The most wide-ranging collection of its kind, The Norton Introduction to Poetry offers a complete course in reading and writing about poetry that is designed to appeal to students of all backgrounds, abilities, and interests.It not only sharpens students close-reading skills and deepens their appreciation for the emotional power of poetry, but also connects poetry to the larger world by providing a thorough introduction to poetry 's authorial, cultural, and critical contexts.

    With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers.Greenblatt explores this rich theme by addressing four of Shakespeare’s preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare’s works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare’s interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority—that is, Shakespeare’s deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained.A book that could only have been written by Stephen Greenblatt, Shakespeare’s Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.

    Memories and dreams in turn conjure their magical counterparts—people without names or pasts, fantastic animals, half-animals, and talking machines that traverse the dark psychic underworld of this writer’s extraordinary fiction.Fervently acclaimed worldwide, Murakami’s wildly imaginative work in many ways remains a mystery, its worlds within worlds uncharted territory. Finally in this book readers will find a map to the strange realm that grounds virtually every aspect of Murakami’s writing. A journey through the enigmatic and baffling innermost mind, a metaphysical dimension where Murakami’s most bizarre scenes and characters lurk, The Forbidden Worlds of Haruki Murakami exposes the psychological and mythological underpinnings of this other world. Matthew Carl Strecher shows how these considerations color Murakami’s depictions of the individual and collective soul, which constantly shift between the tangible and intangible but in this literary landscape are undeniably real.Through these otherworldly depths The Forbidden Worlds of Haruki Murakami also charts the writer’s vivid “inner world,” whether unconscious or underworld (what some Japanese critics call achiragawa, or “over there”), and its connectivity to language. Strecher covers all of Murakami’s work—including his efforts as a literary journalist—and concludes with the first full-length close reading of the writer’s newest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage.

    Green has rounded up fifteen new yarns filled with the ornery yet irresistible style that has earned his books a place in classic Western Americana. Some More Horse Tradin’ recounts the dealings of a whole slew of craggy old-timers and rangy characters. See them match wits as they trade well-bred mares, snorty-like range colts, and used-to-be-bad horses from the tumbleweed plains. Admire the old-time knavery, skill, and salesmanship in such tales as “Gittin’ Even,” “Brethren Horse Traders,” “Mule Schoolin’,” and “Water Treatment and the Sore-Tailed Bronc.” Ride along with Green, and he’ll tell you what he knows about horseflesh--but keep your wits about you, and hang on to your wallet.

    Thirty years later, a resident of the United States, he won the National Book Award for his novel Waiting, completing a trajectory that has established him as one of the most admired exemplars of world literature. Ha Jin’s journey raises rich and fascinating questions about language, migration, and the place of literature in a rapidly globalizing world—questions that take center stage in The Writer as Migrant, his first work of nonfiction. Consisting of three interconnected essays, this book sets Ha Jin’s own work and life alongside those of other literary exiles, creating a conversation across cultures and between eras. He employs the cases of Alexander Solzhenitsyn and Chinese novelist Lin Yutang to illustrate the obligation a writer feels to the land of his birth, while Joseph Conrad and Vladimir Nabokov—who, like Ha Jin, adopted English for their writing—are enlisted to explore a migrant author’s conscious choice of a literary language. A final essay draws on V. S. Naipaul and Milan Kundera to consider the ways in which our era of perpetual change forces a migrant writer to reconceptualize the very idea of home. Throughout, Jin brings other celebrated writers into the conversation as well, including W. G. Sebald, C. P. Cavafy, and Salman Rushdie—refracting and refining the very idea of a literature of migration. Simultaneously a reflection on a crucial theme and a fascinating glimpse at the writers who compose Ha Jin’s mental library, The Writer as Migrant is a work of passionately engaged criticism, one rooted in departures but feeling like a new arrival.

    Stephen Dobyns, author of the classic book on the beauty of poetry, Best Words, Best Order, moves into new terrain in this remarkable book. Bringing years of experience to bear on issues such as subject matter, the mechanics of poetry, and the revision process, Dobyns explores the complex relationship between writers and their work. From Philip Larkin to Pablo Neruda to William Butler Yeats, every chapter reveals useful lessons in these renowned poets' work. Both enlightening and encouraging, Next Word, Better Word demystifies a subtle art form and shows writers how to overcome obstacles in the creative process.

    

    In Tharoorosaurus, he shares fifty-three examples from his vocabulary: unusual words from every letter of the alphabet. You don't have to be a linguaphile to enjoy the fun facts and interesting anecdotes behind the words! Be ready to impress-and say goodbye to your hippopotomonstrosesquipedaliophobia!

    Wallace’s pieces for Harper’s magazine in the ’90s were, according to Lipsky, “like hearing for the first time the brain voice of everybody I knew: Here was how we all talked, experienced, thought. It was like smelling the damp in the air, seeing the first flash from a storm a mile away. You knew something gigantic was coming.”Then Rolling Stone sent Lipsky to join Wallace on the last leg of his book tour for Infinite Jest, the novel that made him internationally famous. They lose to each other at chess. They get iced-in at an airport. They dash to Chicago to catch a make-up flight. They endure a terrible reader’s escort in Minneapolis. Wallace does a reading, a signing, an NPR appearance. Wallace gives in and imbibes titanic amounts of hotel television (what he calls an “orgy of spectation”). They fly back to Illinois, drive home, walk Wallace’s dogs. Amid these everyday events, Wallace tells Lipsky remarkable things—everything he can about his life, how he feels, what he thinks, what terrifies and fascinates and confounds him—in the writing voice Lipsky had come to love. Lipsky took notes, stopped envying him, and came to feel about him—that grateful, awake feeling—the same way he felt about Infinite Jest. Then Lipsky heads to the airport, and Wallace goes to a dance at a Baptist church.A biography in five days, Although Of Course You End Up Becoming Yourself is David Foster Wallace as few experienced this great American writer. Told in his own words, here is Wallace’s own story, and his astonishing, humane, alert way of looking at the world; here are stories of being a young writer—of being young generally—trying to knit together your ideas of who you should be and who other people expect you to be, and of being young in March of 1996. And of what it was like to be with and—as he tells it—what it was like to become David Foster Wallace.

    Imperial Valley’s biggest crime is detailed through volumes of official records and interviews with witnesses, relatives and investigators.Serial killer Robert Eugene Pennington not only murdered Sayers, but was a suspect in killing Dorothy Minor-Hindman in Fresno and possibly fifteen other innocent victims from coast to coast including one victim attributed to the Boston Strangler.Extensive research provides the reader with details of Pennington’s life before and after his encounter with Brenda.

    For, in this stylish, erudite and frequently hilarious book, de Botton dips deeply into Proust’s life and work—his fiction, letter, and conversations—and distills from them that rare self-help manual: one that is actually helpful.Here, tendered in prose almost as luminous as it’s subject’s, is advice on cultivating friendships, suffering successfully, recognizing love and understanding why you should never sleep with someone on the first date. And here, too, is a generously perceptive literary biography that suggests that the master is as relevant today as he was in fin de siècle Paris. At once slyly ironic and genuinely wise, How Proust Can Change Your Life is an unqualified delight.

    James Joyce’s big blue book, Ulysses, ushered in the modernist era and changed the novel for all time. But the genius of Ulysses was also its danger: it omitted absolutely nothing. All of the minutiae of Leopold Bloom’s day, including its unspeakable details, unfold with careful precision in its pages. The New York Society for the Suppression of Vice immediately banned the novel as "obscene, lewd, and lascivious.” Joyce, along with some of the most important publishers and writers of his era, had to fight for years to win the freedom to publish it. The Most Dangerous Book tells the remarkable story surrounding Ulysses, from the first stirrings of Joyce’s inspiration in 1904 to its landmark federal obscenity trial in 1933.   Literary historian Kevin Birmingham follows Joyce’s years as a young writer, his feverish work on his literary masterpiece, and his ardent love affair with Nora Barnacle, the model for Molly Bloom. Joyce and Nora socialized with literary greats like Ezra Pound, Ernest Hemingway, T. S. Eliot and Sylvia Beach. Their support helped Joyce fight an array of anti-vice crusaders while his book was disguised and smuggled, pirated and burned in the United States and Britain. The long struggle for publication added to the growing pressures of Joyce’s deteriorating eyesight, finances and home life.   Salvation finally came from the partnership of Bennett Cerf, the cofounder of Random House, and Morris Ernst, a dogged civil liberties lawyer and founder of the ACLU. With their stewardship, the case ultimately rested on the literary merit of Joyce’s master work. The sixty-year-old judicial practices governing obscenity in the United States were overturned because a federal judge could get inside Molly Bloom’s head.   Birmingham’s archival work brings to light new information about both Joyce and the story surrounding Ulysses. Written for ardent Joyceans as well as novices who want to get to the heart of the greatest novel of the twentieth century, The Most Dangerous Book is a gripping examination of how the world came to say yes to Ulysses.

    Each work of literature featured here is a seminal work key to understanding and appreciating the written word.The featured works have been handpicked by a team of international critics and literary luminaries, including Derek Attridge (world expert on James Joyce), Cedric Watts (renowned authority on Joseph Conrad and Graham Greene), Laura Marcus (noted Virginia Woolf expert), and David Mariott (poet and expert on African-American literature), among some twenty others.Addictive, browsable, knowledgeable--1001 Books You Must Read Before You Die will be a boon companion for anyone who loves good writing and an inspiration for anyone who is just beginning to discover a love of books. Each entry is accompanied by an authoritative yet opinionated critical essay describing the importance and influence of the work in question. Also included are publishing history and career details about the authors, as well as reproductions of period dust jackets and book designs.

    Indeed, it is impossible to comprehend the sixties without first grasping the importance of the social ripples set in motion by the Beats a decade earlier.Although their prose and poetry varied in style and for the most part did not represent a genuine literary movement, the Beats, through their words and nonconformist lives, collectively posed a challenge to the staid and complacent America of the postwar years. They believed in free expression, opposing all censorship; they dabbled in free love; they practiced Eastern philosophy, leading to an embrace in America of alternative forms of spirituality; sooner than others, they watched with dismay the increasingly heavy hand of military and corporate culture in our national life; they embraced the aspirations, as well as the lingo, of urbanized black Americans. They believed in the liberating influence of hallucinogenic drugs.In short, the Beats were thoroughly American in their love of individual freedom. Perhaps it should come as no surprise that J. Edgar Hoover described them in 1960 as one of the three greatest threats to American security (after communism and intellectual "eggheads").The story that Bill Morgan tells has less to do with sociology than with social mingling. He traces the closely knit friendships of the Beat luminaries Allen Ginsberg, Jack Kerouac, William S. Burroughs, and the small army of other names. Although Kerouac, author of the much loved novel On the Road, was the most famous of the Beat writers, it was Ginsberg, Morgan contends, who resided at the center of the group and for more than two decades provided it with cohesion and a sense of direction.The Beats were not saints. They were sexually irresponsible, undependable in marriage (the movement could in fact fairly be described as misogynistic); they did too many drugs and consumed too much booze; the very quality that characterized their lives and writings—a fervent belief in spontaneity—destroyed some friendships. Indeed, Morgan’s story begins with a murder in New York’s Riverside Park in 1944.Bill Morgan has provided a sweeping, indispensable story about these discontented free spirits. We watch their peripatetic lives, their sexual misadventures, their ambivalent response to fame. We are reminded above all that while their personal lives may have not have been holy, their typewriters and their lasting words very much were.

    Tolkien's The Lord of the Rings? His bright blue coat and yellow boots seem out-of-place with the grandeur of the rest of the narrative. In this book, C.R. Wiley shows that Tom is not an afterthought but Tolkien's way of making a profoundly important point. Tolkien once wrote, "[Tom Bombadil] represents something that I feel important, though I would not be prepared to analyze the feeling precisely. I would not, however, have left him in, if he did not have some kind of function." Tom Bombadil and his wife Goldberry are a small glimpse of the perfect beauty, harmony, and happy ending that we all yearn for in our hearts. To understand Tom Bombadil is to understand more of Tolkien and his deeply Christian vision of the world."