Anthologies

Bears haven't had the happiest of times in the last two centuries; like wolves and elephants, they serve as unhappy symbols of the failure of humans to come to terms with the natural world. John Murray, a prolific anthologist, gathers recent writing on one species, the grizzly, Ursus horribilis , in The Great Bear . Among other contributors, Rick Bass makes an appearance on the trail of a Montana giant. Ed Abbey, Doug Peacock, John McPhee, and Adolph Murie focus on remote areas in Alaska where grizzlies still enjoy large, mostly untroubled territories; and Aldo Leopold recounts a meeting with Old Ephraim high atop a mountain on the Arizona-New Mexico line. Murray's anthology is good bedside reading for bear enthusiasts.

One of art's purest challenges is to translate a human being into words. The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile . Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity. Including these twenty-eight profiles: “Mr. Hunter’s Grave” by Joseph Mitchell “Secrets of the Magus” by Mark Singer “Isadora” by Janet Flanner “The Soloist” by Joan Acocella “Time . . . Fortune . . . Life . . . Luce” by Walcott Gibbs “Nobody Better, Better Than Nobody” by Ian Frazier “The Mountains of Pi” by Richard Preston “Covering the Cops” by Calvin Trillin “Travels in Georgia” by John McPhee “The Man Who Walks on Air” by Calvin Tomkins “A House on Gramercy Park” by Geoffrey Hellman “How Do You Like It Now, Gentlemen?” by Lillian Ross “The Education of a Prince” by Alva Johnston “White Like Me” by Henry Louis Gates, Jr. “Wunderkind” by A. J. Liebling “Fifteen Years of The Salto Mortale” by Kenneth Tynan “The Duke in His Domain” by Truman Capote “A Pryor Love” by Hilton Als “Gone for Good” by Roger Angell “Lady with a Pencil” by Nancy Franklin “Dealing with Roseanne” by John Lahr “The Coolhunt” by Malcolm Gladwell “Man Goes to See a Doctor” by Adam Gopnik “Show Dog” by Susan Orlean “Forty-One False Starts” by Janet Malcolm “The Redemption” by Nicholas Lemann “Gore Without a Script” by Nicholas Lemann “Delta Nights” by Bill Buford

From memoir to journalism, personal essays to cultural criticism, this indispensable anthology brings together works from all genres of creative nonfiction, with pieces by fifty contemporary writers including Cheryl Strayed, David Sedaris, Barbara Kingsolver, and more. Selected by five hundred writers, English professors, and creative writing teachers from across the country, this collection includes only the most highly regarded nonfiction work published since 1970. Contributers include: Jo Ann Beard, Wendell Berry, Eula Biss, Mary Clearman Blew, Charles Bowden, Janet Burroway, Kelly Grey Carlisle, Anne Carson, Bernard Cooper, Michael W. Cox, Annie Dillard, Mark Doty, Brian Doyle, Tony Earley, Anthony Farrington, Harrison Candelaria Fletcher, Diane Glancy, Lucy Grealy, William Harrison, Robin Hemley, Adam Hochschild, Jamaica Kincaid, Barbara Kingsolver , Ted Kooser, Sara Levine, E.J. Levy, Phillip Lopate, Barry Lopez, Thomas Lynch, Lee Martin, Rebecca McCLanahan, Erin McGraw, John McPhee, Brenda Miller, Dinty W. Moore, Kathleen Norris, Naomi Shihab Nye, Lia Purpura, Richard Rhodes, Bill Roorbach, David Sedaris, Richard Selzer, Sue William Silverman, Floyd Skloot, Lauren Slater, Cheryl Strayed, Amy Tan, Ryan Van Meter, David Foster Wallace, and Joy Williams.

The New Yorker dishes up a feast of delicious writing–food and drink memoirs, short stories, tell-alls, and poems, seasoned with a generous dash of cartoons. “To read this sparely elegant, moving portrait is to remember that writing well about food is really no different from writing well about life.”— Saveur (Ten Best Books of the Year) Since its earliest days, The New Yorker has been a tastemaker—literally. In this indispensable collection, M.F.K. Fisher pays homage to “cookery witches,” those mysterious cooks who possess “an uncanny power over food,” and Adam Gopnik asks if French cuisine is done for. There is Roald Dahl’s famous story “Taste,” in which a wine snob’s palate comes in for some unwelcome scrutiny, and Julian Barnes’s ingenious tale of a lifelong gourmand who goes on a very peculiar diet. Selected from the magazine’s plentiful larder, Secret Ingredients celebrates all forms of gustatory delight. A sample of the menu: Roger Angell on the art of the martini • Don DeLillo on Jell-O • Malcolm Gladwell on building a better ketchup • Jane Kramer on the writer’s kitchen • Chang-rae Lee on eating sea urchin • Steve Martin on menu mores • Alice McDermott on sex and ice cream • Dorothy Parker on dinner conversation • S. J. Perelman on a hollandaise assassin • Calvin Trillin on New York’s best bagel Whether you’re in the mood for snacking on humor pieces and cartoons or for savoring classic profiles of great chefs and great eaters, these offerings from The New Yorker ’s fabled history are sure to satisfy every taste.