Poet Luis (Lucho) Hernández is legendary in his native Peru, and virtually unknown outside it. His short, tragic life–haunted by addiction and periodic reclusion in rehabilitation centers–and the mysterious circumstances surrounding his death, have made him a cult figure. Exceptionally gifted in his youth, his only three books of poetry were published by the time he was twenty-four. Until his untimely death at age thirty-six in Argentina, Luis Hernández didn’t publish another book. Yet, he did not fall silent. He wrote in cheap, school-boy notebooks, filling them with poems, musical notations, quotes (attributed and unattributed), notes to himself, translations, musings, clippings from newspapers and comic strips, and drawings, all in different colored pencils and pens. The present selection of Hernández’s poetry, the first ever in English, is drawn from these notebooks. All the original texts have been transcribed directly from the manuscript sources, correcting errors and mistranscriptions that have crept into a number of the published versions. Several poems are published here for the first time in any language. These moving poems are born under the sign of Melancholy and Nostalgia. Hernández’s unique voice evokes an irrevocably distant past from a desolate site in the present. Happiness and joy, love and fulfillment, are remembered in poetic scraps and fragments, recollected in silence, contemplated in sadness, solitude, and dream.

"In this book, Diana Senechal confronts a culture that has come to depend on instant updates and communication at the expense of solitude. Schools today emphasize rapid group work and fragmented activity, not the thoughtful study of complex subjects. The Internet offers contact with others throughout the day and night; we lose the ability to be apart, even in our minds. Yet solitude plays an essential role in literature, education, democracy, relationships, and matters of conscience. Throughout its analyses and argument, the book calls not for drastic changes but for a subtle shift: an attitude that honors solitude without descending into dogma"--Provided by publisher.

The poet and author’s “beautiful . . . wise and warm” journal of time spent in her New Hampshire home alone with her garden, her books, the seasons, and herself (Eugenia Thornton, Cleveland Plain Dealer). “Loneliness is the poverty of self; solitude is richness of self.” —May Sarton May Sarton’s parrot chatters away as Sarton looks out the window at the rain and contemplates returning to her “real” life—not friends, not even love, but writing. In her bravest and most revealing memoir, Sarton casts her keenly observant eye on both the interior and exterior worlds. She shares insights about everyday life in the quiet New Hampshire village of Nelson, the desire for friends, and need for solitude—both an exhilarating and terrifying state. She likens writing to “cracking open the inner world again,” which sometimes plunges her into depression. She confesses her fears, her disappointments, her unresolved angers. Sarton’s garden is her great, abiding joy, sustaining her through seasons of psychic and emotional pain. Journal of a Solitude is a moving and profound meditation on creativity, oneness with nature, and the courage it takes to be alone. Both uplifting and cathartic, it sweeps us along on Sarton’s pilgrimage inward. This ebook features an extended biography of May Sarton.

'One day there is life . . . and then, suddenly, it happens there is death.' So begins Paul Auster's moving and personal meditation on fatherhood. The first section, 'Portrait of an Invisible Man', reveals Auster's memories and feelings after the death of his father. In 'The Book of Memory' the perspective shifts to Auster's role as a father. The narrator, 'A', contemplates his separation from his son, his dying grandfather and the solitary nature of writing and story-telling.

IN THIS AGE OF CONSTANT CONNECTIVITY, LEARN HOW TO ENJOY SOLITUDE AND FIND HAPPINESS WITHOUT OTHERS. Our fast-paced society does not approve of solitude; being alone is antisocial and some even find it sinister. Why is this so when autonomy, personal freedom, and individualism are more highly prized than ever before? In How to Be Alone, Sara Maitland answers this question by exploring changing attitudes throughout history. Offering experiments and strategies for overturning our fear of solitude, she helps us practice it without anxiety and encourages us to see the benefits of spending time by ourselves. By indulging in the experience of being alone, we can be inspired to find our own rewards and ultimately lead more enriched, fuller lives.

In a world where we’re more connected than ever, why is it that we’re also more lonely? Dip into this anthology of classic writing to reclaim the pleasure of your own company. Part of the Macmillan Collector’s Library; a series of stunning pocket size classics. These beautiful books make perfect gifts or a treat for any book lover. This edition is edited and introduced by writer and academic, Zachary Seager. The Art of Solitude shows some of the myriad ways in which people throughout history have understood their experiences of solitary life, or have counselled others to benefit from solitude. It contains poetry, essays, autobiographical pieces and short stories from writers such as Virginia Woolf, Edgar Allen Poe, Emily Dickinson and Ralph Waldo Emerson. These diverse works can teach us how to think in freedom, how to enjoy a profound inner life and how best to cope with the fact that, as the novelist Joseph Conrad put it, we live, as we dream – alone. Above all, they show how we might truly connect with ourselves and, in the process, how we can meaningfully connect with those around us, including the earth itself. Looked at in this way, solitude is always focused both outward and inward, towards the self and towards the world. The cure for loneliness is, in the end, the art of solitude.

A fable about the power of books and knowledge, “finely balanced between pathos and comedy,” from one of Czechoslovakia’s most popular authors (Los Angeles Times). A New York Times Notable Book Haňtá has been compacting trash for thirty-five years. Every evening, he rescues books from the jaws of his hydraulic press, carries them home, and fills his house with them. Haňtá may be an idiot, as his boss calls him, but he is an idiot with a difference—the ability to quote the Talmud, Hegel, and Lao-Tzu. In this “irresistibly eccentric romp,” the author Milan Kundera has called “our very best writer today” celebrates the power and the indestructibility of the written word (The New York Times Book Review).