The older artist, Rainer Maria Rilke (1875–1926), replied to the novice in this series of letters—an amazing archive of remarkable insights into the ideas behind Rilke's greatest poetry. The ten letters reproduced here were written during an important stage in Rilke's artistic development, and they contain many of the themes that later appeared in his best works. The poet himself afterwards stated that his letters contained part of his creative genius, making this volume essential reading for scholars, poetry lovers, and anyone with an interest in Rilke, German poetry, or the creative impulse.

    They have been the subject of films, radio dramatizations and have even been presented on ice Read the originals now and one of the world's greatest ever story tellers will give you hours of pleasure and enjoyment.Stories included are: "Around the World in 80 Days, The Clipper of the Clouds, Journey to the Centre of the Earth, From the Earth to the Moon" and "Twenty Thousand Leagues Under the Sea."

    Here are such well-known songs and sonnets as "A Valediction: Forbidding Mourning," "The Extasie," and "A Nocturnall Upon S. Lucies Day," along with the love elegies "Jealosie," "His Parting From Her," and "To His Mistris Going to Bed." Presented as well are Donne's satires, epigrams, verse letters, and holy sonnets, along with his most ambitious and important poems, the Anniversaries. In addition, there is a generous sampling of Donne's prose, including many of his private letters; Ignatius His Conclave, a satiric onslaught on the Jesuits; excerpts from Biathanatos, his celebrated defense of suicide; and his most famous sermons, concluding with the final "Death's Duell." "We have only to read [Donne]," wrote Virginia Woolf, "to submit to the sound of that passionate and penetrating voice, and his figure rises again across the waste of the years more erect, more imperious, more inscrutable than any of his time."

    The popularity of the book is so great that it has run into forty two impressions ever since it was originally published in the year 1951

    His unique approaches to the mysteries of justice and truth are full of the ordinary and the extraordinary, humor and humanism.

    With the fire and patriotism of youth they sign up. What follows is the moving story of a young ‘unknown soldier’ experiencing the horror and disillusionment of life in the trenches.

    Henry's talents, including such classics asThe Gift of the Magi and The Furnished Room.

    It was his third novel and it is certainly well-written and very readable. It is, too, an enjoyable romp, all about a stranded theatrical group the Dinky Doos rescued by Miss Trant and coverted into the Good Companions, and involving their adventures with such characters as Jess Oakroyd, the middle-aged joiner from Bruddersford, who breaks free from his miserable domestic existence, Susie Dean and Inigo Jollifant. It is the sort of long, colourful novel which was one of Priestley's hallmarks, and it is clear that Priestley enjoyed himself writing it. He regarded the job as not so much a task, more a kind of holiday.One of the ironies of the success of The Good Companions is that when he discussed his idea for the book with his publishers they told him that such a book would not appeal to the current reading public. However, the germ of the story was embedded deep into his mind and heart, and writing the novel became something of an obsession. He had made up his mind to write a novel that he himself could enjoy even if nobody else did...and, in the event, a great many others also loved it! (The novel arrived at a time when the country was in depression, and someone commented that The Good Companions "soared out of the gloom like a fairy tale to lift thousands of minds into a world of literary enchantment."David Hughes in "J.B. Priestley:An Informal Study of His Work", wrote: "The Good Companions is a simple book, plainly constructed and straightforwardly told. Like so much of Priestley's work, its action begins on a note of rebellion, while its impulse is the search for romance without losing sight of reality; indeed, staring into the very heart of reality for the magic. Jess Oakroyd is pitched into loneliness by the drab quarrrelling of his family. Miss Trant, suddenly relieved in early middle age of a burden that might have lasted her lifetime, turns against the trivial monotony of her genteel days in a Cotswold village. Inigo Jollifant, surrounded in the prep school where he teaches by petty rulings, is refused permission to play the piano by the headmaster's wife, gets drunk and escapes into the night. Three separate rebellions against the frustrations of life put three characters on the road for what is probably the longest picaresque novel in English since Pickwick."Priestley started to write The Good Companions in January 1928, and he delivered the manuscript to Heinemann in March 1929.At least two films have been made of The Good Companions, and it has been turned into a play on several occasions.

    Max Ernst's early-twentieth-century collage-novel calls upon the reader to interpret captions and surrealistic illustrations—created from old picture books and journals—to create a story.

    Luzhin, a distracted, withdrawn boy, takes up chess as a refuge from everyday life. As he rises to the heights of grandmaster, the game of chess gradually supplants the world of reality as he moves inexorably towards madness.

    Lawrence. Since then it has won the admiration of writers from Henry Miller to Iris Murdoch. Wolf Solent remains wholly unrivaled in its deft and risky balance of mysticism and social comedy, ecstatic contemplation of nature and unblinking observation of human folly and desire.Forsaking London for Ramsgard, a village in Dorsetshire, Wolf Solent discovers a world of pagan splendor and medieval insularity, riddled by ancient scandals and resentments. And there this poetic young man meets two women—the sensuous beauty Gerda and the ethereal gamine Christie—who will become the sharers of his body and soul. Audacious, extravagant, and gloriously strange, Wolf Solent is a twentieth-century masterpiece.

    6, and In the Ravine.

    Nesbit, Robert Frost, Elizabeth Madox Roberts, Vachel Lindsay, James Stephens, W.B. Yeats, Edna St. Vincent Millay, and Emily Dickinson.

    When the woman becomes involved with another man, her husband must choose between forgiving his wife or abandoning the relationship, & Europe, forever.

    He has earned and spent a lot of money, both on himself and others, but is now so poor that he cannot even loan the money for a piece of steak. He has to fight a young opponent, Sandel, and in his preparation he can only eat bread and gravy. Though King is the more experienced and tactically much better boxer, he loses the fight to the younger man who has better stamina and recuperation. But King just knows that, if he could have eaten a steak before the fight, he could have won...

    Revered writer and activist Agnes Smedley worked to advance the cause of human justice on three continents as a writer and political activist. Here, she relives in fictionalized form her first thirty-three years—growing up on the wrong side of the tracks; discovering double standards of class, race, and sex among East Coast intellectuals; facing false espionage charges; and maintaining her independence through two tormented marriages.

    Somerset Maugham on Parker: 'Dorothy Parker has a wonderfully delicate ear for human speech .... Her style is easy without being slipshod and cultivated without affectation. It is a perfect instrument for the display of her many-sided humour, her irony, her sarcasm, her tenderness, her pathos.'

    It tells the story of a disgruntled factory worker who, finding himself on the streets, takes the opportunity to poison Paris's water supply with a deadly virus. With the deaths piling up, we encounter Chinese communists, rabbis, disillusioned scientists, American millionaires and a host of others as the city sections off into ethnic enclaves and everyone plots their route of escape. At the heart of the cosmopolitan city is a deep-rooted xenophobia and hatred — the one thread that binds all these groups together. As Paris lies in ruin, Jasienski issues a rallying cry to the downtrodden of the world while mixing "The Internationale" with a broadcast of popular music.With its montage strategies reminiscent of early avant-garde cinema and fist-to-the-gut metaphors, I Burn Paris has lost none of its vitality and vigor. Ruthlessly dissecting various utopian fantasies, Jasienski is out to disorient, and he has a seemingly limitless ability to transform the Parisian landscape into the product of disease-addled minds. An exquisite example of literary Futurism and Catastrophism, the novel presents a filthy, degenerated world where factories and machines have replaced the human, but rather than cliché and simplistic propaganda, these features are given an immediacy that depicts the modern metropolis as only superficially cosmopolitan, as hostile and animalistic to its core.

    His madness is the madness of insight and he uses this gift to solve or prevent crimes committed by madmen. Chesterton ably illustrates his own premise that lunacy and sanity may just be a point of view!

    It is Wolfe's first novel, and is considered a highly autobiographical American Bildungsroman. The character of Eugene Gant is generally believed to be a depiction of Wolfe himself. The novel covers the span of time from Gant's birth to the age of 19. The setting is the fictional town and state of Altamont, Catawba, a fictionalization of his home town, Asheville, North Carolina. Playwright Ketti Frings wrote a theatrical adaptation of Wolfe's work in a 1957 play of the same title.

    First they learned to fly penguins-tricky birds that almost never flew in a straight line.Then, the best of them, went on to master the coveted Hispano Spads, sleek ships that refused to go down.And those who could stand the firey pace became the men of the Lafayette Flying Corps, ready to do combat with the top German aces.Facing crackling machine-gun fire, the wings of their planes often riddled with bullets, they struck at the heart of the enemy's winged power.

    Just as a party that has attracted many Indians from neighboring settlements is about to begin, death marches silently in. A small boy has disappeared. As the intimation of tragedy spreads among the people gathered in the jungle clearing, they unite, first to find the lost boy and then to console the grieving mother. The Bridge in the Jungle, regarded by many as B. Traven's finest novel, is a tale of how a simple, desperately poor people come together in the face of death. Traven never allows an iota of sentimentality to enter his story, but the reader finishes the book with renewed faith in the courage and dignity of human beings. "B. Traven is coming to be recognized as one of the narrative masters of the twentieth century."--New York Times Book Review. "Great storytellers often arise like Judaic just men to exemplify and rehearse the truth for their generation. The elusive B. Traven was such a man."--Book World.

    The hero is George Winterbourne. Leaving the Edwardian gloom of his embattled parents behind him, George escapes to Soho, which buzzes, on the eve of war, with talk of politics, pacifism and free love. He paints, he marries, he takes a mistress: the perfect hero of his time, whose destiny -- like all those of that lost generation -- is the bloody nightmare of the trenches.

    Originally published in the Strand, in September 1929.

    The volume presents a new translation of Takiji’s fiercely anticapitalist Kani kōsen—a classic that became a runaway bestseller in Japan in 2008, nearly eight decades after its 1929 publication. It also offers the first-ever translations of Yasuko and Life of a Party Member, two outstanding works that unforgettably explore both the costs and fulfillments of revolutionary activism for men and women. The book features a comprehensive introduction by Komori Yōichi, a prominent Takiji scholar and professor of Japanese literature at Tokyo University.

    This symposium was published in Paris ten years before Joyce's work in progress was completed and the contributors were all friends or acquaintances of the author: Samuel Beckett, Marcel Brion, Frank Budgen, Stuart Gilbert, Eugene Jolas, Victor Llona, Robert McAlmon, Thomas McGreevy, Elliot Paul, John Rodker, Robert Sage and William Carlos Williams. There are also "Letters of Protest" from G.V.L. Slingsby and Vladimir Dixon.

    In his introduction John Ashbery calls the book "the finest work of Surrealist fiction," noting that de Chirico "invented for the occasion a new style and a new kind of novel . . . his long run-on sentences, stitched together with semi-colons, allow a cinematic freedom o f narration . . . his language, like his painting, is invisible: a transparent but dense medium containing objects that are more real than reality." Hebdomeros is accompanied by an appendix of previously untranslated or uncollected writings, including M. Dudron's Adventure, a second, fragmentary novel translated by John Ashbery.

    

    The celebrated author of the Hornblower series presents the biography of Admiral Lord Horatio Nelson, the victor of the naval battle of Trafalgar.

    The Wandering Jew is a cosmic symbol-he is man, he is woman, he is sex, he is history, he is life itself.

    In fact, such a model awaits them, if only they turn their eyes to their own past . . . to America’s thirtieth president, Calvin Coolidge.  Coolidge’s masterful autobiography offers urgent lessons for our age of exploding debt, increasingly centralized power, and fierce partisan division. This expanded and annotated volume, edited by Coolidge biographer Amity Shlaes and authorized by the Coolidge family, is the definitive edition of the text that presidential historian Craig Fehrman calls “the forgotten classic of presidential writing.”  To read this volume is to understand the tragic extent to which historians underrate President Coolidge. The Coolidge who emerges in these pages is a model of character, principle, and humility—rare qualities in Washington, then as now. A man of great faith, Coolidge told Americans: “Men do not make laws. They do but discover them.” Although he emphasized economics, Coolidge insisted on the importance of “things of the spirit.” At the height of his popularity, he chose not to run again when his reelection was all but assured. In this autobiography, Coolidge explains his mindset: “It is a great advantage to a President, and a major source of safety to the country, for him to know that he is not a great man.” For all his modesty, Coolidge left an expansive legacy—one we would do well to study today. Shlaes and ­coeditor ­Matthew Denhart draw out the lessons from Coolidge’s life and career in an enlightening introduction and annotations to Coolidge’s text. To aid Coolidge scholars young and old, the editors have also assembled nearly three dozen photographs, several of Coolidge’s greatest speeches, a timeline of Coolidge’s life, and afterwords by former Vermont governor James H. Douglas and two of Coolidge’s great-grandchildren, Jennifer Coolidge Harville and Christopher Coolidge Jeter. This autobiography combats the myths about one of our most misunderstood presidents. It also shows us how much we still have to learn from Calvin Coolidge.

    The complete text of Faulkner's third novel, published for the first time in 1973, appeared with his reluctant consent in a much cut version in 1929 as SARTORIS.

    Focusing on twelfth-century Arab aristocrat Usama ibn Munqidh?s Book of Contemplation but also including extracts from The Book of the Staff and Kernels of Refinement, this volume offers a strikingly human portrayal of I slamic perspectives on day-to-day existence, warfare, and the curious European invaders.

    

    He wrote in the wake of the Bolsheviks' emergence after the Revolution. Vaginov, from a privileged family and highly educated, skillfully concealed his contempt for the new order in his prose and poetry through references to antiquity, obscure metaphor, multiple layers of meaning, overlayed sarcasm, myriad subtexts, and a carnival atmosphere in many of his passages. This is Vaginov's second of four novels and perhaps the most accessible in theme and subject matter to an American audience unfamiliar with this author of stellar brilliance. The "works and days" of the main character, Svistonov, are filled with his tasks in assembling a work of literature. His primary chore is "collecting" characters, and there is no shortage of Leningrad philistines, decadents, and eccentrics to serve Svistonov's (and Vaginov's) purpose of skewering his country's new political/social reality. When the bureaucrats who controlled artistic output finally realized Vaginov's "heresy" they set out to arrest him. But he had the last laugh. Vaginov had already died that year of tuberculosis.

    But if only she had found the means to create, urges Woolf, she would have reached the same heights as her immortal sibling. In this classic essay, Virginia Woolf takes on the establishment, using her gift of language to dissect the world around her and give a voice to those who have none. Her message is simple: A woman must have a fixed income and a room of her own in order to have the freedom to create. Annotated and with an introduction by Susan Gubar

    They are known as the Whistlers, as all were shot in the throat and their breathing results in a sound "like the squeaking of mice." The author vividly captures the strong young men the soldiers used to be and the battered, wounded people they have become. Pointner, whose obstinacy in holding onto an English sniper's cap means he is mistaken for the enemy, is the worst injured of the trio. Kollin continually dreams that he is cured, and for a brief, heartbreaking moment his breathing appears to be free when he awakes. The precarious balance of life in the hospital shifts when Harry, an English prisoner of war, becomes another whistler. His initial reception by the other patients, and his eventual acceptance into their group, reminds us of what must be so blatant day-in day-out in a hospital: men are all the same regardless of the country they fight for.The story progresses through a simple series of vignettes which are delicately presented without demanding empathy or flinging the reader into a maelstrom of emotion. It is all the more rare, precious and powerful as a result.

    This work is singularly complete in that part of Melville which most matters: his ideas, his feelings, his urges, his vision of life. Wherever possible, the author uses Melville's own language in describing his state of mind & experience. This is a wonderful biography of the man who is considered the greatest imaginative writer that America has produced, not to mention the author of "Moby Dick."