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The Pulitzer Prize-winning novel that became a motion picture starring Meryl Streep, Julianne Moore, and Nicole Kidman, directed by Stephen Daldry from a screenplay by David Hare.
In The Hours, Michael Cunningham, widely praised as one of the most gifted writers of his generation, draws inventively on the life and work of Virginia Woolf to tell the story of a group of contemporary characters struggling with the conflicting claims of love and inheritance, hope and despair. The narrative of Woolf's last days before her suicide early in World War II counterpoints the fictional stories of Samuel, a famous poet whose life has been shadowed by his talented and troubled mother, and his lifelong friend Clarissa, who strives to forge a balanced and rewarding life in spite of the demands of friends, lovers, and family. Passionate, profound, and deeply moving, this is Cunningham's most remarkable achievement to date.
Nominated for the National Book Critics Circle Award for Poetry.
I hate and--love. The sleepless body hammering a nail nails itself, hanging crucified.--from Catullus: Excrucior In Frank Bidart's collection of poems, the encounter with desire is the encounter with destiny. The first half contains some of Bidart's most luminous and intimate work-poems about the art of writing, Eros, and the desolations and mirror of history (in a spectacular narrative based on Tacitus). The second half of the book exts the overt lyricism of the opening section into even more ambitious territory-The Second Hour of the Night may be Bidart's most profound and complex meditation on the illusion of will, his most seductive dramatic poem to date. Desire is a 1997 National Book Award Finalist for Poetry.
The essential mystery at the heart of every relationship is the subject of these twelve stories. What drives people together? What drives them apart? Revenge, boredom, sex--they're all here. . . . The landscape of the heart depicted here is less bleak than it sounds; what drives these stories is the belief that love is reachable just around the bend. --Entertainment Weekly
Richard Bausch is a master of the intimate moment, of the ways we seek to make lasting connections to one another and to the world. Few writers evoke the complexities of love as subtly, and few capture the poignancy of the sudden insight or the rhythms of ordinary conversation with such delicacy and humor. To read these twelve stories--of love and loss, of families and strangers, of small moments and enormous epiphanies--is to be reminded again of the power of short fiction to thrill and move us, to make us laugh, or cry. In these profound glimpses into the private fears, joys, and sorrows of people we know, we find revealed a whole range of human experience, told with extraordinary force, clarity, and compassion.
A renowned poet's artful collection is a striking body of work
No Equal Justice is the seminal work on race- and class-based double standards in criminal justice. Hailed as a shocking and necessary book by The Economist, it has become the standard reference point for anyone trying to understand the fundamental inequalities in the American legal system. The book, written by constitutional law scholar and civil liberties advocate David Cole, was named the best nonfiction book of 1999 by the Boston Book Review and the best book on an issue of national policy by the American Political Science Association.
No Equal Justice examines subjects ranging from police behavior and jury selection to sentencing, and argues that our system does not merely fail to live up to the promise of equality, but actively requires double standards to operate. Such disparities, Cole argues, allow the privileged to enjoy constitutional protections from police power without paying the costs associated with extending those protections across the board to minorities and the poor.
Gathered here are versions of Hinge Picture (1974), Chanting at the Crystal Sea (1975), Cabbage Gardens (1979), and Secret History of the Dividing Line (1978) that differ in some respects from their original small-press editions. In a long preface, Frame Structures, written especially for this volume, Howe suggests the autobiographical, familial, literary, and historical motifs that suffuse these early works. Taken together, the preface and poems reflect her rediscovered sense of her own beginnings as a poet, her movement from the visual arts into the iconography of the written word.
Susan Howe is a professor of English at the State University of New York--Buffalo. Most of her later poetry has been collected in The Nonconformist's Memorial (New Directions, 1993), The Europe of Trusts: Selected Poems (Sun & Moon Press, 1990), and Singularities (Wesleyan University Press, 1990). She is also the author of two landmark books of postmodernist criticism, The Birth-mark: unsettling the wilderness in American literary history (Wesleyan University Press, 1993) and My Emily Dickinson (North Atlantic Books, 1985).
Mark Doty's last two award-winning collections of poetry, as well as his acclaimed memoir Heaven's Coast, used the devastation of AIDS as a lens through which to consider questions of loss, love and identity. The poems in Sweet Machine see the world from a new, hard-won perspective: A coming back to life, after so much death, a way of seeing the body's sweet machine not simply as a time bomb, but also as a vibrant, sensual, living thing.
These poems are themselves sweet machines--lyrical, exuberant and joyous--and they mark yet another milestone in the extraordinary career of one of our most distinguished and accomplished poets.
Fifty-four poems in verse and prose by New York writer John Yau, who has been called the most important Chinese-American poet of our time (MultiCultural Review).
Yau has distinguished himself by his resistance to conventional discourse. This has taken Yau's work down some startling thoroughfares, as critic Edward Foster notes. His ethnic background marks him as an outsider in America, but he is not interested in merely recording the terms of that exclusion. His work examines ways in which language has long been used, quite often subtly, to oppress and exclude.
Yau's conducts us across wastes of cities . . . fluttering with lost ghouls to the place inhibited shadows wait. As one of his narrators say, This, we tell ourselves, is the place where we must start.