In America she has been posthumously launched as the electric-age Blake, she has been translated into French and Italian to great acclaim, and in the Times Literary Supplement Thom Gunn compared her to the great Augustan satirists. Her reclamation as an English poet is long overdue.Pound, Moore and Williams valued her work, while British critics openly scorned it. Not only were her futurist techniques unlike anything they had encountered before, but her subjects -- procreation, parturition, prostitution, suicide, addiction, retardation -- were considered shocking even by some modernists.She vanished from the literary scene just as dramatically as she had arrived on it, and for much of the century her bold experiments remained a well-kept secret. Carcanet first introduced her work to British readers in 1985 in Roger Conover's The Last Lunar Baedeker, a collected writings. This new edition updates our earlier volume and presents more reliable texts of the essential Loy poems. It includes more extensive notes and apparatus, and features a number of previously unknown works rescued from Dada archives and obscure avant-garde little magazines. All of Loy's canonical Futurist and feminist satires are included, as are the celebrated poems from her Paris and New York periods, the complete cycle of `Love Songs', and her famous portraits-in-verse which define the trajectory of her favoured company and geography -- from fellow modernists Joyce and Brancusi in Paris in the 1920s to fellow destitutes in New York's Lower East Side in the 1940s.

    Devout court composer Antonio Salieri plots against his rival, the dissolute but supremely talented Wolfgang Amadeus Mozart. How far will Salieri go to achieve the fame that Mozart disregards? The 1981 Tony Award winner for Best Play. An L.A. Theatre Works full cast performance featuring: Steven Brand as Baron van Swieten James Callis as Mozart Michael Emerson as Salieri Darren Richardson as Venticello 2 Alan Shearman as Count Orsini-Rosenberg Mark Jude Sullivan as Venticello 1 Simon Templeman as Joseph II Brian Tichnell as Count Johann Kilian Von Strack Jocelyn Towne as Constanze Directed by Rosalind Ayres. Recorded in Los Angeles before a live audience at The James Bridges Theater, UCLA in September of 2016.

    Arnold seeks to find out what culture really is, what good it can do, and if it is really necessary. He contrasts culture, which he calls the study of perfection, with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. This edition reproduces the original book version, revealing the immediate historical context and controversy of the piece. The introduction and notes broaden out the interpretative approach to Arnold's text, elaborating on the complexities of the religious context. The book also reinforces the continued importance of Arnold's ideas its influences in the face of the challenges of multi-culturalism and post-modernism.

    A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else.Is this Shakespeare? Well, sort of.But it doesn't tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. Now, Emma Smith - an intellectually, theatrically, and ethically exciting writer - takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd, the Spielberg and Tarantino of their day; flirting with and skirting round the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex, and the Shakespeare she reveals in this book poses awkward questions rather than offering bland answers, always implicating us in working out what it might mean.

    Harold Pinter specializes in the tragicomedy of the breakdown of communication, broadly in the tradition of the theatre of the absurds and this is demonstrated in both The Caretaker and The Birthday Party.

    Its charm lies not in its plot, but rather in its wise and humane look at man's constant search for happiness. The text is based on the second edition as Samuel Johnson revised it.

    But this daughter was not one to let others define her; Amory became a woman who accepted no limits to what that could mean, and, from the time she picked up her first camera, one who would record her own version of events.Moving freely between London and New York, between photojournalism and fashion photography, and between the men who love her on complicated terms, Amory establishes her reputation as a risk taker and a passionate life traveler. Her hunger for experience draws her to the decadence of Weimar Berlin and the violence of London's blackshirt riots, to the Rhineland with Allied troops and into the political tangle of war-torn Vietnam. In her ambitious career, the seminal moments of the 20th century will become the unforgettable moments of her own biography, as well.In Sweet Caress, Amory Clay comes wondrously to life, her vibrant personality enveloping the reader from the start. And, running through the novel, her photographs over the decades allow us to experience this vast story not only with Amory's voice but with her vision. William Boyd's Sweet Caress captures an entire lifetime unforgettably within its pages. It captivates.

     It's you I love, perfect man, Greek God, my own; but I know you'll go, betray me, strayfrom home.So better by far for me if you were stone.—from "Medusa"Stunningly original and haunting, the voices of Mrs. Midas, Queen Kong, and Frau Freud, to say nothing of the Devil's Wife herself, startle us with their wit, imagination, and incisiveness in this collection of poems written from the perspectives of the wives, sisters, or girlfriends of famous—and infamous—male personages. Carol Ann Duffy is a master at drawing on myth and history, then subverting them in a vivid and surprising way to create poems that have the pull of the past and the crack of the contemporary.

    A volume containing the English texts of all the plays of Samuel Beckett, including "Waiting For Godot", "Krapp's Last Tape", "Endgame" and "Not I".

    Before the revolution, Akhmatova was a wildly popular young poet who lived a bohemian life. She was one of the leaders of a movement of poets whose ideal was “beautiful clarity”—in her deeply personal work, themes of love and mourning are conveyed with passionate intensity and economy, her voice by turns tender and fierce. A vocal critic of Stalinism, she saw her work banned for many years and was expelled from the Writers’ Union—condemned as “half nun, half harlot.” Despite this censorship, her reputation continued to flourish underground, and she is still among Russia’s most beloved poets. Here are poems from all her major works—including the magnificent “Requiem” commemorating the victims of Stalin’s terror—and some that have been newly translated for this edition About The Author: Anna Akhmatova was born Anna Gorenko in 1888 and died in 1966. A popular poet of the Acmeist school, she took a pseudonym when her upper-class father objected to her "decadent" choice of career. She was married to the Acmeist poet Gumilev from 1910 until 1918, and spent time in Paris, where she posed nude for Modigliani. After the Revolution, Akhmatova remained silent for two decades. Her ex-husband was executed in 1921, their son was imprisoned for sixteen years, and her third husband died in a Siberian prison camp. She began publishing again at the outbreak of World War II, and her writings regained popularity despite being harshly denounced by the Soviet regime in 1946 and 1957 for "bourgeois decadence." Ejected from the Writers' Union in 1946, she was made its president two years before her death in 1966.

    Set against realistic backdrops of town and country, the powerful drama of the pilgrim's trials and temptations follows him in his harrowing journey to the Celestial City.Along a road filled with monsters and spiritual terrors, Christian confronts such emblematic characters as Worldly Wiseman, Giant Despair, Talkative, Ignorance, and the demons of the Valley of the Shadow of Death. But he is also joined by Hopeful and Faithful.An enormously influential 17th-century classic, universally known for its simplicity, vigor, and beauty of language, The Pilgrim's Progress remains one of the most widely read books in the English language.

    Featuring poems, excerpts from his private notebooks, lyrics, and hand-drawn self-portraits, The Flame offers an unprecedentedly intimate look inside the life and mind of a singular artist.A reckoning with a life lived deeply and passionately, with wit and panache, The Flame is a valedictory work.“This volume contains my father’s final efforts as a poet,” writes Cohen’s son, Adam Cohen, in his foreword. “It was what he was staying alive to do, his sole breathing purpose at the end.”Leonard Cohen died in late 2016. But “each page of paper that he blackened,” in the words of his son, “was lasting evidence of a burning soul.”

    This unique anthology brings together the results of the poll in a collection of the nation's 100 best loved poems. Among the selection are popular classics such as Tennyson's 'The Lady of Shallott' and Wordsworth's 'The Daffodils' alongside contemporary poetry such as Allan Ahlberg's 'Please Mrs Butler' and Jenny Joseph's 'Warning'. Also included is the poignant 'Do not Stand at my Grave and Weep'.

    In The Trumpet-Major, the tale of a woman courted by three competing suitors during the Napoleonic wars, he explores the subversive effects of ordinary human desire and conflicting loyalties on systematized versions of history. This edition restores Hardy's original punctuation and removes the bowdlerisms forced upon the text on its initial publication.

    . . I love you too", Robert Browning wrote in January 1845, thus initiating the most celebrated literary correspondence of the 19th century. For the next 12 months, he and Elizabeth Barrett exchanged letters and confidences. In this elegant format, the delicate interplay between the poems and the lovers' letters become vividly apparent.Elizabeth Barrett Browning was a prolific writer and reviewer in the Victorian period, and in her lifetime, her reputation as a poet was at least as great as that of her husband, poet Robert Browning. Some of her poetry has been noted in recent years for strong feminist themes, but the poems for which Elizabeth Barrett Browning is undoubtedly best know are Sonnets from the Portuguese.Written for Robert Browning, who had affectionately nicknamed her his "little Portuguese," the sequence is a celebration of marriage, and of one of the most famous romances of the nineteenth century. Recognized for their Victorian tradition and discipline, these are some of the most passionate and memorable love poems in the English language. There are forty-four poems in the collection, including the very beautiful sonnet, "How do I love thee? Let me count the ways."