Paul Dry Books

"Cries in the New Wilderness presents a completely new view of the spiritual life of Russian society…The book is full of tragicomic tension and brings to mind the multivoiced novels of Dostoevsky."—Ilya Kabakov

Inside the disintegrating Soviet Union, a professor compiles "The New Sectarianism," a classified manual of manifestos, articles, and sermons by members of banned religious sects—from the mystical Thingwrights and the absurdist Folls to the messianic Khazarists and the doomsday Steppies. Cries in the New Wilderness is filled with the voices of these groups. As a counterpoint to this medley of comic, grotesque, poetic, banal, poignant, and harrowing voices is the voice of the commentator, Professor Gibaydulina, who struggles to maintain the objectivity of her scientific atheism in the face of an amazing variety of religious experiences. Epstein's depiction of the inner drama of Gibaydulina's response to the crumbling of the Soviet Union and her quest for a new, creative atheism adds a tragic note to his polyphonic work.

Mikhail Epstein's Cries in the New Wilderness is a work of extraordinary artistic and philosophical imagination, begun in Moscow in the mid-1980s and now available for the first time in English translation in an expanded version. Drawing on his own participation in Moscow's intellectual associations and in expeditions to study popular religious beliefs in southern Russia and Ukraine, Epstein recreates the spiritual experience of a whole Russian generation. His is not a documentary book, however, but a "comedy of ideas," in which he constructs from the voices he hears in the culture around him the religious and philosophical worldviews of Foodniks and Domesticans, Arkists and Bloodbrothers, Atheans and Good-believers, Steppies and Pushkinians.

An award-winning essayist and critic, Mikhail Epstein has been compared to Jorge Luis Borges for his literary inventiveness and to Walter Benjamin for his acute observation of cultural phenomena. Transcending genres and disciplines, Cries in the New Wilderness is a brilliantly original work, a "virtual document" that illuminates the spiritual condition of the Soviet Union as it reveals unsuspected affinities between Russian and American culture. In the mirror of Soviet society, we recognize our own enthusiasm for alternative spiritual experiences, our worship of technology, our doomsday cults. We may also recognize that we ourselves are participants in many of the sects Mikhail Epstein describes, sects that seem at first fantastic and outlandish, but prove to be the religious basis of our own lives.

"The prolific, inexhaustibly inventive Mikhail Epstein has produced a novel—almost. Cries in the New Wildnerness is fiction, but (according to Epstein's own philosophy of 'possibilism') not untrue: it has merely realized some of the vital potentials of post-atheistic Russian culture, where people thirst for a faith that can sacralize everyday practices while at the same time endorse a transcendent Whole. Whether you do Russia for a living or simply love the spectacle of dullness broken up into a thousand crazy glittering points of light, you will recognize, in reading it, a passion of your own."—Caryl Emerson, Princeton University

"Mikhail Epstein is probably the most important figure in Russian literary theory in the post-Bakhtin, post-Lotman era. What he has to say is of great interest to everyone interested in cultural studies."—Walter Laqueur, Chairman, Center for Strategic and International Studies

"Borgesian in its design, Cries in the New Wilderness is the best example of that rare genre of theological fantasy that strikes a precise equilibrium between search for God and struggle against God."—Alexander Genis, author of Red Bread

Foreword by Wendy Lesser

"This family story is biography, essay, reportage, and history all in one, and at the same time an autobiography of the first rank. An Invisible Country—a brilliant book." —Frankfurter Rundschau

"Stephan Wackwitz travels the path of classical modernity, following the footsteps of Walter Benjamin, W. G. Sebald, and their great archive of ars memoria."—Die Zeit

"Profoundly intelligent…Wackwitz's personal study of his nation's dark heritage is a rare gem."—Publishers Weekly (starred review)

Stephan Wackwitz's family "never spoke about the fact that the scene of their childhood and the site of the century's greatest crime were separated by nothing more than a longish walk and barely a decade." With insight and wit, Wackwitz breaks this silence in An Invisible Country, a learned meditation on twentieth-century German history as viewed through the prism of one family's story. Writing of his grandfather (born in 1893), his father (1922), and himself (1952), Wackwitz places himself in the historical and emotional landscape of the "invisible country" surrounding Anhalt in Upper Silesia, a town ten kilometers from Auschwitz, and the site of his grandfather's Lutheran pastorate from 1921 to 1933.

Three historical periods play off one another: the years of the grandfather's active manhood, up through World War II; his old age, bitter and disappointed, spent writing his memoirs, periodically confronted by a baffling and rebellious grandson; and the present, which finds the author—now working and writing in Poland himself—reflecting on his family's and his country's past, and on his own troubled relationship to that history as a young activist in postwar Germany.

The German edition carries the subtitle, Familienroman. By invoking Freud, Wackwitz suggests that the almost universal fantasy on the part of children to believe (for a time, at least) that they came from parents other than their own has particular significance for Germans of his generation.

"The tone of this book is one of subtle melancholy and, sometimes, of subtle mockery. What also emerges clearly is a confident and mature will to see things as they are." —Die Tageszeitung

"A beautiful and melancholy book, rich in substance." —Frankfurter Allgemeine

Stephan Wackwitz was born in Stuttgart in 1952. He joined the Goethe-Institute—Germany's cultural affairs organization—in 1986 and was posted in Frankfurt, New Delhi, Tokyo, Munich, Kraków, and now Bratislava, Slovakia. He is the author of two novels and an essay collection. An Invisible Country is his first book to appear in English.

Stephen Lehmann is a translator and the co-author of a recently published biography of the pianist Rudolf Serkin.

Wendy Lesser is the founding editor of the Threepenny Review and the author of six books of nonfiction. She has received fellowships and awards from the Guggenheim Foundation, the American Academy in Berlin, and the National Arts Journalism Program, among others.

To mark Eva Brann’s fiftieth year on the faculty of St. John’s College in Annapolis, Maryland, twenty-three of her colleagues, friends, and former students have contributed essays, poems, and artwork to The Envisioned Life. They celebrate Brann’s “passion for learning and her deep love of books, her breadth of knowledge and interests, her boundless energy, her mastery of the spoken and of the written word, her virtues of leadership, and her bright and generous spirit.”

Paul Dry Books has published three books by Eva Brann: Homeric Moments, The Music of the Republic, and Open Secrets / Inward Prospects.

These stories, ten in all, take place in Ireland, New York City and Washington, D.C., and Virginia, Texas, and Colorado. The characters represent the various stages of man—from boyhood and youth to the first precincts of old age. John Lionel, who appeared in four stories collected in Julian Mazor's earlier volume, Washington and Baltimore, appears here in four more, chronicling his growing up in Washington.

With a finely tuned ear for speech, the author conveys a vivid sense of place and of the spirit of the times. As he portrays a young boy in trouble, an adolescent in love (mired in self-doubt and imminent heartbreak), a Texas high-school football player, a man on the verge of marriage and one on the verge of divorce, a middle-aged writer struggling to understand his life, and an older man in the sorrowful and complicated throes of marriage to a younger woman, Mazor writes with compassion, irony, and humor, and with a clear-eyed affection for each of these individuals. In his telling, their stories become works of art.

"Mazor presents an entertaining take on the battle of the sexes."—Publishers Weekly

"It is a pleasure to watch Julian Mazor at his work…His style is so transparent that you are unconscious he has one; his words simply go about their business, without fuss or waste or ambiguity…His stories are honest, and his accomplishment impressive."—Geoffrey Wolff, Washington Post

"He can write; his prose says simply that he cares about people, places, things."—New York Times Book Review

Julian Mazor was born in Baltimore and grew up in Washington, D.C. His stories have appeared in the New Yorker, Shenandoah, and the O'Henry Prize collection series. Washington and Baltimore, his earlier collection of stories, was published in 1968.

In her latest book, Eva Brann has collected observations and aphorisms written over more than thirty years. Open Secrets / Inward Prospects divides in a rough but ready way into two sorts: observations about our external world well known to all but not always openly told, and sightings of internal vistas and omens, wherein she looks at herself as a sample soul.

Often the aphorisms balance opposing thoughts, as if the writer were—simultaneously—on both ends of the seesaw.

In the preface Eva Brann describes her manner of composition: "I wrote these thoughts down on about two thousand sheets, two to three thoughts per paper, and I kept them in some used manila envelopes, the earliest of which bore a postmark of 1972."

Eva Brann is a member of the senior faculty at St. John's College in Annapolis, Maryland, where she has taught for over fifty years. She is a recipient of the National Humanities Medal. Her other books include The Logos of Heraclitus, Feeling Our Feelings, Homage to Americans, The Music of the Republic, Un-Willing, Then and Now, and Homeric Moments (all published by Paul Dry Books).

"[A] delightfully literary and eclectic memoir about the manifold joys of birding…Cashwell is a storyteller. A very literate, observant, insightful storyteller."—The Bloomsbury Review

"Reading this book was the next best thing to wandering in the woods with Peter Cashwell hoping to add a rufous-capped warbler to my life list. No, it was better—I could laugh out loud in delight as I turned the pages without fear of scaring the birds."—Katharine Weber, author of The Music Lesson

"An entertaining and witty meditation on birding."—Library Journal

All around the world, birds are the subject of intense, even spiritual, fascination, but relatively few people see the word bird as a verb. Peter Cashwell is one who does, and with good reason: He birds (because he can't help it), and he teaches grammar (because he's paid to). An English teacher by profession and an avid birder by inner calling, Cashwell has written a whimsical and critical book about his many obsessions—birds, birders, language, literature, parenting, pop culture, and the human race.

Cashwell lovingly but irreverently explores the practice of birding, from choosing a field guide to luring vultures out of shrubbery, and gives his own eclectic travelogue of some of the nation's finest bird habitats. Part memoir, part natural history, part apology, The Verb 'To Bird' will enlighten and entertain anyone who's ever wandered around wet fields at the crack of dawn with dog-eared field guides crushed against the granola bars in their pockets. But you don't have to know the field marks of an indigo bunting to appreciate Cashwell's experiences with non-lending libraries, venomous insects, sports marketing, and animated Christmas specials.

"Birders as well as all others interested in birds will enjoy this witty and informative meditation. Declaring himself a victim of birding compulsive disorder, Cashwell, an English teacher in Virginia, does an excellent job of describing his fascination with observing and listening to birds."—Publishers Weekly

"Peter Cashwell possesses one of the rarest of all qualities in a nature writer: an intelligent wit."—Robert Finch, co-editor of The Norton Book of Nature Writing

"A fine literary ramble and a good laugh to boot—no mean feat in a genre that perhaps takes itself to seriously."—John Hanson Mitchell, Editor of Sanctuary, Journal of the Massachusetts Audubon Society

"Writing with humor and gentle environmental rants, Cashwell does for his beloved birds what Bill Bryson did for the Appalachian Trail in his best-selling A Walk in the Woods."—Fredericksburg Free-Lance Star

"[Cashwell] does not stint on the details that matter to birders, but it's his ability to translate the joy of the experience for the non-birder that extends the book's appeal beyond the Nature/Ornithology shelves."—The Charlotte Observer

"Cashwell plays with the language as joyfully and skillfully as a musician coaxes melodies from his instrument."—Rocky Mount Telegram

Birds first captured Peter Cashwell's attention when his mother hung an avian mobile over his crib. He was born in Raleigh, N.C., grew up in Chapel Hill, and graduated from the University of North Carolina, where he took every creative writing course permitted by the English department (and one that wasn't). Cashwell has worked at lots of different jobs—radio announcer, rock musician, comic-book critic, improv comedy accompanist. Now he teaches English and speech at Woodberry Forest School in the foothills of Virginia's Blue Ridge Mountains.

"Gabriel Zaid is a marvelously elegant and playful writer—a cosmopolitan critic with sound judgment and a light touch. He is a jewel of Latin American letters, which is no small thing to be. Read him—you'll see."—Paul Berman

"Mr. Zaid's goal is to capture the variety of anxieties that beset literary fame-seekers, and he does so with a mocking cleverness. A serious theme, though, runs through his book—that with the possible exception of a few agonized painters and musicians, no one can quite touch the exquisite torment of the literary artist as he faces the hazards of fate."— Wall Street Journal

In So Many Books, Gabriel Zaid explored the predicament in which all "unrepentant readers" find themselves today, when "the human race publishes a book every thirty seconds"—more books than any of us can even contemplate, much less read.

Now, in The Secret of Fame, this "playful celebrant of literary proliferation" (New Yorker) examines the methods and motivations of literary fame-seekers from ancient times to the present day. He shines a critical, yet humorous, light on today's book world, whose denizens often find it "more interesting to talk about writers than to read them," and he takes a serious look at the desire for fame and the disillusionment that can engulf those who achieve it. Along the way, Zaid pokes fun at literary and scholarly traditions, including the unwritten rules of quoting other authors, the ascendancy of the footnote, and the practice of publishing "foolishly complete works."

More important to Zaid than the fame of a piece of writing or of its writer is the miracle of great writing. "Fame concentrates society's attention on a few names. This can be a good thing. It keeps us reading the great books, keeps us revisiting the great works of art. But fame can also be a bad thing. It keeps us focused on names, not the living experiences of great works," which "focus our minds, speak to the best in us, and spark our imagination." Though the hunger for fame is not going away, the deeper quest on the part of the maker (as writer, artist, actor, etc.) is to make us "feel more alive, more engaged in meaningful conversation with life." He concludes, "Nobody knows where masterpieces come from. Miracles are miracles. They catch us before we catch them. But we’re not trapped by them—we're set free."

Gabriel Zaid's poetry, essays, social and cultural criticism, and business writings have been widely published throughout the Spanish-speaking world. Zaid is the founder and manager of a consulting firm in Mexico City involved with the publishing business.

Natasha Wimmer is an editor and a translator in New York City. Her recent translations include The Savage Detectives and 2666 by Roberto Bolano andThe Way to Paradise by Mario Vargas Llosa.

"Crosby creates a beautiful portrait of Matthew throughout his years…Crosby's memoir, both humorous and sad, is raw in emotion and unflinching in its honesty."—Publishers Weekly

"Anne Crosby has written a chronicle of caring—an account of a life that is at once painful, mysterious, and transformative. From draconian institutions to matronly neighbors to adoring friends, Matthew, his parents, and his sister travel a road of full of struggle, humor, and the unknown. This book will remind all people of good will of the enormous struggle that so many families have had to endure to gain even the simplest sense of dignity."—Timothy Shriver, Chairman, Special Olympics

From the moment she held him in her arms, Anne Crosby had deep fears for her newborn son. Although the staff at the hospital in London paid no attention to her concerns, her instincts were correct: Matthew had Down syndrome. After struggling with her contradictory feelings, Crosby set about doing whatever she could to help Matthew lead as full a life as possible.

Matthew is the moving, honest, perceptive, and often funny account of the life he made with the help of his mother and many other caring people. With an eye for detail and an acute ear for voices, Crosby describes Matthew's family and friends, doctors and teachers—a large cast that includes Gladys Strong, his Cockney caregiver, the famous child psychologist D.W. Winnicott, and Princess Anne, a benefactor of Matthew's boarding school. Crosby evokes the forbidding atmosphere of Normansfield, the residential institution founded by the doctor who gave his name to Down syndrome; the spaciousness of Mentmore, the country estate where she often took Matthew to play; and the touching camaraderie of the hospital ward in which Matthew died of heart failure at age twenty-five.

In this remarkable memoir, Crosby also explores Matthew's inner life, telling of his mimicry and unexpected humor, his outbursts of affection and occasional fits of misery, his gallantry toward his first love, and his disappointment over the loss of his first job. Crosby's portrait gives us an image of Matthew that deepens our understanding of what it means to be human.

"I knew and liked and respected Matthew. I thought he merited a biography, and I'm very glad that he now has one, especially that it is such a very good one. In this singular story, Anne Crosby tells us of Matthew's outer and inner life: his sad acceptances, his capacity to love and fall in love, his ambitions and their fulfillment, and his idiosyncratic sense of humor. Anne Crosby is able to tell us all this because, as we learn again from this book, love and knowledge are very much related. Matthew was a mystery to many. But because his mother empathized with him so keenly and has captured him so precisely with her sharp intelligence and brilliant powers as a writer, Matthew comes to us in this gripping book as a whole and delightful and unforgettable person."—Galway Kinnell

Anne Crosby was born into a large family in England in 1929. Crosby received little formal schooling as a child, due to the turmoil of the Second World War, her father's "experimental" ideas about education, and having been diagnosed with dyslexia. She came to excel in art school, and at the age of twenty she lived abroad for several years in Rome, Paris, and the Var region of France. After returning to London she painted and taught in art schools. In 1960 she married Theo Crosby with whom she had a daughter, Dido, and a son, Matthew. She continues to paint, and now divides her time between Washington, DC, and London. Matthew is her first book.