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The essay is one of the great inventions of the human mind. It can talk about anything and everything. It can be lightsome or solemn. It can be witty or informative. Above all, it is short. It likes the passage in which Socrates told Callicles in the Gorgias to make his answers brief. Yet, we can find in essays things we need and want to know. Aquinas often managed to make the most profound arguments in two paragraphs. Samuel Johnson did the same. 
      The Classical Moment is, indeed, a collection of “selected essays.” Such a collection is a classical and beloved form of English letters, the literary form most preferred by Schall. 
     The essays in this book all touch on knowledge and its pleasures. Schall does not tarry on the effort and determination it often takes to say just what we want to say, then say it and know that we have said it. Somehow, when an essay is written, an author simply knows that it is complete, that it is what he wanted to say. He says to himself, “Yes, that is it.” An essayist may well be conscious that when he begins an essay, he really does not know what he will finally say. The writing is the saying. Our writing is our thinking, our thinking-through, our being pleased to know this is it . . . this is the point Schall, one of America’s greatest essayists, makes here.
      The “classical moment” is that intense experience of seeing or hearing or encountering some vista, or song, or person that takes us out of ourselves. We are most ourselves somehow when we are most outside of ourselves, seeing what is not ourselves. We are intended to be more than ourselves in being ourselves, to know with others what is the truth, to know what is.
      These essays originally appeared in regular columns done in various journals, papers, and on-line sources. One can read them in any order. The order of the author or collector does have a certain “logic,” but each essay is also a whole, something contained within itself. 
     The unity of an essay collection is found more in a kind enthrallment that comes to us when we deal with the things that are both important and delightful. At bottom, these essays belong together. Aristotle warned us that if we did not delight in the things that are, we would seek our highest pleasures where they are not really found. 
        We will always seek something to delight in. What civilization is about lies in finding what is really worthy of the capacity of delight that is given to us in our being. The “classical moment” is the perfect phrase that brings us to the threshold of this experience. We have to enter it ourselves, but once inside, we will find so much more than ourselves. And we will rejoice.
 

First published in 1968, The Eastern Establishment and the Western Experience has become a classic in the field of American studies.

G. Edward White traces the origins of “the West of the imagination” to the adolescent experiences of Frederic Remington, Theodore Roosevelt, and Owen Wister—three Easterners from upper-class backgrounds who went West in the 1880s in search of an alternative way of life.

Each of the three men came to identify with a somewhat idealized “Wild West” that embodied the virtues of individualism, self-reliance, and rugged masculinity. When they returned East, they popularized this image of the West through art, literature, politics, and even their public personae. Moreover, these Western virtues soon became and have remained American virtues—a patriotic ideal that links Easterners with Westerners.

With a multidisciplinary blend of history, biography, sociology, psychology, and literary criticism, The Eastern Establishment and the Western Experience will appeal to a wide audience. The author has written a new preface, offering additional perspectives on the mythology of the West and its effect on the American character.

This is an auto-narrated audiobook edition of this book.

Praise for Lawrence Joseph:

"Poetry of great dignity, grace, and unrelenting persuasiveness… Joseph gives us new hope for the resourcefulness of humanity, and of poetry."
---John Ashbery

"Like Henry Adams, Joseph seems to be writing ahead of actual events, and that makes him one of the scariest writers I know."
---David Kirby, The New York Times Book Review

"The most important lawyer-poet of our era."
---David Skeel, Legal Affairs
  
 A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.

Essays on poetry by the most important poet-lawyer of our era

The Game Changed: Essays and Other Prose presents works by prominent poet and lawyer Lawrence Joseph that focus on poetry and poetics, and on what it is to be a poet. Joseph takes the reader through the aesthetics of modernism and postmodernism, a lineage that includes Wallace Stevens, William Carlos Williams, and Gertrude Stein, switching critical tracks to major European poets like Eugenio Montale and Hans Magnus Enzensberger, and back to American masters like James Schuyler and Adrienne Rich.

Always discerning, especially on issues of identity, form, and the pressures of history and politics, Joseph places his own poetry within its critical contexts, presenting narratives of his life in Detroit, where he grew up, and in Manhattan, where he has lived for 30 years. These pieces also portray Joseph’s Lebanese, Syrian, and Catholic heritages, and his life as a lawyer, distinguished law professor, and legal scholar.

Now in paperback!

This groundbreaking book, which builds on the author's earlier work in On Gendering Texts, studies how, by what means, and to what extent human love, desire and sex, and possibly even "sexuality"; are gendered in the Hebrew Bible. The investigation looks into the construction of male and female bodies in language and ideologies; the praxis and ideology of sex, procreation, and contraception; deviation from socio-sexual boundaries (e.g. incest, rape, adultery, homosexuality, prostitution); eroticism and "pornoprophetics."

Features:

• Paperback format of an essential Brill monograph
• A classification and gendering of the linguistic and semantic data
• Discussion of wider sociological and theological implications

A history of early modern libraries and the imperial desire for total knowledge—now in paperback.
 
Medieval scholars imagined the library as a microcosm of the world, but as novel early modern ways of managing information facilitated empire in both the New and Old Worlds, the world became a projection of the library. In The Librarian’s Atlas, Seth Kimmel offers a sweeping material history of how the desire to catalog books coincided in the sixteenth and seventeenth centuries with the aspiration to control territory. Through a careful study of library culture in Spain and Morocco—close readings of catalogs, marginalia, indexes, commentaries, and maps—Kimmel reveals how the booklover’s dream of a comprehensive and well-organized library shaped an expanded sense of the world itself.

Poisoning occurs in over half of Agatha Christie's many novels and stories. In fact, she used a larger number and broader selection of poisons and medicines, for a wider variety of purposes, with greater frequency, ingenuity, and scientific accuracy than any other detective fiction writer. Yet very little has been written on the use of drugs, poisons, and chemicals in Christie's fiction.

The Poisonous Pen of Agatha Christie entertainingly and authoritatively fills this gap. Michael Gerald explores the use of poisons and drugs in Christie's fiction not only to commit murder and suicide but also to incapacitate a victim, alter behavior, treat disease, or support addiction. He also analyzes her views, as expressed in her fiction and autobiography, on drug addiction, the health professions, the value of medicines, and scientific discoveries.

Especially valuable is Gerald's exhaustive listing of all drugs, poisons, and chemicals mentioned in Christie's novels and stories, with references to the work(s) in which each appears and the ways in which each is used. Other tables list all the novels and short stories and the chemicals that are used in each. Throughout, the properties of all drugs are clearly explained so that the reader needs no special scientific or medical knowledge.

The Poisonous Pen of Agatha Christie illuminates the fictional uses Christie made of her real-life experiences as a hospital drug dispenser and as a provider of nursing care. It will be of interest to fans and scholars alike.

In this ground-breaking work, one of our foremost literary and cultural critics turns to the major figure in English literature, William Shakespeare, and proposes a dramatic new reading of nearly all his plays and poems. The key to A Theater of Envy is Girard's novel reinterpretation of "mimesis." For Girard, people desire objects not for their intrinsic value, but because they are desired by someone else - we mime or imitate their desires. This envy - or "mimetic desire" - he sees as one of the foundations of the human condition.

Bringing such proocative and iconoclastic insights to bear on Shakespeare, Girard reveals the previously overlooked coherence of problem plays like Troilus and Cressida, and makes a convincing argument for elevating A Midsummer Night's Dream from the status of a chaotic comedy to a masterpiece. The book abounds with novel and provocative interpretations: Shakespeare becomes "a prophet of modern advertising," and the threat of nuclear disaster is read in the light of Hamlet. Most intriguing of all, perhaps, is a brief, but brilliant aside in which an entirely new perspective is brought to the chapter on Joyce's Ulysses in which Stephen Dedalus gives a lecture on Shakespeare. In Girard's view only Joyce, perhaps the greatest of twentieth-century novelists, comes close to understanding the greatest of Renaissance playwrights.

Throughout this impressively sustained reading of Shakespeare, Girard's prose is sophisticated, but contemporary, and accessible to the general reader.