. . manages to sound both epic and rooted in a specific place. Listen closely, and you might hear that thrilling sound that is one of the main reasons we go to the theater, that beautiful music of a new voice.”—The New York Times“Taut, expressive drama, The Brothers Size realizes the potential of theater to elevate the ordinary. . . . McCraney’s writing can be arresting.”—Time Out New YorkThis is the first collection by Tarell Alvin McCraney, a major new playwright of the American theater. Lyrical and mythic, provocative and contemporary, McCraney’s dramas of kinship, love, and heartache are set in the bayou of Louisiana and loosely draw on West African myths. In the Red and Brown Water charts the story of Oya, a fast and beautiful track star who must make difficult choices on her journey to womanhood. The Brothers Size dramatizes the struggle between brothers who have taken different paths: Ogun, single-mindedly running his auto shop, and Oshoosi, recently returned from prison and fallen back with trouble. Marcus; or the Secret of Sweet explores a young man’s relationship with his history and friends as he discovers his sexuality and true self against the backdrop of an impending storm.Tarell Alvin McCraney’s other works include Wig Out! and The Breach. His plays have been produced at The Public Theater in New York, internationally at the Royal Court Theatre and Abbey Theatre, and throughout the United States.

    The story of an imposter and bigamist, who travels to the North where he marries the maid of Buttermere, a young woman whose natural beauty inspired the dreams and confirmed the theories of a=early 19th century writers.

    Everything that suffuses her well-loved prose is here: compassion, insight, lyrical precision, and the clear, minimalist eye that reveals how life can turn on a single moment. Musing on the undercurrents and interconnections between legacy, memory, motherhood and the natural world, the poems in the collection begin on the surface and then take us, gracefully and effortlessly, to a far more thought-provoking place.

    Filled with hilarious tales told in rollicking rhyme. Each of book is approximately 16 x 11cm Books included in the box are: 1. The Cat in the Hat, 2. Green Eggs and Ham, 3. Fox in Socks, 4. One Fish Two Fish Red Fish Blue Fish, 5. How the Grinch Stole Christmas, 6. Oh, the Places You'll Go!, 7. The Cat in the Hat Comes Back, 8. ABC, 9. And to Think I Saw it on Mulberry Street, 10. Horton Hears a Who!, 11. Scrambled Eggs Super!, 12. Hop on Pop, 13. Dr Seuss' Sleep Book, 14. Mr Brown Can Moo Can you?, 15. I Had Trouble Getting to Solla Sollew, 16. If I Ran the Circus, 17. The Sneetchers and Other Stories, 18. If I Ran the Zoo, 19. Hunches in Bunches & 20. Dr Seuss on the Loose!

    Divided into four chapters, the book deals with the struggles of pain and healing of wounds of all sorts, finding sweetness in all the bitterness along the way. Sugar, honey, ice & tea takes readers on a journey deep into the dark corners where struggle becomes strength and pushes through all the emptiness until it reaches the light.

    This new biography of Lord Alfred Douglas, the son of the Marquess of Queensbury and, most scandalously, the lover of Oscar Wilde, has attracted huge attention because of the age of the biographer. Douglas Murray began writing it at 17, and he is only 20 now. It is an astonishing achievement: mature, considered, fluently written and richly detailed. Bosie's youth was the epitome of the 1890s,"greenery-yallery" decadence, but unlike his lover and mentor, the brilliant, doomed Wilde, Bosie lived on until 1945, becoming increasingly religious, repentant about his past (as Wilde never was), and finally a recluse. On one key issue, however, Murray seems seriously off-message: he argues that Bosie was a major literary figure in his own right, and that the value of his poetry has been seriously underrated. "He was a poet not just of the 90s but one who would endure the 20th century and produce a poem that would echo as a work of searing faith and a testament to spiritual renewal." Er ... no. The poem Murray alludes to is "In Excelsis", Bosie's riposte to Wilde's work "De Profundis". But it is tiresomely self-absorbed, antiquated, and unimaginative, a prolonged whinge about the lot of the misunderstood genius. Nevertheless, Bosie's story is still worth telling, even if his poetic reputation is not worth defending, and Murray tells it extremely well. --Christopher Hart

    Those who turn to poetry to become confidants for another's stories and secrets will not be disappointed.”—Publishers Weekly“In her fifth book of poetry, Bass addresses everything from Saturn’s rings and Newton’s law of gravitation to wasps and Pablo Neruda. Her words are nostalgic, vivid, and visceral. Bass arrives at the truth of human carnality rooted in the extraordinary need and promise of the individual. Bass shows us that we are as radiant as we are ephemeral, that in transience glistens resilient history and the remarkable fluidity of connection. By the collection’s end—following her musings on suicide and generosity, desire and repetition—it becomes lucidly clear that Bass is not only a poet but also a philosopher and a storyteller.”—BooklistEllen Bass brings a deft touch as she continues her ongoing interrogations of crucial moral issues of our times, while simultaneously delighting in endearing human absurdities. From the start of Like a Beggar, Bass asks her readers to relax, even though "bad things are going to happen," because the "bad" gets mined for all manner of goodness.From "Another Story":After dinner, we're drinking scotch at the kitchen table.Janet and I just watched a NOVA specialand we're explaining to her motherthe age and size of the universe—the hundred billion stars in the hundred billion galaxies.Dotty lives at Dominican Oaks, making her way down the long hall.How about the sun? she asks, a little farmshit in the endlessness.I gather up a cantaloupe, a lime, a cherry,and start revolving this salad around the chicken carcass.This is the best scotch I ever tasted, Dotty says,even though we gave her the Maker's Markwhile we're drinking Glendronach...Ellen Bass's poetry includes  Like A Beggar (Copper Canyon Press, 2014), The Human Line  (Copper Canyon Press, 2007), which was named a Notable Book by the San Francisco Chronicle, and Mules of Love (BOA, 2002), which won the Lambda Literary Award.  She co-edited (with Florence Howe) the groundbreaking No More Masks! An Anthology of Poems by Women (Doubleday, 1973). Her work has frequently been published in The New Yorker, American Poetry Review, The New Republic, The Sun  and many other journals. She is co-author of several non-fiction books, including The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008) which has sold over a million copies and been translated into twelve languages. She is part of the core faculty of the MFA writing program at Pacific University.

    To understand any psychoanalyst's work--both as a clinician and as a writer--we should ask what he or she loves, because psychoanalysis is about the unacceptable and about love, two things that we may prefer to keep apart, but that Freud found to be inextricable. If it is possible to talk about psychoanalysis as a scandal, without spuriously glamorizing it, then one way of doing it is simply to say that Freud discovered that love was compatible, though often furtively, with all that it was meant to exclude. There are, in other words--and most of literature is made up of these words--no experts on love. And love, whatever else it is, is terror.In a manner characteristically engaging and challenging, charming and maddening, Adam Phillips teases out the complicity between desire and the forbidden, longing and dread. His book is a chronicle of that all-too-human terror, and of how expertise, in the form of psychoanalysis, addresses our fears--in essence, turns our terror into meaning.It is terror, of course, that traditionally drives us into the arms of the experts. Phillips takes up those topics about which psychoanalysis claims expertise--childhood, sexuality, love, development, dreams, art, the unconscious, unhappiness--and explores what Freud's description of the unconscious does to the idea of expertise, in life and in psychoanalysis itself. If we are not, as Freud's ideas tell us, masters of our own houses, then what kind of claims can we make for ourselves? In what senses can we know what we are doing? These questions, so central to the human condition and to the state of psychoanalysis, resonate through this book as Phillips considers our notions of competence, of a professional self, of expertise in every realm of life from parenting to psychoanalysis. Terrors and Experts testifies to what makes psychoanalysis interesting, to that interest in psychoanalysis--which teaches us the meaning of our ignorance--that makes the terrors of life more bearable, even valuable.

    In the vein of his other phenomenal compendiums of amazing battlefield blunders, How to Lose a Battle and How to Lose a War, Fawcett focuses on some amazing catastrophic missteps of Axis and Allies alike.

    Nature notes on each animal are appended.

    He once boasted that he could talk spontaneously on any subject, a claim effortlessly borne out by the range and scope of the examples collected in The Wit of Oscar Wilde. This is an entertaining, instructive and revealing book about a man who is unlikely ever to be forgotten.

    Jay Parini spent over twenty years interviewing friends of Robert Frost and working in the poet's archives at Dartmouth, Amherst, and elsewhere to produce this definitive and insightful biography of both the public and private man. While he depicts the various stages of Frost's colorful life, Parini also sensitively explores the poet's psyche, showing how he dealt with adversity, family tragedy, and depression. By taking the reader into the poetry itself, which he reads closely and brilliantly, Parini offers an insightful road map to Frost's remarkable world.

    Mesmerized by the power of his lyrics and intrigued by the possibilities of translating his powerful, enigmatic personality into art, thirteen leading graphic artists banded together to create this unusual testament to the universality and transcendent vision of an American musical genius. With their vibrant, unexpected colors and dynamic, cinematic imagery, this group has assembled in Bob Dylan Revisited one of the most provocative interpretations of Dylan’s music in decades. These artists capture the tender emotions, the ineffable sadness, and the romantic overtones of Dylan’s classic songs, at the same time reflecting the moral and political urgency of his music. Each artist’s style surprisingly complements Dylan’s lyrics and offers an irresistible window through which to reconsider one of America’s most enigmatic artists. A deeply respectful and brilliant homage to the extraordinary influence of Bob Dylan.

    Lark is obsessed with the beauty of youth and his own mortality, his hairline and the loss of so many of his friends to AIDS, and, above all, with a stunningly virile man who haunts his days and his dreams.

    None of these he allows to overwhelm his spirit or his poems, which demonstrate, through breath and cadence and unrepentant enthrallment, that a gentle palm on a chest can calm the fiercest hungers.