As a brilliant survey of English literature in terms of changing attitudes towards country and city, Williams' highly-acclaimed study reveals the shifting images and associations between these two traditional poles of life throughout the major developmental periods of English culture.

    Unknown to most of them, however, Szymborska also worked for several decades as a columnist, reviewing a wide variety of books under the unassuming title "Nonrequired Reading."As readers of her poems would expect, the short prose pieces collected here are anything but ordinary. Reflecting the author's own eclectic tastes and interests, the pretexts for these ruminations range from books on wallpapering, cooking, gardening, and yoga, to more lofty volumes on opera and world literature. Unpretentious yet incisive, these charming pieces are on a par with Szymborska's finest lyrics, tackling the same large and small questions with a wonderful curiosity.

    

    . . not only a poetics of reading . . . but a much more difficult achievement, an erotics of reading . . . . Like filings which gather to form a figure in a magnetic field, the parts and pieces here do come together, determined to affirm the pleasure we must take in our reading as against the indifference of (mere) knowledge." --Richard Howard

    Using the fragmentary form, Blanchot challenges the boundaries between the literary and the philosophical. With the obsessive rigor that has always marked his writing, Blanchot returns to the themes that have haunted his work since the beginning: writing, death, transgression, the neuter, but here the figures around whom his discussion turns are Hegel and Nietzsche rather than Mallarmé and Kafka.The metaphor Blanchot uses for writing in The Step Not Beyond is the game of chance. Fragmentary writing is a play of limits, a play of ever-multiplied terms in which no one term ever takes precedence. Through the randomness of the fragmentary, Blanchot explores ideas as varied as the relation of writing to luck and to the law, the displacement of the self in writing, the temporality of the Eternal Return, the responsibility of the self towards the others.

    This book is a record of those seminars, which took the form of informal discussions between Borges, Norman Thomas di Giovanni--his editor and translator, Frank MacShane--then head of the writing program at Columbia, and the students. Borges's prose, poetry, and translations are handled separately and the book is divided accordingly.The prose seminar is based on a line-by-line discussion of one of Borges's most distinctive stories, "The End of the Duel." Borges explains how he wrote the story, his use of local knowledge, and his characteristic method of relating violent events in a precise and ironic way. This close analysis of his methods produces some illuminating observations on the role of the writer and the function of literature.The poetry section begins with some general remarks by Borges on the need for form and structure and moves into a revealing analysis of four of his poems. The final section, on translation, is an exciting discussion of how the art and culture of one country can be "translated" into the language of another.This book is a tribute to the brilliant craftsmanship of one of South America's--indeed, the world's--most distinguished writers and provides valuable insight into his inspiration and his method.

    Murray's subject is the previously unacknowledged kinship between fiction and the blues. Both, he argues, are virtuoso performances that impart information, wisdom, and moral guidance to their audiences; both place a high value on improvisation; and both fiction and the blues create a delicate balance between the holy and the obscene, essential human values and cosmic absurdity. Encompassing artists from Ernest Hemingway to Duke Ellington, and from Thomas Mann to Richard Wright, The Hero and the Blues pays homage to a new black aesthetic.

    

    David Pirie’s acclaimed 'A Heritage of Horror'  was the first book on the British horror movie, and the first to detect and analyse the roots of British horror, identifying it as 'the only staple cinematic myth which Britain can properly claim as its own.'  It has long been regarded as a trail-blazing classic, “having the force of a revelation”, according to one recent study of the subject, and heralded by  Michael Powell and Martin Scorsese.Now with 'A New Heritage of Horror', David Pirie has revised his original work, bringing the story up to date and into the 21st century.  Alongside the classic films of the twentieth century, all explored within the full context of their production and appearance on our screens, he examines the latest horror boom, inaugurated by such films as 'The Others' and '28 Days Later'.  He has also uncovered fresh documentation from the original files for this new edition, to add more revelations abuot the history of UK horror and Hammer Films, not least the largely untold story of their desperate battles against censorship.  He has further up-dated the original text and added new illustrations.  'The New Heritage of Horror' promises to be one of the key film books of 2008.

    Brown's 1978 volume is a very full and important book which tells of Mandelstam's earlier life and gives an introduction to the poetry. Professor Brown tells as much as will probably ever be known about Mandelstam's early life, his studies, his literary relationships; and recreates in piquant detail the intellectual world of prerevolutionary St Petersburg. Indeed, the criticism of Mandelstam's three collections of poetry, quoted both in Russian and in translation, manages the seemingly impossible: the reader with no Russian begins to grasp - as though at first hand - how this poetry makes its effects, and he senses its originality and importance and its place in European literature. Professor Brown here presents the first critical study of the life and works.

    He points a camera at society and individuals, obscures certain elements of narrative device, and then reveals a twisted, yet recognizable picture.

    Arguing that society, institutions, and literature change while the human condition remains the same, David J. Burrows hopes to enable readers to deepen their appreciation of the continuity and tradition of literary heritage.

    Here are shrewd, witty observations on some of the most interesting artists, musicians, and writers of the twentieth century: Thornton Wilder, Carl Van Vechten, Edith Sitwell, Anita Loos, Cecil Beaton, Janet Flanner, Bennett Cerf, among others. There are stories about Picasso, Hemingway, Fitzgerald, Juan Gris, Cocteau, and Sartre--all revealing a sharp eye that was as much a part of Alice as her devotion to Gertrude and her passion for recipes and gardening.In preparing this collection, the editor has chosen letters of biographical, literary, and artistic significance to an understanding of Gertrude Stein and her circle, letters illustrating the catholicity of Alice Toklas's friendships and the quality of her gifts, and letters that simply delight for their gossip.

    This book by Gilbert Highet is a study of these forms, their meaning, their variation, their powers. Its scope is the range of satirical literature--from ancient Greece to modern America, from Aristophanes to Ionesco, from the parodists of Homer to the parodists of Eisenhower. It shows how satire originated in Greece and Rome, what its initial purposes and methods were, and how it revived in the Renaissance, to continue into our own era.Contents: Preface. I. Introduction. II. Diatribe. III. Parody. IV. The Distorting Mirror. V. Conclusion. Notes. Brief Bibliography. Index.Originally published in 1962.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    But for most readers, her values have been a phenomenon more felt than fully apprehended. In this book, Stuart M. Tave identifies and explains a number of the central concepts across Austen’s novels—examining how words like “odd,” “exertion,” and, of course, “sensibility,” hold the key to understanding the Victorian author’s language of moral values. Tracing the force and function of these words from Sense and Sensibility to Persuasion, Tave invites us to consider the peculiar and subtle ways in which word choice informs the conduct, moral standing, and self-awareness of Austen’s remarkable characters.

    Jean Wagner's masterpiece delves into the vital union of racial and religious feeling in the Black poets who emerged from 1890 to 1940. Beginning with an analysis of slavery's impact on the Black psyche and religious feeling, Wagner examines the evolution of Black lyrical expression to the end of the nineteenth century. He then moves into a focused study of Paul Laurence Dunbar and his contemporaries, emphasizing their struggle against prevalent stereotypes that stemmed from minstrelsy, popular song, and southern white writing. His look at the twentieth-century Black Renaissance explores the works, themes, concerns, and experiences of poets Claude McKay, Jean Toomer, Countee Cullen, James Weldon Johnson, Sterling Brown, and Langston Hughes. Deeply sensitive and remarkably comprehensive Black Poets of the United States combines encyclopedic knowledge with a broad perspective to provide a pioneering examination of major African American poets and their works.

    Since its first publication in 1954, The Classical Heritage has become established as a classic introduction to cultural and intellectual history from the Carolingian age to the end of the Renaissance.

    

    E. Housman, or as introductions to editions of the classical Greek writers, the Protestant mystics, Shakespeare, Goethe, Kierkegaard, Tennyson, Grimm and Andersen, Poe, G. K. Chesterton, Paul Valéry, and others.  Throughout, these prose pieces reveal the same wit and intelligence—as well as the vision—that sparked the brilliance of Auden's poetry.

    Shunned in his time yet later idolized by the surrealists, he is now recognized as a precocious genius for his evil masterpiece, "The Songs Of Maldoror. "Nightmare Culture is a crucial investigation into both the myth and reality of Lautreamont's brief existence and, in particular, the literary legacy and cult influence of "The Songs Of Maldoror.

    With a pointillistic richness of moment, place, and talk, she re-creates not only the private Huxley and the literary Huxley but the entire intellectual and social era to which he was central. Despite the almost total loss of his sight at age sixteen, Huxley became a titan and cultural hero of the decades after World War I, on terms with the outstanding writers and artists of his day, from D. H. Lawrence to Stravinksy and Auden. He had two separate and large careers as Crome Yellow and Point Counter Point, flag-bearer of England s Bright Young People through the 1920s, and romancer of glittering women; and later, in America, as the increasingly philosophical and utopian thinker, and a pioneering explorer of the frontiers of the human mind. Drawing on his letters and diaries, the memories of his intimates, and her own sharp and sensitive comprehension of Huxley s writings, Mrs. Bedford has written a masterful biography. "Her novelist s eye," writes V. S. Pritchett, "brings the writer to life. Huxley becomes a living, deeply attractive presence, while his great contemporaries flash through these pages in memorable and moving encounters. Mrs. Bedford s biography stands as the major work on a major figure in the literary and intellectual history of the twentieth century."