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Originating nearly four thousand years ago in ancient Mesopotamia, the epic of Gilgamesh tells the story of a tyrannical king and his wild counterpart, Enkidu, spawned by the gods to rein in the king’s cruel tendencies. They face off in a violent wrestling match, but the clash forges a bond between them. The deep, fiercely intimate camaraderie that emerges carries the two men through extraordinary adventures, from a bloody battle with the fearsome forest guardian, Humbaba, to a cataclysmic struggle with the Bull of Heaven. As the friends venture further into the unknown, they find themselves confronted with the ultimate, defining fate of all humankind.At once a story about love among men and a timeless meditation on loss, grief, and the longing to outlast death, Gilgamesh is at its core one of the oldest and most majestic depictions of human resilience and dignity.Now, in the hands of Simon Armitage, poet laureate of the United Kingdom, this primeval epic swells and flows in rhythmic, contemporary English with a vitality and immediacy that only a genuinely poetic rendering can achieve. Grounded in the latest scholarship but always propulsively readable, Armitage’s version brings the ancient text to new life, offering a new generation of readers a thrilling portal into the very dawn of storytelling.PRAISE FOR SIMON ARMITAGE“Simon Armitage . . . continues the tradition of great poet-translators such as Edward FitzGerald, Arthur Waley, and Seamus Heaney."—John Ashbery“He reminds me of early Auden, a comparison that doesn’t strike me as extravagant."—Peter Sansom, The Poetry Business“Simon Armitage’s work is earthed—no matter what he is writing about, his poetry is never shallow-rooted.” —Kate Kellaway, GuardianPraise for Sir Gawain and the Green Knight“Drives the force of the old poem through the green Armitage fuse. Highly charged work” —Seamus Heaney, Nobel Prize–winning translator of Beowulf“Full of make-believe and festivity, this wonderful narrative poem possesses a Mozartean lightness and wit. . . . Deftly replicate[s] much of the feel and rhythm of the Middle English original.” —Michael Dirda, Wall Street JournalPraise for Pearl“[Armitage] conveys that feeling of the almost-but-not-quite comprehensible, the feeling that can make medieval art at once eerie and wonderful.”—Jo Livingstone, The New Yorker“Armitage continues to contribute the same service to culture as Carson, Heaney, Hughs and Graves; he gives blood transfusions to the texts which deserve preservation.” —Huffington Post [UK]

An allegory inspired by the grisly neo-fascist campaigns of its day, The Twenty Days of Turin has enjoyed a cult following in Italy for forty years. Now, in a fretful new age of "lone-wolf" terrorism fuelled by social media, we find uncanny resonances in Giorgio De Maria’s vision of mass fear: a mute, palpitating dread that seeps into every moment of daily existence. With its stunning anticipation of the Internet—and the apocalyptic repercussions of oversharing—this bleak, prescient story is more disturbingly pertinent than ever.Brilliantly translated into English for the first time by Ramon Glazov, The Twenty Days of Turin establishes De Maria’s place among the literary ranks of Italo Calvino and beside classic horror masters. Hauntingly imaginative, with viscerally chilling prose, the novel is an eerily clairvoyant magnum opus.

A prevailing narrative goes: Bob Dylan, the voice of Sixties counter-culture, disappeared in the 1970s, then released arguably the worst music of his career in the 1980s—only to be resurrected in 2016, when he was awarded the Nobel Prize in Literature. Dylan’s concerts once began with an announcer intoning a deadpan version of just such a narrative. That is not this story. Drawing on thousands of pages of archival materials, After the Flood reveals Dylan’s output during the last three decades as his most ambitious yet. Across an abecedarium of chapters surveying his albums, performances, films and books since the early 1990s, celebrated poet and biographer Robert Polito shows how Dylan evolved a late musical style that has embodied and resisted its era–interweaving Ovid and Americana, film noir and the Civil War. Imaginatively researched, After the Flood is both an essential revision and continuation of the Dylan saga.

"Remarkably, a nineteen-year-old, writing her first novel, penned a tale that combines tragedy, morality, social commentary, and a thoughtful examination of the very nature of knowledge", writes Leslie S. Klinger. Mary Shelley’s Frankenstein is often reductively dismissed as a monster film or a cautionary tale about experimental science gone haywire. Illuminating every hidden dimension of the "first truly modern myth", Klinger does for Shelley’s story of early nineteenth-century horror what he did for Sherlock Holmes, Dracula and H.P. Lovecraft, bringing this gothic tale to nightmarish life by reproducing the original text with the most lavishly illustrated and comprehensively annotated edition to date.

“Simmering with rage, propulsive and laugh out loud funny” (Catriona Ward), Victorian Psycho hacked its way into the hearts of readers and critics alike. In this gruesome tale, Winifred Notty arrives at Ensor House prepared to play the perfect governess. But long, listless days spent within the estate’s dreary confines come with an intimate knowledge of the perversions and pathetic preoccupations of the Pounds family, and Winifred struggles to stifle the violent compulsions of her past. Blissfully, Christmas is coming, and she has very special gifts planned for these dear, ugly souls…One of the most horrifyingly beloved novels of the year, Victorian Psycho “lives up to its literary namesakes, delivering unrelenting gore and shock” (Jac Jemc, New York Times Book Review) and affirming Virginia Feito as a master of the darkest craft.

Finally in paperback and featuring seven new song commentaries, the #1 New York Times bestseller celebrates the creative life and unparalleled musical genius of Paul McCartney.Spanning sixty-four years—from his early days in Liverpool, through the historic decade of The Beatles, to Wings and his solo career—Paul McCartney’s The Lyrics revolutionized the way artists write about music. An unprecedented “triumph” (Times UK), this handsomely designed volume pairs the definitive texts of over 160 songs with first-person commentaries on McCartney’s life, revealing the diverse circumstances in which songs were written; how they ultimately came to be; and the remarkable, yet often delightfully ordinary, people and places that inspired them. The Lyrics also includes:· A personal foreword by McCartney· An unprecedented range of songs, from beloved standards like “Band on the Run” to new additions “Day Tripper” and “Magical Mystery Tour”· Over 160 images from McCartney’s own archivesEdited and introduced by Pulitzer Prize-winning poet Paul Muldoon, The Lyrics is the definitive literary and visual record of one of the greatest songwriters of all time.

“At one point they tried to calculate when time began, when exactly the earth had been created,” begins Time Shelter’s enigmatic narrator, who will go unnamed. “In the mid–seventeenth century, the Irish bishop Ussher calculated not only the exact year, but also a starting date: October 22, 4,004 years before Christ.” But for our narrator, time as he knows it begins when he meets Gaustine, a “vagrant in time” who has distanced his life from contemporary reality by reading old news, wearing tattered old clothes, and haunting the lost avenues of the twentieth century.In an apricot-colored building in Zurich, surrounded by curiously planted forget-me-nots, Gaustine has opened the first “clinic for the past,” an institution that offers an inspired treatment for Alzheimer’s sufferers: each floor reproduces a past decade in minute detail, allowing patients to transport themselves back in time to unlock what is left of their fading memories. Serving as Gaustine’s assistant, the narrator is tasked with collecting the flotsam and jetsam of the past, from 1960s furniture and 1940s shirt buttons to nostalgic scents and even wisps of afternoon light. But as the charade becomes more convincing, an increasing number of healthy people seek out the clinic to escape from the dead-end of their daily lives—a development that results in an unexpected conundrum when the past begins to invade the present. Through sharply satirical, labyrinth-like vignettes reminiscent of Italo Calvino and Franz Kafka, the narrator recounts in breathtaking prose just how he became entrenched in a plot to stop time itself.“A trickster at heart, and often very funny” (Garth Greenwell, The New Yorker), prolific Bulgarian author Georgi Gospodinov masterfully stalks the tragedies of the last century, including our own, in what becomes a haunting and eerily prescient novel teeming with ideas. Exquisitely translated by Angela Rodel, Time Shelter is a truly unforgettable classic from “one of Europe’s most fascinating and irreplaceable novelists” (Dave Eggers).

In Jesus and John Wayne, a seventy-five-year history of American evangelicalism, Kristin Kobes Du Mez demolishes the myth that white evangelicals “held their noses” in voting for Donald Trump. Revealing the role of popular culture in evangelicalism, Du Mez shows how evangelicals have worked for decades to replace the Jesus of the Gospels with an idol of rugged masculinity and Christian nationalism in the mould of Ronald Reagan, Mel Gibson and above all, John Wayne. As Du Mez observes, the beliefs at the heart of white evangelicalism today preceded Trump and will outlast him.

From “the great German-language writer of his generation” (Joshua Cohen) comes the second novel of Christian Kracht’s career narrated by an eponymous “Christian” (the first was his bestselling debut, Faserland). Eurotrash begins in Zurich, where Christian has returned to care for his eighty-year-old mother after her discharge from a psychiatric institution. Confronting the dark shadows of his family’s past—particularly his grandfather’s strong ties with the Nazi regime—and struggling to navigate the emotionally wrenching terrain of his relationship with his mother, he sets off on a road trip with her. As they traverse Switzerland together in a hired cab, mother and son attempt to give away her vast fortune, stuffed in a large plastic bag, to random strangers.By turns disturbing, disorienting, hilarious, and poignant, and brilliantly rendered in English by prize-winning translator Daniel Bowles, Eurotrash tells an intensely personal and unsparingly critical story of contemporary culture; a story that shows us a writer at the pinnacle of his powers of insight and observation.

Known as opera’s “disrupter-in-residence”, Yuval Sharon has never adhered to the art form’s conventions. In his many productions in both the United States and Europe, he challenges the perception of opera as aloof by, among other things, urging the performance of operas in “non-places”, encouraging the use of amplification and shuffling the structure of classic works. A New Philosophy of Opera is itself a work of art with profound philosophical implications that will stand the test of time.

So essential is Crime and Punishment (1866) to global literature and to our understanding of Russia that it was one of the three books Edward Snowden, while confined to the Moscow airport, was given to help him absorb the culture. In a work that best embodies the existential dilemmas of man’s will to power, an impoverished student, sees himself as extraordinary and therefore free to commit crimes.English translators have struggled with excessive literalism and no translation is felicitous to the literary nuances of the original prose. Now, Michael Katz addresses these challenges with new insights into the linguistic richness, the subtle tones and the cunning humour in this sparkling rendition of Fyodor Dostoevsky’s masterpiece.

This new Aeneid—the first collaborative translation of the poem in English—is rendered in an unrhymed iambic pentameter that engages modern readers while preserving the epic dignity and pathos of the original. Scott McGill and Susannah Wright’s version faithfully conveys the poem’s delicate balance between its triumphant celebration of the Roman Empire and its sensitivity to the human costs of antiquity’s most powerful and influential society. The result is a poem in English every bit as complex, inviting and affecting as the Latin original. With a rich introduction from Emily Wilson, and the full complement of maps and supporting material that have made Wilson’s Homer translations the standard for our time, this gorgeous edition of Rome’s founding epic will capture the imaginations and stir the souls of a new generation of readers.

Adapting the lessons gleaned from over two decades in government intelligence, Philip Mudd has created a necessary guide to how we approach complex and high-stakes decisions. Filled with logical yet counter-intuitive answers to both ordinary and extraordinary problems—whether it is deciding which university to attend or how to pivot a failing business model—Mudd’s "HEAD" (High Efficiency Analytic Decision Making) methodology exposes the dangers of searching for a quick solution and why it is so vital to ask the right questions first. It is a revolutionary and business-friendly new technique, one that has the potential to change the way we live and work.

Boldly lyrical and fiercely honest, Mahogany L. Browne’s Chrome Valley offers an intricate portrait of Black womanhood in America. “We praise their names / & the hands that write / Praise the mouth that speaks,” she writes in tribute to those who came before her.Browne captures a quintessential girlhood through the pleasures and pangs of young love: the thrill of skating hip to hip at the roller rink, the heat of holding hands in the dark, and, sometimes, the sting of a palm across the cheek. Friendship, too, comes with its own complex yearnings: “you ain’t had freedom / ’til you climb on bus 62 / & head to the closest mall / for a good seat at the girl fight.”Reflections of Browne’s mother, Redbone, bolster the collection with moments of unwavering strength: “give me my mother’s bone structure / & her gap tooth slaughter / give me her spine—Redbone got a spine for the world.” Other moments explore the inherent anxieties shared among Black mothers, rhythmically intoning names like the tolling of a church bell: “Because Kadiatou Diallo / Because Sybrina Fulton / Because Valeria Bell / Because Mamie Till.”The characters in Chrome Valley grapple with the legacies of inherited trauma but also revel in the beauty of the undaunted self-determination passed down from Black woman to Black woman. Transcendent and grounded, funny and furious, Chrome Valley brings depth to a movement, solidifying Mahogany L. Browne as one of the most significant poetic voices of our time.

A seminal work that combines ground-breaking philosophy with searing flights of memoir, Afropessimism presents the tenets of an increasingly influential intellectual movement that theorises blackness through the lens of perpetual slavery. Rather than interpreting slavery through a Marxist framework of class oppression, Frank B. Wilderson III, demonstrates that the social construct of slavery is hardly a relic of the past but an almost necessary force in our civilisation that flourishes today, and that Black struggles cannot be conflated with the experiences of any other oppressed group. In mellifluous prose, he juxtaposes his seemingly idyllic Minneapolis upbringing with the harshness later encountered, whether in Berkeley or Soweto. Afropessimism reverberates with wisdom and painful clarity in the fractured world we inhabit.

Unless you aspire to perfection—to be, in short, a Cordon Bleu—you do not have to be born with a chef's hat on your head to become a good cook. All you need is to love to cook, pay close attention to details, form the habit of being precise, and choose only the finest materials. The best way to learn, of course, is to work under a capable cook; but even without that experience, with a book like mine to guide you, if you are serious, you can learn to cook.—from the preface

When Danielle Allen discovered a parchment of the Declaration of Independence buried away in Sussex, little did she know that she had stumbled onto a larger story that fundamentally changes our understanding of eighteenth-century British and American history. Demonstrating in Radical Duke that the Age of Revolution began neither with Boston patriots nor with Parisian Jacobins, Allen shows how Charles Lennox, the progressive Third Duke of Richmond, along with radical pamphleteer Thomas Paine secretly fomented a political revolution in which they supported their rebelling American brethren, led the first proposals for universal manhood suffrage and argued for freedom of the press and religious toleration. Radical Duke sets the historical record straight, conjoining radical thought in America and Britain and revealing the complex foundation of modern constitutional monarchy and our own age.Danielle Allen’s Our Declaration (ISBN 9780871406903) was praised as:“The book is a tour de force of close textual analysis.” – The New York Review of Books“Our Declaration sets forth a bold thesis...” – The New York Times Book Review

Published a decade before his International Booker Prize–winning Time Shelter, Georgi Gospodinov’s The Physics of Sorrow has become an underground cult classic. Finding strange solace in the myth of the Minotaur, a man named Georgi reconstructs the story of his life like a labyrinth, meandering through the past to find the melancholy child at the center of it all. With profound wit and empathy, he catalogues curious instances of abandonment, spanning from antiquity to the Anthropocene; recounts scenes of a turbulent boyhood in 1970s Bulgaria, spent mostly in a basement; and charts a bizarre run-in with an eccentric flaneur named Gaustine. Exquisitely translated by Angela Rodel, and exhibiting his signature audacious style, this expansive work affirms Gospodinov as “one of Europe’s most fascinating and irreplaceable novelists” (Dave Eggers).

Aristophanes’s satirical masterpieces, immensely popular with the Athenian public, were frequently crude, even obscene. His plays revealed to his contemporaries, and now teach us today, that when those in power act obscenely, patriotic obscenity is a fitting response. Until now English translations have failed to capture Aristophanes’s poetic genius. Aaron Poochigian, the first poet-classicist to tackle these plays in a generation, offers “effortlessly readable and genuinely theatrical” (Simon Armitage) versions of four of Aristophanes’s most entertaining, provocative and lyrically ingenious comedies, finally giving twenty-first-century readers a sense of the subversive pleasure audiences felt when these works were first performed on the Athenian stage.

In Jesus and John Wayne, historian Kristin Kobes Du Mez showed how evangelicals made Jesus into an idol of rugged masculinity and Christian nationalism. Now, she unearths the roots of today’s Instagram-ready culture of white Christian femininity.Live Laugh Love traces how nineteenth-century New Thought, a movement that championed the power of the mind to shape reality, combined with holiness evangelicalism to create the world inhabited by millions of Christian women. Du Mez introduces us to religious innovators who taught that positivity was the secret to spiritual and material success and reveals how they saturated consumer culture through mum-blogs, romance novels, Target aisles and pastel wall art. Marketed as empowerment, these products and slogans elevate vulnerability and domesticity, and in the process draw women into manipulative and abusive systems. In this brilliant recasting of modern American Christianity, Du Mez unearths the hidden origins of this reactionary moment.Kristin Kobes Du Mez’s Jesus and John Wayne (9781631499050) was praised as:"Kristin Kobes Du Mez takes on [the Religious Right’s] version of toxic masculinity… Du Mez writes from the inside..." – Anne Nelson, Times Literary Supplement

In the half a square mile of decay and demolition that was England’s Saxon capital, eternity is loitering between the firetrap housing projects. Embedded in the grubby amber of the district’s narrative among its saints, kings, prostitutes, and derelicts a different kind of human time is happening, a soiled simultaneity that does not differentiate between the petrolcolored puddles and the fractured dreams of those who navigate them. Fiends last mentioned in the second-century Book of Tobit wait in urine-scented stairwells, the delinquent specters of unlucky children undermine a century with tunnels, and in upstairs parlors laborers with golden blood reduce fate to a snooker tournament.An opulent mythology for those without a pot to piss in, through the labyrinthine streets and pages of Jerusalem tread ghosts that sing of wealth and poverty; of Africa, and hymns, and our threadbare millennium. They discuss English as a visionary language from John Bunyan to James Joyce, hold forth on the illusion of mortality post-Einstein, and insist upon the meanest slum as Blake’s eternal holy city.Fierce in its imagining and stupefying in its scope, Alan Moore’s epic novel, Jerusalem, is the tale of Everything, told from a vanished gutter.

Rebecca Newberger Goldstein argues that the need to matter is the source of our greatest progress and our deepest conflicts: the very crux of the human experience. Goldstein brings this profound idea to life through stories of people pursuing their unique mattering projects: the ragtime genius Scott Joplin, whose dedication to his ignored masterpiece, Treemonisha, ended in tragedy; an impoverished Chinese woman who rescued abandoned newborns; and a skinhead who as a young man dealt racial violence to feel he mattered but ultimately renounced that past. These portraits illuminate how our instinct for significance shapes identity, relationships, culture and conflict–and they point the way to a future where we might see there is enough mattering to go around. Deeply revealing and insightful, The Mattering Instinct is for those curious about why we seek to matter to ourselves and others–and how this insatiable longing that drives us apart may be the key to understanding each other.

The digital era is beset by distraction, and it feels like things are only getting worse. At times like these, the distant past beckons as a golden age of attention. We fantasise about escaping our screens. We dream of recapturing the quiet of a world with less noise. We imagine retreating into solitude and singlemindedness, almost like latter-day monks.But although we think of early monks as master concentrators, a life of mindfulness did not, in fact, come to them easily. As historian Jamie Kreiner demonstrates in The Wandering Mind, their attempts to stretch the mind out to God—to continuously contemplate the divine order and its ethical requirements—were all-consuming, and their battles against distraction were never-ending. Delving into the experiences of early Christian monks living in the Middle East, around the Mediterranean, and throughout Europe from 300 to 900 CE, Kreiner shows that these men and women were obsessed with distraction in ways that seem remarkably modern. At the same time, she suggests that our own obsession is remarkably medieval. Ancient Greek and Roman intellectuals had sometimes complained about distraction, but it was early Christian monks who waged an all-out war against it. The stakes could not have been higher: they saw distraction as a matter of life and death.Even though the world today is vastly different from the world of the early Middle Ages, we can still learn something about our own distractedness by looking closely at monks’ strenuous efforts to concentrate. Drawing on a trove of sources that the monks left behind, Kreiner reconstructs the techniques they devised in their lifelong quest to master their minds—from regimented work schedules and elaborative metacognitive exercises to physical regimens for hygiene, sleep, sex and diet. She captures the fleeting moments of pure attentiveness that some monks managed to grasp, and the many times when monks struggled and failed and went back to the drawing board. Blending history and psychology, The Wandering Mind is a witty, illuminating account of human fallibility and ingenuity that bridges a distant era and our own.

“Much in history is headlong but few grand transformations have been more precipitate or more heedless than the rise of... the Artificial State,” writes Jill Lepore in this passionate account of how rule by machine has ravaged the world. Inspired by Hannah Arendt’s The Origins of Totalitarianism, which argued in 1951 that the machinery of modern life was reshaping the very fundamentals of human existence, Lepore, profoundly disturbed by the technology revolution and by the soulless inundation of artificial intelligence, unfurls a new history for our own twenty-first century.Building on an essay in The New Yorker in 2024, Lepore’s clarion call traces our increasing dependence on and strangulation by data. Political campaigns, awash in an avalanche of fake bots, have been reduced to attention-mining algorithms, while multinational media corporations dictate public discourse, and the era of the liberal nation-state seems to be coming to a rapid end, replaced by billionaire technocrats reliant on autocracy and the tools of AI.With Orwellian overtones, The Rise and Fall of the Artificial State demonstrates how technology has corroded global democracy, leading to the destruction of both human community and capacity for self-government, creating a new form of AI government, a digital citizen’s assembly, where AI will recommend the course of action to humans in place of human-run legislatures. Especially sobering with this proliferation of “dizzying, ever-changing schemes, prophesies, and predictions” is that the Artificial State has come at the expense of the natural world, leading to catastrophic loss of wildlife habitat and biodiversity.Deliberately alarming, The Rise and Fall of the Artificial State, despite its abundance of dire facts, is not a funeral dirge; rather, it’s an inspiring wake-up call, written in Lepore’s typically elegiac prose, which demonstrates that nothing about the Artificial State was inevitable, for it is a “government without consent, even government without humans.” It can, Lepore asserts, be dismantled. Other heinous systems, like feudalism, fascism, and slavery, have also been dismantled, but disassembly requires identifying the parts, tracing the sources. It requires telling a new history. This is the purpose of The Rise and Fall of the Artificial State.

“The first thing we did was change our names. We were going to be Sappho,” so begins this intrepid debut novel, centuries after the Greek poet penned her lyric verse. Ignited by the same muse, a myriad of women break from their small, predetermined lives for seemingly disparate paths: in 1892, Rina Faccio trades her needlepoint for a pen; in 1902, Romaine Brooks sails for Capri with nothing but her clotted paintbrushes; and in 1923, Virginia Woolf writes: “I want to make life fuller and fuller.” Writing in cascading vignettes, Selby Wynn Schwartz spins an invigorating tale of women whose narratives converge and splinter as they forge queer identities and claim the right to their own lives. A luminous meditation on creativity, education, and identity, After Sappho announces a writer as ingenious as the trailblazers of our past.“This book is splendid: Impish, irate, deep, courageous. . . . Brava!”—Lucy Ellmann, author of Ducks, Newburyport

Dante’s epic story of a man’s journey from darkness to the revelation of divine light is one of the greatest works of Western literature. Because of its length and its language, it is viewed as forbidding. Undergraduate courses often cherry-pick from the Inferno and barely glance at Purgatorio and Paradiso.In The Essential Commedia, Prue Shaw fillets the epic to create an absorbing tour of all three realms of the afterlife. Extensive passages, astutely excerpted, are offered in translation alongside the original, making it easy to read Dante in English, Italian or both. The translation into modern, idiomatic English avoids archaisms, padding and syntactic contortions. With no loss of rigour, a complex text is rendered accessible by a teacher whose decades of experience enable her to highlight those aspects of the poem readers will appreciate.Prue Shaw’s, Reading Dante, was praised as:"[an] experience of a lifetime[...]"—The Spectator"Writing an introduction [to The Divine Comedy] for the general reader is not an easy task. Prue Shaw has done this in a way that manages to be at the same time scholarly, compelling and original."—The Times Literary Supplement[Shaw] keeps us so enthralled with her compelling and fast-paced prose that the only reason one would want to put down this book is to open the one she is talking about."—Times Higher Education

Arriving as a young writer in an ancient Dutch town, Benjamin Moser found himself visiting—casually at first, and then more and more obsessively—the country’s great museums. Inside these old buildings, he discovered the remains of the Dutch Golden Age and began to unearth the strange, inspiring, and terrifying stories of the artists who gave shape to one of the most luminous moments in the history of human creativity.Beyond the sainted Rembrandt—who harbored a startling darkness—and the mysterious Vermeer, whose true subject, it turned out, was lurking in plain sight, Moser got to know a whole galaxy of geniuses: the doomed virtuoso Carel Fabritius, the anguished wunderkind Jan Lievens, the deaf prodigy Hendrik Avercamp. And through their artwork, he got to know their country, too: from the translucent churches of Pieter Saenredam to Paulus Potter’s muddy barnyards, and from Pieter de Hooch’s cozy hearths to Jacob van Ruisdael’s tragic trees.Year after year, as he tried to make a life for himself in the Netherlands, Moser found friends among these centuries-dead artists. And he found that they, too, were struggling with the same questions that he was. Why do we make art? What even is art, anyway—and what is an artist? What does it mean to succeed as an artist, and what does it mean to fail? Is art a consolation—or a mortal danger?The Upside-Down World is an invitation to ask these questions, and to turn them on their heads: to look, and then to look again. This is Holland and its great artists as we’ve never seen them before. And it’s a sumptuously illustrated, highly personal coming-of-age-story, twenty years in the making: a revealing self-portrait by one of the most acclaimed writers of his generation.