Best Selling Books by Henry Miller

Norman Mailer, without a doubt the most important literary figure of his generation, here celebrates the genius of "the greatest living American writer" from an earlier generation in an extended essay of unequalled brilliance as well as in a generous selection from Miller's work to point the way to "the center of the power of his writing." --from front flap.

Exposing the underbelly of Paris and its world of sex, prostitutes and destitution. This groundbreaking narrative, has outlived its contemporary accusations of obscenity, demonstrating that stylistically and socially Henry Miller was ahead of his time.

"This little volume, originally written by hand in a printer's dummy, was intended exclusively for my friend Emil Schnellock."--Preface.

"I always carry over 40,000 gold francs about with me in my belt. They weight about 40 pounds, and I am beginning to get dysentery from the load." A collection of stories and excerpts from longer works.

Few topics have inspired as much international furor and misinformation as the development and distribution of genetically altered foods. For thousands of years, farmers have bred crops for their resistance to disease, productivity, and nutritional value; and over the past century, scientists have used increasingly more sophisticated methods for modifying them at the genetic level. But only since the 1970s have advances in biotechnology (or gene-splicing to be more precise) upped the ante, with the promise of dramatically improved agricultural products—and public resistance far out of synch with the potential risks. In this provocative and meticulously researched book, Henry Miller and Gregory Conko trace the origins of gene-splicing, its applications, and the backlash from consumer groups and government agencies against so-called Frankenfoods—from America to Zimbabwe. They explain how a happy conspiracy of anti-technology activism, bureaucratic over-reach, and business lobbying has resulted in a regulatory framework in which there is an inverse relationship between the degree of product risk and degree of regulatory scrutiny. The net result, they argue, is a combination of public confusion, political manipulation, ill-conceived regulation (from such agencies as the USDA, EPA, and FDA), and ultimately, the obstruction of one of the safest and most promising technologies ever developed—with profoundly negative consequences for the environment and starving people around the world. The authors go on to suggest a way to emerge from this morass, proposing a variety of business and policy reforms that can unlock the potential of this cutting-edge science, while ensuring appropriate safeguards and moving environmentally friendly products into the hands of farmers and consumers. This book is guaranteed to fuel the ongoing debate over the future of biotech and its cultural, economic, and political implications.

One of Henry Miller's most luminous statements of his personal philosophy of life, Stand Still Like the Hummingbird, provides a symbolic title for this collection of stories and essays. Many of them have appeared only in foreign magazines while others were printed in small limited editions which have gone out of print. Miller's genius for comedy is at its best in "Money and How It Gets That Way"--a tongue-in-cheek parody of "economics" provoked by a postcard from Ezra Pound which asked if he "ever thought about money." His deep concern for the role of the artist in society appears in "An Open Letter to All and Sundry," and in "The Angel is My Watermark" he writes of his own passionate love affair with painting. "The Immorality of Morality" is an eloquent discussion of censorship. Some of the stories, such as "First Love," are autobiographical, and there are portraits of friends, such as "Patchen: Man of Anger and Light," and essays on other writers such as Walt Whitman, Thoreau, Sherwood Anderson and Ionesco. Taken together, these highly readable pieces reflect the incredible vitality and variety of interests of the writer who extended the frontiers of modern literature with Tropic of Cancer and other great books.

This study is not literary criticism but a fascinating chapter in Miller's own spiritual autobiography. The social function of the creative personality is a recurrent theme with Henry Miller, and this book is perhaps his most poignant and concentrated analysis of the artist's dilemma.

Henry Miller's Rosy Crucifixion, his second major trilogy, took more than 10 years for the author to complete. Beginning in 1949 with Sexus, a work so controversial all of Paris was abuzz with L'Affaire Miller, (and publisher Maurice Girodias saw himself threatened with jail), following in 1952 with Plexus, and finally concluding with 1959's Nexus, the three works are a dazzling array of scenes, sexual encounters and ideas, covering Miller's final days in NY, his relationship with June Miller and her lover, his take on the arts, his favorite writers, his thoughts, his insights, his days and his nights, finally ending with a glorious farewell to the life he'd known and an anticipation of the life he would lead.

In his great triptych "The Millennium," Bosch used oranges and other fruits to symbolize the delights of Paradise. In his great triptych “The Millennium,” Bosch used oranges and other fruits to symbolize the delights of Paradise. Whence Henry Miller’s title for this, one of his most appealing books; first published in 1957, it tells the story of Miller’s life on the Big Sur, a section of the California coast where he lived for fifteen years. Big Sur is the portrait of a place—one of the most colorful in the United States—and of the extraordinary people Miller knew there: writers (and writers who did not write), mystics seeking truth in meditation (and the not-so-saintly looking for sex-cults or celebrity), sophisticated children and adult innocents; geniuses, cranks and the unclassifiable, like Conrad Moricand, the “Devil in Paradise” who is one of Miller’s greatest character studies. Henry Miller writes with a buoyancy and brimming energy that are infectious. He has a fine touch for comedy. But this is also a serious book—the testament of a free spirit who has broken through the restraints and clichés of modern life to find within himself his own kind of paradise.

Aller Retour New York is truly vintage Henry Miller, written during his most creative period, between Tropic of Cancer (1934) and Tropic of Capricorn (1939). Aller Retour New York is truly vintage Henry Miller, written during his most creative period, between Tropic of Cancer (1934) and Tropic of Capricorn (1939). Miller always said that his best writing was in his letters, and this unbuttoned missive to his friend Alfred Perlès is not only his longest (nearly 80 pages!) but his best—an exuberant, rambling, episodic, humorous account of his visit to New York in 1935 and return to Europe aboard a Dutch ship. Despite its high repute among Miller devotees, Aller Retour New York has never been easy to find. It was first brought out in Paris in 1935 in a limited edition, and a second edition, “Printed for Private Circulation Only,” was issued in the United States ten years later. It is now available in paperback as a Revived Modern Classic, with an introduction by George Wickes that illuminates the people and personal circumstances which inform Aller Retour New York.

Nexus, the last book of Henry Miller's epic trilogy The Rosy Crucifixion, is widely considered to be one of the landmarks of American fiction. In it, Miller vividly recalls his many years as a down-and-out writer in New York City, his friends, mistresses, and the unusual circumstances of his eventful life.

The intimacy between Nin and Miller, first disclosed in Henry and June, is documented further in this impassioned exchange of letters between the two controversial writers.

"In this, his first extant novel, Henry Miller made his earliest full-fledged attempt at autobiographical fiction, a literary form he was later to perfect in Paris." "Uncovered along with Crazy Cock in 1988 by Miller biographer Mary V. Dearborn, Moloch is based on Miller's years at Western Union and his first marriage. Set in the rapidly changing New York City of the early 1920s, the novel has as its hero the rough-and-tumble Dion Moloch, a man filled with anger and despair. Stuck in a demeaning job and an acrimonious homelife, Moloch escapes to the streets, only to be assaulted by a land that he despises - the transforming Brooklyn and its ever-increasing ethnic sights, sounds, and smells. Moloch strikes out at everything that he hates, battling against a world that threatens to overwhelm and then destroy him." "Brutal and shocking, sometimes awkward and rambling, Moloch displays Miller's first steps toward the motif that he was to make his hallmark: the scathingly direct hero striving for an unflinchingly honest view of himself in a world created out of the writer's life."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved