Club, Birkerts describes the memoirist's essential art of assembling patterns of meaning, stirring to life our own sense of past and present.

Nearly 30 years ago, James wrote a refreshingly candid book that made no claims to be accurate, precise, or entirely truthful, only to entertain. Long unavailable in the U.S., "Unreliable Memoirs" is being made available to American readers.

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The PEN Award-winning essay collection about queer lives: “Gorgeously punk-rock rebellious.”—The A.V. Club The razor-sharp but damaged Valerie Solanas; a doomed lesbian biker gang; recovering alcoholics; and teenagers barely surviving at an ice creamery: these are some of the larger-than-life, yet all-too-human figures populating America’s fringes. Rife with never-ending fights and failures, theirs are the stories we too often try to forget. But in the process of excavating and documenting these queer lives, Michelle Tea also reveals herself in unexpected and heartbreaking ways. Delivered with her signature honesty and dark humor, this is the first-ever collection of journalistic writing by the author of How to Grow Up and Valencia. As she blurs the line between telling other people’s stories and her own, she turns an investigative eye to the genre that’s nurtured her entire career—memoir—and considers the price that art demands be paid from life. “Eclectic and wide-ranging…A palpable pain animates many of these essays, as well as a raucous joy and bright curiosity.” —The New York Times “Queer counterculture beats loud and proud in Tea’s stellar collection.” —Publishers Weekly (starred) “The best essay collection I've read in years.”—The New Republic Winner of the PEN/Diamonstein-Spielvogel Award for the Art of the Essay

Credited with sparking the current memoir explosion, Mary Karr’s The Liars’ Club spent more than a year at the top of the New York Times list. She followed with two other smash bestsellers: Cherry and Lit, which were critical hits as well. For thirty years Karr has also taught the form, winning teaching prizes at Syracuse. (The writing program there produced such acclaimed authors as Cheryl Strayed, Keith Gessen, and Koren Zailckas.) In The Art of Memoir, she synthesizes her expertise as professor and therapy patient, writer and spiritual seeker, recovered alcoholic and “black belt sinner,” providing a unique window into the mechanics and art of the form that is as irreverent, insightful, and entertaining as her own work in the genre. Anchored by excerpts from her favorite memoirs and anecdotes from fellow writers’ experience, The Art of Memoir lays bare Karr’s own process. (Plus all those inside stories about how she dealt with family and friends get told— and the dark spaces in her own skull probed in depth.) As she breaks down the key elements of great literary memoir, she breaks open our concepts of memory and identity, and illuminates the cathartic power of reflecting on the past; anybody with an inner life or complicated history, whether writer or reader, will relate. Joining such classics as Stephen King’s On Writing and Anne Lamott’s Bird by Bird, The Art of Memoir is an elegant and accessible exploration of one of today’s most popular literary forms—a tour de force from an accomplished master pulling back the curtain on her craft.