Many of the best novels, plays, poetry, and films in the English language produced since Shakespeare’s death in 1616—from Jane Austen to The Godfather—are heavily influenced by Shakespeare’s stories, characters, language, and themes.  In a sense, his works are a kind of Bible for the modern world, bringing us together intellectually and spiritually.  Hamlet, Juliet, Macbeth, Ophelia, and a vast array of other singular Shakespearean characters have become the archetypes of our consciousness. To know some Shakespeare provides a head start in life.  In How to Teach Your Children Shakespeare, acclaimed playwright Ken Ludwig provides the tools you need to instill an understanding, and a love, of Shakespeare’s works in your children, and to have fun together along the way.Ken Ludwig devised his methods while teaching his own children, and his approach is friendly and easy to master. Beginning with  memorizing short specific passages from Shakespeare's plays, this method then instills children with cultural references they will utilize for years to come. Ludwig’s approach includes understanding of the time period and implications of Shakespeare’s diction as well as the invaluable lessons behind his words and stories.  Colorfully incorporating the history of Shakespearean theater and society, How to Teach Your Children Shakespeare guides readers on an informed and adventurous journey through the world in which the Bard wrote.This book’s simple process allows anyone to impart to children the wisdom of plays like A Midsummer Night’s Dream, Twelfth Night, Macbeth, and Romeo and Juliet. And there’s fun to be had along the way. Shakespeare novices and experts, and readers of all ages, will each find something delightfully irresistible in How to Teach Your Children Shakespeare.

    Featuring a beautifully diverse and inspirational set of voices from around the world, that includes some of today’s most influential modern poets, with additional contest winners chosen from 4,500 submissions, Crown Anthology is curated to be a light in the wild dark, illuminating the crown that exists in everyone.

    The classroom standard for readers and aspiring writers of fiction, The Norton Anthology of Short Fiction offers the most comprehensive, engaging selection of classic and contemporary stories in the field.

    The mythic legacy of the Scandinavians includes a cycle of stories filled with magnificent images from pre-Christian Europe. Gods, humans, and monstrous beasts engage in prodigious drinking bouts, contests of strength, greedy schemes for gold, and lusty encounters. The Norse pantheon includes Odin, the wisest and most fearsome of the gods; Thor, the thundering powerhouse; and the exquisite, magic-wielding Freyja. Their loves, wars, and adventures take us through worlds both mortal and divine, culminating in a blazing doomsday for gods and humans alike. These stories bear witness to the courage, passion, and boundless spirit that were hallmarks of the Norse world.“Kevin Crossley-Holland retells the Norse myths in clear, attractive prose . . . An excellent introduction, notes, and a glossary provide mythological and historical backgrounds and suggest parallels with myths in other parts of the world.”–The Denver Post

    This groundbreaking anthology includes 170 authors and illustrators of alphabets and animal fables, fairy tales and fantasy, picture books and nursery verse, among many other genres. Here readers will find beloved works by Charles Perrault, Lewis Carroll, J. M. Barrie, L. M. Montgomery, and Dr. Seuss along with historical classics—The New-England Primer and Robert Louis Stevenson's A Child's Garden of Verses—and major voices from the multicultural and global contemporary scene. Over 40 longer complete works and over 400 illustrations, including 60 in color, enhance this comprehensive and visually rich anthology.With introductions that offer fresh insights into the cultural contexts of children's literature and childhood itself over four centuries, author headnotes, annotations, bibliographies, and a timeline, The Norton Anthology of Children's Literature illuminates a literary tradition whose power to instruct and delight is both centuries old and startlingly new.

    Ott --Ideas / Patricio Pron --Vanish / Evan Ratliff --Seven months, ten days in captivity / David Rohde --Tent City, U.S.A. / George Saunders --The nice little people / Kurt Vonnegut --Freedom / Amy Waldman

    Book of Longing is Cohen’s eagerly awaited new collection of poems, following his highly acclaimed 1984 title, Book of Mercy, and his hugely successful 1993 publication, Stranger Music, a Globe and Mail national bestseller. Book of Longing contains erotic, playful, and provocative line drawings and artwork on every page, by the author, which interact in exciting and unexpected ways on the page with poetry that is timeless, meditative, and at times darkly humorous. The book brings together all the elements that have brought Leonard Cohen’s artistry with language worldwide recognition.From the Hardcover edition.

    The poems span the entire range of verse from high drama to stuff-and-nonsense and are presented in nine sections: Poems of Childhood and Youth; Poems of Love and Marriage; Poems of Life; Poems of Loss and Comfort; Poems of War and Peace; Poems to Read Aloud; Poems to Read Quietly; Poems of Animals and Nature and Poems of Magic and Mystery.The anthology includes works by William Blake, Dylan Thomas, Seamus Heaney, Robert Burns, T S Eliot, Rudyard Kipling, W B Yeats and many, many more. The poems have all been chosen and arranged by Neil Philip and the volume is illustrated throughout with watercolour borders and decorative motifs by Isabelle Brent, glowing with her trademark gold leaf.

    “They are both brilliantly original and outsiders,” the narrator tells us. “They are both besotted with mathematics. But for all their devotion, mathematics is indifferent, unaltered by any of their dramas . . . Against indifference, I want to tell their stories.” Which she does in a haunting, incantatory voice, the two lives unfolding in parallel narratives that overlap in the magnitude of each man’s achievement and demise: Gödel, delusional and paranoid, would starve himself to death; Turing, arrested for homosexual activities, would be driven to suicide. And they meet as well in the narrator’s mind, where facts are interwoven with her desire and determination to find meaning in the maze of their stories: two men devoted to truth of the highest abstract nature, yet unable to grasp the mundane truths of their own lives.A unique amalgam of luminous imagination and richly evoked historic character and event—A Madman Dreams of Turing Machines is a story about the pursuit of truth and its effect on the lives of two men. A story of genius and madness, incredible yet true.

    Understandable perhaps from the point of view of the poet: readers on the other hand might wish to demur. The poems gathered here and chronologically ordered, thereby tracing the course of the war, are an extraordinary testimony to the almost unimaginable experiences of a combatant in that bitter conflict. Moving from the patriotic optimism of the first few poems (" ... fighting for our freedom, we are free") to the anguish and anger of the later work (where "hope, with furtive eyes and grappling fists / Flounders in mud ... "), there comes a point when the reality of trench-warfare and its aftershocks move beyond comprehension: Sassoon knows this, and it becomes a powerful element in his art. As a book, the images have a cumulative relentlessness that make it almost impossible to read more than a few poems in one sitting. Unlike the avant-garde experiments developing in Europe in the first decades of this century, Sassoon's verse is formally conservative--but this was perhaps necessary, for as one reads the poems, one feels that the form, the classically inflected tropes, the metre and rhyme, apart from ironising the rhetoric of glory and battle were necessary techniques for containing the emotion (and indeed, a tone of barely controlled irony may have been the only means by which these angry observations would have been considered publishable at the time). When Sassoon's line begins to fragment, as it does in several of the later poems, it is under the extreme pressure to express the inexpressible. Compassion and sympathy are omnipresent here, in their full etymological sense of suffering with or alongside others--something the higher echelons of command (those " ... old men who died / Slow, natural deaths--old men with ugly souls") were never able or willing to contemplate. But Sassoon intuited the future of warfare, could sense that this was not "the war to end all wars": the mock-religious invocation of the final poem prefigures the vicious euphemisms of more recent conflicts: "Grant us the power to prove, by poison gases, / The needlessness of shedding human blood." Sassoon's bile-black irony signals a deep-felt pessimism: it was with good reason. --Burhan Tufail

    Enright, I was moved to the thought that on no theme have writers shown themselves more lively. A survivor of Belsen voiced the same sentiment when, reflecting on the concentration camps, he wrote, When in death we are in the midst of life. By turns poignant, tragic, comic, and inspiriting, this anthology of thoughts about death ranges from ancient times to the present day and includes quotes from philosophers, scientists, literary figures, and common men. Arranged under headings such as Love, War, Last Words, and Children, these selections show the varied, sometimes surprising, reactions of the dying and the bereaved to the final human act.

    Lewellyn Powys called it "the greatest work of prose of the greatest period of English prose-writing," while the celebrated surgeon William Osler declared it the greatest of medical treatises. And Dr. Johnson, Boswell reports, said it was the only book that he rose early in the morning to read with pleasure. In this surprisingly compact and elegant new edition, Burton's spectacular verbal labyrinth is sure to delight, instruct, and divert today's readers as much as it has those of the past four centuries.

    This is not one of those books. On the contrary, this is a collection of terrible, awkward, and laughably unreadable excerpts that will teach you what to avoid—at all costs—if you ever want your novel published.In How Not to Write a Novel, authors Howard Mittelmark and Sandra Newman distill their 30 years combined experience in teaching, editing, writing, and reviewing fiction to bring you real advice from the other side of the query letter. Rather than telling you how or what to write, they identify the 200 most common mistakes unconsciously made by writers and teach you to recognize, avoid, and amend them. With hilarious "mis-examples" to demonstrate each manuscript-mangling error, they'll help you troubleshoot your beginnings and endings, bad guys, love interests, style, jokes, perspective, voice, and more. As funny as it is useful, this essential how-NOT-to guide will help you get your manuscript out of the slush pile and into the bookstore.

    Limón has often been a poet who wears her heart on her sleeve, but in these extraordinary poems that heart becomes a “huge beating genius machine” striving to embrace and understand the fullness of the present moment. “I am beautiful. I am full of love. I am dying,” the poet writes. Building on the legacies of forebears such as Frank O’Hara, Sharon Olds, and Mark Doty, Limón’s work is consistently generous and accessible—though every observed moment feels complexly thought, felt, and lived.

    However, because it leaves no permanent trace, its evolution has long been a mystery, and it is only in the last fifteen years that we have begun to understand how language came into being. "The First Word" is the compelling story of the quest for the origins of human language. The book follows two intertwined narratives. The first is an account of how language developed?how the random and layered processes of evolution wound together to produce a talking animal: us. The second addresses why scientists are at last able to explore the subject. For more than a hundred years, language evolution was considered a scientific taboo. Kenneally focuses on figures like Noam Chomsky and Steven Pinker, along with cognitive scientists, biologists, geneticists, and animal researchers, in order to answer the fundamental question: Is language a uniquely human phenomenon? "The First Word" is the first book of its kind written for a general audience. Sure to appeal to fans of Steven Pinker's "The Language Instinct" and Jared Diamond's "Guns, Germs, and Steel," Kenneally's book is set to join them as a seminal account of human history.