Susan Sontag has said that her earliest idea of what a writer should be was "someone who is interested in everything." Thirty-five years after her first collection of essays, the now classic Against Interpretation, our most important essayist has chosen more than forty longer and shorter pieces from the last two decades that illustrate a deeply felt, kaleidoscopic array of interests, passions, observations, and ideas. "Reading" offers ardent, freewheeling considerations of talismanic writers from her own private canon, such as Marina Tsvetaeva, Randall Jarrell, Roland Barthes, Machado de Assis, W. G. Sebald, Borges, and Elizabeth Hardwick. "Seeing" is a series of luminous and incisive encounters with film, dance, photography, painting, opera, and theatre. And in the final section, "There and Here," Sontag explores some of her own commitments: to the work (and activism) of conscience, to the concreteness of historical understanding, and to the vocation of the writer. Where the Stress Falls records a great American writer's urgent engagement with some of the most significant aesthetic and moral issues of the late twentieth century, and provides a brilliant and clear-eyed appraisal of what is at stake, in this new century, in the survival of that inheritance.

As the Belle Epoque dawns, Paris attracts artists from everywhere. One is Jeanette Palmer, daughter of a prominent Ohio family, who has left Vassar College under a cloud of scandal. Amid the city’s great bohemian neighborhoods and teaching studios, Jeanette befriends other female artists, as well as an American Civil War veteran named Edward Murer. She begins to achieve a level of artistic success. And her happiness increases as she and Edward grow more intimate with each other. But Edward is plagued by his demons and addicted to laudanum—and as the world opens its arms to Jeanette, and the society around her is transformed by cultural and scientific innovations, she must resolve a conflict utterly new to so many women: the choice between ambition and love.

With the publication of her first book of criticism, Against Interpretation, in 1966, Susan Sontag placed herself at the forefront of an era of cultural and political transformation. “What is important now,” she wrote, “is to recover our senses . . . . In place of a hermeneutics we need an erotics of art.” She would remain a catalyzing presence, whether writing about camp sensibility, the films of Jean-Luc Godard and Alain Resnais, her experiences as a traveler to Hanoi at the height of the Vietnam War, the aesthetics of science-fiction and pornography, or a range of modern thinkers from Simone Weil to E. M. Cioran. She opened dazzling new perspectives on any subject she addressed, whether the nature of photography or cultural attitudes toward illness. This volume, edited by Sontag’s son David Rieff, presents the full texts of four essential books: Against Interpretation, Styles of Radical Will (1969), On Photography (1977), and Illness as Metaphor (1978). Also here as a special feature are six previously uncollected essays including studies of William S. Burroughs and the painter Francis Bacon and a series of reflections on beauty, aging, and the emerging feminist movement. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

Next Generation is a two-level course for Bachillerato, combining complete preparation for the Pruebas de Accesso a la Universidad (PAU) exams with material that helps learners improve their English language skills for life. Teacher's Resource Book 1 combines comprehensive teaching notes for the eight units of the Student's Book with photocopiable worksheets providing extra practice of vocabulary, grammar, writing and phrasal verbs, as well as tests, mock PAU exams and answer keys to the Workbook and all photocopiable activities. It also comes with the Class Audio CDs.

In this groundbreaking monograph, Anna Maria Di Sciullo proposes that asymmetry—the irreversibility of a pair of elements in an ordered set—is a hard-wired property of morphological relations. Her argument that asymmetry is central in derivational morphology, would, if true, make morphological objects regular objects of grammar just as syntactic and phonological objects are. This contrasts with the traditional assumption that morphology is irregular and thus not subject to the basic hard-wired regularities of form and interpretation. Di Sciullo argues that the asymmetric property of morphological relations is part of the language faculty. She proposes a theory of grammar, Asymmetry Theory, according to which generic operations have specific instantiations in parallel derivations of the computational space. She posits that morphological and syntactic relations share a property, asymmetry, but diverge with respect to other properties of their primitives, operations, and interface representations. Di Sciullo offers empirical support for her theory with examples from a variety of languages, including English, Modern Greek, African, Romance, Turkish, and Slavic.