Bradley put Shakespeare on the map for generations of readers and students for whom the plays might not otherwise have become 'real' at all" writes John Bayley in his foreword to this edition of Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth.Approaching the tragedies as drama, wondering about their characters as he might have wondered about people in novels or in life, Bradley is one of the most liberating in the line of distinguished Shakespeare critics. His acute yet undogmatic and almost conversational critical method has—despite fluctuations in fashion—remained enduringly popular and influential. For, as John Bayley observes, these lectures give us a true and exhilarating sense of "the tragedies joining up with life, with all our lives; leading us into a perspective of possibilities that stretch forward and back in time, and in our total awareness of things."

    Each book will be a brief, witty, and useful exploration of fiction, nonfiction, or poetry by a writer impassioned by a singular craft issue. The Art Of volumes will provide a series of sustained examinations of key but sometimes neglected aspects of creative writing by some of contemporary literature's finest practioners. "Poetry is the sound of language organized in lines." James Longenbach opens this provocative book with that essential statement. Through a range of examples—from Shakespeare and Milton to Ashbery and Glück—Longenbach describes the function of line in metered, rhymed, syllabic, and free-verse poetry. The Art of the Poetic Line is a vital new resource by one of America's most important critics and most engaging poets.

    Providing a unique combination of well-written, up-to-date background information and intriguing selections from primary documents, The Bedford Companion to Shakespeare introduces students to the topics most important to the study of Shakespeare in their full historical and cultural context.

    It is language made special so that it will be remembered and valued. It does not always work—over the centuries countless thousands of poems have been forgotten. This little history is about some that have not. John Carey tells the stories behind the world’s greatest poems, from the oldest surviving one written nearly four thousand years ago to those being written today. Carey looks at poets whose works shape our views of the world, such as Dante, Chaucer, Shakespeare, Whitman, and Yeats. He also looks at more recent poets, like Derek Walcott, Marianne Moore, and Maya Angelou, who have started to question what makes a poem "great" in the first place. This little history shines a light on the richness and variation of the world’s poems—and the elusive quality that makes them all the more enticing.

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    Throughout, Chabon energetically argues for a return to the thrilling, chilling origins of storytelling, rejecting the false walls around "serious" literature in favor of a wide-ranging affection.Cover art by Jordan Crane.

    In the 40 essays that constitute this collection, Guy Davenport, one of America's major literary critics, elucidates a range of literary history, encompassing literature, art, philosophy and music, from the ancients to the grand old men of modernism.

    PhilipNewell emphasized the Celtic view of the oneness of creationand humanity as expressed through Christ. In that poetic treatmentof the wisdom of Celtic spirituality, Newell pointed the way to amore peaceful, harmonious, integrated Christianity. A New Harmonytakes the next step forward in emphasizing the need to overcomedivisions and find common ground and to reclaim the best of ancientChristian spirituality and a more holistic, natural way of thinkingabout faith.Offers a view of spirituality rooted in ancient insights thatincludes and extends beyond ChristianityPresents the case for the need for "a new harmony" that is bothmystical and relationalThe author J. Philip Newell is a well-known expert on CelticChristianity and the author of the acclaimed Listening for theHeartbeat of God.

    Whether she is writing about George Eliot or Sylvia Plath; Victorian spiritual malaise or Toni Morrison; mythic strands in the novels of Iris Murdoch and Saul Bellow; politics behind the popularity of Barbara Pym or the ambitions that underlie her own fiction, Byatt manages to be challenging, entertaining, and unflinchingly committed to the alliance of literature and life.

    And although these pieces were primarily intended to help students improve their creative writingn abilities, they are also an effective introduction to Hughes's own work and the influences other writers have had on him. Hughes, who was Poet Laureate to Queen Elizabeth II at the time of his death in 1998, casually and colorfully discusses how he came to write, what inspires him (and why), and the difficulties that he (and other writers) confront when writing.

    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.

    Chapters on each element of poetry offer a wide-ranging general account and end by looking at different poems, to build up sustained analytical readings.The second edition--fully revised, expanded, updated, and supported by a new companion website--confirm The Poetry Handbook as the best guide to poetry available in English.

    This world of total human experience is the world that is (or at least ought to be) reflected and molded by the arts, above all by the art of literature. "What is the function of literature," Mr. Huxley asks, "what its psychology, what the nature of literary language? And how do its function, psychology and language differ from those of science? What in the past has been the relationship between literature and science? What is it now? What might it be in the future? And what would it be profitable, artistically speaking, for a twentieth-century man of letters to do about twentieth-century science?"Ours is the Age of Science; but from a study of the best contemporary literature one would find it difficult to infer this most obvious of facts. Contemporary poetry, drama and fiction contain remarkably few references to contemporary science—few references even to the metaphysical and ethical problems which contemporary science has raised. That this state of affairs should somehow be remedied is the theme of every recent discussion of "the Two Cultures." unfortunately most of these discussions have been carried on in abstract terms and with almost no citations of case histories, no references to the concrete problems of literary and scientific writing, no illustrative examples. Mr. Huxley has approached the subject in a different way. He deals with specific questions in the fields of immediate experience, of conceptualization, of philosophical interpretation and of verbal expression; and he illustrates these wide-ranging themes with copious quotations, drawn from a great variety of sources. He analyzes the nature of literary language and contrasts its many-meaninged richness with the simplified and jargonized language of science. He shows how the poets of earlier centuries made use of the scientific knowledge available to them. He gives examples of the ways in which modern science has modified and added to the traditional raw materials of literature. And he concludes with a speculative discussion of the ways in which future men of letters may work up the raw materials of brand new fact and revolutionary hypothesis provided by science, transfiguring them into a new kind of literature, capable of expression and at the same time coordinating and giving significance to the totality of an ever-widening human experience.

    Their first biographer, Mrs Gaskell, transformed their story of literary ambition into one of the great legends of the 19th century, a dramatic tale of three lonely sisters playing out their tragic destiny on top of a windswept moor. Lucasta Miller reveals where this image came from and how it took such a hold on the popular imagination.Each generation has rewritten the Brontës to reflect changing attitudes - towards the role of the woman writer, towards sexuality, towards the very concept of personality. The Brontë Myth gives vigorous new life to our understanding of the novelists and their culture. It is a witty, erudite and refreshingly unsentimental unravelling of what Henry James described as "the most complete intellectual muddle ever achieved on a literary question by our wonderful public."