*** Volume 1 plays a key role in the plot of the US movie Sex and the City. *** This Volume 2 includes love poems written by Matthew Arnold, Alfred Austin, Samuel Alfred Beadle, William Blake, Christopher Brennan, Lord Byron, Robert Burns, John Clare, Samuel Taylor Coleridge, Henry Constable, William Cowper, Michael Drayton, George Eliot, Thomas Ford, Stephen Foster, Robert Frost, Thomas Frost, Norman Rowland Gale, Johann Wolfgang von Goethe, Alfred P. Graves, Robert Herrick, Leigh Hunt, Benjamin Jonson, John Keats, Richard Lovelace, Pablo Neruda, Edgar Allen Poe, and William Shakespeare.

    It's a thrilling story of adventure and rescue, of escape and revenge, set in New England in the early days of Prohibition. Written in the great storytelling tradition, 'Warm Moonlight' has all the intensity of a got-to-hear-how-it-ends campfire yarn, but with a decidedly adult sophistication and sensibility. The ending is unique and satisfying, but leaves the audience, like one of the characters in the story, wondering - how much of it was true? How much invented? Can such things be? Maybe it's a ghost story or . . . . maybe it isn't.

    Until now, those stories have been unpublished and unavailable for others to read but - due to popular demand - he has compiled them in this collection. Included within this collection: Some Drabbles To Get You Started Under The Safe House (novella) Room To Breathe (novella) The First Cuddle (short story) Santa’s Secret (short story) Smoking Kills (short story) Needles (short story) Cold (short story) Sleeping Dogs (short story) Ugly (short story) About the author: Matt Shaw is the published author, and film director, of over 200 stories including his infamous black cover range of extreme horrors. In those titles he is known for pushing boundaries and has been nominated for multiple awards within the "splatterpunk" genre but do not be fooled - Shaw isn't only capable of writing the extremes. His dark psychological horrors are known for getting under the skin of the readers, causing both sleepless nights and restless dreams... PRAISE FOR THE AUTHOR “There is a ferocity about Matt Shaw's writing that is both welcome and also necessary when it comes to horror.” - Shaun Hutson, author of "Slugs" Categories for "UNDER THE SAFE HOUSE & OTHER STORIES" - Horror - Psychological Fiction - Depression - Grief - Bullying - Suspense horror

    Few people's lives were unaffected in some way by that fateful day and these stories reflect this.Some of them are set at Pearl Harbor itself, in other parts of the United States and in Singapore. Other stories take place in Europe: occupied France, Germany and Northern Ireland. They explore the experiences of U.S. servicemen and women, a German Jew, Japanese Americans, a French countess, an Ulster Home Guard, and many others.The authors invite you to step into December 1941 with them.THE STORIES:Deadly Liberty by R.V. Doon: Connie Collins, a navy nurse on the hospital ship, USS Solace, takes liberty the day before Pearl Harbor. Her budding romance wilts, an AWOL nurse insists she find a missing baby, and she's in the harbor when WWII erupts. Under fire, she boards the ship--and witnesses a murder during the red alert chaos. When liberty turns deadly, shipmates become suspects.The List by Vanessa Couchman: A high-ranking German officer is assassinated in Western France and 50 hostages are shot. Fifty more will be executed if the killers are not handed over. Jewish communist Joseph Mazelier is on the list. Will Countess Ida agree to help him escape?Christmas Eve in the City of Dreams by Alexa Kang: On his last night in New York, a young grifter sets out to turn the table on those who shorted him before he leaves for the draft. Will he win or lose?Allies After All by Dianne Ascroft: Although their nations are allies, from their first meeting American civilian contractor Art Miller and Local Defence Volunteer, Robbie Hetherington loathe each other. But Northern Ireland is too small a place for such animosity. What will it take to make the two men put aside their enmity and work together?Time to Go by Margaret Tanner: A young sailor, who died at Pearl Harbor, finally meets his soulmate on the 75th Anniversary of the battle. Will she be prepared to leave the 21st century with him? Or will they forever remain apart?Turning Point by Marion Kummerow: Eighteen-year-old German Jew Margarete Rosenbaum is about to be sent to a labor camp, when a bomb hits the building she lives in. Emerging from the rubble she's presented with an unexpected opportunity. But how far is she willing to go to save her life? I am an American by Robyn Hobusch Echols: Ellen Okita and Flo Kaufmann are high school seniors in Livingston, California. Ellen is a first generation American who lives in the Yamato Colony, composed of about 100 families of Japanese descent. Flo's father is a first generation American. After Pearl Harbor, the war hits home fast and brings unforeseen changes to them and their families.A Rude Awakening by Robert A. Kingsley: Singapore, December 1941; the fortress sleeps, believing its own tales of strength and invulnerability. A rigidly class based society throws garden parties and dines sedately, disregarding the slowly growing number of warning signals. Suddenly, the underestimated enemy ferociously attacks and the myth of invincibility is shattered forever.

    Every genre and style, from the celebrated No plays to the poetry and novels of the seventeenth century, find a place in this book. An introduction by Donald Keene places the selections in their proper historical context, allowing the readers to enjoy the book both as literature and as a guide to the cultural history of Japan. Selections include “Man’yoshu” or “Collection of Ten Thousand Leaves” from the ancient period; “Kokinshu” or “Collection of Ancient and Modern Poetry,” “The Tosa Diary” of Ki No Tsurayuki, “Yugao” from “Tales of Genji” of Murasaki Shikibu, and “The Pillow Book” of Sei Shonagon from the Heian Period; “The Tale of the Heike” from the Kamakura Period; Plan of the No Stage, “Birds of Sorrow” of Seami Motokiyo, and “Three Poets at Minase” from the Muromachi Period; and Sections from Basho, including “The Narrow Road of Oku,” “The Love Suicides at Sonezaki” by Chikamatsu Monzaemon, and Waka and haiku of the Tokugawa Period.

    In Autobahn, Neil LaBute's provocative new collection of one-act plays set within the confines of the front seat, the playwright employs his signature plaintive insight to great effect, investigating the inchoate apprehension that surrounds the steering wheel. Each of these seven brief vignettes explore the ethos of perception and relationship--from a make-out session gone awry to a kidnapping thinly disguised as a road trip, a reconnaissance mission involving the rescue of a Nintendo 64 to a daughter's long ride home after her release from rehab. The result is an unsettling montage that gradually reveals the scabrous force of words left unsaid while illuminating the delicate interplay between intention and morality, capturing the essence of middle America and the myriad paths which cross its surface.

    The classic story of a boy's adventures in the Mississippi Valley.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    These stories span characters and emotional states with canny details that touch the depths of your soul. Picturing the complexities of love, misery and mystery, the stories try to gnaw your heart like never before.• What does a flower teach us we often fail to see?• “The belly is an ungrateful wretch.” Is it true?• Ever wondered about the sparseness and illusions in life?• Does death put an end to true love?• Have all the ascetics won over their emotions?With the power of simple language, this book transports the readers to a world scarcely thought of in our bustling lives. The allegories maintain an intense rhythm of life prompting the readers to perceive things from a unique angle.“A whole bookful to make you think, cry, think again and move on.”

    Now this complete illustrated collection of the commentaries that have aired on NPR?s Morning Edition presents Black?s latest dose of medicine for animal and human alike. Ranging from a riotous account of two cowboys chasing down a cow in the nude to a very touching piece about a rancher who loses his wife to cancer and finds out the true worth of his friends and neighbors, Cactus Tracks & Cowboy Philosophy brings together Black?s best-known and most adored work.

    This is the first fiction anthology in more than three decades from the magazine that has defined the American short story for almost a century. As noteworthy for its range as for its excellence, Nothing But You features a stunning array of present and past masters writing about love in all its varieties, from the classic love story to dislocated narratives of weird modern romance. Taken separately, these stories suggest the infinite variety of the human heart. Taken together, they are a literary milestone, a comprehensive review of the way we live and love now.

    Gary Handler has issues. His boss hates him, his mother hounds him, and his cat thinks he’s an idiot. But that’s okay because Gary’s got the perfect solution to all of life’s troubles: a porn site subscription and his right hand.Sadly, all habits grow old, even the fun ones. Gary soon finds himself at the doorstep of a creepy old pawn shop where he buys a used adult novelty toy to spice up his one-man sex life.Pity for him that it’s cursed by the angry spirits of all the “kids” he’s flushed down the toilet. Needless to say, hairy palms are about to become the least of his worries.----------Jack on, jack off ... with the Jacklight in book 2 of Shingles, the horror comedy series that’s not for those with faint hearts or weak bladders.

    by such theatrical directors as Lee Strasberg, Elizabeth Swados, Peter Sellars and Robert Wilson. Critics have hailed these translations as making Chekhov fully accessible to American audiences. They are also accurate -- Schmidt has been described as "the gold standard in Russian-English translation" by Michael Holquist of the Russian department at Yale University.Swan song --The bear --The proposal --Ivanov --The seagull --A reluctant tragic hero --The wedding reception --The festivities --Uncle Vanya --Three sisters --The dangers of tobacco --The cherry orchard.

    After watching it, one of them vanishes...A heart transplant recipient gets much more than he bargained for when he digs into his donor's sinister past...Mourning the death of their son, a young couple is plunged into madness after encountering something otherworldly in the wilderness...DREAMS IN BLACK STATIC is a collection of eight terrifying stories by Ambrose Ibsen, author of The Haunting of Beacon Hill and Asylum. The tales included are:"Me and Mr. Ray" **"Decatur Road" **"Dreams in Black Static" **"Distortional Addict" **"Trim" **"Subterrane Dream" **"Orchard""The Uncanny" **** = Appearing in print for the first time