And much of the material presented here was used in that course. The title should serve well to convey the gist of these various pieces. For all of them are explicitly concerned with the attempt to define and track down the implications of the term "symbolic action," and to show how the marvels of literature and language look when considered form that point of view.

    Topics range from the religious rites of the Aztecs to modern american painting, from Eastern art and religion to love and eroticism. Translated by Helen Lane.

    S. Eliot, Marcel Proust, James Joyce, and Gertrude Stein. As Alfred Kazin later wrote, "Wilson was an original, an extraordinary literary artist . . . He could turn any literary subject back into the personal drama it had been for the writer."

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    Eliot's critical writings. Tracing the rise of literary self-consciousness from the Elizabethan period to his own day, Eliot does not simply examine the relation of criticism to poetry, but invites us to "start with the supposition that we do not know what poetry is, or what it does or ought to do, or of what use it is; and try to find out, in examining the relation of poetry to criticism, what the use of both of them is." Eliot begins with the appearance of poetry criticism in the age of Dryden, when poetry became the province of an intellectual aristocracy rather than part of the mind and popular tradition of a whole people. Wordsworth and Coleridge, in their attempt to revolutionize the language of poetry at the end of the eighteenth century, made exaggerated claims for poetry and the poet, culminating in Shelley's assertion that "poets are the unacknowledged legislators of mankind." And, in the doubt and decaying moral definitions of the nineteenth century, Arnold transformed poetry into a surrogate for religion. By studying poetry and criticism in the context of its time, Eliot suggests that we can learn what is permanent about the nature of poetry, and makes a powerful case for both its autonomy and its pluralism in this century.

    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."

    His ‘natural supernaturalism’, personal mythology and vision can leave readers dazzled by the intensity and passion of his verse. In this outstanding work, Chesterton goes right to the heart of the matter and addresses the question of whether Blake’s genius was tainted by madness or whether his peculiar outlook on the world was the key to his success. With a detailed exposition of Blake’s life, and by weaving lucid explanations of his philosophy and religion into a discourse on his poetry, Chesterton has produced a remarkable and sensitive biography.

    

    Included here is Dave Foreman on biodiversity, Matthew Fox on Christianity and nature, Jerry Mander on technology, and Terry Tempest Williams on an erotic connection to the land. With intelligence and compassion, Listening to the Land moves from a look at the condition of the environment and the health of our spirit to a beautiful evocation of eros and a life based on love.

    Sweeping yet precise, moving from essential detail to bracing illustration, Steiner spans the entire history of philosophy in the West as it entwines with literature, finding that, as Sartre stated, in all philosophy there is “a hidden literary prose.”“The poetic genius of abstract thought,” Steiner believes, “is lit, is made audible. Argument, even analytic, has its drumbeat. It is made ode. What voices the closing movements of Hegel’s Phenomenology better than Edith Piaf’s non de non, a twofold negation which Hegel would have prized? This essay is an attempt to listen more closely.”

    The linking of psychosomatic to literary and literary to a larger political horizon raises the question of conservative premises to linguistic, pyschoanalystic, philisophical, and literary theories and criticisms of such.

    Now he turns at long last to his beloved writers of our national literature in an expansive and mesmerizing book that is one of his most incisive and profoundly personal to date. A product of five years of writing and a lifetime of reading and scholarship, The Daemon Knows maybe Bloom’s most masterly book yet. Pairing Walt Whitman with Herman Melville, Ralph Waldo Emerson with Emily Dickinson, Nathaniel Hawthorne with Henry James, Mark Twain with Robert Frost, Wallace Stevens with T. S. Eliot, and William Faulkner with Hart Crane, Bloom places these writers’ works in conversation with one another, exploring their relationship to the “daemon”—the spark of genius or Orphic muse—in their creation and helping us understand their writing with new immediacy and relevance. It is the intensity of their preoccupation with the sublime, Bloom proposes, that distinguishes these American writers from their European predecessors. As he reflects on a lifetime lived among the works explored in this book, Bloom has himself, in this magnificent achievement, created a work touched by the daemon.

    Pound surveys the course of literature from the fall of the Roman Empire through the dawn of the Renaissance, paying special attention to the Provençal poets and to Dante. Now with an introduction by Richard Sieburth, this work illuminates a great period in European literature and one of America's greatest poetic minds.

    The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing." – Ernest Hemingway, Death in the Afternoon (from Amazon)

    Murray Abraham on gaining an audience’s sympathy for Shylock, Sir Ben Kingsley on communicating Shakespeare’s ideas through performance, Germaine Greer on the playwright’s home life, Dame Harriet Walter on the complexity of his heroines, Brian Cox on social conflict in his time and ours, Jane Smiley on transposing King Lear to Iowa in A Thousand Acres, and Sir Antony Sher on feeling at home in Shakespeare’s language. Together these essays provide a fresh appreciation of Shakespeare’s works as a living legacy to be read, seen, performed, adapted, revised, wrestled with, and embraced by creative professionals and lay enthusiasts alike.