This book presents 17 of the most popular tales, from the creation of the world to the death of the gods and the world’s destruction.Masterfully retold, the legends include Odin's trip to Mimer in search of knowledge, the making of Thor's hammer, the loss of Idun's wondrous apples, and the task of securing the dreaded Fenris-wolf with unbreakable silken twine devised from "the sound of a cat’s footsteps, the roots of the mountains, the breath of a fish, and the sinew of a bear." Here, too, are accounts of "The Wooing of Gerd," "Thor Goes a Fishing," "The Death of Balder," "How Loki Was Punished," "The Twilight of the Gods," and "The New Earth."

    His quest was for the image of the blue-colored Krishna or Nilamadhav. The king came very close to achieving his goal but his pride and arrogance snatched it away from him leaving him groping once more in the dark. Contained in this Amar Chitra Katha is the legend behind the temple of Jagannathapuri in Orissa and the images enshrined in it.

    The title of this book refers to a story about a visitor to New York who admired the yachts of the bankers and brokers. Naively, he asked where all the customers' yachts were? Of course, none of the customers could afford yachts, even though they dutifully followed the advice of their bankers and brokers. Full of wise contrarian advice and offering a true look at the world of investing, Where are the customers' yachts continues to open the eyes of investors to the reality of Wall Street. Here, Leo Gough’s interpretation of Where are the customer’s yachts illustrates the timeless nature of Fred Schwed’s insights by bringing them to life through 52 modern case studies. This brilliant interpretation is an entertaining accompaniment to one of the most famous books on investment ever written.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    He challenges any single discourse on the erotic. The scope of his inquiry ranges from Emily Bronte to Sade, from St. Therese to Claude Levi-Strauss, and Dr. Kinsey; and the subjects he covers include prostitution, mythical ecstasy, cruelty, and organized war. Investigating desire prior to and extending beyond the realm of sexuality, he argues that eroticism is "a psychological quest not alien to death."

    

    This anthology covers all of the major topics that fall within this subject and includes essays and excerpts from fifty authors, including C.S. Lewis, Flannery O’Connor, Dorothy Sayers, and Frederick Buechner.

    Manifestoes of Surrealism is a book by André Breton, describing the aims, meaning, and political position of the Surrealist movement.The translators of this edition were finalists of the 1970 National Book Awards in the category of translation.

    The ideas in De la grammatologie sparked lively debates in intellectual circles that included students of literature, philosophy, and the humanities, inspiring these students to ask questions of their disciplines that had previously been considered improper. Thirty years later, the immense influence of Derrida's work is still igniting controversy, thanks in part to Gayatri Spivak's translation, which captures the richness and complexity of the original. This corrected edition adds a new index of the critics and philosophers cited in the text and makes one of contemporary criticism's most indispensable works even more accessible and usable.

    Lovecraft (1890-1937), the most important American supernaturalist since Poe, has had an incalculable influence on all the horror-story writing of recent decades. Altho his supernatural fiction has been enjoying an unprecedented fame, it's not widely known that he wrote a critical history of supernatural horror in literature that has yet to be superceded as the finest historical discussion of the genre. This work is presented in this volume in its final, revised text. With incisive power, Lovecraft here formulates the esthetics of supernatural horror & summarizes the range of its literary expression from primitive folklore to the tales of his own 20th-century masters. Following a discussiom of terror-literature in ancient, medieval & renaissance culture, he launches on a critical survey of the whole history of horror fiction from the Gothic school of the 18th century (when supernatural horror found its own genre) to the time of De la Mare & M.R. James. The Castle of Otranto, Radcliffe, "Monk" Lewis, Vathek Charles Brockden Brown, Melmoth the Wanderer, Frankenstein, Bulwer-Lytton, Fouqué's Undine, Wuthering Heights, Poe (full chapter), The House of the Seven Gables, de Maupassant's The Horla, Bierce, The Turn of the Screw , M.P. Shiel, W.H. Hodgson, Machen, Blackwood & Dunsany are among those discussed in depth. He also notices a host of lesser writers--enough to draw up an extensive reading list. By charting so completely the background for his own concepts of horror & literary techniques, Lovecraft throws light on his own fiction as well as on the horror-literature which has followed. For this reason this book will be especially intriguing to those who've read his fiction as an isolated phenomenon. Any searching for a guide thru the inadequately marked region of literary horror, need search no further. Unabridged & corrected republication of 1945 edition. New introduction by E.F. Bleiler.

    The culmination of a lifetime of aesthetic investigation, Aesthetic Theory is Theodor W. Adorno's magnum opus, the clarifying lens through which the whole of his work is best viewed, providing a framework within which his other major writings cohere.

    This "Columbia Critical Guide" starts with extracts from Melville's own letters and essays and from early reviews of "Moby-Dick" that set the terms for later critical evaluations. Subsequent chapters deal with the "Melville Revival" of the 1920s and the novel's central place in the establishment, growth, and reassessment of American Studies in the 1940s and 1950s. The final chapters examine postmodern New Americanist readings of the text, and how these provide new models for thinking about American culture.

    D. Salinger published The Catcher in the Rye in 1951, he was stalked by besotted fans, would-be biographers, and pushy journalists. In this collection of rare and revealing encounters with the elusive literary giant, Salinger discusses sometimes willingly, sometimes grudgingly what that onslaught was like, the autobiographical origins of his art, and his advice to writers. Including his final, surprising interview, and with an insightful introduction by New York Times journalist David Streitfeld, these enlightening, provocative, and even amusing conversations reveal a writer fiercely resistant to the spotlight but powerless to escape its glare."

    Starting as a London antique dealer, Feild comes into contact with the enigmatic Hamid, a Sufi teacher who leads him into a world of mystery, knowledge, and limitless love. On his journey, which takes him to the mystical sites of Turkey, Feild is forced to confront his own inner weaknesses and falsehoods. Hamid and the events of his search take him again and again into confrontation with the limits of his own being, enabling him to shed the false conditioning that lies between himself and his true nature. This hard-to-put-down adventure is a travelogue in more ways than one. It tells of Feild's exhilarating explorations into mystical Turkey, a land of whirling dervishes and the tombs of great saints, but also a world that opens into the divine love that lies at the heart of all.

    Johnson reveals little-known facts about Oates's personal and family history and debunks many of the myths that have arisen about this brilliant, enigmatic woman. Johnson takes readers from Oates's impoverished childhood in upstate New York and the birth of her autistic sister through Oates's studies at Syracuse University, where her talent was immediately recognized, to the full breadth of her astonishingly productive career. His astute examination of Oates's novels, short stories, and plays demonstrates how her art has been informed by her life.