S. Lewis published The Lion, the Witch and the Wardrobe he created one of Christendom's most cherished allegories. Viewers of the movie, as well as readers of the book will come away deeply moved by what they have encountered in Narnia.They will have countless questions such as: How did the Witch take over Narnia? Why couldn't Edmund resist temptation? Why did the Lion have to die? And they will find the answers in this wonderful book written for Christians and non-Christians alike.

    Writing very bad poetry requires talent. It helps to have a wooden ear for words, a penchant for sinking into a mire of sentimentality, and an enviable confidence that allows one to write despite absolutely appalling incompetence.The 131 poems collected in this first-of-its-kind anthology are so glaringly awful that they embody a kind of genius. From Fred Emerson Brooks' "The Stuttering Lover" to Matthew Green's "The Spleen" to Georgia Bailey Parrington's misguided "An Elegy to a Dissected Puppy," they mangle meter, run rampant over rhyme, and bludgeon us into insensibility with their grandiosity, anticlimax, and malapropism.Guaranteed to move even the most stoic reader to tears (of laughter), Very Bad Poetry is sure to become a favorite of the poetically inclined (and disinclined).

    And a very strange, very English obsession. But where did this fixation develop? And what does it tell us about ourselves?In The Art of the English Murder, Lucy Worsley explores this phenomenon in forensic detail, revisiting notorious crimes like the Ratcliff Highway Murders, which caused a nationwide panic in the early nineteenth century, and the case of Frederick and Maria Manning, the suburban couple who were hanged after killing Maria's lover and burying him under their kitchen floor. Our fascination with crimes like these became a form of national entertainment, inspiring novels and plays, prose and paintings, poetry and true-crime journalism. At a point during the birth of modern England, murder entered our national psyche, and it's been a part of us ever since.The Art of the English Murder is a unique exploration of the art of crime and a riveting investigation into the English criminal soul by one of our finest historians.

    His life, too, is the stuff of legend, from his survival of the siege of Leningrad in early childhood to his expulsion from the Soviet Union and his achievements as a Nobel Prize winner and America’s poet laureate.In this penetrating biography, Brodsky’s life and work are illuminated by his great friend, the late poet and literary scholar Lev Loseff. Drawing on a wide range of source materials, some previously unpublished, and extensive interviews with writers and critics, Loseff carefully reconstructs Brodsky’s personal history while offering deft and sensitive commentary on the philosophical, religious, and mythological sources that influenced the poet’s work. Published to great acclaim in Russia and now available in English for the first time, this is literary biography of the first order, and sets the groundwork for any books on Brodsky that might follow.

    But it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores:*the relation of simple to complex genres*the history of literary genre in theory*the generic organisation of implied meanings*the structuring of interpretation by genre*the uses of genre in teaching.John Frow’s lucid exploration of this fascinating concept will be essential reading for students of literary and cultural studies.

    As he analyzes the opening sections of novels and short stories by such writers as Agnon, Gogol, Kafka, Chekhov, García Márquez, and Raymond Carver, Oz instructs, challenges, and guides. He writes about the notion of "beginnings," what the beginning of a novel or short story might "mean" to the author and how important it is. And best of all-he entertains. He highlights opening paragraphs in which authors make promises they may or may not deliver later in the work, or deliver in unexpected ways, or they may deliver more than they have promised. It is a game that miraculously and playfully engages both writer and reader. The Story Begins is a resourceful, accessible, and friendly companion for all students of literature and writing and for all book lovers.

    Introduction by Jesse Sheidlower; illustrations by Arnold Roth.

    They were not the best answer, but they were the first attempts at finding a practical system. Many children that would have died, lived to have children and grandchildren. It has been calculated that over two million descendants have come from these children. The trains gave the children a fighting chance to grow up." – D. Bruce Ayler By the middle of the 19th century, New York City’s population surpassed the unfathomable number of 1 million people, despite its obvious lack of space. This was mostly due to the fact that so many immigrants heading to America naturally landed in New York Harbor, well before the federal government set up an official immigration system on Ellis Island. At first, the city itself set up its own immigration registration center in Castle Garden near the site of the original Fort Amsterdam, and naturally, many of these immigrants, who were arriving with little more than the clothes on their back, didn’t travel far and thus remained in New York. Of course, the addition of so many immigrants and others with less money put strains on the quality of life. Between 1862 and 1872, the number of tenements had risen from 12,000 to 20,000; the number of tenement residents grew from 380,000 to 600,000. One notorious tenement on the East River, Gotham Court, housed 700 people on a 20-by-200-foot lot. Another on the West Side was home, incredibly, to 3,000 residents, who made use of hundreds of privies dug into a fifteen-foot-wide inner court. Squalid, dark, crowded, and dangerous, tenement living created dreadful health and social conditions. It would take the efforts of reformers such as Jacob Riis, who documented the hellishness of tenements with shocking photographs in How the Other Half Lives, to change the way such buildings were constructed. While the Melting Pot nature of America is one of its most unique and celebrated aspects, the conditions also created a humanitarian crisis of sorts. In the 19th century, child labor was still the norm, especially for poor families, and no social welfare systems were in place to provide security for people. As a result, if a child was abandoned or orphaned, they were at the mercy of an ad hoc system of barely tolerable orphanages with little to no centralization. Minorities and immigrants were also discriminated against on the basis of ethnicity and religion. Into this issue stepped the Children’s Aid Society, led by Charles Loring Brace, who determined he could improve abandoned kids’ futures by helping relocate them further to the West, which would also help Americans settle the frontier. By coordinating with train companies, Brace was able to transport dozens of children at a time to places in the heartland of America or further out west, where they would end up in new homes, decades before the existence of foster care. Genealogist Roberta Lowrey, a descendant of one of these orphans, noted that the situations for many of those on the Orphan Trains were vastly different, but in all, the system worked: “Many were used as strictly slave farm labor, but there are stories, wonderful stories of children ending up in fine families that loved them, cherished them, [and] educated them. They were so much better off than if they had been left on the streets of New York. ... They were just not going to survive, or if they had, their fate would surely have been awful.

    “ —The Washington Post A truly original book in every sense of the word, The Dictionary of Obscure Sorrows poetically defines emotions that we all feel but don’t have the words to express—until now. Have you ever wondered about the lives of each person you pass on the street, realizing that everyone is the main character in their own story, each living a life as vivid and complex as your own? That feeling has a name: “sonder.” Or maybe you’ve watched a thunderstorm roll in and felt a primal hunger for disaster, hoping it would shake up your life. That’s called “lachesism.” Or you were looking through old photos and felt a pang of nostalgia for a time you’ve never actually experienced. That’s “anemoia.” If you’ve never heard of these terms before, that’s because they didn’t exist until John Koenig set out to fill the gaps in our language of emotion. The Dictionary of Obscure Sorrows “creates beautiful new words that we need but do not yet have,” says John Green, bestselling author of The Fault in Our Stars. By turns poignant, relatable, and mind-bending, the definitions include whimsical etymologies drawn from languages around the world, interspersed with otherworldly collages and lyrical essays that explore forgotten corners of the human condition—from “astrophe,” the longing to explore beyond the planet Earth, to “zenosyne,” the sense that time keeps getting faster. The Dictionary of Obscure Sorrows is for anyone who enjoys a shift in perspective, pondering the ineffable feelings that make up our lives. With a gorgeous package and beautiful illustrations throughout, this is the perfect gift for creatives, word nerds, and human beings everywhere.

    Piercing the fog of mysticism and sentimentality that engulfs art, the essays in The Romantic Manifesto explain why, since time immemorial, man has created and consumed works of art.Ayn Rand argues that objective standards in art are possible because art is not a subjective luxury, but rather a critical need of human life—not a material need, but a need of man’s rational mind, the faculty on which his material survival depends.Ayn Rand explains the indispensable function of art in man’s life (ch. 1), the objective source of man’s deeply personal, emotional response to art (ch. 2), and how an artist’s fundamental, often unstated view of man and of the world shapes his creations (ch. 3).Turning to her own field of artistic creation, Rand elaborates (ch. 5) on her distinctive theory of literature and identifies principles by which to judge an artwork objectively. “What is Romanticism?” (ch. 6) sheds new light on the nature and philosophy of the school of literature under which Rand classified her own work. Later essays explain how contemporary art reveals the debased intellectual state of our culture (ch. 7, 8 and 9).In the final essay Rand articulates the goal of her own fiction writing as “the projection of an ideal man, as an end in itself”—and explains that she originated her philosophy as a means to this end.Table of ContentsIntroductionThe Psycho-Epistemology of ArtPhilosophy and Sense of LifeArt and Sense of LifeArt and CognitionBasic Principles of LiteratureWhat Is Romanticism?The Esthetic Vacuum of Our AgeBootleg RomanticismArt and Moral TreasonIntroduction to Ninety-ThreeThe Goal of My WritingThe Simplest Thing in the WorldIndex

    In the course of unpacking some of her own stories—of her mother and her decline from memory loss, of a trip to Iceland, of an illness—Solnit revisits fairytales and entertains other stories: about arctic explorers, Che Guevara among the leper colonies, and Mary Shelley’s Dr. Frankenstein, about warmth and coldness, pain and kindness, decay and transformation, making art and making self. Woven together, these stories create a map which charts the boundaries and territories of storytelling, reframing who each of us is and how we might tell our story.

    From the deceptiveness of Penelope Fitzgerald to the directness of Hemingway, from Kipling’s view of France to the French view of Kipling, from the many translations of Madame Bovary to the fabulations of Ford Madox Ford, from the National Treasure status of George Orwell to the despair of Michel Houellebecq, Julian Barnes considers what fiction is, and what it can do. As he writes, “Novels tell us the most truth about life: what it is, how we live it, what it might be for, how we enjoy and value it, and how we lose it.”

    Acts so powerful that they can scar a whole nation for generations. The perpetrators manage to achieve a level of notoriety only usually afforded to Hollywood icons. In their own twisted imaginations they sit in an Evil Hall of Fame among others of their kind: Ted Bundy, Charles Manson, Andrei Chikatilo all jostling for the top spot. Extreme Evil throws light on the most vicious crimes ever committed, and the turbulent lives of the men and women behind them. Contents:Cannibals including Albert Fish, Armin Meiwes, Dennis Nilsen, Eladio Baule, Jeffrey Dahmer, Ted Bundy Serial Killers including Andrei Chikatilo, H.H.Holmes, Javed Iqbal, John Wayne GacyLady Killers including Bell Gunness, Beverley Allit, Ilse Koch, Rosemary WestCult Killers including Charles Manson, David Koresh, Jim Jones, Shoko AsaharaTyrants including Adolf Hitler, Attila the Hun, Caligula, Pol Pot, Josef StalinChildren of Evil including Bryan and David Freeman, Edmund Kemper, Jon Venables and Robert Thompson

    In MY IDEAL BOOKSHELF, dozens of leading cultural figures share the books that matter to them most; books that define their dreams and ambitions and in many cases helped them find their way in the world. Contributors include Malcolm Gladwell, Thomas Keller, Michael Chabon, Alice Waters, James Patterson, Maira Kalman, Judd Apatow, Chuck Klosterman, Miranda July, Alex Ross, Nancy Pearl, David Chang, Patti Smith, Jennifer Egan, and Dave Eggers, among many others. With colorful and endearingly hand-rendered images of book spines by Jane Mount, and first-person commentary from all the contributors, this is a perfect gift for avid readers, writers, and all who have known the influence of a great book.

    Surveying dozens of classic and popular works for the young—from Heidi and The Wizard of Oz to Beatrix Potter and Harry Potter—Griswold demonstrates how great children's writers succeed because of their uncanny ability to remember what it feels like to be a kid: playing under tables, shivering in bed on a scary night, arranging miniature worlds with toys, zooming around as caped superheroes, listening to dolls talk.No softheaded discussion of kids’ "cute" convictions nor a developmentally-focused critique of their "immature" beliefs, Feeling Like a Kid boldly and honestly identifies the ways in which the young think and see the world in a manner different from that of adults. Written by a leading scholar, prize-winning author, and frequent contributor to the Los Angeles Times, this extensively illustrated book will fascinate general readers as well as all those who study childhood and children's literature.