Bøger udgivet af MCNALLY ED

Marginalian Editions presents a groundbreaking poet's biography of the forgotten scientist who founded physical chemistry, shaping much of the 20th century-and an ingenious, expansive treatise on American creativity, character, and remembrance.Josiah Willard Gibbs (1839-1903) was an American visionary whose work shaped a century of science by bridging classical mechanics and quantum physics. A kindly and shy bachelor who lectured at Yale in relative obscurity for more than thirty years, he single-handedly created the field of physical chemistry without ever completing a single experiment. Gibbs's visionary work enabled future scientists to predict what states a substance can assume and under what conditions-the implications for industry, agriculture, and warfare were vast. Hailed by Einstein as "the greatest mind in American history," Gibbs remained essentially unknown.To acclaimed poet Muriel Rukeyser, Gibbs "lived closer than any inventor, any poet, any scientific worker in pure imagination to the life of the inventive and organizing spirit in America." Rukeyser's thoroughly researched and lyrical tribute to Gibbs is much more than a biography: it is an alchemical compound of philosophy, history, ethics, and literature writ large. It is the story of a country, a century, a global epoch of scientific creativity that would color every realm of human imagination and aspiration, from poetry to politics.

In a series of late-night letters, gorgeous, funny, filled with memory, sensuality, and regret, a seducer calls across the years to the great love of his youth: an older, revered expatriate known, in his adoptive city, as the King of Naples. As the narrator evokes their affair, in scenes of beauty and remorse, his memories range over the men who came after and before, especially the seductive father who still haunts his erotic imagination.

A “frank and wry, mad and graceful” (Slate) true story about getting dumped, and getting over it.When the phone rang on a cold November afternoon in 1990, Grégoire Bouillier had no way of knowing that the caller was the woman who had left him, without warning, five years before. And he couldn’t have guessed why she was calling: not to say she was sorry, not to explain why she’d vanished from his life, but to invite him to a party. A birthday party. For a woman he’d never met. Here is the unlikely but true account of how one man got over a broken heart, regained his faith in literature, participated—by mistake—in a work of performance art, threw away his turtlenecks, spent his rent money on a 1964 bordeaux that nobody ever drank, and fell in love again. Named one of the year’s best books by Slate and the San Francisco Chronicle when it first appeared in English, The Mystery Guest is a “darkly hilarious . . . odyssey . . . that wends its loopy way toward yes” (O, the Oprah Magazine).

"Hero Kinoull is an antiquarian bookseller whose sedate life in the picturesque English town of Beaudesert is turned upside down between the spring and autumn equinoxes of a single year. First her quiet but forbidden liaison with Hugh Shafto, the curator of the country's finest collection of Rococo art, comes to an abrupt halt when she develops an adoration for his straight-talking, do-gooding wife Belle. But this relationship leads to other, even more unexpected feelings for Belle's widowed mother-in-law, the majestic Kate Shafto, who spends her days tending her garden and sailing her handmade boats in the waters of the miniature archipelago she's constructed in a disused gravel-pit."--

When Dinah Brooke's second novel, Lord Jim at Home, was first published in 1973, it was described as "squalid and startling," "nastily horrific," and a "monstrous parody" of upper-middle class English life. It is the story of Giles Trenchard, who grows up isolated in an atmosphere of privilege and hidden violence; who goes to war, and returns; and then, one day--like the hero of Joseph Conrad's classic Lord Jim--commits an act that calls his past, his character, his whole world into question.

A bewitching collage of fiction, memoir, and mythography from the author unique in her “ability to evoke the hidden life, the life unseen, the life we don’t even know we are living.” (Parul Sehgal, New York Times Magazine)Mary Gaitskill is unique among American novelists in “her ability to evoke the hidden life, the life unseen, the life we don’t even know we are living.”* In this searching biography of the writer’s imagination, Gaitskill excavates her own novels, revealing their origins and obsessions, the personal and societal pressures that formed them, and the life story hidden between their pages. Using the techniques of collage, The Devil's Treasure splices fiction together with commentary and personal history, and with the fairy tale that gives the book its title, about a little girl who ventures into Hell through a suburban cellar door. The result is an answer to Gaitskill’s critics and, simultaneously, the best book we have about contemporary fiction, the forces ranged against it, and the forces that bring it into being. “Even among other artists attracted to weakness as a theme, [Gaitskill] is rare in being able to look at it on its own terms. She doesn’t treat it like a curiosity, like Diane Arbus, or a chink in the armor that might let in faith, like Flannery O’Connor. She isn’t afraid of it, like Muriel Spark; nor does she insist its depictions rouse us to action, like Sontag. She looks—just looks—and sees everything.” —Parul Seghal, New York Times Magazine*

"One day, eavesdropping on a phone call, Harold Raab, a writer with nothing to write, hears his roommate refer intriguingly to a woman Harold has never met. Curiosity leads to obsession and to an affair with the married Charlotte Cobin, all of which Harold faithfully records in the notebook that becomes his deeper obsession. As the relationship with Charlotte complicates and darkens, Harold's poisons emerge. He's discovered a subject he can write about, but now reveals himself as someone whose intelligence, wit, and sexual delirium mask a terror of human connection. Adrift in the ruins of 1970s Berkeley, he is--like the dark hero of a nineteenth century romance--disastrously unprepared for actual love, and even for life"--

"Originally published in 1953 by Macmillan and Co., Ltd., London"--Title page verso.

"Originally published in 1977 by Allen Lane, London"--Title page verso.

The tenth-anniversary edition of Michael Clune’s classic memoir of addiction and recovery: “Dreamily exact . . . sensual and hilarious . . . One of the year's best books” (The New Yorker).How do you describe an addiction in which your drug of choice creates a hole in your memory, a “white out,” so that every time you use it is the first time—new, fascinating, vivid? Michael W. Clune’s story takes us straight inside such an addiction—what he calls “the memory disease.” With dark humor, and in crystalline prose, Clune’s account of life inside the heroin underground reads like no other. Whisking us between the halves of his precarious double life—between the streets of Baltimore and the college classroom, where Clune is a graduate student teaching literature—we spiral along with him as he approaches rock bottom: from nodding off in a row house with a one-armed junkie and a murderous religious freak to having his life threatened in a Chicago jail while facing a felony possession charge. After his descent into addiction, we follow Clune through detox, treatment, and finally into recovery as he returns to his childhood home, where the memory disease and his heroin-induced white out begin to fade. White Out is more than a memoir. It is a rigorous investigation that offers clarity, hope, and even beauty to anyone who wants to understand the disease or its cure. This tenth anniversary edition includes a new preface by the author.

"Set in Delhi in the 1990s, it tells the story of an inept bureaucrat enmired in corruption, and of the daughter who alone knows the true depth of his crimes. Decried in India for its frank treatment of child abuse, the novel was widely praised elsewhere for its compassion, and for a plot that mingled the domestic with the political, tragedy with farce. Yet, as Akhil Sharma writes in his foreword to this new edition, he was haunted by what he considered shortcomings within the book: almost twenty years later, he returned to face them. Here is the result, a leaner, surer version with even greater power"--

"Originally published in 1994"--Title page verso.