From the Pulitzer Prize-winning author of A Thousand Acres comes an essential guide for writers and readers alike: an exhilarating tour through one hundred novels that "inspires wicked delight.” —Los Angeles Times Book Review From classics such as the thousand-year-old Tale of Genji to fiction by Zadie Smith and Alice Munro, Jane Smiley explores the power of the form, looking at its history and variety, its cultural impact, and just how it works its magic. She invites us behind the scenes of novel-writing, sharing her own habits and spilling the secrets of her craft, and offering priceless advice to aspiring authors. Every page infects us anew with the passion for reading that is the governing spirit of this gift to book lovers everywhere.

A Pulitzer Prize-winning author's revelatory celebration of the novel - at once an anatomy of the art of fiction, a guide for readers and writers and a memoir of literary life. Over her 20 year career, Jane Smiley has written many kinds of novels - mystery, comedy, historical fiction, epic. But when her impulse to write faltered after 9/11, she decided to approach novels from a different angle: she read 100 of them, from the 1000-year-old Tale of Genji to the recent bestseller White Teeth by Zadie Smith, from classics to little-known gems. With these books and her experience of reading them as her reference, Smiley discusses the pleasure of reading; why a novel succeeds - or doesn't; and how the form has changed over time. She delves into the character of the novelist and reveals how (and which) novels have affected her own life.

From the author of Bunny, a “hilarious, heartbreaking book” (People) about a woman whose life is hijacked by her struggle to conform “Stunning . . . As you watch Lizzie navigate fraught relationships—with food, men, girlfriends, her parents and even with herself—you’ll want to grab a friend and say: ‘Whoa. This. Exactly.’” —Washington Post Growing up in the suburban hell of Misery Saga (a.k.a. Mississauga), Lizzie has never liked the way she looks—even though her best friend Mel says she’s the pretty one. She starts dating guys online, but she’s afraid to send pictures, even when her skinny friend China does her makeup: she knows no one would want her if they could really see her. So she starts to lose. With punishing drive, she counts almonds consumed, miles logged, pounds dropped. She fights her way into coveted dresses. She grows up and gets thin, navigating double-edged validation from her mother, her friends, her husband, her reflection in the mirror. But no matter how much she loses, will she ever see herself as anything other than a fat girl? In her brilliant, hilarious, and at times shocking debut, Mona Awad skewers the body image-obsessed culture that tells women they have no value outside their physical appearance. Brilliant, hilarious, and heartbreaking, 13 Ways of Looking at a Fat Girl introduces a vital new voice in fiction. WINNER OF THE AMAZON CANADA FIRST NOVEL AWARD FINALIST FOR THE SCOTIABANK GILLER PRIZE FINALIST FOR THE COLORADO BOOK AWARD FOR LITERARY FICTION LONGLISTED FOR THE DUBLIN LITERARY AWARD ARAB AMERICAN BOOK AWARD HONORABLE MENTION FOR FICTION

If you read one book about writing every week for a year, what would you learn? Thanks to the self-publishing revolution and events like National Novel Writing Month, the genre of writing craft books has exploded in recent years. Book editor Kristen Tate set out to read and review one writing advice book each week for a year, from classics like E. M. Forster’s Aspects of the Novel and Anne Lamott’s Bird by Bird to newer works like Jane Alison’s Meander, Spiral, Explode and Jessica Brody’s Save the Cat! Writes a Novel. What she discovered was a dizzying array of approaches to writing: plotters who know even the smallest details about characters before they write a word; pantsers who blithely dive right into a draft without a plan; anti-adverb crusaders and advocates for complex sentences; and, always, that the best way to learn is to read the kinds of books you want to write. All the Words is also a meditation on the challenges and pleasures of starting and sustaining a weekly practice of reading, thinking, and writing. It’s an optimistic, encouraging book that will motivate you to keep reading and, most importantly, keep writing.

What happens when we engage with fictional characters? How do our imaginative engagements bear on our actions in the wider world? Moving between the literary and the philosophical, Sophie Ratcliffe considers the ways in which readers feel when they read, and how they understand ideas of feeling. On Sympathy uses dramatic monologues based on The Tempest as its focus, and broaches questions about fictional belief, morality, and the dynamics between readers, writers, and fictional characters. The book challenges conventionally accepted ideas of literary identification and sympathy, and asks why the idea of sympathy has been seen as so important to liberal humanist theories of literary value. Individual chapters on Robert Browning, W. H. Auden, and Samuel Beckett, who all drew on Shakespeare's late play, offer new readings of some major works, while the book's epilogue tackles questions of contemporary sympathy. Ranging from the nineteenth century to the present day, this important new study sets out to clarify and challenge current assumptions about reading and sympathetic belief, shedding new light on the idea and ideal of sympathy, the workings of affect and allusion, and the ethics of reading.

NATIONAL BESTSELLER • From the Pulitzer Prize-winning author of A Thousand Acres comes “an uproariously funny and at the same time hauntingly melancholy portrait of a college community in the Midwest" (The New York Times). In this darkly satirical send-up of academia and the Midwest, we are introduced to Moo University, a distinguished institution devoted to the study of agriculture. Amid cow pastures and waving fields of grain, Moo’s campus churns with devious plots, mischievous intrigue, lusty liaisons, and academic one-upmanship, Chairman X of the Horticulture Department harbors a secret fantasy to kill the dean; Mrs. Walker, the provost's right hand and campus information queen, knows where all the bodies are buried; Timothy Monahan, associate professor of English, advocates eavesdropping for his creative writing assignments; and Bob Carlson, a sophomore, feeds and maintains his only friend: a hog named Earl Butz. Wonderfully written and masterfully plotted, Moo gives us a wickedly funny slice of life.

Based on extensive research on the features that make children's books appealing and appropriate, this valuable teacher resource offers guidance on selecting books, strategies for specific grade levels, suggestions for extension, and tips for assessment. This teacher-friendly book is organized around the major genres -- traditional literature, picture books, nonfiction, poetry, and multicultural texts -- that will inspire young readers. Throughout the book, teachers will find suggestions for using literature to implement shared reading, reading aloud, and response strategies with emergent, developing, and independent readers.

Four hundred years after William Shakespeare’s death, his works continue to not only fill playhouses around the world, but also be adapted in various forms for consumption in popular culture, including in film, television, comics and graphic novels, and digital media. Drawing on theories of play and adaptation, Playfulness in Shakespearean Adaptations demonstrates how the practices of Shakespearean adaptations are frequently products of playful, and sometimes irreverent, engagements that allow new ‘Shakespeares’ to emerge, revealing Shakespeare’s ongoing impact in popular culture. Significantly, this collection explores the role of play in the construction of meaning in Shakespearean adaptations—adaptations of both the works of Shakespeare, and of Shakespeare the man—and contributes to the growing scholarly interest in playfulness both past and present. The chapters in Playfulness in Shakespearean Adaptations engage with the diverse ways that play is used in Shakespearean adaptations on stage, screen, and page, examining how these adaptations draw out existing humour in Shakespeare’s works, the ways that play is used as a pedagogical aid to help explain complex language, themes, and emotions found in Shakespeare’s works, and more generally how play and playfulness can make Shakespeare ‘relatable,’ ‘relevant,’ and entertaining for successive generations of audiences and readers.

"My Hope is that Managers will read Business Books a bit More Critically, free from Delusions, their Deepest Fantasies and Fondest Hopes Tempered bya bit of Realism." Phil Rosenzweig, The Halo Effect --Book Jacket.

This book addresses an anomaly in the novel as genre: the generic promise to readers--that "reading a novel" is a familiar and repeatable experience--is challenged by the extravagant exceptions to this rule. Furthermore, these exceptions (such as Moby-Dick, Ulysses, or To the Lighthouse) are sui generis, hybrid concoctions that cannot be said to be typical novels. The novel, then, as literary form, succeeds by extravagantly disregarding or even disavowing the protocols of its own genre. Examining a number of famous examples from Don Quixote to Nostromo, this book offers an anatomy of exceptions that illustrate the structural role of their exceptionality for the prestige of the novel as literary form.