Poet Laureate Robert Hass considers some of the twentiethcentury poets who bring him pleasure: Robert Lowll, JamesWright, Tomas Transtromer, Joseph Brodsky, Yvor Winters,Robert Creeley, James McMichael, Czeslaw Milosz, and others,in this, his first collection of essays. Originally published in1984, Twentieth Century Pleasures: Prose on Poetry won theNational Book Critics Circle Award for criticism. A new collection of Robert Hass's essays will be published by Ecco in 1998.

    What began in 1959 as a simple homage to the modernist poet H.D. developed into an expansive and unique quest to arrive at a poetics that would fuel Duncan's great work in the 1970s. A meditation on both the roots of modernism and its manifestation in the work of H.D., Ezra Pound, D.H. Lawrence, William Carlos Williams, Edith Sitwell, and many others, Duncan's wide-ranging book is especially notable for its illumination of the role women played in creation of literary modernism. Until now, The H.D. Book existed only in mostly out-of-print little magazines in which its chapters first appeared. Now, for the first time published in its entirety, as its author intended, this monumental work--at once an encyclopedia of modernism, a reinterpretation of its key players and texts, and a record of Duncan's quest toward a new poetics--is at last complete and available to a wide audience.

    A comprehensive and interpretative biography of Franz Kafka that is both a monumental work of scholarship and a vivid, lively evocation of Kafka's world.

    Available in a one-volume paperback edition for the first time, the Companion brings together in conveniently numbered glosses for each canto the most pertinent details from the vast body of work on the Cantos during the last thirty years. The Companion contains 10,421 separate glosses that include translations from eight languages, identification of all proper names and works, Pound's literary and historical allusions, and other exotica, with exegeses based upon Pound's sources. Also included is a supplementary bibliography of works on Pound, newly updated, and an alphabetized index to The Cantos.

    Plot synopsis of this classic is made meaningful with analysis and quotes by noted literary critics, summaries of the work's main themes and characters, a sketch of the author's life and times, a bibliography, suggested test questions, and ideas for essays and term papers.

    For this purpose he concentrates on the texts and their theatrical rendering, in such a way as to transmit to us, at the same time, a powerful impression of Shakespeare the man, such as perhaps no other book can give us.

    Something Said collects in a single volume these definitive readings of such major twentieth-century innovators as William Carlos Williams, Edward Dahlberg, Hubert Selby, John Hawkes, Flann O'Brien, William Gaddis, Italo Calvino, John Hawkes, and Robert Creeley, along with critical writings on film, pop culture, and visual art. Featuring seventy-two pieces in all, this new expanded edition includes twenty-five pieces written since the publication of the first edition in 1984, and demonstrates Sorrentino's concern for the craft of writing and the development of an American aesthetic.

    She shows us that this most intellectual of poets is in fact the most personal of poets; that his words are not devoted to epistemological questions alone but are also "words chosen out of desire."

    Rather, it uses the future as a means of talking about the present and its potentiality. By recognizing a text's specific "difference", we begin to see the quality of its particulars. Through riveting analyses of works by Joanna Russ, Robert Heinlein, Theodore Sturgeon, and Thomas M. Disch, Delany reveals critical strategies for reading that move beyond overwrought theorizing and formulaic thinking. Throughout, the author performs the kinds of careful inquiry and urgent speculation that he calls others to engage in.

    It is grounded in technical scholarship, to which it constantly referes and is intended to contribute, and I hope that even Homeric specialists will find ideas and interpretations to interest them. I have tried to present clearly what seem to me the most valuable results of modern research and criticism of the Iliad while setting forth my own views. My goal has been to interpret the poem as much as possible on its own mythological, religious, ethical, and artistic terms. The topics and problems I focus on are those that have arisen most often and most insistently when I have thought the poem, in translation and in the original, as I have done every year since 1968. This book is a literary study of the Iliad. I have not discussed historical, archaeologoical, or even linguistic questions except where they are directly relevant to literary interpretation. Throughout I have emphasized what is thematically, ethically, and artistically distinctive in the Iliad in contrast to the conventions of the poetic tradition of which it is an end product.

    Includes background on the author's life and times, sample tests, term paper suggestions, and a reading list.

    

    (Shakespeare, Authorship, Oxford Theory, Dramatist, English, Early Modern 1500-1700). Ogburn was a proponent of the notion that Shakepeare was not the author of those plays attributed to him. Ogburn proposes the Earl of Oxford in this large volume. 892 pages.

    

    It includes reviews of a great number of European writers, especially French writers, along with more general essays and the Prefaces Henry James wrote for the New York Edition of his works, published between 1907 and 1909.The collection attests to James’s nearly unparalleled creative energy and to the reach of his theoretical and interpretive curiosity. His unique authority as a commentator draws upon the European-American contrast that is a central circumstance of his own fiction. A member of intellectual circles on both continents, he became the foremost interpreter to American readers of the literary and cultural life of Europe.More than one hundred reviews and essays are gathered by author, so that readers can trace the development of James’s complex, meditative, and highly volatile attitudes toward a wide spectrum of literature. James reviews the formidable Honoré de Balzac (with his “huge, all compassing, all desiring, all devouring love of reality”), Gustave Flaubert (“a pearl-diver, breathless in the thick element while he groped for the priceless word”), and Ivan Turgenev, the Russian visitor in Paris, with whom James felt great personal affinity, even though Tugenev “lacked the immense charm of absorbed inventiveness.”James delivers his critical judgments with great elegance and point, especially when he discusses the performance of other critics like Hippolyte Taine and Augustin Sainte-Beuve, and, of course, he can be wonderfully acerbic. An early moralistic essay on Baudelaire finds Poe “vastly the greater charlatan of the two, and the greater genius.”James brings his critical zest, exhilaration, and independence of judgment to bear on writers as diverse as Alphonse Daudet, George Sand, Victor Hugo, Guy de Maupassant, Théophile Gautier, J. W. von Goethe, and Gabriele D’Annunzio.Readers will find, in the complete collection of the Prefaces, one of literature’s most revealing artistic autobiographies, a wholly absorbing account of how writing gets written, and a vision of the possibilities for fiction which critics and novelists of later times will find immensely instructive and liberating.

    By all accounts, Victor Paul Furnish's commentary on II Corinthians has become the standard by which others are judged. It is praised as "a quite superb commentary . . . everything that a good commentary should be" (Expository Times), "by any standard . . . an excellent volume" (Interpretation), and “perhaps the definitive commentary on the letter in English” (Journal of the Evangelical Theological Society). In addition, Furnish has “accomplished a difficult task with remarkable skill and apparent ease” (Biblical Theology Bulletin), and has given us “one of [the Anchor Bible’s] finest studies” (Catholic Biblical Quarterly). In the internationally renowned tradition of the Anchor Bible series, this commentary is an excellent and indispensable tool for biblical study. Scholars rarely posses both the gift of academic excellence and the ability to communicate their expertise in an extremely readable fashion; but Furnish succeeds admirably with the right balance of scholarship and practical application, offered in the most accessible prose. With a mastery of primary languages and sources, and a lucid discussion of the first-century context of Paul’s second letter to the Corinthians, the reader enters the worldview of the original recipients of this hard-hitting letter. In the end, Furnish successfully navigates the maze of difficulties faced by the commentator and, thankfully, helps the general audience understand what II Corinthians says andmeans.

    This last work by Paul de Man before his death in 1983 brings together what is essentially his complete work on the study of European Romanticism and post-Romanticism.

    Also includes background on the author's life and times, sample tests, term paper suggestions, and a reading list.

    This Library of America volume and its companion are a fitting testimony to his unprecedented achievement. They offer the only comprehensive collection of his critical writings ever assembled, more than one-third of which have never appeared in book form.This first volume focuses especially on his responses to American and English writers; the second volume contains his essays on European literature and the Prefaces to the New York Edition of his fiction.From 1864 until virtually the end of his life, James displayed an astonishing range and catholicity of critical interests, touching on nearly every facet of literature in America, England, and Europe. Here are his most important theoretical essays, including his witty and daring declarations of the novelist’s freedom in “The Art of Fiction,” “The Future of the Novel,” and “The Science of Criticism”—a gently ironic title from a writer who regarded criticism as a form of art.Appreciations of Ralph Waldo Emerson (“I knew he was great, greater than any of our friends”), pungent comments (which he later regretted) on Walt Whitman’s “Drum-Taps,” and assessments of Louisa May Alcott, Edgar Allan Poe, his friend and admirer William Dean Howells, Harriet Beecher Stowe, Francis Parkman, and scores of other American writers are joined, in revealing proximity, to commentaries on nearly every important English writer of fiction (and some poets, such as the Brownings) during the late nineteenth and early twentieth centuries.These reviews of English writers include James’s stunning essay on Charles Dickens’s Our Mutual Friend, his provocative discussions of George Eliot, and his tough but appreciative estimates of Anthony Trollope, Matthew Arnold, Benjamin Disraeli, Elizabeth Gaskell, Rudyard Kipling, Thomas Hardy, William Morris, Rupert Brooke, Ouida, Algernon Charles Swinburne, and Robert Louis Stevenson. Also included here is his great essay on Shakespeare’s The Tempest. All of these pieces are gathered under the author considered, so that James’s supple changes in attitude can be followed across the years.Of particular interest, both critically and biographically, are James’s commentaries on Nathaniel Hawthorne, including his still-controversial book-length study of 1879. His estimates of his predecessor’s work remain highly debatable, but are perhaps more interesting as evidence of his own feelings about being an American writer of a later and, as he assumed, more complex time.Finally, this volume includes two invaluable collections: his “American Letters” and “London Notes,” wherein, with unsurpassed tact and grandeur of mind, he introduces readers of his native and of his adopted country to each other.

    Lewis to offer a detailed examination of "Till We Have Faces," Peter J. Schakel's book is also the first to explore the tension between reason and imagination that significantly shaped Lewis' thinking and writing. Schakel begins with a close analysis of "Till We Have Faces" which leads the readers through the plot, clarifying its themes and it discusses structure, symbols and allusions. The second part of the book surveys Lewis' works, tracing the tension between reason and imagination. In the works of the thirties and forties reason is in the ascendant; from the early fifties on, in works such as the Chronicles of Narnia, there is an increased emphasis on imagination - which culminates in the fine "myth retold," "Till We Have Faces." Imagination and reason are reconciled, finally in the works of the early sixties such as "A Grief Observed" and "Letters to Malcolm." PETER J. SCHAKEL is Professor of English at Hope College, Holland, MI. "This book is what Lewis scholarship ought to be. It is the most thoughtful, careful Lewis study yet." - Peter Kreeft "Reason and Imagination" is a remarkable achievement, literary criticism that is both wise and moving." - Margaret Hannay "Peter Schakel brings to C. S. Lewis scholarship what has often been lacking, namely rigorous scholarly method and real critical detachment. His study of "Till We Have Faces" is a major contribution to Lewis studies." - Thomas Howard

    Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.In his foreword to this reprint of Erich Auerbach's major essays, Paolo Valesio pays tribute to the author with an old saying that he feels is still the best metaphor for the genesis of a literary critic: the critic is born of the marriage of Mercury and Philology. The German-born Auerbach was a scholar who specialized in Romance philology, a tradition rooted in German historicism—the conviction that works of art must be judged as products of variable places and times, not from the eye of eternity, nor by a single unchanging aesthetic standard. The mercurial element in Auerbach's work is significant, for in a life of motion—of exile from Hitler's Germany—he came to believe that literary history was evolutionary, ever-changing—a view reflected in the title of his book, which suggests life and literature are historical drama.Auerbach is best known for his magisterial study Mimesis: The Representation of Reality in Western Literature, written during the war, in Istanbul, when he was far from his own culture and from the books that he normally relied on. In 1957, just before his death, he arranged for the publication in English of his six most important essays, in a volume called Scenes from the Drama of European Literature.As in Mimesis,Auerbach's fresh insights bring to the disparate subjects of the essays a coherence that reflects the unity of Western, humanistic tradition, even while they hint at the deepening pessimism of his later years.In the first essay, "Figura," Auerbach develops his concept of the figural interpretation of reality; applied here to Dante's Divine Comedy,it also served as groundwork for his treatment of realism in Mimesis. A second essay on Dante's examines the poet's depiction of St. Francis of Assisi. The next three essays deal with the paradoxical nature of Pascal's political thought; the merging of la cour and la ville—the king's entourage and the bourgeoisie—chiefly in relation to the seventeenth-century French theater; and Vico's formulation concepts by the German Romantics. In the final essay Auerbach confers upon Baudelaire's Fleurs du Mal the designation "aesthetic dignity" because, not in spite of, the hideous reality of the peoms."A major collection of important essays on European literature, almost all classics, and almost all required reading for their various centuries—thus the book is indispensable for the medieval period,the seventeenth and nineteenth centuries; in addition, the 'Figura' and the Vico essays are very significant theoretical statements. The book is lucid and far more accessible for undergraduates than, say, current high theory. Nor has Auerbach's own work aged . . . All of his varied strengths are evidence in this collection, which is a better way into his work than Mimesis." –Fredric Jameson, University of California, Santa Cruz.

    Book by

    Most of these poems are lost or known only from fragments. West discusses the contents and, so far as determinable, purpose of each poem, and the period and milieu in which it came into being. His analysis of the Derveni papyrus shows that there were two distinct Orphic theogonies of classical date that were later modified and finally amalgamated into the '24 Rhapsodies' from which the Neoplatonists quote. A separate chapter is devoted to the poetry of other mythical poets, in particular the fragments of Linus, which are collected in an appendix.

    Enough stone or other jugs lineup of whatever is In Through Out That’s light as much as known Differences evanesce Like, where and/or what on the equator might be french or spanish Longitude and latitude, yep yep sure Americana.”—Larry Eigner, commentary on a selection from Ger­trude Stein’s Tender Buttons This selection of essays and poetry from the first three volumes of L=A=N=G=U=A=G=E magazine dis­cusses a “spectrum of writing that places its attention primarily on language and ways of making meaning, that takes for granted neither vocabulary, grammar, process, shape, syntax, program, nor sub­ject matter.” (Bernstein and Andrews) The various writers shun labels, slogans, or catch-phrases; their exploration of the ways that meanings and values are re­vealed through the written word is in­tended to open the field of poetic activity, not close it. The common thread of these essays is the multitude and scope of words’ refer­ential powers—denotative, connotative, and associational; and studying these powers is ultimately a social and political activity as well as an aesthetic one.

    

    Sentenced to death by Creon, she forestalled him by committing suicide. The theme of the conflict between Antigone and Creon—between the state and the individual, between man and woman, between young and old—has captured the Western imagination for more than 2000 years. George Steiner here examines the far-reaching legacy of this great classical myth. He considers its treatment in Western art, literature, and thought—in drama, poetry, prose, philosophic discourse, political tracts, opera, ballet, film, and even the plastic arts.  A study in poetics and in the philosophy of reading, Antigones leads us to look again at the influence the Greek myths exercise on twentieth-century culture."A remarkable feat of intellectual agility."—Washington Post Book World"[An] intellectually demanding but rewarding book. . . consistently stimulating and sometimes disturbing."—The New Republic"An. . . account of the various treatments of the Antigone theme in European languages. . . Penetrating and novel."—The New York Times Book Review"A tradition of intelligence and style lives in this prolific man."—Los Angeles Times"Antigones triumphantly demonstrates that Antigone could fill several volumes of study without becoming tedious or exhausted."—The New York Review of Books

    impressive work of scholarship..." --Exceptional Human Experience

    This selection of 18 masques offers a fascinating insight into the culture and politics of the early 17th century.

    Ranging from Sophia Loren to Queen Victoria, from Colette to Elzire Dionne, it explains in human terms as no clinical description can what the experience of having a baby is really like. A universal process that is unique in each instance, birth is inherently dramatic and changes even people who never expected to be deeply affected. Indeed, some of the most revealing pieces in Ever Since Eve are the testimony of men about fatherhood, men as diverse as Napoleon and W.C. Fields. A fascinating collection of vignettes, Ever Since Eve examines childbirth in different parts of the globe, offers some intriguing footnotes to history, and presents a view of public figures in their most private moments. Compelling reading for every pregnant woman, this book will be a treasured keepsake for anyone who has ever had—or would like to have—a baby.

    H. Auden as the kind of critic every poet dreams of finding. Though published independently over many years, each of the essays in this collection asks how a poet's words reveal the force ofpoetry, that force--in Dr Johnson's words--which calls new power into being, which embodies sentiment, and animates matter. The poets covered range from John Gower, Marvell, and Milton to Wordsworth, Empson, Stevie Smith, Lowell, and Larkin, and the book contains four wider essays on clich�s, lies, misquotations, and American English.

    Music as a model for literature: this is the subject of Nattiez's book, which unravels the various musical themes running through Proust's work, and which constitutes a particularly lucid and perceptive introduction to his writing. Through a study of the texts devoted to the Sonata and Septet of Vinteuil, the author demonstrates the fundamental role played by music in the evolution of the novel, and shows how Debussy, Wagner, and Beethoven provide the basis for a mystical quest whose goal is pure music and the literary absolute.

    

    Michael Levenson analyses that complex process by following the successive phases of a literary movement - Impressionist, Imagist, Vorticist, Classicist - as it attempted to formulate the principles on which a new aesthetic might be founded. The emphasis here falls on the ideology of modernism, but throughout the book the ideological question is tied on the one hand to specific literary works and on the other to general movements in philosophy and the fine arts. The major figures under discussion, Joseph Conrad, Ford Madox Ford, Ezra Pound, Wyndham Lewis, and T. S. Elliot, are placed in relation to thinkers who have been largely neglected in the history of modernism: Max Stirner, Wilhelm Worringer, Pierre Lasserre, Allen Upward, and Hilaire Belloc. Levenson thus situates the emergence of a modernist aesthetic within the context of literary theory, literary practice, and cultural history.

    Angel Rama’s groundbreaking study—presented here in its first English translation—provides an overview of the power of written discourse in the historical formation of Latin American societies, and highlights the central role of cities in deploying and reproducing that power. To impose order on a vast New World empire, the Iberian monarchs created carefully planned cities where institutional and legal powers were administered through a specialized cadre of elite men called letrados; it is the urban nexus of lettered culture and state power that Rama calls “the lettered city.” Starting with the colonial period, Rama undertakes a historical analysis of the hegemonic influences of the written word. He explores the place of writing and urbanization in the imperial designs of the Iberian colonialists and views the city both as a rational order of signs representative of Enlightenment progress and as the site where the Old World is transformed—according to detailed written instructions—in the New. His analysis continues by recounting the social and political challenges faced by the letrados as their roles in society widened to include those of journalist, fiction writer, essayist, and political leader, and how those roles changed through the independence movements of the nineteenth century. The coming of the twentieth century, and especially the gradual emergence of a mass reading public, brought further challenges. Through a discussion of the currents and countercurrents in turn-of-the-century literary life, Rama shows how the city of letters was finally “revolutionized.”Already crucial in setting the terms for debate concerning the complex relationships among intellectuals, national formations, and the state, this elegantly written and translated work will be read by Latin American scholars in a wide range of disciplines, and by students and scholars in the fields of anthropology, cultural geography, and postcolonial studies.

    She finds that, although the American frontiersman imagined the wilderness as virgin land, an unspoiled Eve to be taken, the pioneer woman at his side dreamed more modestly of a garden to be cultivated. Both intellectual and cultural history, this volume continues Kolodny's study of frontier mythology begun in The Lay of the Land.

    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.

    

    Mariani has chosen those reflecting his most abiding interests and includes discussions of poets who have provided him with "a usable past." There are five essays on William Carlos Williams, including the acclaimed "Resembling the Dust" (nominated for a Pushcart Prize), the opening piece which Mariani calls the suppressed prolegomena to his biography of Williams, A New World Naked. There are four on Gerard Manely Hopkins which show the poet at work. And there are, finally, seven on writers and poets whom Mariani has carefully reassessed for what they have to teach us today--Robert Penn Warren, Charles Tomlinson, Robert Creeley, John Montague, John Berryman, Robert Pack, and Thomas Merton.

    H. Abrams is Class of 1916 Professor of English at Cornell University. He is the author of two landmark books, The Mirror and the Lamp and Natural Supernaturalism, and general editor of the Norton Anthology of English Literature. This volume collects the essays, written over three decades, which—together with his books—testify to his preeminence. The essays examine Wordsworth’s and Coleridge’s innovations in their theories about the language of poetry; the prevalence, sources, and significance of a key Romantic image, the “correspondent breeze”; the pervasive revolutionary spirit of Romanticism; the defining characteristics and chief exemplars of the most distinctive poetic genre of the age, the “greater Romantic lyric”; the relation of Coleridge and Wordsworth to modernist poetics and literature; the philosophic and scientific backgrounds of Coleridge’s thinking; and the numerous manifestations of apocalypticism in the Romantic period.