Life is hell for all the slaves, but especially bad for Cora; an outcast even among her fellow Africans, she is coming into womanhood—where even greater pain awaits. When Caesar, a recent arrival from Virginia, tells her about the Underground Railroad, they decide to take a terrifying risk and escape. Matters do not go as planned—Cora kills a young white boy who tries to capture her. Though they manage to find a station and head north, they are being hunted.In Whitehead’s ingenious conception, the Underground Railroad is no mere metaphor—engineers and conductors operate a secret network of tracks and tunnels beneath the Southern soil. Cora and Caesar’s first stop is South Carolina, in a city that initially seems like a haven. But the city’s placid surface masks an insidious scheme designed for its black denizens. And even worse: Ridgeway, the relentless slave catcher, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom.Like the protagonist of Gulliver’s Travels, Cora encounters different worlds at each stage of her journey—hers is an odyssey through time as well as space. As Whitehead brilliantly re-creates the unique terrors for black people in the pre–Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman’s ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.

    A collection of twenty of Paglia's out-spoken essays on contemporary issues in America's ongoing cultural debate such as Anita Hill, Robert Mapplethorpe, the beauty myth, and the decline of education in America.

    This beautiful collection is the product of years of full-time research by a team of British and American scholars and represents the most thorough examination ever undertaken of the nature and authority of Shakespeare's work. The editors reconsidered every detail of the text in the light of modern scholarship and they thoroughly re-examined the earliest printed versions of the plays, firmly establishing the canon and chronological order of composition. All stage directions have been reconsidered in light of original staging, and many new directions for essential action have been added. This superb volume also features a brief introduction to each work as well as an illuminating General Introduction. Finally, the editors have added a wealth of secondary material, including an essay on language, a list of contemporary allusions to Shakespeare, an index of Shakespearean characters, a glossary, a consolidated bibliography, and an index of first lines of the Sonnets.Compiled by the world's leading authorities, packed with information, and attractively designed, The Oxford Shakespeare is the gold standard of Shakespearean anthologies.

    Starting at 'The Beginning' and concluding with 'The End', chapters range from the familiar, such as 'Character', 'Narrative' and 'The Author', to the more unusual, such as 'Secrets', 'Pleasure' and 'Ghosts'. Now in its fifth edition, Bennett and Royle's classic textbook successfully illuminates complex ideas by engaging directly with literary works, so that a reading of Jane Eyre opens up ways of thinking about racial difference, for example, while Chaucer, Raymond Chandler and Monty Python are all invoked in a discussion of literature and laughter.The fifth edition has been revised throughout and includes four new chapters - 'Feelings', 'Wounds', 'Body' and 'Love' - to incorporate exciting recent developments in literary studies. In addition to further reading sections at the end of each chapter, the book contains a comprehensive bibliography and a glossary of key literary terms.A breath of fresh air in a field that can often seem dry and dauntingly theoretical, this book will open the reader's eyes to the exhilarating possibilities of reading and studying literature.

    With subjects ranging from the writer’s own “migrant childhood” to the need to protect what remains of the great western wilderness (which Stegner dubs “the geography of hope”) to poignant profiles of western writers such as John Steinbeck and Norman Maclean, this collection is a riveting testament to the power of place. At the same time it communicates vividly the sensibility and range of this most gifted of American writers, historians, and environmentalists.

    Deconstructionists, poststructuralists, postmodernists, second-wave feminists, new historicists, cultural materialists, postcolonialists, black critics and queer theorists, among a host of others, all vie for our attention. Stuart Sim and Borin Van Loon's incisive graphic guide provides a route through the tangled jungle of competing ideas and provides an essential historical context, situating these theories within tradition of critical analysis going back to the rise of Marxism. They present the essential methods and objectives of each theoretical school in an incisive and accessible manner, and pay special attention to recurrent themes and concerns that have preoccupied a century of critical theoretical activity.

    These assorted merchants, gardeners, barber-surgeons, midwives, instrument makers, mathematics teachers, engineers, alchemists, and other experimenters, she contends, formed a patchwork scientific community whose practices set the stage for the Scientific Revolution. While Francis Bacon has been widely regarded as the father of modern science, scores of his London contemporaries also deserve a share in this distinction. It was their collaborative, yet often contentious, ethos that helped to develop the ideals of modern scientific research.The book examines six particularly fascinating episodes of scientific inquiry and dispute in sixteenth-century London, bringing to life the individuals involved and the challenges they faced. These men and women experimented and invented, argued and competed, waged wars in the press, and struggled to understand the complexities of the natural world. Together their stories illuminate the blind alleys and surprising twists and turns taken as medieval philosophy gave way to the empirical, experimental culture that became a hallmark of the Scientific Revolution.

    An impassioned proponent of reason, rational self-interest, individualism, and laissez-faire capitalism, she expressed her unique views in numerous works of fiction and non-fiction that have been brought together for the first time in this one-of-a-kind volume.Containing excerpts from all her novels--including Atlas Shrugged, Anthem, and We The Living--The Ayn Rand Reader is a perfect introduction for those who have never read Rand, and provides teachers with an excellent guide to the basics of her viewpoint.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    This inexpesnive pamphlet edition is sure to be prized by Americans of all ages.

    working in 1930s New OrleansThe Red Storm is the first novel from licensed private investigator-turned-novelist Grant Bywaters, sure to appeal to fans of fellow competition winners Steve Hamilton and Michael Koryta, and lovers of P.I. novels and historical mysteries.Newly-minted private investigator William Fletcher is having trouble finding clientele. He’s not the only man out of work, but his past as a former heavyweight contender with a few shady connections—not to mention the color of his skin in race-obsessed New Orleans—isn’t helping lure clients to his door. Stuck without any viable alternative, he takes a case from an old criminal acquaintance, Storm. His only client assures him that the job is simple—locate his missing estranged daughter, Zelda, no questions asked.But when Fletcher starts knocking on doors, he sets off a catastrophic chain of events that turns the city into a bloody battleground between two rival syndicates. Then Storm is murdered and Fletcher finds himself caught between the police and dangerous mobsters. With Zelda’s safety in the balance, the unlikely private detective finds himself saddled with a lot more than he bargained for.

    Although fellow novelists William Dean Howells and Hamlin Garland immediately recognized genius in the twenty-one-year-old author of Maggie: A Girl of the Streets, in 1893 most readers were unwilling to accept its unconventional theme and were uneasy with a style that was at once darkly naturalistic and vividly impressionistic. Today Maggie is esteemed as an American classic, the first of an impressive group of works in which Crane explored the underside of urban life, portraying the rise of the metropolis as it alters not just the human environment but human nature itself. This volume includes "George's Mother" and eleven other tales and sketches of New York written between 1892 and 1896. Together in their dignified realism these tales confirm Crane's place as the first modern American writer.

    How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster’s infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated."

    Virginia Loftin knows what she wants most: to become a celebrated novelist despite her gender, and to marry Charlie, her best friend, neighbor and first love. Yet when Charlie proposes to another woman, Ginny is devastated; shutting out her family, she holes up and obsessively rewrites how their story should have gone.Though Ginny works with newfound intensity, success eludes her—until she attends a salon hosted in her brother’s handsome author friend John’s Fifth Avenue mansion. Amongst painters, musicians, actors, and writers, Ginny returns to herself, even blooming under John’s increasingly romantic attentions. Just as she has begun to forget Charlie, however, he throws himself back into her path, and Ginny finds herself torn between a lifetime’s worth of complicated feelings and a budding relationship with a man who seems almost too good to be true.The brightest lights cast the darkest shadows, and as Ginny tentatively navigates the Society’s world, she begins to suspect all is not as it seems in New York’s dazzling “Gay Nineties” scene. When a close friend is found dead in John’s mansion, Ginny must delve into her beloved salon’s secrets to discover her true feelings about art, family, and love.

    His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.