2019, ISBN: 9780814725528

Hardcover

Bloom Books. Good. 5.19 x 1.5 x 8 inches. Paperback. 2012. 514 pages. <br>And in this quiet moment as I close my eyes, spent and sated, I think I'm in the eye of the storm. And… More...

Bloom Books. Good. 5.19 x 1.5 x 8 inches. Paperback. 2012. 514 pages. <br>And in this quiet moment as I close my eyes, spent and sated, I think I'm in the eye of the storm. And in spite of all he's said, and what he hasn't said, I don't think I have ever been so happy. When literature student Anastasia Steele goes to interview young entrepreneur Christian Grey, she encounters a ma n who is beautiful, brilliant, and intimidating. The unworldly, i nnocent Ana is startled to realize she wants this man and, despit e his enigmatic reserve, finds she is desperate to get close to h im. Unable to resist Ana's quiet beauty, wit, and independent spi rit, Grey admits he wants her, too--but on his own terms. Shocke d yet thrilled by Grey's singular erotic tastes, Ana hesitates. F or all the trappings of success--his multinational businesses, hi s vast wealth, his loving family--Grey is a man tormented by demo ns and consumed by the need to control. When the couple embarks o n a daring, passionately physical affair, Ana discovers Christian Grey's secrets and explores her own dark desires. An Instant #1 New York Times Bestseller More than 165 Million Copies Sold Wo rldwide One of 100 Great Reads in the Great American Read 133 Weeks on the New York Times Bestseller List This book is inten ded for mature audiences. Editorial Reviews Review A GoodReads Choice Awards Finalist for Best Romance In a class by itself. - Entertainment Weekly About the Author E L James is an incurabl e romantic and a self-confessed fangirl. After twenty-five years of working in television, she decided to pursue a childhood dream and write stories that readers could take to their hearts. The r esult was the controversial and sensuous romance Fifty Shades of Grey and its two sequels, Fifty Shades Darker and Fifty Shades Fr eed. In 2015, she published the #1 bestseller Grey, the story of Fifty Shades of Grey from the perspective of Christian Grey, and in 2017, the chart-topping Darker, the second part of the Fifty S hades story from Christian's point of view. She followed with the #1 New York Times bestseller, The Mister in 2019. Her books have been published in fifty languages and have sold more than 165 mi llion copies worldwide. E L James has been recognized as one of Time magazine's Most Influential People in the World and Publishe rs Weekly's Person of the Year. Fifty Shades of Grey stayed on th e New York Times bestseller list for 133 consecutive weeks. Fifty Shades Freed won the Goodreads Choice Award (2012), and Fifty Sh ades of Grey was selected as one of the 100 Great Reads, as voted by readers, in PBS's The Great American Read (2018). Darker was long-listed for the 2019 International DUBLIN Literary Award. Sh e was a producer on each of the three Fifty Shades movies, which made more than a billion dollars at the box office. The third ins tallment, Fifty Shades Freed, won the People's Choice Award for D rama in 2018. E L James is blessed with two wonderful sons and li ves with her husband, the novelist and screenwriter Niall Leonard , and their West Highland terriers in the leafy suburbs of West L ondon. Excerpt. Reprinted by permission. All rights reserved. C HAPTER ONE I scowl with frustration at myself in the mirror. Dam n my hairit just won't behave, and damn Katherine Kavanagh for be ing ill and subjecting me to this ordeal. I should be studying fo r my final exams, which are next week, yet here I am trying to br ush my hair into submission. I must not sleep with it wet. I must not sleep with it wet. Reciting this mantra several times, I att empt, once more, to bring it under control with the brush. I roll my eyes in exasperation and gaze at the pale, brown-haired girl with blue eyes too big for her face staring back at me, and give up. My only option is to restrain my wayward hair in a ponytail a nd hope that I look semi-presentable. Kate is my roommate, and s he has chosen today of all days to succumb to the flu. Therefore, she cannot attend the interview she'd arranged to do, with some mega-industrialist tycoon I've never heard of, for the student ne wspaper. So I have been volunteered. I have final exams to cram f or and one essay to finish, and I'm supposed to be working this a fternoon, but notoday I have to drive 165 miles to downtown Seatt le in order to meet the enigmatic CEO of Grey Enterprises Holding s, Inc. As an exceptional entrepreneur and major benefactor of ou r university, his time is extraordinarily preciousmuch more preci ous than minebut he has granted Kate an interview. A real coup, s he tells me. Damn her extracurricular activities. Kate is huddle d on the couch in the living room. Ana, I'm sorry. It took me ni ne months to get this interview. It will take another six to resc hedule, and we'll both have graduated by then. As the editor, I c an't blow this off. Please, Kate begs me in her rasping, sore thr oat voice. How does she do it? Even ill she looks gamine and gorg eous, strawberry blond hair in place and green eyes bright, altho ugh now red rimmed and runny. I ignore my pang of unwelcome sympa thy. Of course I'll go, Kate. You should get back to bed. Would you like some NyQuil or Tylenol? NyQuil, please. Here are the qu estions and my digital recorder. Just press record here. Make not es, I'll transcribe it all. I know nothing about him, I murmur, trying and failing to suppress my rising panic. The questions wi ll see you through. Go. It's a long drive. I don't want you to be late. Okay, I'm going. Get back to bed. I made you some soup to heat up later. I stare at her fondly. Only for you, Kate, would I do this. I will. Good luck. And thanks, Anaas usual, you're my lifesaver. Gathering my backpack, I smile wryly at her, then he ad out the door to the car. I cannot believe I have let Kate talk me into this. But then Kate can talk anyone into anything. She'l l make an exceptional journalist. She's articulate, strong, persu asive, argumentative, beautifuland she's my dearest, dearest frie nd. The roads are clear as I set off from Vancouver, Washington, toward Interstate 5. It's early, and I don't have to be in Seatt le until two this afternoon. Fortunately, Kate has lent me her sp orty Mercedes CLK. I'm not sure Wanda, my old VW Beetle, would ma ke the journey in time. Oh, the Merc is a fun drive, and the mile s slip away as I hit the pedal to the metal. My destination is t he headquarters of Mr. Grey's global enterprise. It's a huge twen ty-story office building, all curved glass and steel, an architec t's utilitarian fantasy, with GREY HOUSE written discreetly in st eel over the glass front doors. It's a quarter to two when I arri ve, greatly relieved that I'm not late as I walk into the enormou sand frankly intimidatingglass, steel, and white sandstone lobby. Behind the solid sandstone desk, a very attractive, groomed, bl onde young woman smiles pleasantly at me. She's wearing the sharp est charcoal suit jacket and white shirt I have ever seen. She lo oks immaculate. I'm here to see Mr. Grey. Anastasia Steele for K atherine Kavanagh. Excuse me one moment, Miss Steele. She arches her eyebrow as I stand self-consciously before her. I'm beginnin g to wish I'd borrowed one of Kate's formal blazers rather than w orn my navy-blue jacket. I have made an effort and worn my one an d only skirt, my sensible brown knee-length boots, and a blue swe ater. For me, this is smart. I tuck one of the escaped tendrils o f my hair behind my ear as I pretend she doesn't intimidate me. Miss Kavanagh is expected. Please sign in here, Miss Steele. You 'll want the last elevator on the right, press for the twentieth floor. She smiles kindly at me, amused no doubt, as I sign in. S he hands me a security pass that has visitor very firmly stamped on the front. I can't help my smirk. Surely it's obvious that I'm just visiting. I don't fit in here at all. Nothing changes. I in wardly sigh. Thanking her, I walk over to the bank of elevators a nd past the two security men who are both far more smartly dresse d than I am in their well-cut black suits. The elevator whisks m e at terminal velocity to the twentieth floor. The doors slide op en, and I'm in another large lobbyagain all glass, steel, and whi te sandstone. I'm confrontd by another desk of sandstone and anot her young blonde woman, this time dressed impeccably in black and white, who rises to greet me. Miss Steele, could you wait here, please? She points to a seated area of white leather chairs. Be hind the leather chairs is a spacious glass-walled meeting room w ith an equally spacious dark wood table and at least twenty match ing chairs around it. Beyond that, there is a floor-to-ceiling wi ndow with a view of the Seattle skyline that looks out through th e city toward the Sound. It's a stunning vista, and I'm momentari ly paralyzed by the view. Wow. I sit down, fish the questions fr om my backpack, and go through them, inwardly cursing Kate for no t providing me with a brief biography. I know nothing about this man I'm about to interview. He could be ninety or he could be thi rty. The uncertainty is galling, and my nerves resurface, making me fidget. I've never been comfortable with one-on-one interviews , preferring the anonymity of a group discussion where I can sit inconspicuously at the back of the room. To be honest, I prefer m y own company, reading a classic British novel, curled up in a ch air in the campus library. Not sitting twitching nervously in a c olossal glass-and-stone edifice. I roll my eyes at myself. Get a grip, Steele. Judging from the building, which is too clinical a nd modern, I guess Grey is in his forties: fit, tanned, and fair- haired to match the rest of the personnel. Another elegant, flaw lessly dressed blonde comes out of a large door to the right. Wha t is it with all the immaculate blondes? It's like Stepford here. Taking a deep breath, I stand up. Miss Steele? the latest blond e asks. Yes, I croak, and clear my throat. Yes. There, that soun ded more confident. Mr. Grey will see you in a moment. May I tak e your jacket? Oh, please. I struggle out of the jacket. Have y ou been offered any refreshment? Umno. Oh dear, is Blonde Number One in trouble? Blonde Number Two frowns and eyes the young wom an at the desk. Would you like tea, coffee, water? she asks, turn ing her attention back to me. A glass of water. Thank you, I mur mur. Olivia, please fetch Miss Steele a glass of water. Her voic e is stern. Olivia scoots up and scurries to a door on the other side of the foyer. My apologies, Miss Steele, Olivia is our new intern. Please be seated. Mr. Grey will be another five minutes. Olivia returns with a glass of iced water. Here you go, Miss St eele. Thank you. Blonde Number Two marches over to the large de sk, her heels clicking and echoing on the sandstone floor. She si ts down, and they both continue their work. Perhaps Mr. Grey ins ists on all his employees being blonde. I'm wondering idly if tha t's legal, when the office door opens and a tall, elegantly dress ed, attractive African American man with short dreads exits. I ha ve definitely worn the wrong clothes. He turns and says through the door, Golf this week, Grey? I don't hear the reply. He turns , sees me, and smiles, his dark eyes crinkling at the corners. Ol ivia has jumped up and called the elevator. She seems to excel at jumping from her seat. She's more nervous than me! Good afterno on, ladies, he says as he departs through the sliding door. Mr. Grey will see you now, Miss Steele. Do go through, Blonde Number Two says. I stand rather shakily, trying to suppress my nerves. G athering up my backpack, I abandon my glass of water and make my way to the partially open door. You don't need to knockjust go i n. She smiles kindly. I push open the door and stumble through, tripping over my own feet and falling headfirst into the office. Double crapme and my two left feet! I am on my hands and knees in the doorway to Mr. Grey's office, and gentle hands are around me, helping me to stand. I am so embarrassed, damn my clumsiness. I have to steel myself to glance up. Holy cowhe's so young. Mis s Kavanagh. He extends a long-fingered hand to me once I'm uprigh t. I'm Christian Grey. Are you all right? Would you like to sit? So youngand attractive, very attractive. He's tall, dressed in a fine gray suit, white shirt, and black tie with unruly dark copp er-colored hair and intense, bright gray eyes that regard me shre wdly. It takes a moment for me to find my voice. Um. Actually I mutter. If this guy is over thirty, then I'm a monkey's uncle. I n a daze, I place my hand in his and we shake. As our fingers tou ch, I feel an odd exhilarating shiver run through me. I withdraw my hand hastily, embarrassed. Must be static. I blink rapidly, my eyelids matching my heart rate. Miss Kavanagh is indisposed, so she sent me. I hope you don't mind, Mr. Grey. And you are? His voice is warm, possibly amused, but it's difficult to tell from h is impassive expression. He looks mildly interested but, above al l, polite. Anastasia Steele. I'm studying English literature wit h Kate, um . . . Katherine . . . um . . . Miss Kavanagh, at WSU V ancouver. I see, he says simply. I think I see the ghost of a sm ile in his expression, but I'm not sure. Would you like to sit? He waves me toward an L-shaped white leather couch. His office i s way too big for just one man. In front of the floor-to-ceiling windows, there's a modern dark wood desk that six people could co mfortably eat around. It matches the coffee table by the couch. E verything else is whiteceiling, floors, and walls, except for the wall by the door, where a mosaic of small paintings hang, thirty -six of them arranged in a square. They are exquisitea series of mundane, forgotten objects painted in such precise detail they lo ok like photographs. Displayed together, they are breathtaking. A local artist. Trouton, says Grey when he catches my gaze. The y're lovely. Raising the ordinary to extraordinary, I murmur, dis tracted both by him and the paintings. He cocks his head to one s ide and regards me intently. I couldn't agree more, Miss Steele, he replies, his voice soft, and for some inexplicable reason I f ind myself blushing. Apart from the paintings, the rest of the office is cold, clean, and clinical. I wonder if it reflects the personality of the Adonis who sinks gracefully into one of the wh ite leather chairs opposite me. I shake my head, disturbed at the direction of my thoughts, and ret, Bloom Books, 2012, 2.5, Random House. Good. 5.94 x 9.13 x 1.22 inches. Paperback. 2006. 422 pages. Text tanned<br>This magnificent novel by one of Americ a's finest writers is the epic of one man's remarkable journey, s et in nineteenth-century America against the background of a vani shing people and a rich way of life. At the age of twelve, under the Wind moon, Will is given a horse, a key, and a map, and sent alone into the Indian Nation to run a trading post as a bound bo y. It is during this time that he grows into a man, learning, as he does, of the raw power it takes to create a life, to find a ho me. In a card game with a white Indian named Featherstone, Will w ins - for a brief moment - a mysterious girl named Claire, and hi s passion and desire for her spans this novel. As Will's destiny intertwines with the fate of the Cherokee Indians - including a C herokee Chief named Bear - he learns how to fight and survive in the face of both nature and men, and eventually, under the Corn T assel Moon, Will begins the fight against Washington City to pres erve the Cherokee's homeland and culture. And he will come to kno w the truth behind his belief that only desire trumps time. Bri lliantly imagined, written with great power and beauty by a maste r of American fiction, Thirteen Moons is a stunning novel about a man's passion for a woman, and how loss, longing and love can sh ape a man's destiny over the many moons of a life. From the Hard cover edition. Editorial Reviews From Bookmarks Magazine Critic s voiced great expectations for Thirteen Moons, coming nearly ten years after Charles Frazier's National Book Award-winning Cold M ountain (1997). Unfortunately, this second novel fails to achieve the same uniform critical acclaim. Certainly, similarities betwe en the two books abound, including a deep appreciation for the So uthern Appalachian landscape, a protagonist embarking on a life-d efining odyssey, an elegiac tone, and swatches of excellent prose . Here, Frazier frames Will's story against America's transition from a frontier society into an industrial nation. Despite some p raise, reviewers generally agree that Thirteen Moons is an airier production (New York Times), with perhaps more clichés, less con vincing characterizations and relationships, and a less wieldy pl ot. What critics do agree on, however, is the excellent period de tail and research that makes Frazier a first-rate chronicler of A merican history. Copyright © 2004 Phillips & Nelson Media, Inc. --This text refers to an out of print or unavailable edition of t his title. From Publishers Weekly Starred Review. Once in a grea t while, all of the elements of an audio book come together to cr eate a near-perfect experience for the listener. Frazier's follow -up to his 1997 National Book Award-winner, Cold Mountain, is ano ther saga of enduring love. It's no small gift to work with great material, and Patton transforms the text into a tale that sounds as if it were meant to be read aloud. It's a story to be told by the fire over the course of a long winter, just as the narrator Will Cooper and his adoptive Cherokee father, Bear, swap yarns wh ile they are hunkered down until the end of the snow season. Patt on's voice has an unidentifiable Southern lilt, which nicely fits a novel vaguely set in the Southern Appalachian Mountains. Patto n makes the correct choice not to individualize each character's voice as this is so much Cooper's tale. Bluegrass melodies played by Ryan Scott and Christina Courtin enhance the production. The CDs have been thoughtfully designed, with the numbers circling ea ch disc like a moon. This attention to detail makes for a beautif ul production of a love story that listeners will not put down an d will want to replay. Copyright © American Library Association. All rights reserved --This text refers to an out of print or una vailable edition of this title. From Booklist In one of the most anticipated novels of the current publishing season, Frazier, au thor of the widely applauded Cold Mountain (1997), remains true t o the historical fiction vein. The author's second outing finds g rounding in a timeless theme: a grand old man remembering his glo ry days. As a teenager during the James Monroe administration, Wi ll Cooper is sent off, in an indentured situation, into the wilde rness of the Indian Nation to run a trading post. From a mixed-ra ce Indian, he wins a girl with whom he will be besotted for the r est of his life, and his passion will extend into personal involv ement in Indian affairs, to the highest level of politics. Thus F razier also remains faithful to the theme of his previous novel: the odyssey, especially one man's path through trials and tribula tions to be by the side of the woman he loves. And he remains fai thful to a method that marked Cold Mountain in readers' memories: a proliferation of detail about customs and costumes, about food and recreation--pretty much what everything looked and smelled l ike. Unfortunately, for the first fourth of the book, there is to o much detail for the plot to easily bear. But, finally, the char acters are able to step out from behind this blanket of particula rs and incidentals and make the story work. Expect considerable d emand, of course. Brad Hooper Copyright © American Library Associ ation. All rights reserved --This text refers to an out of print or unavailable edition of this title. Review Gorgeous...Thirteen Moons calls Cold Mountain to mind in its wonder at the natural w orld; its pacificist undercurrents; its dismay at the dismantling of what matters, and its convication that one love, no matter ho w tortured and inexplicable, can be life-defining...fascinating.. .vivid and alive. -Newsweek Thirteen Moons brings this vanished world thrillingly to life... One of the great Native American, an d American stories, and a great gift to all of us, from one of ou r very best writers. -Kirkus Reviews, starred review There are t hings so masterful words can't do them justice. Frazier's writing falls in that category...With Thirteen Moons, he's doing importa nt work filling in the gaps, helping restore the roots, of our kn owledge of our own history. -Asheville Citizen-Times Fascinatin g...Reading Thirteen Moons is an intoxicating experience...This i s 21st-century literary fiction at its very best. -BookPage Thi rteen Moons is rare in many ways and occupies a literary plane of such height that reviewing it is not really salient....Thirteen Moons has the power to inspire great performances from succeeding generations of writers....For those who simply value the literar y experience, Thirteen Moons will provide the immense satisfactio n of taking a literary journey of magnitude. Whether on a plane, in an office or curled in a window seat, readers who absorb Will' s story will find their own lives enriched....Thirteen Moons belo ngs to the ages. -Los Angeles Times Magical...the history lesson in Thirteen Moons is fascinating and moving...You will find much to admire and savor in Thirteen Moons. -USA Today Verdict: A po werhouse second act....a brilliant success...Frazier's second act should convince everyone that he's here to stay. It is a powerfu l, dramatic, often surprising and memorable novel. -Atlanta Journ al Constitution Thirteen Moons is a boisterous, confident novel that draws from the epic tradition... Frazier is a natural storyt eller, and throughout his picaresque tale are grand themes and eu logies -Boston Globe Warm hearted...Frazier is a remarkably meti culous and tasteful writer...Thirteen Moons is a worthy successor to the first novel and a highly readable book. -Seattle Times T o Charles Frazier, words are playthings. Like very few other cont emporary American novelists, he puts them together in such a way that they can transform an otherwise mundane moment, scene or con versation into one that is transcendent....No sophomore jinx here . Reading a Frazier novel is like listening to a fine symphony. H e's a maestro whose pen is his baton, beckoning the best that eac h sentence has to offer. And just as you wouldn't rush a conducto r, you should take the time to savor Frazier's work, to take in e ach thought, to relish the turn of phrase or the imagery of a cra ftsman. -Denver Post Two for two...Here is a book brimming with vivid, adventurous incident...Charles Frazier set himself a daunt ing challenge with this book. He set out to write a historical no vel that was retrospective and meditative, yet still vibrant and immediate with life. Thirteen Moons succeeds in classy fashion. - Raleigh News & Observer If current fiction is anything to go by, it's hard for a novelist to make Santayana's puzzle pieces - lyr icism, comedy, tragedy - fit together, as they do in real life an d real history. Frazier has done it...Thirteen Moons makes you fe el that change that happened so long before our own time, and mak es you mourn it. -Newsday Thirteen Moons is a fitting successor to Cold Mountain...fans of Frazier's debut will be cheered to dis cover that the new book is another compulsively readable work of historical fiction. -St. Louis Post-Dispatch If there is any dou bt that Frazier is an incredibly gifted storyteller - and not jus t a lucky name or a one-hit wonder - it will be put to rest with the publication of Thirteen Moons. Within 10 pages, this long-awa ited new novel bears the reader swiftly out of the waking world i nto its own imagined universe like nothing else published this ye ar. -Minneapolis Star Tribune Forget the sophomore jinx. Frazier demonstrates that Cold Mountain was no one-hit wonder with this fully realized historical novel again set in the South....Again, Frazier shows himself a master of landscape and language, both of ten fresh and surprising in his telling. -Seattle Post-Intelligen cer Thirteen Moons contains achingly beautiful passages of snowf alls, fog-wrapped rivers and moonlit forests. There are ribald an d hilarious events, too, including a description of the Cherokee Booger Dance that is a masterpiece of satire. The love affair bet ween Cooper and Claire threads its way through this pseudo-histor ic epic like a brilliant, scarlet ribbon. There is also a melanch oly refrain that celebrates a wondrous time and place that is gon e and will never return. -Smoky Mountain News Fiction of the hig hest order...Another indelible character. Charles Frazier has a k nack for them. -Charlotte Observer What a story!... Frazier's cr eation, Will Cooper, is utterly charismatic....Frazier's genius l ies in his ability to convey emotions that feel pure and genuine. ..It was worth the wait. -Dayton Daily News From the Hardcover e dition. --This text refers to an out of print or unavailable edit ion of this title. About the Author Charles Frazier grew up in t he mountains of North Carolina. Cold Mountain, his highly acclaim ed first novel, was an international bestseller, and won the Nati onal Book Award in 1997. --This text refers to an out of print or unavailable edition of this title. From The Washington Post Cha rles Frazier is an intelligent, occasionally witty author who wri tes incredibly long-winded, sentimental, soporific novels. His fi rst, Cold Mountain, published nine years ago, was the most unlike ly bestseller since Oldest Living Confederate Widow Tells All (19 89), by his fellow North Carolinian Allan Gurganus, and the most improbable National Book Award winner since John O'Hara's Ten Nor th Frederick half a century ago. Now Frazier weighs in with Thirt een Moons, which manages to be even longer and even duller than C old Mountain. No doubt it too will be a huge bestseller. That F razier's success parallels Gurganus's is purely coincidental, but it's just about impossible not to remark upon the oddness of the coincidence. As a rule, the American book-buying public has only a limited appetite for Southern-fried fiction, yet Frazier and G urganus somehow have tapped into it. They deal (Frazier somewhat more skillfully than Gurganus) in what a North Carolina newspaper editor of my long-ago acquaintance used to call shucks-'n'-nubbi ns, which is loosely defined as tiny ears of corn. Frazier's corn is anything but tiny -- more than 400 pages of it in the case of Thirteen Moons -- but it's corn all the same. Reading Frazier is like sitting by the cracker barrel for hour after hour and lis tening to an amiable but impossibly gassy guy who talks real slow , says I reckon a whole lot and never shuts up. His novels have l ittle structure and not much in the way of plot; in Cold Mountain he gave us the wounded Confederate soldier, Inman, limping his w ay back to his gal, Ada, in the North Carolina mountains, and in Thirteen Moons it's the ancient Will Cooper reminiscing about his nine decades and his Cherokee buddies and the gal, Claire, whom he managed to love and lose. He is a far less interesting man tha n Frazier obviously believes him to be, which is a little surpris ing because he's based on a very interesting historical figure. Will Cooper is not William Holland Thomas, Frazier says in an au thor's note, and then coyly adds, though they do share some DNA. Actually, they share a whole lot. William Holland Thomas was born in North Carolina in 1805, was almost immediately orphaned, work ed as a boy in a general store in the mountains, taught himself t he law, worked to secure the right of the Cherokees to remain in their territory as Andrew Jackson sought to drive all Indians wes tward, served in the state senate and organized a company of Cher okee soldiers on behalf of the Confederacy. All of which is exact ly what Will Cooper does in Thirteen Moons; where fact and fictio n part is that Thomas married and had children while Cooper remai ns single, and Thomas's mental condition gradually deteriorated a fter the Civil War while Cooper remains alert, if rather tired, t o the novel's end. In other words, in Thirteen Moons Frazier es sentially has fictionalized history. Nothing wrong with that: hap pens all the time. But the novel provides less imagination and in vention than readers are likely to expect; it reads more like a d utifully researched (check out that author's note) graduate schoo l paper than a work of fiction. It also is chock-a-block with hom espun aphorisms that aren't exactly full of original wisdom: One of the few welcome lessons age teaches is that only desire trumps time, and Grief is a haunting, and Writers can tell any lie that leaps into their heads, and Our worst pain is confined within ou r own skin, and We are not made strong enough to stand up against endle, Random House, 2006, 2.5, Penguin UK. Very Good. 6.02 x 0.63 x 9.21 inches. Paperback. 1837. 230 pages. <br>A guide to becoming a recognized expert in your fi eld Too many people believe that if they keep their heads down a nd work hard, they will be lauded as experts on the merits of the ir work. But that's simply not true anymore. To make a name for y ourself, you have to capitalize on your unique perspective and kn owledge and inspire others to listen and take action. But becomin g a thought leader is a mysterious and opaque process. Where do t he ideas come from, and how do they get noticed? Dorie Clark exp lains how to identify the ideas that set you apart and promote th em successfully. The key is to recognize your own value, cultivat e your expertise, and put yourself out there. Featuring vivid ex amples and drawing on interviews with Seth Godin, Robert Cialdini , and other thought leaders, Clark teaches readers how to develop a big idea, leverage existing affiliations, and build a communit y of followers. She offers not mere self-promotion, but an opport unity to change the world for the better while giving you the ult imate job insurance. Editorial Reviews Review For those just st arting a career or trying to reinvent themselves, this book is a great choice. The ideas presented are practical ways of establish ing your brand and your influence as an expert. -Library Journal [Stand Out] provides an almost painless way to uncover and buil d your 'brand.' -Booklist It's easy to admire a thought leader; it's much harder to become one. Stand Out illuminates the path. With compelling advice from many of the world's top influencers, as well as her own impressive journey, Dorie Clark has written a highly accessible book that's both informative and motivating. - -Adam Grant, Wharton professor of psychology and author of Give a nd Take This is the book for you if you are starting any kind of personal, professional, or societal movement. Clark has penned a breakthrough process for taking your big idea from infancy to ma turity. Read this book and your revolution will be officially in motion. Highly recommended. --Michael Port, author of Book Yours elf Solid In today's crowded marketplace, having a great résumé or business idea is not enough to be successful. In Stand Out, Do rie Clark clearly and powerfully teaches you how to become a reco gnized expert in your field, leading to more opportunities, incom e, and impact in the world. --Pamela Slim, author of Body of Wor k This isn't another book about marketing. It's a book about how to develop an idea and a voice powerful enough to deserve a powe rful following and real influence. It's about how to stand out in the ways that matter. --Ryan Holiday, author of The Obstacle Is the Way and Growth Hacker Marketing Dorie Clark has developed a n engaging resource to differentiate yourself in today's marketpl ace. From finding your niche, or big idea, to building your audie nce, Clark effortlessly guides you through the process to inspire others. --Keith Ferrazzi, author of Never Eat Alone and Who's Go t Your Back Dorie Clark is a thought leader in how to be a thoug ht leader. She's an expert in how to be an expert. Her book offer s clear tips on how to stand out, whether you're a blogger, a roc ket designer, or a laundry machine reviewer. --A. J. Jacobs, auth or of The Know-It-All --This text refers to an out of print or un available edition of this title. From the Back Cover Praise for Stand Out It's easy to admire a thought leader; it's much harder to become one. Stand Out illuminates the path. With compelling a dvice from many of the world's top influencers, as well as her ow n impressive journey, Dorie Clark has written a highly accessible book that's both informative and motivating. --Adam Grant, Whart on professor and author of Give and Take This is the book for yo u if you are starting any kind of personal, professional, or soci etal movement. Clark has penned a breakthrough process for taking your big idea from infancy to maturity. Read this book and your revolution will be officially in motion. Highly recommended. --Mi chael Port, author of Book Yourself Solid In today's crowded ma rketplace, having a great résumé or business idea is not enough t o be successful. In Stand Out, Dorie Clark clearly and powerfully teaches you how to become a recognized expert in your field, lea ding to more opportunities, income, and impact in the world.--Pam ela Slim, author of Body of Work This isn't another book about m arketing. It's a book about how to develop an idea and a voice po werful enough to deserve a powerful following and real influence. It's about how to stand out in the ways that matter. --Ryan Holi day, author of The Obstacle Is the Way and Growth Hacker Marketin g Dorie Clark has developed an engaging resource to differentiat e yourself in today's marketplace. The focus is a shift away from anticipating merits for hard work toward proactively creating yo ur own space within your company or in the community to become an acknowledged expert in your field. From finding your niche, or b ig idea, to building your audience, Clark effortlessly guides you through the process to inspire others. --Keith Ferrazzi, author of Never Eat Alone and Who's Got Your Back Dorie Clark is a thou ght leader in how to be a thought leader. She's an expert in how to be an expert. Her book offers clear tips on how to stand out, whether you're a blogger, a rocket designer or a laundry machine reviewer. --AJ Jacobs, author of Drop Dead Healthy and The Year o f Living Biblically --This text refers to an out of print or unav ailable edition of this title. From the Inside Flap Too many peo ple believe that if they keep their heads down and work hard, the y'll be recognized on the merits of their work. But that's simply not true anymore. Safe jobs disappear daily, and the clamor of e veryday life drowns out ordinary contributions. To make a name fo r yourself, to create true job security, and to make a difference in the world, you have to share your unique perspective and insp ire others to take action. But in a noisy world where it seems ev erything's been said--and shouted from the rooftops--how can your ideas stand out? Fortunately, you don't have to be a genius or a worldwide superstar to make an impact. Drawing on interviews w ith more than fifty thought leaders in fields ranging from busine ss to genomics to urban planning, Dorie Clark shows how these mas ters achieved success and how anyone--with hard work--can do the same. Whether it's learning to ask the right questions, developin g and building on an expert niche, or combining disparate fields to get a new perspective, Clark outlines ways to develop the idea s that set you apart. Of course, having a breakthrough insight i s only half the battle. If you really want to share your ideas, y ou have to find a way to build an audience, communicate your mess age, and inspire others to embrace your vision. Starting small is fine; Clark provides a step-by-step guide to help you leverage y our existing networks, attract new people to your cause, and, ult imately, build a community around your ideas. Featuring vivid ex amples based on interviews with influencers such as Seth Godin, D avid Allen, and Daniel Pink, Clark shows you how to break through and ensure your ideas get noticed. Becoming a thought leader, in your company or in your profession, is the ultimate career insur ance. But--even more important--it's also a chance to change the world for the better. Whatever your cause, perspective, or point of view, the world can't afford for the best ideas to remain buri ed inside you. Whether it's how to improve the educational system or how to make your company more efficient, your ideas matter. T he world needs your insights, and it's time to be bold. --This te xt refers to an out of print or unavailable edition of this title . Excerpt. ® Reprinted by permission. All rights reserved. Intr oduction You have something to say to the world. You have a cont ribution to make. Each of us has ideas that can reshape the world , in large ways or small. It might be developing a new business p rocess, creating a new literary movement, or finding a new way to deliver humanitarian aid. It could be changing how the world loo ks at a political cause, or how students are taught, or how the c orporate world should handle work-life balance. Whatever your iss ue, if you really want to make an impact, it's important for your voice to be heard. Yet too many of us shrink back when it comes to finding and sharing our ideas with the world. We assume the l eading experts must have some unique talent or insight. We assume that our own ideas may not measure up. We assume that working ha rd and keeping our heads down will be enough to move our careers forward. But none of those things is true. Most recognized expert s achieved success not because of some special genius, but becaus e they learned how to put disparate elements together and present ideas in a new and meaningful way. That's a skill anyone-with ha rd work-can practice and learn. And more and more, it's essential . In today's competitive economy, it's not enough to simply do yo ur job well. Developing a reputation as an expert in your field a ttracts people who want to hire you, do business with you and you r company, and spread your ideas. It's the ultimate form of caree r insurance. It's overstating the case to claim that there's a s urefire formula for becoming a recognized authority in your field . But are there patterns? A common set of principles that almost every respected leader follows, consciously or unconsciously? Wit hout a doubt. With hard work and smarts, almost any professional could become a thought leader in his or her company or field. Few ever try-and that's your competitive advantage. If you're willin g to take the risk of sharing yourself and your ideas with the wo rld, you're far ahead of the majority, who stay silent. You were meant to make an impact. Now is the time to start. BECOMING A R ECOGNIZED EXPERT Let's get clear on definitions. In this book, I 'll be talking about how to become a recognized expert-a thought leader-in your field. First, if you are a thought leader, you're known for your ideas. If you have celebrity without intellectual content backing it up, you might as well be a reality TV star. Ki m Kardashian, whatever her other virtues, is not a thought leader . Second, you must have followers in order to be a thought leader . Being an expert is great, but it's not sufficient-it merely imp lies you know what you're doing. Thought leaders strive to make a n impact, and that requires them to get outside the ivory tower a nd ensure that their message is accessible and actionable. It's a lso important to note that you don't need to be the world's leadi ng authority on a subject; you can be a thought leader in your co mpany or in your community as well. Recently there's been some c ultural blowback about the concept of thought leadership itself ( a term coined in 1994 by Joel Kurtzman, then the editor in chief of Strategy + Business magazine, regarding thinkers whose ideas m erited attention1). In a Harvard Business Review article, Sarah G reen pushed back on the notion, asking, Don't we have enough ambi tious workers leaning in so far that they're toppling out of thei r desk chairs? Enough 'thought leaders' selling dubious credentia ls and platitudinous advice? Do our workplaces really need more l adder-climbing, cheese-moving self-promoters?2 The underlying as sumption seems to be that aspiring to the creation of new and imp ortant ideas is somehow sleazy, or a form of strategic puffery. A dmittedly, some advice on thought leadership is vapid and banal, just as some advice on marketing, or strategy, or finance can be. But sharing your ideas with the world-when done right-is a far m ore meaningful act. Often, it looks like bravery. When Diane Mul cahy was hired by the $2 billion Kauffman Foundation to manage it s private equity and venture capital portfolio, she realized some thing was wrong. The foundation had invested in more than one hun dred VC funds over two decades, but as a former venture capitalis t, she realized the returns were far less than they theoretically should have been. Figuring out what was going wrong was importan t for the foundation's finances, but also for its mission. If ven ture capital was broken, the Kauffman Foundation-which focuses in tensively on supporting entrepreneurship-needed to understand why . Mulcahy began investigating, and the numbers weren't pretty. V enture capital has had poor returns for over a decade, and the an alysis we did on our own portfolio showed VC returns had not beat en the public markets, which is a terrible thing to have to say, she recalls. Venture capital promises to beat the public indexes by a fairly high margin-that's the only reason you'd invest in a private partnership that ties up your money for a decade and char ges high fees. It was a very big deal to come out and say, with a lot of data to back it up, that venture capital doesn't deliver on its promises. Mulcahy's report didn't name names or criticize specific VC firms. But it laid bare Kauffman's own investment po rtfolio, a striking move in an industry that's generally opaque. She took on the sacred cows of the industry, highlighting the ove rly generous terms VC firms negotiate for themselves. VCs go arou nd talking about what great investors they are, she says, but in actuality, they're paid on fees regardless of how good an investo r they are. Indeed, VCs running a $1 billion fund make $20 millio n a year from fees, even before a single investment is made. She started facing resistance even before the report was published. I had at least a handful of people say to me during interviews, ' Diane, why are you doing this? You'll never work in this industry again.' Some people said it in a genuinely personal, caring way, and others said it in a mildly threatening way. There was a sens e that if you're going to write things like this, reports that ar e provocative and go against the accepted narrative, your career in this industry is over. Once the report was released, the fire storm intensified. Her report was widely discussed by industry bl ogs and in the news media, but it didn't make Kauffman, or Mulcah y, popular in some quarters. Some asked why they were killing ven ture capital or tryin, Penguin UK, 1837, 3, Bernard Malamud and His Critics -thicker black paperback with quite a bit of wear on the edges- some chipping on its edges tear at top of book - book block is in great shape- well bound interiors clean there were some notes erased in front of the book first page book is currently out of print Bernard Malamud and the Critics New York University press New York New York reprinted 1971 copyright held by New York University Library of Congress catalog card number 70 133016 ISBN number 8147 2553 paper cover manufacture United States- Essayists examine Malamud through various critical perspectives and attempt to evaluate his position in contemporary American fiction-expedited shipping available just choose to check out info keywords Bernard Malamud and the Critics The Gotham library Author Leslie A. Field Editors Leslie A. Field, Joyce W. Field Compiled by Leslie A. Field, Joyce W. Field Contributor Joyce W. Field Edition reprint Publisher New York University Press, 1970 ISBN 081472552X, 9780814725528 Length 353 -obituary-BERNARD MALAMUD, AUTHOR, DIES AT 71....Bernard Malamud, the novelist and short story writer who won two National Book Awards and the Pulitzer Prize for his chronicles of human struggle, died Tuesday at his Manhattan apartment. He was 71 years old......Mr. Malamud's work showed a regard for Jewish tradition and the plight of ordinary men, and was imbued with the theme of moral wisdom gained through suffering.....Mr. Malamud was considered by many critics to be one of the finest contemporary American writers. The critic Robert Alter said that stories like ''The First Seven Years,'' ''The Magic Barrel,'' ''The Last Mohican,'' ''Idiots First'' and ''Angel Levine'' will be read ''as long as anyone continues to care about American fiction written in the 20th century.'' Text:...The author once described himself as a chronicler of ''simple people struggling to make their lives better in a world of bad luck.'' One of his last appearances was at the PEN Congress in New York in January when he read from his works. Combined Fantasy and Reality....In his work, Mr. Malamud often combined fantasy and reality to create a world that was both the same and different from the one we live in.---In ''Angel Levine,'' a black, rather seedy-looking angel appears to a retired Jewish tailor; in ''The Jewbird,'' a Yiddish-accented vagabond makes his way into an urban Jewish household in the form of a crow; in ''Idiots First,'' the Angel of Death, alias Ginzburg, pursues a desperate Jew trying to scrape together money to send his idiot son to California on the midnight train. ''Malamud has been in the fable business, so to speak,'' the critic Alan Lelchuk wrote.-Mr. Malamud's first novel, ''The Natural,'' an allegory about the rise and fall of a baseball player, was published in 1952. It is different from most of his work in that there are no Jewish characters. After the book was made into a movie starring Robert Redford in 1984, Mr. Malamud said in an interview that he was grateful for the film because it allowed him ''to be recognized once more as an American writer'' as opposed to a Jewish writer. But ''The Natural'' is similar to his later novels and stories in that it lies in the realm of a morality play...''Malamud has always had a fondness for telling tales arranged for the purpose of a specific moral lesson,'' Mr. Lelchuk wrote. ''Neither realism nor surrealism has been his forte through the years,'' he continued, ''but the fable, the parable, the allegory, the ancient art of basic storytelling in a modern voice; through this special mode he has earned his high place in contemporary letters.'' ''The Assistant,'' his second novel, and the one many critics consider his best, was published in 1957. Set in the Depression, it tells of a Jewish grocery-store owner and his Italian assistant, and it, too, is much like a morality play...''The Fixer'' (1966) was inspired by the ordeal of Mendel Beiliss, a Jew tried and acquitted of ritual murder in Kiev in czarist Russia of 1913. ''The Magic Barrel,'' the author's first collection of short stories, was given the National Book Award in 1959...On the basis of ''The Assistant'' and ''The Fixer,'' critics began to think of Mr. Malamud as a ''Jewish writer'' along with Saul Bellow and Philip Roth...Mr. Malamud, however, said that he found the label of ''Jewish writer'' inadequate. He said that the three writers shared more differences than similarities, and that, in his case, Jewishness was more a spiritual than a cultural or a religious quality...''I was concerned with what Jews stood for,'' he said, ''with their getting down to the bare bones of things. I was concerned with their ethicality - how Jews felt they had to live in order to go on living.,,''And at another time he commented: ''Jewishness is important to me, but I don't consider myself only a Jewish writer. I have interests beyond that, and I feel I'm writing for all men...Mr. Roth agreed with Mr. Malamud. ''The Jews of 'The Magic Barrel' and the Jews of 'The Assistant' are not the Jews of New York City or Chicago,'' Mr. Roth wrote. ''They are Malamud's invention, a metaphor of sorts to stand for certain possibilities and promises.'' Later Works CriticizedMr. Malamud's later works - ''Pictures of Fidelman,'' ''The Tenants,'' ''God's Grace'' and to a lesser extent, ''Dubin's Lives'' - got mixed reviews. Many critics cited a growing bleakness in his work, saying that as he left his Jewish milieu for academic and other settings his work took on a flinty emptiness without the poignance and meaning that characterized his earlier novels. His argument with God, they said, seemed to wither into a seminar...Others, however, saw a growth in these works - his handling in ''The Tenants'' of the cultural and psychological upheaval among blacks caused by the rise of nationalism, separatism and racial pride; the powerful presence of nature in ''Dubin's Lives,'' something new for an author whose works for the most part had urban settings, and the concern with man's survival in the nuclear age in ''God's Grace.''Bernard Malamud was born April 26, 1914, in Brooklyn, the elder of two sons of Russian Jewish immigrants, Max Malamud and the former Bertha Fidelman...His father ran a small grocery, working 16 hours a day - he served as a model for the Jewish grocer in ''The Assistant.'' Looking back on his childhood, Mr. Malamud would recall that there were no books in his home, no cultural nourishment at all except that on Sundays he would listen to someone else's piano through the living-room window..Attended Erasmus Hall High School in Brooklyn, and in 1936 he received his B.A. from the City College of New York. After graduation, he worked in a factory, in various stores and as a clerk in the Census Bureau in Washington, writing in his spare time.-Began Teaching High School..In 1940, he got a job teaching at Erasmus Hall Evening High School, and he would continue to teach in New York City evening high schools until 1949. While he was teaching, he earned an M.A. at Columbia University in 1942.-Mr. Malamud often said that the advent of World War II and the Holocaust first made him sure that he had something to say as a writer. Until then, he said, he had not given much thought to what it meant to be Jewish, but the horror of the war - as well as the fact that he married a gentile woman, Ann de Chiara, in 1945 - made him question his own identity as a Jew and compelled him to start reading about Jewish tradition and history. He knew then, he said, that he really wanted to write.-''The suffering of the Jews is a distinct thing for me,'' he once explained. ''I for one believe that not enough has been made of the tragedy of the destruction of six million Jews. Somebody has to cry - even if it's a writer, 20 years later.''In 1949, he got a job teaching English at Oregon state University, where he stayed until 1961, becoming an associate professor. He wrote four books there - ''The Natural,'' ''The Assistant,'' ''The Magic Barrel''& his third novel, ''A New Life'' (1961), which is set in the Pacific Northwest at a college not unlike Oregon State...In 1961, he went to teach at Bennington College in Vermont, where he taught for more than 20 years, with the exception of two years he spent as a visiting lecturer at Harvard from 1966 to 1968..In 1963, he published ''Idiots First,'' another story collection. That was followed by ''The Fixer'' (1966), ''Pictures of Fidelman,'' stories about one central character (1969); ''The Tenants,'' a novel about the conflict between two writers, one Jewish and the other black (1971); ''Rembrandt's Hat,'' more stories (1973); ''Dubin's Lives,'' a novel about a biographer in midlife that many critics consider one of his best (1979); ''God's Grace,'' a novel (1982), and ''The Stories of Bernard Malamud'' (1983). 'Story, Story, Story'..Mr. Malamud was a firm believer that a story should tell a story. ''With me, it's story, story, story,'' he once said. ''Writers who can't invent stories often pursue other strategies, even substituting style for narrative. I feel that story is the basic element of fiction though that ideal is not popular with disciples of the 'new novel.' They remind me of the painter who couldn't paint people, so he painted chairs..''The story will be with us as long as man is. You know that, in part, because of its effect on children. It's through story they realize that mystery won't kill them. Through story they learn they have a future...''He did not find writing an easy task. ''The idea is to get the pencil moving quickly,'' he said. ''Once you've got some words looking back at you you can take two or three - or throw them away and look for other. I go over and over a page. Either it bleeds and shows it's beginning to be human, or the form emits shadows of itself and I'm off. I have a terrifying will that way.'',. In his writing, he prized the idea of swift transition - changing a scene in one sentence between paragraphs -and he thought he might have achieved that talent by studying intercutting in motion pictures. ''I was influenced very much by Charlie Chaplin movies,'' he said, ''by the rhythm and snap of his comedy and his wonderful, wonderful mixture of comedy and sadness..He acknowledged that sadness was one of his prime topics. ''People say I write so much about misery,'' he said, but added, ''you write about what you write best.''.He described the essential Malamud character as ''someone who fears his fate, is caught up in it, yet manages to outrun it; he's the subject and object of laughter and pity.'' Left Unfinished NovelIn addition to the Pulitzer and the National Book Awards, Mr. Malamud won the Rosenthal Award of the National Institute of Arts and Letters, Vermont's 1979 Governor's Award for Excellence in the Arts and the 1981 Brandeis Creative Arts Award. He was a member of the American Academy and institute of Arts and Letters, which in 1983 presented him its Gold Medal in Fiction. From 1979 to 1981 he was president of the PEN American Center. Yesterday his publisher, Farrar, Straus & Giroux, announced the establishment of a Bernard Malamud literary award, to be administered by PEN. An official at the publishing house also said it will decide at a later date whether to publish separately the novel on which Mr. Malamud was working at the time of his death, or whether to publish parts of it in a posthumous collection. For many years, Mr. Malamud did not become involved in social issues, arguing that for an author writing was involvement enough. But as president of PEN, he protested the repression of writers in the Soviet Union and South Africa and the curtailing of First Amendment rights. Although he granted occasional interviews, Mr. Malamud led an intensely private life. In ''The Ghost Writer,'' Philip Roth created a character named E. I. Lonoff, a novelist ''deeply skeptical of the public world,'' whose ideas of work and esthetic purity obliged him to live a life of solitude. A number of critics have suggested that Lonoff was a portrait of Mr. Malamud. Mr. Roth was a good friend of Mr. Malamud, and it is perhaps he who best summed up Mr. Malamud's work. Noting that Mr. Malamud was once supposed to have remarked that ''all men are Jews,'' Mr. Roth said:''What it is to be human, and to be humane, is his deepest concern.''He is survived by his wife and by a son, Paul, and a daughter, Janna. Funeral services will be private, and plans for memorial services in April will be announced at a later date.- Date: March 20, 1986, Thursday, Late City Final Edition Section D; Page 26, Column 1; Cultural Desk Byline: By MERVYN ROTHSTEIN Visually inspected owned by Adults, pictures just as important as written listing .Zoom-In ....LAXVespa Los Angeles. VIEWING PICTURE ON DESKTOP COULD BE HELPFUL --I SHIP EVERY 3- Days or SO.. Shipped with USPS - I'm shipping from Los Angeles - there are planes & trucks constantly leaving...generally 7 Days Coast to Coast quicker if closer..carefully Drop kick-packed....extra handling time built in ..so as not to disappoint ..enough shipping charges so well protected ... inv bmk 11 bib 2231, New York University Press, 1970-10, 2.5<

2004, ISBN: 9780814725528

Paperback

Melbourne University Press, 2004. Softcover. AS NEW COPY!. Wright challenges the myth that the Australian pub is a male domain. Weaving interviews, archival sources, folk songs, bush ba… More...

Melbourne University Press, 2004. Softcover. AS NEW COPY!. Wright challenges the myth that the Australian pub is a male domain. Weaving interviews, archival sources, folk songs, bush ballads and other popular literature throughout the narrative, as well as historical and contemporary photos, this book exposes the remarkable visibility and dynamic presence of female publicans.Female Publicans and the Law2 A Monument to Her Enterprise 133 Traditions: From 'Shebeen' to 'He or She' 184 Property and Marriage: An Unholy Alliance 285 Person or Woman? 43PART II 'THE VERY NATURE OF THINGS'The Politics of Public Housekeeping6 Minogue's Case 557 The Fallout: Press and Parliament 608 The Licensed Victuallers' Association 749 The Brewers 87PART III 'A FIRST CLASS FAMILY HOTEL FURNISHEDLIKE A HOME'Hotel Space, a Woman's Place10 Mapping Elizabeth Wright 10111 'Open House' 10612 The Hotel as Family Home: An Inside Story 11813 Pub-licity 127PART IV 'SHE KNOWS WHAT SHE'S ABOUT'Controlling the Public House14 Making an Impression 14715 Women's Temperance, Class and Social Power 15216 'The Buxom Matron Behind the Bar' 16817 'Dignity Is the Right Word' 18218 The More Things Change 193.xv, 240 p. : ill. ; 24 cm. #111022Women -- Hotelkeepers -- Australia -- History. | Hotels -- Licenses -- Australia -- History. | Women | Hotels | History Elizabeth's Bookshops have been one of Australia's premier independent book dealers since 1973. Elizabeth's family-owned business operates four branches in Perth CBD, Fremantle (WA), and Newtown (NSW). All orders are dispatched within 24 hours from our Fremantle Warehouse. All items can be viewed at Elizabeth's Bookshop Warehouse, 23 Queen Victoria Street\, Fremantle WA. Softcover AS NEW COPY!, Melbourne University Press, 2004, 5, Harlequin Blaze, 2004. Book. Near New. Soft cover. First Edition. Harlequin Blaze # 129, romance paperback book, 1st Edition, 1st printing, 4/04. Condition is near new, has light shelf wear,, otherwise looks new.(See scans).........WRAPPED IN PLASTIC BAG TO PROTECT CONDITION OF BOOK..........CALIFORNIA RESIDENTS MUST INCLUDE SALES TAX.............We have other titles in this genre in stock and give discounts in shipping on additional books, please contact us for more iinformation**...... SUMMARY - Sometimes the greatest sin of all is not following your heart.....Leah Dubois can't believe it when J. T. West comes rolling back into town on his Harley. During their torrid love affair over a year ago, he'd done things to her that no other man ever had before...or ever would again. Only, when she left her husband for him, J.T. disappeared without a word. But she'd never stopped craving his touch.....J.T. knows he has nothing to offer Leah, but he can't stay away. His need for her is beyond control, beyond reason. He has to have her for as long as she'll let him...or until his past catches up with him. Because J.T. is a man on the run. And no matter how much he regrets it, he knows he'll end up loving Leah -- then leaving her -- again....., Harlequin Blaze, 2004, 6, Bernard Malamud and His Critics -thicker black paperback with quite a bit of wear on the edges- some chipping on its edges tear at top of book - book block is in great shape- well bound interiors clean there were some notes erased in front of the book first page book is currently out of print Bernard Malamud and the Critics New York University press New York New York reprinted 1971 copyright held by New York University Library of Congress catalog card number 70 133016 ISBN number 8147 2553 paper cover manufacture United States- Essayists examine Malamud through various critical perspectives and attempt to evaluate his position in contemporary American fiction-expedited shipping available just choose to check out info keywords Bernard Malamud and the Critics The Gotham library Author Leslie A. Field Editors Leslie A. Field, Joyce W. Field Compiled by Leslie A. Field, Joyce W. Field Contributor Joyce W. Field Edition reprint Publisher New York University Press, 1970 ISBN 081472552X, 9780814725528 Length 353 -obituary-BERNARD MALAMUD, AUTHOR, DIES AT 71....Bernard Malamud, the novelist and short story writer who won two National Book Awards and the Pulitzer Prize for his chronicles of human struggle, died Tuesday at his Manhattan apartment. He was 71 years old......Mr. Malamud's work showed a regard for Jewish tradition and the plight of ordinary men, and was imbued with the theme of moral wisdom gained through suffering.....Mr. Malamud was considered by many critics to be one of the finest contemporary American writers. The critic Robert Alter said that stories like ''The First Seven Years,'' ''The Magic Barrel,'' ''The Last Mohican,'' ''Idiots First'' and ''Angel Levine'' will be read ''as long as anyone continues to care about American fiction written in the 20th century.'' Text:...The author once described himself as a chronicler of ''simple people struggling to make their lives better in a world of bad luck.'' One of his last appearances was at the PEN Congress in New York in January when he read from his works. Combined Fantasy and Reality....In his work, Mr. Malamud often combined fantasy and reality to create a world that was both the same and different from the one we live in.---In ''Angel Levine,'' a black, rather seedy-looking angel appears to a retired Jewish tailor; in ''The Jewbird,'' a Yiddish-accented vagabond makes his way into an urban Jewish household in the form of a crow; in ''Idiots First,'' the Angel of Death, alias Ginzburg, pursues a desperate Jew trying to scrape together money to send his idiot son to California on the midnight train. ''Malamud has been in the fable business, so to speak,'' the critic Alan Lelchuk wrote.-Mr. Malamud's first novel, ''The Natural,'' an allegory about the rise and fall of a baseball player, was published in 1952. It is different from most of his work in that there are no Jewish characters. After the book was made into a movie starring Robert Redford in 1984, Mr. Malamud said in an interview that he was grateful for the film because it allowed him ''to be recognized once more as an American writer'' as opposed to a Jewish writer. But ''The Natural'' is similar to his later novels and stories in that it lies in the realm of a morality play...''Malamud has always had a fondness for telling tales arranged for the purpose of a specific moral lesson,'' Mr. Lelchuk wrote. ''Neither realism nor surrealism has been his forte through the years,'' he continued, ''but the fable, the parable, the allegory, the ancient art of basic storytelling in a modern voice; through this special mode he has earned his high place in contemporary letters.'' ''The Assistant,'' his second novel, and the one many critics consider his best, was published in 1957. Set in the Depression, it tells of a Jewish grocery-store owner and his Italian assistant, and it, too, is much like a morality play...''The Fixer'' (1966) was inspired by the ordeal of Mendel Beiliss, a Jew tried and acquitted of ritual murder in Kiev in czarist Russia of 1913. ''The Magic Barrel,'' the author's first collection of short stories, was given the National Book Award in 1959...On the basis of ''The Assistant'' and ''The Fixer,'' critics began to think of Mr. Malamud as a ''Jewish writer'' along with Saul Bellow and Philip Roth...Mr. Malamud, however, said that he found the label of ''Jewish writer'' inadequate. He said that the three writers shared more differences than similarities, and that, in his case, Jewishness was more a spiritual than a cultural or a religious quality...''I was concerned with what Jews stood for,'' he said, ''with their getting down to the bare bones of things. I was concerned with their ethicality - how Jews felt they had to live in order to go on living.,,''And at another time he commented: ''Jewishness is important to me, but I don't consider myself only a Jewish writer. I have interests beyond that, and I feel I'm writing for all men...Mr. Roth agreed with Mr. Malamud. ''The Jews of 'The Magic Barrel' and the Jews of 'The Assistant' are not the Jews of New York City or Chicago,'' Mr. Roth wrote. ''They are Malamud's invention, a metaphor of sorts to stand for certain possibilities and promises.'' Later Works CriticizedMr. Malamud's later works - ''Pictures of Fidelman,'' ''The Tenants,'' ''God's Grace'' and to a lesser extent, ''Dubin's Lives'' - got mixed reviews. Many critics cited a growing bleakness in his work, saying that as he left his Jewish milieu for academic and other settings his work took on a flinty emptiness without the poignance and meaning that characterized his earlier novels. His argument with God, they said, seemed to wither into a seminar...Others, however, saw a growth in these works - his handling in ''The Tenants'' of the cultural and psychological upheaval among blacks caused by the rise of nationalism, separatism and racial pride; the powerful presence of nature in ''Dubin's Lives,'' something new for an author whose works for the most part had urban settings, and the concern with man's survival in the nuclear age in ''God's Grace.''Bernard Malamud was born April 26, 1914, in Brooklyn, the elder of two sons of Russian Jewish immigrants, Max Malamud and the former Bertha Fidelman...His father ran a small grocery, working 16 hours a day - he served as a model for the Jewish grocer in ''The Assistant.'' Looking back on his childhood, Mr. Malamud would recall that there were no books in his home, no cultural nourishment at all except that on Sundays he would listen to someone else's piano through the living-room window..Attended Erasmus Hall High School in Brooklyn, and in 1936 he received his B.A. from the City College of New York. After graduation, he worked in a factory, in various stores and as a clerk in the Census Bureau in Washington, writing in his spare time.-Began Teaching High School..In 1940, he got a job teaching at Erasmus Hall Evening High School, and he would continue to teach in New York City evening high schools until 1949. While he was teaching, he earned an M.A. at Columbia University in 1942.-Mr. Malamud often said that the advent of World War II and the Holocaust first made him sure that he had something to say as a writer. Until then, he said, he had not given much thought to what it meant to be Jewish, but the horror of the war - as well as the fact that he married a gentile woman, Ann de Chiara, in 1945 - made him question his own identity as a Jew and compelled him to start reading about Jewish tradition and history. He knew then, he said, that he really wanted to write.-''The suffering of the Jews is a distinct thing for me,'' he once explained. ''I for one believe that not enough has been made of the tragedy of the destruction of six million Jews. Somebody has to cry - even if it's a writer, 20 years later.''In 1949, he got a job teaching English at Oregon state University, where he stayed until 1961, becoming an associate professor. He wrote four books there - ''The Natural,'' ''The Assistant,'' ''The Magic Barrel''& his third novel, ''A New Life'' (1961), which is set in the Pacific Northwest at a college not unlike Oregon State...In 1961, he went to teach at Bennington College in Vermont, where he taught for more than 20 years, with the exception of two years he spent as a visiting lecturer at Harvard from 1966 to 1968..In 1963, he published ''Idiots First,'' another story collection. That was followed by ''The Fixer'' (1966), ''Pictures of Fidelman,'' stories about one central character (1969); ''The Tenants,'' a novel about the conflict between two writers, one Jewish and the other black (1971); ''Rembrandt's Hat,'' more stories (1973); ''Dubin's Lives,'' a novel about a biographer in midlife that many critics consider one of his best (1979); ''God's Grace,'' a novel (1982), and ''The Stories of Bernard Malamud'' (1983). 'Story, Story, Story'..Mr. Malamud was a firm believer that a story should tell a story. ''With me, it's story, story, story,'' he once said. ''Writers who can't invent stories often pursue other strategies, even substituting style for narrative. I feel that story is the basic element of fiction though that ideal is not popular with disciples of the 'new novel.' They remind me of the painter who couldn't paint people, so he painted chairs..''The story will be with us as long as man is. You know that, in part, because of its effect on children. It's through story they realize that mystery won't kill them. Through story they learn they have a future...''He did not find writing an easy task. ''The idea is to get the pencil moving quickly,'' he said. ''Once you've got some words looking back at you you can take two or three - or throw them away and look for other. I go over and over a page. Either it bleeds and shows it's beginning to be human, or the form emits shadows of itself and I'm off. I have a terrifying will that way.'',. In his writing, he prized the idea of swift transition - changing a scene in one sentence between paragraphs -and he thought he might have achieved that talent by studying intercutting in motion pictures. ''I was influenced very much by Charlie Chaplin movies,'' he said, ''by the rhythm and snap of his comedy and his wonderful, wonderful mixture of comedy and sadness..He acknowledged that sadness was one of his prime topics. ''People say I write so much about misery,'' he said, but added, ''you write about what you write best.''.He described the essential Malamud character as ''someone who fears his fate, is caught up in it, yet manages to outrun it; he's the subject and object of laughter and pity.'' Left Unfinished NovelIn addition to the Pulitzer and the National Book Awards, Mr. Malamud won the Rosenthal Award of the National Institute of Arts and Letters, Vermont's 1979 Governor's Award for Excellence in the Arts and the 1981 Brandeis Creative Arts Award. He was a member of the American Academy and institute of Arts and Letters, which in 1983 presented him its Gold Medal in Fiction. From 1979 to 1981 he was president of the PEN American Center. Yesterday his publisher, Farrar, Straus & Giroux, announced the establishment of a Bernard Malamud literary award, to be administered by PEN. An official at the publishing house also said it will decide at a later date whether to publish separately the novel on which Mr. Malamud was working at the time of his death, or whether to publish parts of it in a posthumous collection. For many years, Mr. Malamud did not become involved in social issues, arguing that for an author writing was involvement enough. But as president of PEN, he protested the repression of writers in the Soviet Union and South Africa and the curtailing of First Amendment rights. Although he granted occasional interviews, Mr. Malamud led an intensely private life. In ''The Ghost Writer,'' Philip Roth created a character named E. I. Lonoff, a novelist ''deeply skeptical of the public world,'' whose ideas of work and esthetic purity obliged him to live a life of solitude. A number of critics have suggested that Lonoff was a portrait of Mr. Malamud. Mr. Roth was a good friend of Mr. Malamud, and it is perhaps he who best summed up Mr. Malamud's work. Noting that Mr. Malamud was once supposed to have remarked that ''all men are Jews,'' Mr. Roth said:''What it is to be human, and to be humane, is his deepest concern.''He is survived by his wife and by a son, Paul, and a daughter, Janna. Funeral services will be private, and plans for memorial services in April will be announced at a later date.- Date: March 20, 1986, Thursday, Late City Final Edition Section D; Page 26, Column 1; Cultural Desk Byline: By MERVYN ROTHSTEIN Visually inspected owned by Adults, pictures just as important as written listing .Zoom-In ....LAXVespa Los Angeles. VIEWING PICTURE ON DESKTOP COULD BE HELPFUL --I SHIP EVERY 3- Days or SO.. Shipped with USPS - I'm shipping from Los Angeles - there are planes & trucks constantly leaving...generally 7 Days Coast to Coast quicker if closer..carefully Drop kick-packed....extra handling time built in ..so as not to disappoint ..enough shipping charges so well protected ... inv bmk 11 bib 2231, New York University Press, 1970-10, 2.5<

2017, ISBN: 9780814725528

Paperback / softback. New. WINNER OF THE 2017 ROYAL SOCIETY INSIGHT INVESTMENT SCIENCE BOOK PRIZE What the judges said: 'Every man and woman should read this book on gender bias ..… More...

Paperback / softback. New. WINNER OF THE 2017 ROYAL SOCIETY INSIGHT INVESTMENT SCIENCE BOOK PRIZE What the judges said: 'Every man and woman should read this book on gender bias ... an important, yet wickedly witty, book.' 'Fine's entertaining and thoughtful book is a valuable addition to the discussion about gender.' Ian Critchley, Sunday Times 'In addition to being hopeful, Fine is also angry. We should all be angry. Testosterone Rex is a debunking rumble that ought to inspire a roar.' Guardian 'A densely packed, spirited book, with an unusual combination of academic rigour and readability ... The expression &quot;essential reading for everyone&quot; is usually untrue as well as a cliche, but if there were a book deserving of that description this might just be it.' Antonia Macaro, Financial Times Testosterone Rex is the powerful myth that squashes hopes of sex equality by telling us that men and women have evolved different natures. Fixed in an ancestral past that rewarded competitive men and caring women, these differences are supposedly re-created in each generation by sex hormones and male and female brains. Testosterone, so we're told, is the very essence of masculinity, and biological sex is a fundamental force in our development. Not so, says psychologist Cordelia Fine, who shows, with wit and panache, that sex doesn't create male and female natures. Instead, sex, hormones, culture and evolution work together in ways that make past and present gender dynamics only a serving suggestion for the future - not a recipe. Testosterone Rex brings together evolutionary science, psychology, neuroscience and social history to move beyond old `nature versus nurture' debates, and to explain why it's time to unmake the tyrannical myth of Testosterone Rex. For fans of Fine - whose Delusions of Gender `could have far-reaching consequences as significant as The Female Eunuch' (Viv Groskop, Guardian) - and thousands of new readers, this is an upbeat, timely and important contribution to the debate about gender in society., 6, Bernard Malamud and His Critics -thicker black paperback with quite a bit of wear on the edges- some chipping on its edges tear at top of book - book block is in great shape- well bound interiors clean there were some notes erased in front of the book first page book is currently out of print Bernard Malamud and the Critics New York University press New York New York reprinted 1971 copyright held by New York University Library of Congress catalog card number 70 133016 ISBN number 8147 2553 paper cover manufacture United States- Essayists examine Malamud through various critical perspectives and attempt to evaluate his position in contemporary American fiction-expedited shipping available just choose to check out info keywords Bernard Malamud and the Critics The Gotham library Author Leslie A. Field Editors Leslie A. Field, Joyce W. Field Compiled by Leslie A. Field, Joyce W. Field Contributor Joyce W. Field Edition reprint Publisher New York University Press, 1970 ISBN 081472552X, 9780814725528 Length 353 -obituary-BERNARD MALAMUD, AUTHOR, DIES AT 71....Bernard Malamud, the novelist and short story writer who won two National Book Awards and the Pulitzer Prize for his chronicles of human struggle, died Tuesday at his Manhattan apartment. He was 71 years old......Mr. Malamud's work showed a regard for Jewish tradition and the plight of ordinary men, and was imbued with the theme of moral wisdom gained through suffering.....Mr. Malamud was considered by many critics to be one of the finest contemporary American writers. The critic Robert Alter said that stories like ''The First Seven Years,'' ''The Magic Barrel,'' ''The Last Mohican,'' ''Idiots First'' and ''Angel Levine'' will be read ''as long as anyone continues to care about American fiction written in the 20th century.'' Text:...The author once described himself as a chronicler of ''simple people struggling to make their lives better in a world of bad luck.'' One of his last appearances was at the PEN Congress in New York in January when he read from his works. Combined Fantasy and Reality....In his work, Mr. Malamud often combined fantasy and reality to create a world that was both the same and different from the one we live in.---In ''Angel Levine,'' a black, rather seedy-looking angel appears to a retired Jewish tailor; in ''The Jewbird,'' a Yiddish-accented vagabond makes his way into an urban Jewish household in the form of a crow; in ''Idiots First,'' the Angel of Death, alias Ginzburg, pursues a desperate Jew trying to scrape together money to send his idiot son to California on the midnight train. ''Malamud has been in the fable business, so to speak,'' the critic Alan Lelchuk wrote.-Mr. Malamud's first novel, ''The Natural,'' an allegory about the rise and fall of a baseball player, was published in 1952. It is different from most of his work in that there are no Jewish characters. After the book was made into a movie starring Robert Redford in 1984, Mr. Malamud said in an interview that he was grateful for the film because it allowed him ''to be recognized once more as an American writer'' as opposed to a Jewish writer. But ''The Natural'' is similar to his later novels and stories in that it lies in the realm of a morality play...''Malamud has always had a fondness for telling tales arranged for the purpose of a specific moral lesson,'' Mr. Lelchuk wrote. ''Neither realism nor surrealism has been his forte through the years,'' he continued, ''but the fable, the parable, the allegory, the ancient art of basic storytelling in a modern voice; through this special mode he has earned his high place in contemporary letters.'' ''The Assistant,'' his second novel, and the one many critics consider his best, was published in 1957. Set in the Depression, it tells of a Jewish grocery-store owner and his Italian assistant, and it, too, is much like a morality play...''The Fixer'' (1966) was inspired by the ordeal of Mendel Beiliss, a Jew tried and acquitted of ritual murder in Kiev in czarist Russia of 1913. ''The Magic Barrel,'' the author's first collection of short stories, was given the National Book Award in 1959...On the basis of ''The Assistant'' and ''The Fixer,'' critics began to think of Mr. Malamud as a ''Jewish writer'' along with Saul Bellow and Philip Roth...Mr. Malamud, however, said that he found the label of ''Jewish writer'' inadequate. He said that the three writers shared more differences than similarities, and that, in his case, Jewishness was more a spiritual than a cultural or a religious quality...''I was concerned with what Jews stood for,'' he said, ''with their getting down to the bare bones of things. I was concerned with their ethicality - how Jews felt they had to live in order to go on living.,,''And at another time he commented: ''Jewishness is important to me, but I don't consider myself only a Jewish writer. I have interests beyond that, and I feel I'm writing for all men...Mr. Roth agreed with Mr. Malamud. ''The Jews of 'The Magic Barrel' and the Jews of 'The Assistant' are not the Jews of New York City or Chicago,'' Mr. Roth wrote. ''They are Malamud's invention, a metaphor of sorts to stand for certain possibilities and promises.'' Later Works CriticizedMr. Malamud's later works - ''Pictures of Fidelman,'' ''The Tenants,'' ''God's Grace'' and to a lesser extent, ''Dubin's Lives'' - got mixed reviews. Many critics cited a growing bleakness in his work, saying that as he left his Jewish milieu for academic and other settings his work took on a flinty emptiness without the poignance and meaning that characterized his earlier novels. His argument with God, they said, seemed to wither into a seminar...Others, however, saw a growth in these works - his handling in ''The Tenants'' of the cultural and psychological upheaval among blacks caused by the rise of nationalism, separatism and racial pride; the powerful presence of nature in ''Dubin's Lives,'' something new for an author whose works for the most part had urban settings, and the concern with man's survival in the nuclear age in ''God's Grace.''Bernard Malamud was born April 26, 1914, in Brooklyn, the elder of two sons of Russian Jewish immigrants, Max Malamud and the former Bertha Fidelman...His father ran a small grocery, working 16 hours a day - he served as a model for the Jewish grocer in ''The Assistant.'' Looking back on his childhood, Mr. Malamud would recall that there were no books in his home, no cultural nourishment at all except that on Sundays he would listen to someone else's piano through the living-room window..Attended Erasmus Hall High School in Brooklyn, and in 1936 he received his B.A. from the City College of New York. After graduation, he worked in a factory, in various stores and as a clerk in the Census Bureau in Washington, writing in his spare time.-Began Teaching High School..In 1940, he got a job teaching at Erasmus Hall Evening High School, and he would continue to teach in New York City evening high schools until 1949. While he was teaching, he earned an M.A. at Columbia University in 1942.-Mr. Malamud often said that the advent of World War II and the Holocaust first made him sure that he had something to say as a writer. Until then, he said, he had not given much thought to what it meant to be Jewish, but the horror of the war - as well as the fact that he married a gentile woman, Ann de Chiara, in 1945 - made him question his own identity as a Jew and compelled him to start reading about Jewish tradition and history. He knew then, he said, that he really wanted to write.-''The suffering of the Jews is a distinct thing for me,'' he once explained. ''I for one believe that not enough has been made of the tragedy of the destruction of six million Jews. Somebody has to cry - even if it's a writer, 20 years later.''In 1949, he got a job teaching English at Oregon state University, where he stayed until 1961, becoming an associate professor. He wrote four books there - ''The Natural,'' ''The Assistant,'' ''The Magic Barrel''& his third novel, ''A New Life'' (1961), which is set in the Pacific Northwest at a college not unlike Oregon State...In 1961, he went to teach at Bennington College in Vermont, where he taught for more than 20 years, with the exception of two years he spent as a visiting lecturer at Harvard from 1966 to 1968..In 1963, he published ''Idiots First,'' another story collection. That was followed by ''The Fixer'' (1966), ''Pictures of Fidelman,'' stories about one central character (1969); ''The Tenants,'' a novel about the conflict between two writers, one Jewish and the other black (1971); ''Rembrandt's Hat,'' more stories (1973); ''Dubin's Lives,'' a novel about a biographer in midlife that many critics consider one of his best (1979); ''God's Grace,'' a novel (1982), and ''The Stories of Bernard Malamud'' (1983). 'Story, Story, Story'..Mr. Malamud was a firm believer that a story should tell a story. ''With me, it's story, story, story,'' he once said. ''Writers who can't invent stories often pursue other strategies, even substituting style for narrative. I feel that story is the basic element of fiction though that ideal is not popular with disciples of the 'new novel.' They remind me of the painter who couldn't paint people, so he painted chairs..''The story will be with us as long as man is. You know that, in part, because of its effect on children. It's through story they realize that mystery won't kill them. Through story they learn they have a future...''He did not find writing an easy task. ''The idea is to get the pencil moving quickly,'' he said. ''Once you've got some words looking back at you you can take two or three - or throw them away and look for other. I go over and over a page. Either it bleeds and shows it's beginning to be human, or the form emits shadows of itself and I'm off. I have a terrifying will that way.'',. In his writing, he prized the idea of swift transition - changing a scene in one sentence between paragraphs -and he thought he might have achieved that talent by studying intercutting in motion pictures. ''I was influenced very much by Charlie Chaplin movies,'' he said, ''by the rhythm and snap of his comedy and his wonderful, wonderful mixture of comedy and sadness..He acknowledged that sadness was one of his prime topics. ''People say I write so much about misery,'' he said, but added, ''you write about what you write best.''.He described the essential Malamud character as ''someone who fears his fate, is caught up in it, yet manages to outrun it; he's the subject and object of laughter and pity.'' Left Unfinished NovelIn addition to the Pulitzer and the National Book Awards, Mr. Malamud won the Rosenthal Award of the National Institute of Arts and Letters, Vermont's 1979 Governor's Award for Excellence in the Arts and the 1981 Brandeis Creative Arts Award. He was a member of the American Academy and institute of Arts and Letters, which in 1983 presented him its Gold Medal in Fiction. From 1979 to 1981 he was president of the PEN American Center. Yesterday his publisher, Farrar, Straus & Giroux, announced the establishment of a Bernard Malamud literary award, to be administered by PEN. An official at the publishing house also said it will decide at a later date whether to publish separately the novel on which Mr. Malamud was working at the time of his death, or whether to publish parts of it in a posthumous collection. For many years, Mr. Malamud did not become involved in social issues, arguing that for an author writing was involvement enough. But as president of PEN, he protested the repression of writers in the Soviet Union and South Africa and the curtailing of First Amendment rights. Although he granted occasional interviews, Mr. Malamud led an intensely private life. In ''The Ghost Writer,'' Philip Roth created a character named E. I. Lonoff, a novelist ''deeply skeptical of the public world,'' whose ideas of work and esthetic purity obliged him to live a life of solitude. A number of critics have suggested that Lonoff was a portrait of Mr. Malamud. Mr. Roth was a good friend of Mr. Malamud, and it is perhaps he who best summed up Mr. Malamud's work. Noting that Mr. Malamud was once supposed to have remarked that ''all men are Jews,'' Mr. Roth said:''What it is to be human, and to be humane, is his deepest concern.''He is survived by his wife and by a son, Paul, and a daughter, Janna. Funeral services will be private, and plans for memorial services in April will be announced at a later date.- Date: March 20, 1986, Thursday, Late City Final Edition Section D; Page 26, Column 1; Cultural Desk Byline: By MERVYN ROTHSTEIN Visually inspected owned by Adults, pictures just as important as written listing .Zoom-In ....LAXVespa Los Angeles. VIEWING PICTURE ON DESKTOP COULD BE HELPFUL --I SHIP EVERY 3- Days or SO.. Shipped with USPS - I'm shipping from Los Angeles - there are planes & trucks constantly leaving...generally 7 Days Coast to Coast quicker if closer..carefully Drop kick-packed....extra handling time built in ..so as not to disappoint ..enough shipping charges so well protected ... inv bmk 11 bib 2231, New York University Press, 1970-10, 2.5<

1986, ISBN: 9780814725528

Hardcover

606 pages + 16 page index. Lovely copy of this collection of English Verse, perfect to hold in your hand. In better than very good condition, original navy blue binding, cover and content… More...

606 pages + 16 page index. Lovely copy of this collection of English Verse, perfect to hold in your hand. In better than very good condition, original navy blue binding, cover and contents whole and unmarked., Oxford University Press, 1936, 3, Chatto & Windus, 1936. Hardback in Dust Wrapper.. Good - in Good Dust Wrapper. Unlaminated dust wrapper a little edgeworn and faded with loss at the head of the spine and bottom corner of upper panel. Previous owner’s inscription to the first blank. Edges of the text block lightly tanned.. Hardback in dust wrapper ). Physically 7” x 4½” (0.4 kg); 254pp; The Phoenix Library Series edition, a reprint of the 1931 first published. 16pp publishers advertisements to the rear. || The book is on my shelves and will be carefully packed and posted from the pastoral paradise of Peasedown St. John, Bath, by a real bookseller in a real book shop - with my personal guarantee and my beady eye on the Consumer Contracts Regulations. REMEMBER! Buying my copy of this book means the bookshop Jack Russells get their supper! My Book#159252|| Condition:, Chatto & Windus, 1936, 2.5, New York: Macmillan & Co, 1936. Later Printing. Hard Cover. Very Good/No Jacket. 8vo - over 73/4" - 93/4" tall. In brown cloth with gilt titing, 8vo, 355pp. (light shelfwear to extremities, toning to page edges and endpapers)., Macmillan & Co, 1936, 3, New York, N. Y.: E. D. Dutton Pub.;.Penguin. Very Good. 1952. PAPERBACK; Thirty-Fifth Printing. Paperback. 4x7". VERY GOOD Condition ...CLEAN, SOLID, BRIGHT ; PINK & GREEN, WHITE TITLES ON BLACK PAPER COVERS...ALL NICE ; 386pg pages; wrote poems, critical essays, novels, short stories, and over forty plays. Pirandello's first real success in the theatre came about in 1921 when Six Characters in Search of an Author was performed in 1925 founded his Art Theatre in Rome. He was awarded the Nobel Prize for Literature in 1934 and died in Rome in 1936. ., E. D. Dutton Pub.;.Penguin, 1952, 3, Bernard Malamud and His Critics -thicker black paperback with quite a bit of wear on the edges- some chipping on its edges tear at top of book - book block is in great shape- well bound interiors clean there were some notes erased in front of the book first page book is currently out of print Bernard Malamud and the Critics New York University press New York New York reprinted 1971 copyright held by New York University Library of Congress catalog card number 70 133016 ISBN number 8147 2553 paper cover manufacture United States- Essayists examine Malamud through various critical perspectives and attempt to evaluate his position in contemporary American fiction-expedited shipping available just choose to check out info keywords Bernard Malamud and the Critics The Gotham library Author Leslie A. Field Editors Leslie A. Field, Joyce W. Field Compiled by Leslie A. Field, Joyce W. Field Contributor Joyce W. Field Edition reprint Publisher New York University Press, 1970 ISBN 081472552X, 9780814725528 Length 353 -obituary-BERNARD MALAMUD, AUTHOR, DIES AT 71....Bernard Malamud, the novelist and short story writer who won two National Book Awards and the Pulitzer Prize for his chronicles of human struggle, died Tuesday at his Manhattan apartment. He was 71 years old......Mr. Malamud's work showed a regard for Jewish tradition and the plight of ordinary men, and was imbued with the theme of moral wisdom gained through suffering.....Mr. Malamud was considered by many critics to be one of the finest contemporary American writers. The critic Robert Alter said that stories like ''The First Seven Years,'' ''The Magic Barrel,'' ''The Last Mohican,'' ''Idiots First'' and ''Angel Levine'' will be read ''as long as anyone continues to care about American fiction written in the 20th century.'' Text:...The author once described himself as a chronicler of ''simple people struggling to make their lives better in a world of bad luck.'' One of his last appearances was at the PEN Congress in New York in January when he read from his works. Combined Fantasy and Reality....In his work, Mr. Malamud often combined fantasy and reality to create a world that was both the same and different from the one we live in.---In ''Angel Levine,'' a black, rather seedy-looking angel appears to a retired Jewish tailor; in ''The Jewbird,'' a Yiddish-accented vagabond makes his way into an urban Jewish household in the form of a crow; in ''Idiots First,'' the Angel of Death, alias Ginzburg, pursues a desperate Jew trying to scrape together money to send his idiot son to California on the midnight train. ''Malamud has been in the fable business, so to speak,'' the critic Alan Lelchuk wrote.-Mr. Malamud's first novel, ''The Natural,'' an allegory about the rise and fall of a baseball player, was published in 1952. It is different from most of his work in that there are no Jewish characters. After the book was made into a movie starring Robert Redford in 1984, Mr. Malamud said in an interview that he was grateful for the film because it allowed him ''to be recognized once more as an American writer'' as opposed to a Jewish writer. But ''The Natural'' is similar to his later novels and stories in that it lies in the realm of a morality play...''Malamud has always had a fondness for telling tales arranged for the purpose of a specific moral lesson,'' Mr. Lelchuk wrote. ''Neither realism nor surrealism has been his forte through the years,'' he continued, ''but the fable, the parable, the allegory, the ancient art of basic storytelling in a modern voice; through this special mode he has earned his high place in contemporary letters.'' ''The Assistant,'' his second novel, and the one many critics consider his best, was published in 1957. Set in the Depression, it tells of a Jewish grocery-store owner and his Italian assistant, and it, too, is much like a morality play...''The Fixer'' (1966) was inspired by the ordeal of Mendel Beiliss, a Jew tried and acquitted of ritual murder in Kiev in czarist Russia of 1913. ''The Magic Barrel,'' the author's first collection of short stories, was given the National Book Award in 1959...On the basis of ''The Assistant'' and ''The Fixer,'' critics began to think of Mr. Malamud as a ''Jewish writer'' along with Saul Bellow and Philip Roth...Mr. Malamud, however, said that he found the label of ''Jewish writer'' inadequate. He said that the three writers shared more differences than similarities, and that, in his case, Jewishness was more a spiritual than a cultural or a religious quality...''I was concerned with what Jews stood for,'' he said, ''with their getting down to the bare bones of things. I was concerned with their ethicality - how Jews felt they had to live in order to go on living.,,''And at another time he commented: ''Jewishness is important to me, but I don't consider myself only a Jewish writer. I have interests beyond that, and I feel I'm writing for all men...Mr. Roth agreed with Mr. Malamud. ''The Jews of 'The Magic Barrel' and the Jews of 'The Assistant' are not the Jews of New York City or Chicago,'' Mr. Roth wrote. ''They are Malamud's invention, a metaphor of sorts to stand for certain possibilities and promises.'' Later Works CriticizedMr. Malamud's later works - ''Pictures of Fidelman,'' ''The Tenants,'' ''God's Grace'' and to a lesser extent, ''Dubin's Lives'' - got mixed reviews. Many critics cited a growing bleakness in his work, saying that as he left his Jewish milieu for academic and other settings his work took on a flinty emptiness without the poignance and meaning that characterized his earlier novels. His argument with God, they said, seemed to wither into a seminar...Others, however, saw a growth in these works - his handling in ''The Tenants'' of the cultural and psychological upheaval among blacks caused by the rise of nationalism, separatism and racial pride; the powerful presence of nature in ''Dubin's Lives,'' something new for an author whose works for the most part had urban settings, and the concern with man's survival in the nuclear age in ''God's Grace.''Bernard Malamud was born April 26, 1914, in Brooklyn, the elder of two sons of Russian Jewish immigrants, Max Malamud and the former Bertha Fidelman...His father ran a small grocery, working 16 hours a day - he served as a model for the Jewish grocer in ''The Assistant.'' Looking back on his childhood, Mr. Malamud would recall that there were no books in his home, no cultural nourishment at all except that on Sundays he would listen to someone else's piano through the living-room window..Attended Erasmus Hall High School in Brooklyn, and in 1936 he received his B.A. from the City College of New York. After graduation, he worked in a factory, in various stores and as a clerk in the Census Bureau in Washington, writing in his spare time.-Began Teaching High School..In 1940, he got a job teaching at Erasmus Hall Evening High School, and he would continue to teach in New York City evening high schools until 1949. While he was teaching, he earned an M.A. at Columbia University in 1942.-Mr. Malamud often said that the advent of World War II and the Holocaust first made him sure that he had something to say as a writer. Until then, he said, he had not given much thought to what it meant to be Jewish, but the horror of the war - as well as the fact that he married a gentile woman, Ann de Chiara, in 1945 - made him question his own identity as a Jew and compelled him to start reading about Jewish tradition and history. He knew then, he said, that he really wanted to write.-''The suffering of the Jews is a distinct thing for me,'' he once explained. ''I for one believe that not enough has been made of the tragedy of the destruction of six million Jews. Somebody has to cry - even if it's a writer, 20 years later.''In 1949, he got a job teaching English at Oregon state University, where he stayed until 1961, becoming an associate professor. He wrote four books there - ''The Natural,'' ''The Assistant,'' ''The Magic Barrel''& his third novel, ''A New Life'' (1961), which is set in the Pacific Northwest at a college not unlike Oregon State...In 1961, he went to teach at Bennington College in Vermont, where he taught for more than 20 years, with the exception of two years he spent as a visiting lecturer at Harvard from 1966 to 1968..In 1963, he published ''Idiots First,'' another story collection. That was followed by ''The Fixer'' (1966), ''Pictures of Fidelman,'' stories about one central character (1969); ''The Tenants,'' a novel about the conflict between two writers, one Jewish and the other black (1971); ''Rembrandt's Hat,'' more stories (1973); ''Dubin's Lives,'' a novel about a biographer in midlife that many critics consider one of his best (1979); ''God's Grace,'' a novel (1982), and ''The Stories of Bernard Malamud'' (1983). 'Story, Story, Story'..Mr. Malamud was a firm believer that a story should tell a story. ''With me, it's story, story, story,'' he once said. ''Writers who can't invent stories often pursue other strategies, even substituting style for narrative. I feel that story is the basic element of fiction though that ideal is not popular with disciples of the 'new novel.' They remind me of the painter who couldn't paint people, so he painted chairs..''The story will be with us as long as man is. You know that, in part, because of its effect on children. It's through story they realize that mystery won't kill them. Through story they learn they have a future...''He did not find writing an easy task. ''The idea is to get the pencil moving quickly,'' he said. ''Once you've got some words looking back at you you can take two or three - or throw them away and look for other. I go over and over a page. Either it bleeds and shows it's beginning to be human, or the form emits shadows of itself and I'm off. I have a terrifying will that way.'',. In his writing, he prized the idea of swift transition - changing a scene in one sentence between paragraphs -and he thought he might have achieved that talent by studying intercutting in motion pictures. ''I was influenced very much by Charlie Chaplin movies,'' he said, ''by the rhythm and snap of his comedy and his wonderful, wonderful mixture of comedy and sadness..He acknowledged that sadness was one of his prime topics. ''People say I write so much about misery,'' he said, but added, ''you write about what you write best.''.He described the essential Malamud character as ''someone who fears his fate, is caught up in it, yet manages to outrun it; he's the subject and object of laughter and pity.'' Left Unfinished NovelIn addition to the Pulitzer and the National Book Awards, Mr. Malamud won the Rosenthal Award of the National Institute of Arts and Letters, Vermont's 1979 Governor's Award for Excellence in the Arts and the 1981 Brandeis Creative Arts Award. He was a member of the American Academy and institute of Arts and Letters, which in 1983 presented him its Gold Medal in Fiction. From 1979 to 1981 he was president of the PEN American Center. Yesterday his publisher, Farrar, Straus & Giroux, announced the establishment of a Bernard Malamud literary award, to be administered by PEN. An official at the publishing house also said it will decide at a later date whether to publish separately the novel on which Mr. Malamud was working at the time of his death, or whether to publish parts of it in a posthumous collection. For many years, Mr. Malamud did not become involved in social issues, arguing that for an author writing was involvement enough. But as president of PEN, he protested the repression of writers in the Soviet Union and South Africa and the curtailing of First Amendment rights. Although he granted occasional interviews, Mr. Malamud led an intensely private life. In ''The Ghost Writer,'' Philip Roth created a character named E. I. Lonoff, a novelist ''deeply skeptical of the public world,'' whose ideas of work and esthetic purity obliged him to live a life of solitude. A number of critics have suggested that Lonoff was a portrait of Mr. Malamud. Mr. Roth was a good friend of Mr. Malamud, and it is perhaps he who best summed up Mr. Malamud's work. Noting that Mr. Malamud was once supposed to have remarked that ''all men are Jews,'' Mr. Roth said:''What it is to be human, and to be humane, is his deepest concern.''He is survived by his wife and by a son, Paul, and a daughter, Janna. Funeral services will be private, and plans for memorial services in April will be announced at a later date.- Date: March 20, 1986, Thursday, Late City Final Edition Section D; Page 26, Column 1; Cultural Desk Byline: By MERVYN ROTHSTEIN Visually inspected owned by Adults, pictures just as important as written listing .Zoom-In ....LAXVespa Los Angeles. VIEWING PICTURE ON DESKTOP COULD BE HELPFUL --I SHIP EVERY 3- Days or SO.. Shipped with USPS - I'm shipping from Los Angeles - there are planes & trucks constantly leaving...generally 7 Days Coast to Coast quicker if closer..carefully Drop kick-packed....extra handling time built in ..so as not to disappoint ..enough shipping charges so well protected ... inv bmk 11 bib 2231, New York University Press, 1970-10, 2.5<

1986, ISBN: 9780814725528

Washington D.C.: Washington: Government Printing Office, 1925 Book. Very Good. Soft cover. First Edition. 8vo. 1-26 pp. In protective celophane envelope. Slight age-tanning to report cove… More...

Washington D.C.: Washington: Government Printing Office, 1925 Book. Very Good. Soft cover. First Edition. 8vo. 1-26 pp. In protective celophane envelope. Slight age-tanning to report cover with a small crease down center and light edgewea to rear wrapper. Clean, tight and strong binding with no underlining, highlighting or marginalia. Article disbound from larger volume. In report covers.., Washington: Government Printing Office, 1925, 3, Bernard Malamud and His Critics -thicker black paperback with quite a bit of wear on the edges- some chipping on its edges tear at top of book - book block is in great shape- well bound interiors clean there were some notes erased in front of the book first page book is currently out of print Bernard Malamud and the Critics New York University press New York New York reprinted 1971 copyright held by New York University Library of Congress catalog card number 70 133016 ISBN number 8147 2553 paper cover manufacture United States- Essayists examine Malamud through various critical perspectives and attempt to evaluate his position in contemporary American fiction-expedited shipping available just choose to check out info keywords Bernard Malamud and the Critics The Gotham library Author Leslie A. Field Editors Leslie A. Field, Joyce W. Field Compiled by Leslie A. Field, Joyce W. Field Contributor Joyce W. Field Edition reprint Publisher New York University Press, 1970 ISBN 081472552X, 9780814725528 Length 353 -obituary-BERNARD MALAMUD, AUTHOR, DIES AT 71....Bernard Malamud, the novelist and short story writer who won two National Book Awards and the Pulitzer Prize for his chronicles of human struggle, died Tuesday at his Manhattan apartment. He was 71 years old......Mr. Malamud's work showed a regard for Jewish tradition and the plight of ordinary men, and was imbued with the theme of moral wisdom gained through suffering.....Mr. Malamud was considered by many critics to be one of the finest contemporary American writers. The critic Robert Alter said that stories like ''The First Seven Years,'' ''The Magic Barrel,'' ''The Last Mohican,'' ''Idiots First'' and ''Angel Levine'' will be read ''as long as anyone continues to care about American fiction written in the 20th century.'' Text:...The author once described himself as a chronicler of ''simple people struggling to make their lives better in a world of bad luck.'' One of his last appearances was at the PEN Congress in New York in January when he read from his works. Combined Fantasy and Reality....In his work, Mr. Malamud often combined fantasy and reality to create a world that was both the same and different from the one we live in.---In ''Angel Levine,'' a black, rather seedy-looking angel appears to a retired Jewish tailor; in ''The Jewbird,'' a Yiddish-accented vagabond makes his way into an urban Jewish household in the form of a crow; in ''Idiots First,'' the Angel of Death, alias Ginzburg, pursues a desperate Jew trying to scrape together money to send his idiot son to California on the midnight train. ''Malamud has been in the fable business, so to speak,'' the critic Alan Lelchuk wrote.-Mr. Malamud's first novel, ''The Natural,'' an allegory about the rise and fall of a baseball player, was published in 1952. It is different from most of his work in that there are no Jewish characters. After the book was made into a movie starring Robert Redford in 1984, Mr. Malamud said in an interview that he was grateful for the film because it allowed him ''to be recognized once more as an American writer'' as opposed to a Jewish writer. But ''The Natural'' is similar to his later novels and stories in that it lies in the realm of a morality play...''Malamud has always had a fondness for telling tales arranged for the purpose of a specific moral lesson,'' Mr. Lelchuk wrote. ''Neither realism nor surrealism has been his forte through the years,'' he continued, ''but the fable, the parable, the allegory, the ancient art of basic storytelling in a modern voice; through this special mode he has earned his high place in contemporary letters.'' ''The Assistant,'' his second novel, and the one many critics consider his best, was published in 1957. Set in the Depression, it tells of a Jewish grocery-store owner and his Italian assistant, and it, too, is much like a morality play...''The Fixer'' (1966) was inspired by the ordeal of Mendel Beiliss, a Jew tried and acquitted of ritual murder in Kiev in czarist Russia of 1913. ''The Magic Barrel,'' the author's first collection of short stories, was given the National Book Award in 1959...On the basis of ''The Assistant'' and ''The Fixer,'' critics began to think of Mr. Malamud as a ''Jewish writer'' along with Saul Bellow and Philip Roth...Mr. Malamud, however, said that he found the label of ''Jewish writer'' inadequate. He said that the three writers shared more differences than similarities, and that, in his case, Jewishness was more a spiritual than a cultural or a religious quality...''I was concerned with what Jews stood for,'' he said, ''with their getting down to the bare bones of things. I was concerned with their ethicality - how Jews felt they had to live in order to go on living.,,''And at another time he commented: ''Jewishness is important to me, but I don't consider myself only a Jewish writer. I have interests beyond that, and I feel I'm writing for all men...Mr. Roth agreed with Mr. Malamud. ''The Jews of 'The Magic Barrel' and the Jews of 'The Assistant' are not the Jews of New York City or Chicago,'' Mr. Roth wrote. ''They are Malamud's invention, a metaphor of sorts to stand for certain possibilities and promises.'' Later Works CriticizedMr. Malamud's later works - ''Pictures of Fidelman,'' ''The Tenants,'' ''God's Grace'' and to a lesser extent, ''Dubin's Lives'' - got mixed reviews. Many critics cited a growing bleakness in his work, saying that as he left his Jewish milieu for academic and other settings his work took on a flinty emptiness without the poignance and meaning that characterized his earlier novels. His argument with God, they said, seemed to wither into a seminar...Others, however, saw a growth in these works - his handling in ''The Tenants'' of the cultural and psychological upheaval among blacks caused by the rise of nationalism, separatism and racial pride; the powerful presence of nature in ''Dubin's Lives,'' something new for an author whose works for the most part had urban settings, and the concern with man's survival in the nuclear age in ''God's Grace.''Bernard Malamud was born April 26, 1914, in Brooklyn, the elder of two sons of Russian Jewish immigrants, Max Malamud and the former Bertha Fidelman...His father ran a small grocery, working 16 hours a day - he served as a model for the Jewish grocer in ''The Assistant.'' Looking back on his childhood, Mr. Malamud would recall that there were no books in his home, no cultural nourishment at all except that on Sundays he would listen to someone else's piano through the living-room window..Attended Erasmus Hall High School in Brooklyn, and in 1936 he received his B.A. from the City College of New York. After graduation, he worked in a factory, in various stores and as a clerk in the Census Bureau in Washington, writing in his spare time.-Began Teaching High School..In 1940, he got a job teaching at Erasmus Hall Evening High School, and he would continue to teach in New York City evening high schools until 1949. While he was teaching, he earned an M.A. at Columbia University in 1942.-Mr. Malamud often said that the advent of World War II and the Holocaust first made him sure that he had something to say as a writer. Until then, he said, he had not given much thought to what it meant to be Jewish, but the horror of the war - as well as the fact that he married a gentile woman, Ann de Chiara, in 1945 - made him question his own identity as a Jew and compelled him to start reading about Jewish tradition and history. He knew then, he said, that he really wanted to write.-''The suffering of the Jews is a distinct thing for me,'' he once explained. ''I for one believe that not enough has been made of the tragedy of the destruction of six million Jews. Somebody has to cry - even if it's a writer, 20 years later.''In 1949, he got a job teaching English at Oregon state University, where he stayed until 1961, becoming an associate professor. He wrote four books there - ''The Natural,'' ''The Assistant,'' ''The Magic Barrel''& his third novel, ''A New Life'' (1961), which is set in the Pacific Northwest at a college not unlike Oregon State...In 1961, he went to teach at Bennington College in Vermont, where he taught for more than 20 years, with the exception of two years he spent as a visiting lecturer at Harvard from 1966 to 1968..In 1963, he published ''Idiots First,'' another story collection. That was followed by ''The Fixer'' (1966), ''Pictures of Fidelman,'' stories about one central character (1969); ''The Tenants,'' a novel about the conflict between two writers, one Jewish and the other black (1971); ''Rembrandt's Hat,'' more stories (1973); ''Dubin's Lives,'' a novel about a biographer in midlife that many critics consider one of his best (1979); ''God's Grace,'' a novel (1982), and ''The Stories of Bernard Malamud'' (1983). 'Story, Story, Story'..Mr. Malamud was a firm believer that a story should tell a story. ''With me, it's story, story, story,'' he once said. ''Writers who can't invent stories often pursue other strategies, even substituting style for narrative. I feel that story is the basic element of fiction though that ideal is not popular with disciples of the 'new novel.' They remind me of the painter who couldn't paint people, so he painted chairs..''The story will be with us as long as man is. You know that, in part, because of its effect on children. It's through story they realize that mystery won't kill them. Through story they learn they have a future...''He did not find writing an easy task. ''The idea is to get the pencil moving quickly,'' he said. ''Once you've got some words looking back at you you can take two or three - or throw them away and look for other. I go over and over a page. Either it bleeds and shows it's beginning to be human, or the form emits shadows of itself and I'm off. I have a terrifying will that way.'',. In his writing, he prized the idea of swift transition - changing a scene in one sentence between paragraphs -and he thought he might have achieved that talent by studying intercutting in motion pictures. ''I was influenced very much by Charlie Chaplin movies,'' he said, ''by the rhythm and snap of his comedy and his wonderful, wonderful mixture of comedy and sadness..He acknowledged that sadness was one of his prime topics. ''People say I write so much about misery,'' he said, but added, ''you write about what you write best.''.He described the essential Malamud character as ''someone who fears his fate, is caught up in it, yet manages to outrun it; he's the subject and object of laughter and pity.'' Left Unfinished NovelIn addition to the Pulitzer and the National Book Awards, Mr. Malamud won the Rosenthal Award of the National Institute of Arts and Letters, Vermont's 1979 Governor's Award for Excellence in the Arts and the 1981 Brandeis Creative Arts Award. He was a member of the American Academy and institute of Arts and Letters, which in 1983 presented him its Gold Medal in Fiction. From 1979 to 1981 he was president of the PEN American Center. Yesterday his publisher, Farrar, Straus & Giroux, announced the establishment of a Bernard Malamud literary award, to be administered by PEN. An official at the publishing house also said it will decide at a later date whether to publish separately the novel on which Mr. Malamud was working at the time of his death, or whether to publish parts of it in a posthumous collection. For many years, Mr. Malamud did not become involved in social issues, arguing that for an author writing was involvement enough. But as president of PEN, he protested the repression of writers in the Soviet Union and South Africa and the curtailing of First Amendment rights. Although he granted occasional interviews, Mr. Malamud led an intensely private life. In ''The Ghost Writer,'' Philip Roth created a character named E. I. Lonoff, a novelist ''deeply skeptical of the public world,'' whose ideas of work and esthetic purity obliged him to live a life of solitude. A number of critics have suggested that Lonoff was a portrait of Mr. Malamud. Mr. Roth was a good friend of Mr. Malamud, and it is perhaps he who best summed up Mr. Malamud's work. Noting that Mr. Malamud was once supposed to have remarked that ''all men are Jews,'' Mr. Roth said:''What it is to be human, and to be humane, is his deepest concern.''He is survived by his wife and by a son, Paul, and a daughter, Janna. Funeral services will be private, and plans for memorial services in April will be announced at a later date.- Date: March 20, 1986, Thursday, Late City Final Edition Section D; Page 26, Column 1; Cultural Desk Byline: By MERVYN ROTHSTEIN Visually inspected owned by Adults, pictures just as important as written listing .Zoom-In ....LAXVespa Los Angeles. VIEWING PICTURE ON DESKTOP COULD BE HELPFUL --I SHIP EVERY 3- Days or SO.. Shipped with USPS - I'm shipping from Los Angeles - there are planes & trucks constantly leaving...generally 7 Days Coast to Coast quicker if closer..carefully Drop kick-packed....extra handling time built in ..so as not to disappoint ..enough shipping charges so well protected ... inv bmk 11 bib 2231, New York University Press, 1970-10, 2.5<