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Sontag, Susan Alice in Bed: A Play in Eight Scenes
New York, New York, U.S.A. Farrar Straus Giroux 1993 0374102732 / 9780374102739 First Edition Hard Cover Fine Fine
Near-new condition. NO remainder marks or price clippings, Price inside dustcover: $25.00. NO writing or tears inside book. Tight spine, clean pages. 117 pages. From Publishers Weekly: Sontag's ( The Volcano Lover ) first stage play focuses on Alice James, the invalid sister of Henry and William and, since Jean Strouse's acclaimed 1980 biography and the publication of her diary, a feminist icon. It is in the latter role that Sontag casts the bed-ridden Alice, and playing off her name, she suggests, too, another, more famous Alice of fiction--to the extent that the center of the play's action is a tea party. The tea party becomes a gathering of independent women of imagination: Emily Dickinson, Margaret Fuller, Myrtha from the ballet Giselle and, as the somnolent dormouse, Kundry from Wagner's Parsifal. Alice's doting brother Henry makes a couple of appearances as well. Unfortunately, although Sontag acknowledges that her work is "a free fantasy based on a real person," none of the characters ever breathes with life; each lies flat on the page as a mouthpiece for Sontag's ideas about the imagination's dual role as liberator and jailer for a 19th-century woman of intelligence and about "women's anguish and women's consciousness of self." Moreover, her dialogue is arch and literary. Regrettably, Sontag can add her name to a list of talented novelist-critics whose stage work disappoints. Copyright 1993 Reed Business Information, Inc. From Library Journal: Sontag ( The Volcano Lover , LJ 6/15/92) describes her play as a "free dramatic fantasy based on a real person," Alice James, the sister of William and Henry James. A brilliant woman who suffered from depression from the age of 19, James died from breast cancer at age 44. The center of the play is "a mad tea party," a la Alice in Wonderland , to which Sontag has convened real and fictional 19th-century women to counsel the protagonist. Emily Dickinson; Margaret Fuller; Myrtha, Queen of the Wilis (from the ballet Giselle ); and Kundry (from the opera Parsifal ) all make appearances. The dialog is terse and the action tense in this trenchant tale of imagination and feminine anger and grief. Recently excerpted in the New Yorker (5/31/93), this play had its premiere (in translation) in Bonn during September 1991. Recommended for all drama and literature collections. - Carolyn M. Mulac, Chicago P.L.
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Sontag, Susan; Dilonardo, Paolo; Jump, Anne (Editors); Rieff, David (Foreword) At the Same Time: Essays and Speeches
Farrar Straus Giroux 2007 0374100721 / 9780374100728 Hard Cover As New As New
Brand-New copy. NO remainder marks or price clippings. Price inside dustcover: $23.00. Tight spine, bright pages. NO writing, marks or tears. 235 pages. Synopsis Sontag's incisive intelligence, expressive brilliance, and deep curiosity about art, politics, and the writer's responsibility to bear witness have secured her place as one of the most important thinkers and writers of the twentieth century. At the Same Time gathers sixteen essays and speeches written in the last years of Sontag's life, when her work was being honored on the international stage. She writes of the freedom of literature, about courage and resistance, and fearlessly addresses the dilemmas of post-9/11 America, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib. David Rieff describes his mother's passion in his foreword: "She wanted to experience everything, taste everything, go everywhere, do everything. Indeed, if I had only one word with which to evoke her, it would be avidity. . . . I think that, for her, the joy of living and the joy of knowing really were one and the same." The New Statesman - John Gray ...these 16 pieces brim over with vitality. Every one of them opening up fresh lines of thought... In At the Same Time we hear the voice of a unique writer, who loved the world and spent her life in an attempt to see it whole. Biography: Susan Sontag immediately became a major figure of our culture with the publication in 1966 of the pathbreaking collection of essays Against Interpretation. She went on to write four novels, including In America (2000), which won the National Book Award for Fiction, as well as a collection of stories, several plays, and seven subsequent works of nonfiction, among them On Photography (1977), Illness as Metaphor (1978), and Regarding the Pain of Others (2003). Her many international honors included the Jerusalem Prize (2001) and the Friedenspreis (Peace Prize) of the German Book Trade (2003). She died in New York City on December 28, 2004.
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Sontag, Susan; Dilonardo, Paolo; Jump, Anne (Editors); Rieff, David (Foreword) At the Same Time: Essays and Speeches
Farrar Straus Giroux 2007 0374100721 / 9780374100728 Hard Cover As New As New
Brand-New copy. NO remainder marks or price clippings. Price inside dustcover: $23.00. Tight spine, bright pages. NO writing, marks or tears. 235 pages. Synopsis Sontag's incisive intelligence, expressive brilliance, and deep curiosity about art, politics, and the writer's responsibility to bear witness have secured her place as one of the most important thinkers and writers of the twentieth century. At the Same Time gathers sixteen essays and speeches written in the last years of Sontag's life, when her work was being honored on the international stage. She writes of the freedom of literature, about courage and resistance, and fearlessly addresses the dilemmas of post-9/11 America, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib. David Rieff describes his mother's passion in his foreword: "She wanted to experience everything, taste everything, go everywhere, do everything. Indeed, if I had only one word with which to evoke her, it would be avidity. . . . I think that, for her, the joy of living and the joy of knowing really were one and the same." The New Statesman - John Gray ...these 16 pieces brim over with vitality. Every one of them opening up fresh lines of thought... In At the Same Time we hear the voice of a unique writer, who loved the world and spent her life in an attempt to see it whole. Biography: Susan Sontag immediately became a major figure of our culture with the publication in 1966 of the pathbreaking collection of essays Against Interpretation. She went on to write four novels, including In America (2000), which won the National Book Award for Fiction, as well as a collection of stories, several plays, and seven subsequent works of nonfiction, among them On Photography (1977), Illness as Metaphor (1978), and Regarding the Pain of Others (2003). Her many international honors included the Jerusalem Prize (2001) and the Friedenspreis (Peace Prize) of the German Book Trade (2003). She died in New York City on December 28, 2004.
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6.00 USD
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Sontag, Susan; Dilonardo, Paolo; Jump, Anne (Editors); Rieff, David (Foreword) At the Same Time: Essays and Speeches
Farrar Straus Giroux 2007 0374100721 / 9780374100728 Hard Cover As New As New
Brand-New copy. NO remainder marks or price clippings. Price inside dustcover: $23.00. Tight spine, bright pages. NO writing, marks or tears. 235 pages. Synopsis Sontag's incisive intelligence, expressive brilliance, and deep curiosity about art, politics, and the writer's responsibility to bear witness have secured her place as one of the most important thinkers and writers of the twentieth century. At the Same Time gathers sixteen essays and speeches written in the last years of Sontag's life, when her work was being honored on the international stage. She writes of the freedom of literature, about courage and resistance, and fearlessly addresses the dilemmas of post-9/11 America, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib. David Rieff describes his mother's passion in his foreword: "She wanted to experience everything, taste everything, go everywhere, do everything. Indeed, if I had only one word with which to evoke her, it would be avidity. . . . I think that, for her, the joy of living and the joy of knowing really were one and the same." The New Statesman - John Gray ...these 16 pieces brim over with vitality. Every one of them opening up fresh lines of thought... In At the Same Time we hear the voice of a unique writer, who loved the world and spent her life in an attempt to see it whole. Biography: Susan Sontag immediately became a major figure of our culture with the publication in 1966 of the pathbreaking collection of essays Against Interpretation. She went on to write four novels, including In America (2000), which won the National Book Award for Fiction, as well as a collection of stories, several plays, and seven subsequent works of nonfiction, among them On Photography (1977), Illness as Metaphor (1978), and Regarding the Pain of Others (2003). Her many international honors included the Jerusalem Prize (2001) and the Friedenspreis (Peace Prize) of the German Book Trade (2003). She died in New York City on December 28, 2004.
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4.50 USD
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Sontag, Susan In America
Farrar Straus & Giroux 2000 0374175403 / 9780374175405 Hard Cover Fine Very Good
Dustcover shows only minor wear - Book is in Fine Condition - NO remainder marks or price clippings - Price inside dustcover: $26.00 - 387 pages - Based in part on the life of the renowned Polish actress Maryna Zalewska, Susan Sontag's long-awaited new novel, In America, is the story of one woman's search for self-transformation, the fate of idealism, and the old and new worlds on the cusp of modernity. A talent rivaling France's Sarah Bernhardt and America's Edwin Booth, Zalewska leaves the Polish stage at the height of her career to found a commune in the arid vineyards of southern California in 1876. Funded by her aristocratic husband and joined by a cast of admirers, including her young son and a promising young writer who is hopelessly in love with her, Maryna looks to the new world for a different and, she hopes, final role. As a self-sufficient woman of what her fellow immigrants call "Hamerica," Maryna hopes to shed her former self and immerse herself in toil and the harsh beauty of an alien land. Or so she tries to believe in page after page of letters home, diary entries, and interior monologues that place the reader firmly in Sontag country. Just as Sontag's previous historical tour de force, The Volcano Lover, threaded its illicit romance through high-minded ruminations on revolution and art collecting, In America takes issues of representation, or as Maryna labels acting, "misrepresentation," as its central concern. In America, after all, immigrants are free to represent themselves however they like. They may abandon for good "their dark Polish woes." Theymayeven choose to not represent themselves at all. That is the real drive behind Maryna's exile: a desire to live without affectation. Among her fellow commune companions, the fusty, miserable Julian fantasizes about an immersion in America so complete none may ever find him again. The journalist and aspiring fiction writer, Ryszard, believes that America will provide the stories he was born to write. Having promised Maryna never to write about her, he turns his eye to the commune's setting near the town of Anaheim. Inspiration first strikes when a traveling circus's strongman apparently murders the stage manager and absconds with the flying trapeze lady. In Ryszard's version, the two are young lovers, and escape brings them safety. In California's version, however, the two are pursued vigilante-style, and the strongman strung on a tree and hanged. The difference in these two endings is emblematic of Sontag's theme. The America of the novel offers immigrants a chance for happy endings and a release from class hierarchy. Like other recent utopian experiments, a German cooperative and the nearby religious sect known as "Edenica," Maryna and her band are left alone. Yet isolation and freedom are not tantamount in this layered look at the United States on the cusp of modernity. Socially, America marks people as surely as it brands cattle. For everyone from Mexicans and Native Americans to Asian coolies and even many Eastern Europeans, history dictates endings. As Maryna's dutiful husband, Bogdan, records, "Last week, near Temescal, an Indian laborer entered the privy while it was being used by the rancher's wife and, she claimed, tried to assault her.... The poor fellow was tied up and castrated by the irate husband on the spot.... It seems vile to think, We didn't have to hear this horrifying story." In the repetition of similar tales and in Ryszard's accounts of his vagabond journeys with horse and rifle, Sontag seems to say there's no place far enough away even in the outback of America, Huckleberry Finn's "territories." Personally, too, America cannot liberate everyone's soul. Some habits persist; some character traits tattoo the soul. And so it is that the commune fails, Maryna returns to the stage, and most of the émigrés return to Poland, bodies, if not dreams, intact. During the commune's inauguration, Maryna compares signing the property deed to a bride on her wedding day marrying the wrong man; it's less the fact of the community's collapse than its slow unraveling that propels the novel forward. Not everyone throws in the towel. For a few, America unleashes that purer self Maryna constantly contemplates. Bogdan, a gentle and devoted caretaker, plays Leonard Woolf to Maryna's Virginia. He comes to America with no expectations of his own, observing, "The relentless success of these Californians gets on my nerves. I am bred to a distinctively Polish appreciation of the nobility of failure." From moneyed count to subsistence farmer, Bogdan embodies "forbidden desire, straining to be freed by foreignness." Bogdan's conflicting need to be true to Maryna while pining after the young men in the area soon becomes his sole obsession. In the end Bogdan — his name butchered first to "Bobdan" and then to "Bobby" by the local boys he so admires — discovers freedom in a contraption rife with symbolism: the aeroplane a renegade scientist is surreptitiously testing on the California beaches. In details like Bogdan's love affair with flight, in moments of gritty detail like Ryszard's description of his ferry passage from Europe to New York, and in the set pieces highlighting the late 19th century's changing cultural watermarks, the novel is at its best. When a self-employed photographer arrives in Anaheim, the picture-taking scene at the commune's hodgepodge of buildings stands out in its rich evocation of the time period. The reader imagines the resulting photograph existing somewhere still, perhaps atop Sontag's writing table. Ultimately, however, In America is really Maryna's tale. She is the novel's triumph and, occasionally, its weak spot. There's something of Anna Karenina in Maryna: weary of her own marvels, crazy for her son but willing to remain apart from him in the name of a stronger hunger, self-aware without always knowing herself. Her musings on how to master favorite plays of the day, from "As You Like It" and "the Scottish play" to the sentimental weepie "East Lynne," together with her critiques of the nature of acting itself, overshadow, both for her and the reader, her commune experience. As a result of this self-absorption, she forms a weak link to other characters. Even her voluminous letters home, significantly, go unanswered. Communication is not a lifeline to a place outside herself but one Maryna throws inward. Sontag is much more interested in plumbing her mind than in putting her to work engaging other characters. She's a fine and complicated companion; she's Sontag whispering, shouting, showing us the grand dramatic production of our shared American heritage.
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Sontag, Susan In America
Farrar Straus & Giroux 2000 0374175403 / 9780374175405 First Edition Hard Cover As New As New
New / Unread condition - Book is in Fine Condition - NO remainder marks or price clippings - Price inside dustcover: $26.00 - 387 pages - Stated First Edition - NO writing, marks or tears. Based in part on the life of the renowned Polish actress Maryna Zalewska, Susan Sontag's long-awaited new novel, In America, is the story of one woman's search for self-transformation, the fate of idealism, and the old and new worlds on the cusp of modernity. A talent rivaling France's Sarah Bernhardt and America's Edwin Booth, Zalewska leaves the Polish stage at the height of her career to found a commune in the arid vineyards of southern California in 1876. Funded by her aristocratic husband and joined by a cast of admirers, including her young son and a promising young writer who is hopelessly in love with her, Maryna looks to the new world for a different and, she hopes, final role. As a self-sufficient woman of what her fellow immigrants call "Hamerica," Maryna hopes to shed her former self and immerse herself in toil and the harsh beauty of an alien land. Or so she tries to believe in page after page of letters home, diary entries, and interior monologues that place the reader firmly in Sontag country. Just as Sontag's previous historical tour de force, The Volcano Lover, threaded its illicit romance through high-minded ruminations on revolution and art collecting, In America takes issues of representation, or as Maryna labels acting, "misrepresentation," as its central concern. In America, after all, immigrants are free to represent themselves however they like. They may abandon for good "their dark Polish woes." Theymayeven choose to not represent themselves at all. That is the real drive behind Maryna's exile: a desire to live without affectation. Among her fellow commune companions, the fusty, miserable Julian fantasizes about an immersion in America so complete none may ever find him again. The journalist and aspiring fiction writer, Ryszard, believes that America will provide the stories he was born to write. Having promised Maryna never to write about her, he turns his eye to the commune's setting near the town of Anaheim. Inspiration first strikes when a traveling circus's strongman apparently murders the stage manager and absconds with the flying trapeze lady. In Ryszard's version, the two are young lovers, and escape brings them safety. In California's version, however, the two are pursued vigilante-style, and the strongman strung on a tree and hanged. The difference in these two endings is emblematic of Sontag's theme. The America of the novel offers immigrants a chance for happy endings and a release from class hierarchy. Like other recent utopian experiments, a German cooperative and the nearby religious sect known as "Edenica," Maryna and her band are left alone. Yet isolation and freedom are not tantamount in this layered look at the United States on the cusp of modernity. Socially, America marks people as surely as it brands cattle. For everyone from Mexicans and Native Americans to Asian coolies and even many Eastern Europeans, history dictates endings. As Maryna's dutiful husband, Bogdan, records, "Last week, near Temescal, an Indian laborer entered the privy while it was being used by the rancher's wife and, she claimed, tried to assault her.... The poor fellow was tied up and castrated by the irate husband on the spot.... It seems vile to think, We didn't have to hear this horrifying story." In the repetition of similar tales and in Ryszard's accounts of his vagabond journeys with horse and rifle, Sontag seems to say there's no place far enough away even in the outback of America, Huckleberry Finn's "territories." Personally, too, America cannot liberate everyone's soul. Some habits persist; some character traits tattoo the soul. And so it is that the commune fails, Maryna returns to the stage, and most of the émigrés return to Poland, bodies, if not dreams, intact. During the commune's inauguration, Maryna compares signing the property deed to a bride on her wedding day marrying the wrong man; it's less the fact of the community's collapse than its slow unraveling that propels the novel forward. Not everyone throws in the towel. For a few, America unleashes that purer self Maryna constantly contemplates. Bogdan, a gentle and devoted caretaker, plays Leonard Woolf to Maryna's Virginia. He comes to America with no expectations of his own, observing, "The relentless success of these Californians gets on my nerves. I am bred to a distinctively Polish appreciation of the nobility of failure." From moneyed count to subsistence farmer, Bogdan embodies "forbidden desire, straining to be freed by foreignness." Bogdan's conflicting need to be true to Maryna while pining after the young men in the area soon becomes his sole obsession. In the end Bogdan — his name butchered first to "Bobdan" and then to "Bobby" by the local boys he so admires — discovers freedom in a contraption rife with symbolism: the aeroplane a renegade scientist is surreptitiously testing on the California beaches. In details like Bogdan's love affair with flight, in moments of gritty detail like Ryszard's description of his ferry passage from Europe to New York, and in the set pieces highlighting the late 19th century's changing cultural watermarks, the novel is at its best. When a self-employed photographer arrives in Anaheim, the picture-taking scene at the commune's hodgepodge of buildings stands out in its rich evocation of the time period. The reader imagines the resulting photograph existing somewhere still, perhaps atop Sontag's writing table. Ultimately, however, In America is really Maryna's tale. She is the novel's triumph and, occasionally, its weak spot. There's something of Anna Karenina in Maryna: weary of her own marvels, crazy for her son but willing to remain apart from him in the name of a stronger hunger, self-aware without always knowing herself. Her musings on how to master favorite plays of the day, from "As You Like It" and "the Scottish play" to the sentimental weepie "East Lynne," together with her critiques of the nature of acting itself, overshadow, both for her and the reader, her commune experience. As a result of this self-absorption, she forms a weak link to other characters. Even her voluminous letters home, significantly, go unanswered. Communication is not a lifeline to a place outside herself but one Maryna throws inward. Sontag is much more interested in plumbing her mind than in putting her to work engaging other characters. She's a fine and complicated companion; she's Sontag whispering, shouting, showing us the grand dramatic production of our shared American heritage.
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2.78 USD
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Sontag, Susan In America
Farrar Straus & Giroux 2000 0374175403 / 9780374175405 First Edition Hard Cover As New Near-Fine
New / Unread copy - Book is in Fine Condition - Dustcover has 1 small, closed tear bottom-front-edge. NO remainder marks or price clippings - Price inside dustcover: $26.00 - 387 pages - Stated First Edition - NO writing, marks or tears. Based in part on the life of the renowned Polish actress Maryna Zalewska, Susan Sontag's long-awaited new novel, In America, is the story of one woman's search for self-transformation, the fate of idealism, and the old and new worlds on the cusp of modernity. A talent rivaling France's Sarah Bernhardt and America's Edwin Booth, Zalewska leaves the Polish stage at the height of her career to found a commune in the arid vineyards of southern California in 1876. Funded by her aristocratic husband and joined by a cast of admirers, including her young son and a promising young writer who is hopelessly in love with her, Maryna looks to the new world for a different and, she hopes, final role. As a self-sufficient woman of what her fellow immigrants call "Hamerica," Maryna hopes to shed her former self and immerse herself in toil and the harsh beauty of an alien land. Or so she tries to believe in page after page of letters home, diary entries, and interior monologues that place the reader firmly in Sontag country. Just as Sontag's previous historical tour de force, The Volcano Lover, threaded its illicit romance through high-minded ruminations on revolution and art collecting, In America takes issues of representation, or as Maryna labels acting, "misrepresentation," as its central concern. In America, after all, immigrants are free to represent themselves however they like. They may abandon for good "their dark Polish woes." Theymayeven choose to not represent themselves at all. That is the real drive behind Maryna's exile: a desire to live without affectation. Among her fellow commune companions, the fusty, miserable Julian fantasizes about an immersion in America so complete none may ever find him again. The journalist and aspiring fiction writer, Ryszard, believes that America will provide the stories he was born to write. Having promised Maryna never to write about her, he turns his eye to the commune's setting near the town of Anaheim. Inspiration first strikes when a traveling circus's strongman apparently murders the stage manager and absconds with the flying trapeze lady. In Ryszard's version, the two are young lovers, and escape brings them safety. In California's version, however, the two are pursued vigilante-style, and the strongman strung on a tree and hanged. The difference in these two endings is emblematic of Sontag's theme. The America of the novel offers immigrants a chance for happy endings and a release from class hierarchy. Like other recent utopian experiments, a German cooperative and the nearby religious sect known as "Edenica," Maryna and her band are left alone. Yet isolation and freedom are not tantamount in this layered look at the United States on the cusp of modernity. Socially, America marks people as surely as it brands cattle. For everyone from Mexicans and Native Americans to Asian coolies and even many Eastern Europeans, history dictates endings. As Maryna's dutiful husband, Bogdan, records, "Last week, near Temescal, an Indian laborer entered the privy while it was being used by the rancher's wife and, she claimed, tried to assault her.... The poor fellow was tied up and castrated by the irate husband on the spot.... It seems vile to think, We didn't have to hear this horrifying story." In the repetition of similar tales and in Ryszard's accounts of his vagabond journeys with horse and rifle, Sontag seems to say there's no place far enough away even in the outback of America, Huckleberry Finn's "territories." Personally, too, America cannot liberate everyone's soul. Some habits persist; some character traits tattoo the soul. And so it is that the commune fails, Maryna returns to the stage, and most of the émigrés return to Poland, bodies, if not dreams, intact. During the commune's inauguration, Maryna compares signing the property deed to a bride on her wedding day marrying the wrong man; it's less the fact of the community's collapse than its slow unraveling that propels the novel forward. Not everyone throws in the towel. For a few, America unleashes that purer self Maryna constantly contemplates. Bogdan, a gentle and devoted caretaker, plays Leonard Woolf to Maryna's Virginia. He comes to America with no expectations of his own, observing, "The relentless success of these Californians gets on my nerves. I am bred to a distinctively Polish appreciation of the nobility of failure." From moneyed count to subsistence farmer, Bogdan embodies "forbidden desire, straining to be freed by foreignness." Bogdan's conflicting need to be true to Maryna while pining after the young men in the area soon becomes his sole obsession. In the end Bogdan — his name butchered first to "Bobdan" and then to "Bobby" by the local boys he so admires — discovers freedom in a contraption rife with symbolism: the aeroplane a renegade scientist is surreptitiously testing on the California beaches. In details like Bogdan's love affair with flight, in moments of gritty detail like Ryszard's description of his ferry passage from Europe to New York, and in the set pieces highlighting the late 19th century's changing cultural watermarks, the novel is at its best. When a self-employed photographer arrives in Anaheim, the picture-taking scene at the commune's hodgepodge of buildings stands out in its rich evocation of the time period. The reader imagines the resulting photograph existing somewhere still, perhaps atop Sontag's writing table. Ultimately, however, In America is really Maryna's tale. She is the novel's triumph and, occasionally, its weak spot. There's something of Anna Karenina in Maryna: weary of her own marvels, crazy for her son but willing to remain apart from him in the name of a stronger hunger, self-aware without always knowing herself. Her musings on how to master favorite plays of the day, from "As You Like It" and "the Scottish play" to the sentimental weepie "East Lynne," together with her critiques of the nature of acting itself, overshadow, both for her and the reader, her commune experience. As a result of this self-absorption, she forms a weak link to other characters. Even her voluminous letters home, significantly, go unanswered. Communication is not a lifeline to a place outside herself but one Maryna throws inward. Sontag is much more interested in plumbing her mind than in putting her to work engaging other characters. She's a fine and complicated companion; she's Sontag whispering, shouting, showing us the grand dramatic production of our shared American heritage.
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2.53 USD
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Sontag, Susan (Editor); Atwan, Series (Series Editor) The Best American Essays 1992
New York Ticknor & Fields 1992 0395599369 / 9780395599365 Trade Paperback Very Good +
Very-good+, clean copy. NO remainder marks or clippings. Covers show light wear (NO tears). NO writing or tears inside book. Tight spine, clean pages. 331 pages. Annotation: Hailed as the single most distinguished showcase for essays, The Best American Essays exhibits the finest writing from magazines and journals across the country. This year Susan Sontag has collected an extraordinary range of talent that includes such notables as Joan Didion, John Updike, Jamaica Kincaid, and Stanley Elkin. Publishers Weekly: Edited by Sontag ( The Volcano Lover ), this collection amply demonstrates the diversity of subject matter that stimulates contemporary essayists. Adam Gopnik traces John James Audubon's self-transformation from French emigre dilettante to American woodsman; John Updike probes the persistence of the Mickey Mouse icon; E. L. Doctorow tries to fathom the mysteries of songs, which ``have the capacity to represent in their lyrics and lines of melody wars and other disasters, moral process, the fruits of experience, and, like prayers, the consolations beyond loss''; Stanley Elkin contends that Hamlet and the Mona Lisa are overrated masterpieces; and John Guillory discusses the difference between the literary canon and the classroom syllabus. This collection is uneven. Low points include Patricia Storace's critique of a lackluster biography of the mediocre, probably racist Gone with the Wind author Margaret Mitchell and Jamaica Kincaid's shriek against everything English. Highlights include Joan Didion's dissection of the Central Park jogger rape case's hold on the New York psyche, and David Rieff's critique of the recovery movement (although the fact that he is Sontag's son should have on principle kept him out of this ``best'' collection). (Nov.) Biography: Since the inception of The Best American Essays in 1986 as a trade book title, Robert Atwan has been series editor. He has published reviews and essays in a range of periodicals and edited a number of other literature anthologies. Atwan most recently edited two collections of poetry with a Biblical theme, Chapters into Verse by Oxford University Press and Divine Inspiration by Oxford University Press.
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