Auden. What does Roman Britain mean to us now? How were its physical remains rediscovered and made sense of? How has it been reimagined, in story and song and verse?Charlotte Higgins has traced these tales by setting out to discover the remains of Roman Britain for herself, sometimes on foot, sometimes in a splendid, though not particularly reliable, VW camper van. Via accounts of some of Britain's most intriguing, and often unjustly overlooked ancient monuments, Under Another Sky invites us to see the British landscape, and British history, in an entirely fresh way: as indelibly marked by how the Romans first imagined, and wrote, these strange and exotic islands, perched on the edge of the known world, into existence.

    It concludes with a moving meditation on a modern world robbed of imagination--a world without religion, without art--and on the difficulties of faith in a disbelieving age. In between are previously uncollected stories and poems, a pageant of scenes from seventeenth-century Massachusetts, five late "golf dreams," and several of Updike's commentaries on his own work. At the heart of the book are his matchless reviews--of John Cheever, Ann Patchett, Toni Morrison, William Maxwell, John le Carré, and essays on Aimee Semple McPherson, Max Factor, and Albert Einstein, among others. Also included are two decades of art criticism--on Chardin, El Greco, Blake, Turner, Van Gogh, Max Ernest, and more.Updike's criticism is gossip of the highest order, delivered in an intimate and generous voice.

    Monsarrat follows the great captains and naval adventurers from the Artic to the South Pacific. Lawe represents the spirit of maritime exploration and fortitude; his life is the thread stringing together a long history of nautical adventure.He finds himself mixed up with Drake and the Armada; sailing with Hudson in search of the North-West passage; a buccaneer under Sir Henry Morgan in the Caribbean; assisting Samuel Pepys with his responsibilities as Secretary to the Navy; at the side of Captain Cook as he transports General Wolf to the storming of Quebec, and then on to his death in the Pacific; serving in Nelson’s household and then to the Nile, Naples and Trafalgar; working on a slaver from Liverpool to the Caribbean; press-ganged aboard the Shannon just before her duel with the American Chesapeake, exploring the Artic with Sir John Franklin; fighting in both world wars, including the action at Zebrugge and ‘D’ Day; before a final test with a tanker catching fire after the opening of the St.Lawrence Seaway – and much more besides!Under sail and steam, as Mathew’s eternal existence progresses, the action-packed novel is both highly entertaining and instructive and has been widely acclaimed as a masterpiece. Some fourteen true maps, along with other diagrams, are included, and what was originally two volumes is supplied as one. ‘… this huge, action packed volume can be recommended to anyone’ – Sunday Times‘He has never written anything to compare with this work – it is a masterstroke’ – Manchester Evening News‘No one can bring alive the cruel sea and the valiant men who have sailed on it through all the generations like Monsarrat’ – Daily Mail‘This is Monsarrat, master storyteller, running proud’ – The ScotsmanNote: Nicholas Monsarrat died before Book II was finished. Anne Monsarrat completed the remainder of the story in Nicholas's own words, partly from some working notes he left and partly from his original synopsis of The Master Mariner Book II. Both are included here.

    A. S. Byatt does, and her case is persuasive. In a series of essays on the complicated relations between reading, writing, and remembering, the gifted novelist and critic sorts the modish from the merely interesting and the truly good to arrive at a new view of British writing in our time.Whether writing about the renaissance of the historical novel, discussing her own translation of historical fact into fiction, or exploring the recent European revival of interest in myth, folklore, and fairytale, Byatt's abiding concern here is with the interplay of fiction and history. Her essays amount to an eloquent and often moving meditation on the commitment to historical narrative and storytelling that she shares with many of her British and European contemporaries. With copious illustration and abundant insights into writers from Elizabeth Bowen and Henry Green to Anthony Burgess, William Golding, Muriel Spark, Penelope Fitzgerald, Julian Barnes, Martin Amis, Hilary Mantel, and Pat Barker, On Histories and Stories is an oblique defense of the art Byatt practices and a map of the complex affiliations of British and European narrative since 1945.

    THE ONE-STOP, SINGLE-VOLUME COMPANION TO SHAKESPEARE'S GREATEST WORKS-HIS HISTORY PLAYS, COMEDIES, TRAGEDIA, ROMANCES, AND POETRYA portrait of Shakespeare's life and times: critics, contemporaries, patrons, and the era's vibrant theater.Full commentaries on all 39 plays including detailed plot summaries, a survey of dramatic interpretations on stage and screen, and an introduction to Shakespeare's sonnets and narrative poetry.Insight into Shakespeare's unique world, including his language, his sources of inspiration, and teh secret of his enduring universal appeal.

    Drawing on a wide range of sources, both critical and literary, Caring for Words in a Culture of Lies is an engaging address to everyone concerned with preserving the vitality and precision of the spoken and written word.  “If every literate person in the United States read this book, the result could dramatically transform our society. . . . Written with modesty, keen insight, and grace, Marilyn McEntyre’s Caring for Words in a Culture of Lies proposes a revolution of human expression that would bring precision, honesty, and felicity to the spoken and written discourse of contemporary culture.

    Frank Kermode, Britain's most distinguished scholar of sixteenth-century and seventeenth-century literature, has been thinking about Shakespeare's plays all his life. This book is a distillation of that lifetime of thinking.The finest tragedies written in English were all composed in the first decade of the seventeenth century, and it is generally accepted that the best ones were Shakespeare's. Their language is often difficult, and it must have been hard even for contemporaries to understand. How did this language develop? How did it happen that Shakespeare's audience could appreciate Hamlet at the beginning of the decade and Coriolanus near the end of it?In this long-awaited work, Kermode argues that something extraordinary started to happen to Shakespeare's language at a date close to 1600, and he sets out to explore the nature and consequences of the dynamic transformation that followed. For it is in the magnificent, suggestive power of the poetic language itself that audiences have always found meaning and value. The originality of Kermode's argument, the elegance and humor of his prose, and the intelligence of his discussion make this a landmark in Shakespearean studies.

    By unfolding the histories of the meaningful objects in their family home in Haworth, Lutz immerses readers in a nuanced re-creation of the sisters' daily lives while moving us chronologically forward through the major biographical events: the death of their mother and two sisters, the imaginary kingdoms of their childhood writing, their time as governesses, and their determined efforts to make a mark on the literary world.From the miniature books they made as children to the blackthorn walking sticks they carried on solitary hikes on the moors, each personal possession opens a window onto the sisters' world, their beloved fiction, and the Victorian era. A description of the brass collar worn by Emily’s bull mastiff, Keeper, leads to a series of entertaining anecdotes about the influence of the family’s dogs on their writing and about the relationship of Victorians to their pets in general. The sisters' portable writing desks prove to have played a crucial role in their writing lives: it was Charlotte's snooping in Emily’s desk that led to the sisters' first publication in print, followed later by the publication of Jane Eyre and Wuthering Heights.Charlotte's letters provide insight into her relationships, both innocent and illicit, including her relationship with the older professor to whom she wrote passionately. And the bracelet Charlotte had made of Anne and Emily's intertwined hair bears witness to her profound grief after their deaths.Lutz captivatingly shows the Brontës anew by bringing us deep inside the physical world in which they lived and from which their writings took inspiration.

    They included Lord Byron, John Keats, and Mary Shelley, as well as a host of fascinating lesser-known figures: Mary Shelley’s stepsister and Byron’s mistress, Claire Clairmont; Hunt’s botanist sister-in-law, Elizabeth Kent; the musician Vincent Novello; the painters Benjamin Haydon and Joseph Severn; and writers such as Charles and Mary Lamb, Thomas Love Peacock, and William Hazlitt. They were characterized by talent, idealism, and youthful ardor, and these qualities shaped and informed their politically oppositional stances—as did their chaotic family arrangements, which often left the young women, despite their talents, facing the consequences of the men’s philosophies.In Young Romantics, Daisy Hay follows the group’s exploits, from its inception in Hunt’s prison cell in 1813 to its disintegration after Shelley’s premature death in 1822. It is an enthralling tale of love, betrayal, sacrifice, and friendship, all of which were played out against a background of political turbulence and intense literary creativity.

    This No Fear Shakespeare ebook gives you the complete text of Much Ado About Nothingand an easy-to-understand translation.Each No Fear Shakespeare contains The complete text of the original play A line-by-line translation that puts Shakespeare into everyday language A complete list of characters with descriptions Plenty of helpful commentary

    She meets and joins up with Lloyd Bophtelophti, a true "original" who has changed his name to avoid alimony payments and who now lives with a paraplegic named Pootie (who also pretends to be deaf in order to get double disability). Thus begins a series of picaresque escapades involving numerous psychiatrists, a TV game show, and, eventually, an ill-fated reunion with her husband. Filled with bizarre characters and events, the play reflects the fractured lifestyles which have become the norm for so many in our tenuous times.

    In response to the whole range of Dylan early and late (his songs of social conscience, of earthly love, of divine love, and of contemplation), this critical appreciation listens to Dylan's attentive genius, alive in the very words and their rewards. "Fools they made a mock of sin." Dylan's is an art in which sins are laid bare (and resisted), virtues are valued (and manifested), and the graces brought home. The seven deadly sins, the four cardinal virtues (harder to remember?), and the three heavenly graces: these make up everybody's world -- but Dylan's in particular. Or rather, his worlds, since human dealings of every kind are his for the artistic seizing. Pride is anatomized in "Like a Rolling Stone," Envy in "Positively 4th Street," Anger in "Only a Pawn in Their Game" ... But, hearteningly, Justice reclaims "Hattie Carroll," Fortitude "Blowin' in the Wind," Faith "Precious Angel," Hope "Forever Young," and Charity "Watered-Down Love."In The "New Yorker, Alex Ross wrote that "Ricks's writing on Dylan is the best there is. Unlike most rock critics -- 'forty-year-olds talking to ten-year-olds, ' Dylan has called them -- he writes for adults." In the "Times (London), Bryan Appleyard maintained that "Ricks, one of the most distinguished literary critics of our time, is almost the only writer to have applied serious literary intelligence to Dylan ..."Dylan's countless listeners (and even the artist himself, who knows?) may agree with W.H. Auden that Ricks "is exactly the kind of critic every poet dreams of finding."

    The first entry included here is dated 1918 and the last, three weeks before her death in 1941. Between these points of time unfolds the private world??—??the anguish, the triumph, the creative vision??—??of one of the great writers of the twentieth century. “A Writer’s Diary . . . is Virginia Woolf . . . The whole vibrates with the ups and downs of a passionate relationship . . . in the intensities, variations, alarms and excursions, panics and exaltations of her relationship to her art.”??—??New York Times Book ReviewEdited and with a Preface by Leonard Woolf.

    It is a world populated by ineffectual wizards and sharp-as-tacks witches, by tired policemen and devious dictators, by reformed thieves and vampires who have sworn to drink no blood. It is a world that is vastly different from our own . . . except when it isn't.Now, in The Wit and Wisdom of Discworld, various nuggets of Pratchett's witty commentary and sagacious observations have been compiled by Pratchett expert Stephen Briggs, a man who, they say, knows even more about Discworld than Terry Pratchett.Within these pages, you'll find musings on:Interior decorating: "It's a fact known throughout the universes that no matter how carefully the colors are chosen, institutional decor ends up as either vomit green, unmentionable brown, nicotine yellow, or surgical appliance pink. By some little-understood process of sympathetic resonance, corridors painted in those colors always smell slightly of boiled cabbage—even if no cabbage is ever cooked in the vicinity." (Equal Rites)Travel: "Any seasoned traveler soon learns to avoid anything wished on them as a 'regional speciality,' because all the term means is that the dish is so unpleasant the people living everywhere else will bite off their own legs rather than eat it. But hosts still press it upon distant guests anyway: 'Go on, have the dog's head stuffed with macerated cabbage and pork noses—it's a regional speciality.'" (The Last Continent)Young men: "And then there was the young male walk. At least women swung only their hips. Young men swung everything, from the shoulders down. You have to try to occupy a lot of space. It makes you look bigger, like a tomcat fluffing his tail. The boys tried to walk big in self-defense against all those other big boys out there. I'm bad, I'm fierce, I'm cool, I'd like a pint of shandy and me mam wants me home by nine." (Monstrous Regiment)Class: "'Old money' meant that it had been made so long ago that the black deeds that had originally filled the coffers were now historically irrelevant. Funny, that; a brigand for a father was something you kept quiet about, but a slave-taking pirate for a great-great-great-grandfather was something to boast of over the port. Time turned the evil bastards into rogues, and rogue was a word with a twinkle in its eye and nothing to be ashamed of." (Making Money). . . and more culled from all the Discworld novels.

    He was a prolific literary critic and book reviewer. Between the two world wars, before making his name, he kept company with rowdy, hard-up writers and painters--and painters' models--in the London where Augustus John and Wyndham Lewis loomed large. He counted Evelyn Waugh and Henry Green among his lifelong friends, and his circle included the Sitwells, Graham Greene, George Orwell, Philip Larkin, and Kingsley Amis, among many others. Now, drawing on his letters, diaries, and interviews, Hilary Spurling--herself a longtime friend of Powell's-- has written a fresh and masterful portrait of the man, his work, and his time. Insightful, poignant, and cinematic in scope, this biography is as much a brilliant tapestry of a seminal moment in London's literary life as it is a revelation of an iconic literary figure.