Ranging from joyous to elegiac, verses touch on love’s delights and follies with elliptical eloquence. Lovely to read aloud or reflect on silently. Photos of African artwork accompany the text.My heart is single and cannot be dividedAnd it is fastened on a single hope;Oh, you, who might be the moon!--Somali love song

    Based on historical people and real events, Miller's drama is a searing portrait of a community engulfed by hysteria. In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town's most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence. Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy's "witch-hunts" in the United States. Within the text itself, Miller contemplates the parallels, writing "Political opposition...is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence." The Viking Critical Library edition of Arthur Miller's dramatic recreation of the Salem witch trials contains the complete text of The Crucible as well as extensive critical and contextual material about the play and the playwright, including:Selections from Miller's writings on his most frequently performed playEssays on the historical background of The Crucible, including personal narratives by participants in the trials and records of witchcraft in Salem from the original documentsReviews of The Crucible, in production by Brooks Atkinson, Walter Kerr, Eric Bentley, and othersExcerpts from Jean-Paul Sartre's Les Sorcières de Salem, a "spin-off" of Miller's play, and three analogous works by Twain, Shaw, and Budd SchulbergCritical essays on the play, on Miller, and on the play in the context of Miller's oeuvreAn introduction by the editor, a chronology, a list of topics for discussion and papers prepared by Malcolm Cowley, and a bibliography

    He created us to live a life of passion, freedom and adventure. To be dangerous men living in a really big story.God designed men to be powerful. Simply look at the dreams and desires written in the heart of every boy: to be a hero, a warrior, to love a beauty, to live a life of adventure.But sometime between boyhood and the struggles of yesterday, most men lose heart. All those passions, dreams, and desires get buried under deadlines, pressures, and disappointments. Christianity feels irrelevant to the recovery of their heart. No wonder most men leads lives of quiet resignation, meanwhile looking for a little “life” on the side. In this provocative book, Eldredge invites men to wholeheartedness byrecovering their true masculine hearts;healing the wounds and trauma in their stories; anddelighting in the strength and wildness they were created to offer the world.In this updated and expanded edition of the timeless, bestselling classic, John Eldredge calls men—and the women who love them—to discover the true secret of a man’s soul and embrace the danger, passion, and freedom God intended for every man.

    Although he published over 45 books of poetry, hundreds of his poems were kept by him and his publisher for posthumous publication, This is the first collection of these unique poems, which Bukowski considered to be among his best work.

    Scott Fitzgerald, the iconic American writer of The Great Gatsby who is more widely read today than ever.I’d Die For You is a collection of the last remaining unpublished and uncollected short stories by F. Scott Fitzgerald, edited by Anne Margaret Daniel. Fitzgerald did not design the stories in I’d Die For You as a collection. Most were submitted individually to major magazines during the 1930s and accepted for publication during Fitzgerald’s lifetime, but were never printed. Some were written as movie scenarios and sent to studios or producers, but not filmed. Others are stories that could not be sold because their subject matter or style departed from what editors expected of Fitzgerald. They date from the earliest days of Fitzgerald’s career to the last. They come from various sources, from libraries to private collections, including those of Fitzgerald’s family. Readers will experience Fitzgerald writing about controversial topics, depicting young men and women who actually spoke and thought more as young men and women did, without censorship. Rather than permit changes and sanitizing by his contemporary editors, Fitzgerald preferred to let his work remain unpublished, even at a time when he was in great need of money and review attention. “I’d Die For You,” the collection’s title story, is drawn from Fitzgerald’s stays in the mountains of North Carolina when his health, and that of his wife Zelda, was falling apart. With the addition of a Hollywood star and film crew to the Smoky Mountain lakes and pines, Fitzgerald brings in the cinematic world in which he would soon be living. Most of the stories printed here come from this time period, during the middle and late1930s, though the collection spans Fitzgerald’s career from 1920 to the end of his life. The book is subtitled And Other Lost Stories in recognition of an absence until now. Some of the eighteen stories were physically lost, coming to light only in the past few years. All were lost, in one sense or another: lost in the painful shuffle of the difficulties of Fitzgerald’s life in the middle 1930s; lost to readers because contemporary editors did not understand or accept what he was trying to write; lost because archives are like that, and good things can wait patiently in libraries for many centuries sometimes. I’d Die For You And Other Lost Stories echoes as well the nostalgia and elegy in Gertrude Stein’s famous phrase “a lost generation,” that generation for whom Fitzgerald was a leading figure. Written in his characteristically beautiful, sharp, and surprising language, exploring themes both familiar and fresh, these stories provide new insight into the bold and uncompromising arc of Fitzgerald’s career. I’d Die For You is a revealing, intimate look at Fitzgerald’s creative process that shows him to be a writer working at the fore of modern literature—in all its developing complexities.

    S. Eliot, Marianne Moore, many other notables.

    Skeat. This Elibron Classics book is a facsimile reprint of a 1889 edition by the Clarendon Press, Oxford.

    He has, however, been a disappointment to his family in several ways: In appearance he is insignificant looking both in face and figure; he went to the University of Florida instead of Harvard where his forbears had been mainstays of the varsity crew for generations, and he studied agriculture instead of pointing himself toward a career in banking, bonds, or law. To say the least he is not apparently the stuff from which heroes are fashioned.As an agricultural expert specializing in fruit farming, Arthur becomes a Peace Corps volunteer and is assigned to the Republic of San Marco in the Caribbean. This weak-chinned Don Quixote soon acquires his Sancho Panza in the person of a rascally eleven-year-old boy, Pepe, who makes a bargain to be paid 400 pesos each time he saves Arthur's life. (The payments mount alarmingly!)The island's dictator thinks he can use Arthur to obtain military supplies with which to wipe out the band of guerillas in the hills who oppose his corrupt dictatorship. Failing in this the dictator decides to murder Goodpasture and cause an international incident by blaming it on the guerillas. This, he reasons, will bring the U.S. in to help stamp out the rebels.This plan also backfires (with Pepe's help, of course) and Goodpasture is taken prisoner and when they see he is a harmless eccentric he is appointed chief cook for the guerillas. From then on Arthur's life becomes a series of misadventures through which he moves serenely and from which he generally emerges unscathed (again with Pepe's assistance) until he surprisingly finds himself the guerillas' leader.Following one of the funniest bloodless revolutions imaginable Arthur Peabody Goodpasture ends up as Arthur el Gavilan, the new dictator of San Marco. "His strength was as the strength of ten because his heart was pure."

    Each poet's work is illustrated by a different artist such as Emma Chichester Clark, Fritz Wegner and Korky Paul.Brian Patten came to public attention with the publication of THE MERSEY SOUND in 1967. He is a very popular performance poet, always in demand for conferences and school visits. Collections of his own poetry are published in Puffin and he is the editor of the PUFFIN BOOK OF TWENTIETH CENTURY VERSE. Brian lives in London.This collection features poems and illustrations from:Spike Milligan; Kit Wright; Michael Rosen; Charles Causley; Roger McGough; Benjamin Zephaniah; Brian Patten; Jackie Kay; John Agard; Allan Ahlberg; Emma Chichester Clark; Korky Paul; Alison Jay; Lydia Monks; Ali Chatterton; David Mostyn; Sue Williams; Sheila Moxley; Fritz Wegner

    Now, with over 10,000 entries, this edition features the latest in expletives, sexual obscenities and lavatorial euphemisms.

    

    Ackerman muses on the confines of therapy sessions, where she intersects "twice a week/in a painstaking hide-and-seek/making do with half-light, half-speak"; relishes the succulent pleasure of eating an apricot, with its "gush of taboo sweetness"; and imagines the "unupholstered voice, a life in outline" in her stunning elegy to C. S. Lewis. Whimsical, organic, and wise, the poems in I Praise My Destroyer affirm Ackerman's place as one of the most enchanting poets writing today.

    His experiences, as he has collected them together in Hell West and Crooked, will surely become an Australian classic.

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