By turns passionate and ironic, "Aunt Fay" makes Alice think--not only about books and literature, but also life and culture.

    It appeared in two phases. A few first copies were printed and illuminated by William Blake himself in 1789; five years later he bound these poems with a set of new poems in a volume titled Songs of Innocence and of Experience Shewing the Two Contrary States of the Human Soul.

    She takes us from the Paleolithic period and the myths of the hunters right up to the “Great Western Transformation” of the last five hundred years and the discrediting of myth by science. The history of myth is the history of humanity, our stories and beliefs, our curiosity and attempts to understand the world, which link us to our ancestors and each other. Heralding a major series of retellings of international myths by authors from around the world, Armstrong’s characteristically insightful and eloquent book serves as a brilliant and thought-provoking introduction to myth in the broadest sense—and explains why if we dismiss it, we do so at our peril.

    . . but this hill will be standing still to confound you." So curses Morty Donovan when Copper John Brodrick builds his mine at Hungry Hill.The Brodricks of Clonmere gain great wealth by harnessing the power of Hungry Hill and extracting the treasure it holds. The Donovans, the original owners of Clonmere Castle, resent the Brodricks' success, and consider the great house and its surrounding land theirs by rights. For generations the feud between the families has simmered, always threatening to break into violence . . .

    Lovecraft (1890-1937), the most important American supernaturalist since Poe, has had an incalculable influence on all the horror-story writing of recent decades. Altho his supernatural fiction has been enjoying an unprecedented fame, it's not widely known that he wrote a critical history of supernatural horror in literature that has yet to be superceded as the finest historical discussion of the genre. This work is presented in this volume in its final, revised text. With incisive power, Lovecraft here formulates the esthetics of supernatural horror & summarizes the range of its literary expression from primitive folklore to the tales of his own 20th-century masters. Following a discussiom of terror-literature in ancient, medieval & renaissance culture, he launches on a critical survey of the whole history of horror fiction from the Gothic school of the 18th century (when supernatural horror found its own genre) to the time of De la Mare & M.R. James. The Castle of Otranto, Radcliffe, "Monk" Lewis, Vathek Charles Brockden Brown, Melmoth the Wanderer, Frankenstein, Bulwer-Lytton, Fouqué's Undine, Wuthering Heights, Poe (full chapter), The House of the Seven Gables, de Maupassant's The Horla, Bierce, The Turn of the Screw , M.P. Shiel, W.H. Hodgson, Machen, Blackwood & Dunsany are among those discussed in depth. He also notices a host of lesser writers--enough to draw up an extensive reading list. By charting so completely the background for his own concepts of horror & literary techniques, Lovecraft throws light on his own fiction as well as on the horror-literature which has followed. For this reason this book will be especially intriguing to those who've read his fiction as an isolated phenomenon. Any searching for a guide thru the inadequately marked region of literary horror, need search no further. Unabridged & corrected republication of 1945 edition. New introduction by E.F. Bleiler.

    A self-appointed revolutionary hero, Howard always comes out on top. And Malcolm Bradbury dissects him in this savagely funny novel that has been universally acclaimed as one of the masterpieces of the decade.

    And she was pretty, wasn't she?""I didn't look ... And tell your girls, my son, that when they're running after you, they're not to come and ask your mother for you - tell them that - brazen baggages you meet at dancing classes"The marriage of Gertrude and Walter Morel has become a battleground. Repelled by her uneducated and sometimes violent husband, delicate Gertrude devotes her life to her children, especially to her sons, William and Paul - determined they will not follow their father into working down the coal mines. But conflict is evitable when Paul seeks to escape his mother's suffocating grasp through relationships with women his own age. Set in Lawrence's native Nottinghamshire, Sons and Lovers is a highly autobiographical and compelling portrayal of childhood, adolescence and the clash of generations.

    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.

    Written with passion, humor, and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart - to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; she is deeply moved by the brilliant characterization in George Eliot's Middlemarch. She looks to John Le Carré for a lesson in how to advance plot through dialogue and to Flannery O'Connor for the cunning use of the telling detail. And, most important, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted.

    In a philosophical approach to color, William Gass explores man's perception of the color blue as well as its common erotic, symbolic, and emotional associations.

    And few episodes in postwar literature have the legendary stature of Hughes's romance with, and marriage to, the great American poet Sylvia Plath.The poems in Birthday Letters are addressed (with just two exceptions) to Plath, and were written over a period of more than twenty-five years, the first a few years after her suicide in 1963. Some are love letters, others haunted recollections and ruminations. In them, Hughes recalls his and Plath's time together, drawing on the powerful imagery of his work--animal, vegetable, mythological--as well as on Plath's famous verse.Countless books have discussed the subject of this intense relationship from a necessary distance, but this volume--at last--offers us Hughes's own account. Moreover, it's a truly remarkable collection of poems in its own right.

    Influenced by works such as Don Juan, and the novels of Kafka, these essays begin with a meditation on suicide: the question of living or not living in an absurd universe devoid of order or meaning. With lyric eloquence, Camus posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.

    In Rushdie's hybrid world, an Indian guru can be a redheaded Welshman, while Christopher Columbus is an immigrant, dreaming of Western glory. Rushdie allows himself, like his characters, to be pulled now in one direction, then in another. Yet he remains a writer who insists on our cultural complexity; who, rising beyond ideology, refuses to choose between East and West and embraces the world.

    Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it. Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.