Wodehouse's wittiest and most enduring character.On this brilliantly played recording, Jeeves is portrayed by Roger Livesey while Terry-Thomas plays Bertie. Supported by an excellent cast, these actors render two vintage stories: Jeeves Takes Charge, in which Jeeves helps Bertie avoid marriage to a forbiddingly high-brow woman, and Indian Summer of an Uncle, a tale that finds Jeeves performing a similar service for Bertie's uncle, who must be rescued from the clutches of a silly young girl.Wodehouse's sparkling prose is meant to be read out loud, and this fine recording brings his sardonic humor to life as it ³conjures up a world of tea-trays, formidable aunts, rich uncles, romantic spinsters, and understated satire as British as tweed,² according to The Patriot Leader.

    Ahead of him at the Polytechnic stretch years of trying to thump literature into the heads of plasterers, joiners, butchers and the like. And things are no better at home where his massive wife, Eva, is given to boundless and unpredictable fits of enthusiasm -for transcendental meditation, yoga or the trampoline. But if Wilt can do nothing about his job, he can do something about his wife, in imagination at least, and his fantasies grow daily more murderous and more concrete. After a peculiarly nasty experience at a party thrown by particularly nasty Americans, Wilt finds himself in several embarrassing positions: Eva stalks out in stratospheric dudgeon, and Wilt, under the inspiration of gin, puts one of his more vindictive fantasies into effect. But suspicions are instantly aroused and Wilt rapidly achieves an unenviable notoriety in the role of The Man Helping Police With Their Enquiries. Or is he exactly helping? Wilt's problem -although he's on the other side of the fence -is the same as Inspector Flint's: where is Eva Wilt? But Wilt begins to flourish in the heat of the investigation, and as the police stoke the flames of circumstantial evidence, Wilt deploys all his powers to show that the Law can't tell a Missing Person from a hole in the ground.

    This collection spans fifty years of Char's career, and represents the full range of his poetic voice.Translated from the French and annotated by Mary Ann Caws and Jonathan Griffin.

    Whereas the previous edition sometimes offered only a single poem by a given poet, the Second Edition presents at least three poems by each poet, with the few exceptions being poets with significantly long poems. The editors have also expanded the author headnotes to set forth one or two critical points that invite students into the poems.Other noteworthy changes include the addition of 38 new poets representing a diversity of traditions, from canonical poets like Lewis Carroll to contemporary ones like Rita Dove, and more careful attention paid to ethnic poetry and poetry by women.

    The present volume contains all of the short fictions some of them no longer than a page written and published by Beckett between 1950 and the early 1970s. Most were written in French, and they mostly belong within three loose sequences: Texts for Nothing, Fizzles and Residua. The edition also includes two remarkable independent narratives: From an Abandoned Work and As The Story Was Told. All of these texts, whose unsleeping subject is themselves, demonstrate that the short story is one of the recurrent modes of Becketts imagination, and occasions some of his greatest works....he would like it to be my fault that words fail him, of course words fail him. He tells his story every five minuts, saying it is not his, there's cleverness for you. He would like it to be my fault that he has no story, of course he has no story, that's no reason for trying to foist one on me...

    By the author of THE SEVENTH SCROLL and BIRDS OF PREY.

    House, 2002.

    Contents:The Longest Voyage (1960)The Barbarian (1956)The Last of the Deliverers (1958)My Object All Sublime (1961)Sam Hall (1953)Kyrie (1968)The Fatal Fulfillment (1970)Hiding Place (1961)The Sky People (1959)

    It is as firmly rooted in folksongs and ballads as it is in wild surrealist imagery. The brilliant personalism and imaginative grace of Machado, Jimenez and Unamuno, the dazzling intensity of Lorca, the sweetness of Felipe, the disciplined fury of Hernandez—these represent a cultural force which has decisively influenced world literature. Hardie St. Martin’s collection is a landmark anthology.”—Kirkus ReviewsThis bilingual landmark anthology contains the work of 30 of the major Spanish poets of the twentieth century translated by some of the major poets of the United States and reappears in print for the first time in two decades. The poets include Machado, Jimenez, Guillen, Lorca, Alberti, Cernuda, Hernandez, Aleixandre, de Otero, Salinas, Unamuno and others. The translations are by Bly, Haines, Hall, Ignatow, Kinnell, Levine, Merwin, St. Martin, Stafford, Strand and Wright, among the most important poets of their generation.Contributors include: Miguel de Unamuno, Antonio Machado, Juan Ramon Jimenez, Federico García Lorca, Vincente Aleixandre, Rafael Alberti, Leon Felipe, Pedro Salinas, Jorge Guillen, Gerardo Diego, Emilio Prados, Luis Cernuda, Miguel Hernandez, Luis Rosales, Gabriel Celaya, Blas de Otero, Gloria Fuertes, Jose Luis Hidalgo, Jose Hierro, Carlos Bousono, Angel Gonzalez, Jose Angel Valente, Jaime Gil de Biedma, Claudio Rodriguez, Francisco Brines, Carlos Sahagun and Manuel Vazquez Montalban.Hardie St. Martin is a well-known editor and translator of Spanish poetry and prose. His works of translation include Memoirs by Pablo Neruda, The Garden Next Door by Jose Donoso and Tierra del Fuego: An Historical Novel by Sylvia Iparraguirre.

    Meaning does not lie exposed on the surface but, submerged, waits for the reader who has ears to hear the message, which may come instantly as an insight or reveal itself languorously, stirring up the unconscious contents of the psyche. This meaning or moral is the essence of the narrative form which has continued to challenge some of the most important thinkers and writers of the 20th century, including Franz Kafka, Jorge Luis Borges, Elie Wiesel, Isak Dineson, Bertolt Brecht, Isaac Bashevis Singer, Italo Calvino and Gabriel Garcia Marquez. With this splendid collection, editor and parablist Howard Schwartz announces "the resurrection of the parable as a literary genre," presenting 100 parables by 72 modern practitioners of the form, placing primary emphasis on writers of this century and including a sampling of 19th century parables by such writers as Dostoyevsky, Poe and Gogol. With backdrops ranging from ancient civilizations to a motorcycle social club to space travel, these modern parables speak to both the emotions and the intellect. The title story, Kafka's "An Imperial Message," tells of a message from a dying emperor to his lowliest subject, a message which must travel a long distance and, even then, doesn't quite arrive. Kafka counsels both the subject and the modern reader, "you sit at your window when evening falls and dream it to yourself." Charming, imaginative and enigmatic, these modern parables have been dispatched to provide the reader with messages to read, to dream on, to ponder and to enjoy.

    Moored at a small port near Rimini, it is exposed, vulnerable. It must be destroyed before the Germans can tow it to a safer harbour. Air, surface and conventional submarine attacks are out of the question. Only one team can do the job and still stand a chance of surviving - the crew of HM Midget Submarine XE 51-

    SIDE ONEHow to See Ghosts or Surely Bring Them to You (3:34)A Hornbook for Witches (3:08)Witches on the Heath (0:57)The Ballad of the Jabberwock (3:14)All-Saints' Eve (1:20)Dreamland (3:02)The Sands of Dee (1:28)Thus I Refute Beezly (12:41)SIDE TWODon't (2:12)The Water Ghost of Harrowby Hall (23:05)