Micah L. Auerbach, A Storied Sage: Canon and Creation in the Making of a Japanese Buddha (Chicago & London: U. of Chicago Press, 2016).
Gyles Brandreth, ed., Oxford Dictionary of Humorous Quotations, 5th. ed. (Oxford: Oxford U. Press, 2013) ("I guess I just prefer to see the dark side of things. The glass is always half empty. And cracked. And I just cut my lip on it. And chipped a tooth."--Janeanne Garofalo).
Benjamin H. D. Buchloh, Formalism and Historicity: Models and Methods in Twentieth-Century Art (Cambridge, Massachusetts, & London, England: An October Book/MIT Press, 2015) (From the "Introduction": "One of the questions to be asked, then, is whether any criteria of judgment whatsoever might be reinstitution. And, if so, to which registers of social and subjective experience and construction they could possibly refer. Yet simply by invoking the term, 'criteria,' it becomes instantly evident that the very concept is charged with a profoundly reactionary structuring of experience. After all, the criteria of distinction, of qualitative differentiation, have always been dictated from above, from the judgment seat of power. We have only to remember that it was always bourgeois white men such as T. S Eliot and Gottfried Benn in the first half of the twentieth century who insisted on the laws of aesthetic quality when confronted for the first time with the possibility of emerging proletarian practices of cultural production. And, later, in the 1960s and 70s, when feminist artist practices emerged, it was once again the patriarchal authorities who attacked feminist and politicized practices most vociferously. More recently, as artistic practices have emerged increasingly from outside the European and North American orders, the call for criteria of quality has risen anew from the voice of white make patriarchal power, as always in the name of defending tradition. Under theses historical circumstances, could it be worthwhile, or even possible, to reconsider the question of the criteria of judgment and evaluation--and, if so, what function could a renewed definition of criteria possibly serve?" Id. at xxxvi.).
Francois-Rene de Chateaubriand, Memoirs from Beyond the Tomb, selected and translated by Robert Baldick, introduced by Philip Mansel (London, The Folio Society, 2016).
Norma Clarke, Brothers of the Quill: Oliver Goldsmith in Grub Street (Cambridge, Massachusetts, & London, England: Harvard U. Press, 2016).
Albrecht Durer (Illustrator) & Hans Holbein (Illustrator), The Book of Common Prayer, foreward by Sir Patrick Cormack (London: The Folio Society, 2004).
Susan Faludi, In the Darkroom (New York: Metropolitan Books/Henry Holt, 2016).
Jhumpa Lahiri, In Other Words, translated from the Italian by Ann Goldstein (New York: Knopf, 2016).
Arthur O. Lovejoy, The Great Chain of Being: A Study of the History of an Idea (The William James Lectures Delivered at Harvard University, 1933) (Cambridge, Massachusetts, & London, England: Harvard U. Press, 1964).
John McWhorter, Words on the Move: Why English Won't--and Can't--Sit Still (Like, Literally) (New York: Henry Holt, 2017).
Anka Muhlstein, The Pen and the Brush: How Passion for Art Shaped Nineteenth-Century French Novels, translated from the French by Adriana Hunter (New York: Other Press, 2016).
Nostradamus (Michel de Nostredame), The Prophecies (A Dual-Language Edition with Parallel Text), translated from the French by Richard Sieburth, historical introduction and Supplementary Material by Stephane Gerson (New York: Penguin Classics/Penguin Books, 2012).
Christopher Ricks & Jim McCue, eds, The Poems of T. S. Eliot, Volume II: Practical Cats and Further Verses (The Annotated Text) (Baltimore: Johns Hopkins U. Press, 2015).
Ruth Scurr, John Aubrey, My Own Life (New York: New York Review Books, 2016.
Susan Rubin Suleiman, Authoritarian Fictions: The Ideological Novel as a Literary Genre (Princeton: Princeton U. Press, 1993).
Anne Umland & Catherine Hug, Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Directions (New York: The Museum of Modern Art New York/Kunsthaus Zurich, 2016).
