When Julia Ridley Smith’s parents died, they left behind a virtual museum of furniture, books, art, and artifacts. Between the contents of their home, the stock from their North Carolina antiques shop, and the ephemera of two lives lived, Smith faced a monumental task. What would she do with her parents’ possessions? Smith’s wise and moving memoir in essays, The Sum of Trifles, peels back the layers of meaning surrounding specific objects her parents owned, from an eighteenth-century miniature to her father’s prosthetics. A vintage hi-fi provides a view of her often tense relationship with her father, whose love of jazz kindled her own artistic impulse. A Japanese screen embodies her mother’s principles of good taste and good manners, while an antebellum quilt prompts Smith to grapple with her family’s slaveholding legacy. Along the way, she turns to literature that illuminates how her inheritance shaped her notions of identity and purpose. The Sum of Trifles offers up dark humor and raw feeling, mixed with an erudite streak. It’s a curious, thoughtful look at how we live in and with our material culture and how we face our losses as we decide what to keep and what to let go.

"Wechsberg was a connoisseur in the old Continental sense of the word, a man who valued perfection for its own sake, seeing its quest as worthy and its attainment as eminently possible. Born in 1907 into a wealthy, assimilated Jewish family, he saw his comfortable life threatened by World War I and then extinguished by Hitler's annexation of his native Czechoslovakia. He came to America with only a basic command of English but an impressive understanding of what was happening in Europe. His most powerful essays, describing the tragic political fragmentation of Europe at the end of World War II, are never strident or bitter; his appreciations of Europe's finer offering are a sheer delight."--BOOK JACKET.

This collection of essays includes some of the most recent work of a master critic at the height of his powers. Of the fourteen essays, written from the late 1970's to the present, three have never before been published; the essays' appearance in a single volume makes available for the first time the full scope of Berger's unique approach to ethical discourses in Shakespeare's plays. The sequence of essays displays both the continuity and the revisionary development that mark his critical practice since the early work on The Tempest, Troilus and Cressida, and the Elizabethan theater. When one compares Berger's earlier work from the 1960's with the writing from the 1980's and 1990's in the present collection, one sees that the difference stems primarily from the impact on the later work of his encounters with the whole range of structuralist and poststructuralist theory. Much of the excitement and vitality of Berger's current work comes from his efforts to incorporate new methodological influences into his previous system. Because he comes to poststructuralism as a mature critic whose larger interpretive framework is already in place, his response is not simply to immerse himself in the new theoretical modes and adopt them wholesale, but rather to make them his own. Among the plays discussed are The Merchant of Venice, Much Ado About Nothing, King Lear, Macbeth, 2 Henry IV, Richard II--and, in two of the new essays, 1 Henry IV and Measure for Measure. Also new is Berger's retrospective account of his critical development in the extensive opening "Acknowledgments."

First performed in 1916, "Trifles", by American playwright, actress, and novelist Susan Glaspell, is widely considered to be one of the greatest works of American theatre. Written early in the feminist movement, "Trifles" is a one-act play that explores how women act in public versus how they are in private. Loosely based on the real-life story of the murder of John Hossack and the suspicion that fell on his wife as the possible murderer, Glaspell's play compares the official investigation of the murder by the men in charge with the unofficial investigation conducted by their wives. The wives find evidence and insight into the mind of the accused murderer in ways completely ignored by their husbands and as a result are able to discover the truth. An instant critical and commercial success, audiences were riveted with the play's ground-breaking portrayal of justice and morality. In 1917, Glaspell revisited the murder investigation and published an adaption of "Trifles" as the short story "A Jury of Her Peers". Both of these fascinating and thought-provoking works on feminism and the different views that men and women have on what is right versus what is wrong are presented together in this volume. This edition is printed on premium acid-free paper.