Equally at home discussing Charles Dickens and Charlie Chaplin, he moved back and forth across the porous borders between essay and journalism, high art and low. A frequent commentator on literature, language, film, and drama throughout his career, Orwell turned increasingly to the critical essay in the 1940s, when his most important experiences were behind him and some of his most incisive writing lay ahead. All Art Is Propaganda follows Orwell as he demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary."how to be interesting, line after line."Contents:Charles DickensBoys' WeekliesInside the WhaleDrama Reviews: The Tempest, The Peaceful InnFilm Review: The Great DictatorWells, Hitler and the World StateThe Art of Donald McGillNo, Not OneRudyard KiplingT.S. EliotCan Socialists Be Happy?Benefit of Clergy: Some Notes on Salvador DaliPropaganda and Demotic SpeechRaffles and Miss BlandishGood Bad BooksThe Prevention of LiteraturePolitics and the English LanguageConfessions of a Book ReviewerPolitics vs. Literature: An Examination of Gulliver's TravelsLear, Tolstoy and the FoolWriters and LeviathanReview of The Heart of the Matter by Graham GreeneReflections on Gandhi

    "The Raven" and "The Tell-Tale Heart" have been read as signs of his personal obsessions, and "The Fall of the House of Usher" and "The Descent into the Maelstrom" as symptoms of his own mental collapse. Biographers have seldom resisted the opportunities to confuse the pathologies in the stories with the events in Poe's life. Against this tide of fancy, guesses, and amateur psychologizing, Arthur Hobson Quinn's biography devotes itself meticulously to facts. Based on exhaustive research in the Poe family archive, Quinn extracts the life from the legend, and describes how they both were distorted by prior biographies."

    Yet words also have a nature peculiarly their own. And when discussing them as modes of action, we must consider both this nature as words in themselves and the nature they get from the non-verbal scenes that support their acts. I shall be happy if the reader can say of this book that, while always considering words as acts upon a scene, it avoids the excess of environmentalist schools which are usually so eager to trace the relationships between act and scene that they neglect to trace the structure of the act itself.

    The second edition had a substantial new chapter by R. C. Churchill on twentieth-century literature and appeared in 1961. This is a digital reprint of the 1970 edition, prepared by Mr Churchill, which provides a revision of the first thirteen chapters. Three very substantial chapters were added that had the effect of making this the only complete and up-to-date survey as of 1970 of world literature in English. The literature of the USA is surveyed in extenso and in its own right. The literatures in English of Ireland, India, Pakistan, Ceylon, Malaysia, Canada, Australia, New Zealand, the West Indies, South Africa and the predominately English-speaking African states are also treated. Students and general readers will find this a comprehensive and lively-minded survey, guide and reference book to the world's literature in the English language.

    Hart's The Oxford Companion to American Literature has been an unparalleled guide to America's literary culture, providing one of the finest resources to this country's rich history of great writers. Now this acclaimed work has been completely revised and updated to reflect current developments in the world of American letters.For the sixth edition, editors James D. Hart and Phillip Leininger have updated the Companion in light of what has happened in American literature since 1982. To this end, they have revised the entries on such established authors as Saul Bellow, Norman Mailer, and Joyce Carol Oates, and they have added more than 180 new entries on novelists (T. Coraghessan Boyle, Tim O'Brien, Louise Erdrich, Don De Lillo), poets (Rita Dove, Weldon Kees), playwrights (Wendy Wasserstein, August Wilson), popular writers (Stephen King, Louis L'Amour), historians (James M. McPherson, David Herbert Donald, William Manchester), naturalists (Aldo Leopold, Edward Abbey), and literary critics (Camille Paglia, Richard Ellmann). In addition, the Companion boasts more women's, African-American, and ethnic voices, with new entries on such luminaries as Charlotte Perkins Gilman, M.F.K. Fisher, William Least Heat-Moon, Ursula Le Guin, and Oscar Hijuelos, among many others.These additions represent only some of the revisions for the new edition. Of course, the basic qualities of the Companion that readers have grown to know and love over the years are as superb as ever. With over 5,000 total entries, The Oxford Companion to American Literature reflects a dynamic balance between past and contemporary literature, surveying virtually every aspect of our national literature, from the Pulitzer Prize to pulp fiction, and from Walt Whitman to William F. Buckley, Jr. There are over 2,000 biographical profiles of important American authors (with information regarding their styles, subjects, and major works) and influential foreign writers as well as other figures who have been important in the nation's social and cultural history. There are more than 1,100 full summaries of important American novels, stories, essays, poems (with verse form noted), plays, biographies and autobiographies, tracts, narratives, and histories. The new edition provides historical background and astute commentary on literary schools and movements, literary awards, magazines, newspapers, and a wide variety of other matters directly related to writing in America. Finally, the book is thoroughly cross-referenced and features an extensive and fully updated index of literary and social history.Ranging from Captain John Smith to John Updike, and from Anne Bradstreet to Anne Rice, the sixth edition of The Oxford Companion to American Literature is up to date, accurate, and comprehensive, a delight for both the casual browser and the serious student.

    Shakespeare, Dostoevski, Cervantes, Thoreau, Melville, Whitman, Rilke, Randolph Bourne (of whom we are so regrettably ignorant in England)--these are the prophets to be expounded, related, excoriated (stripped of accretions of platitude and misunderstanding). But behind them are the original prophets, the great Hebrew prophets, and the greatest prophet of them all, the Galilean.

    This welcome re-issue—one of several for this title—testifies to the value publishers put on it and to a reluctance among them ever to let it stay out of print for very long.The subjects Wilson treats—Dickens and Kipling, Edith Wharton and Ernest Hemingway, Joyce and Sophocles, and perhaps most surprising, Jacques Casanova—reveal the range and dexterity of his interests, his historical grasp, his learning, and his intellectual curiosity.Wilson’s essays did not give rise to a new body of literary theory nor to a new school of literary criticism. Rather, he animated or reanimated the reputations of the artists he treated and furthered the quest for the sources of their literary artistry and craftsmanship.F. Scott Fitzgerald called Wilson “the literary conscience of my generation.” Today’s readers of The Wound and the Bow may want to make the claim for their generation as well.