Vincent Millay herself and represent the major portion of her lifework. Their musical perfection, emotional power, and superb, delicate workmanship have made Edna St. Vincent Millay one of America's great poets.

    Jonathan Culler's On Deconstruction is a typically patient, thoughtful, illuminating exposition of the ideas of Jacques Derrida and their application to literary studies."--David Lodge, Commonweal "Culler is lucid and thorough, can move into and out of other people's arguments without losing the sense of his own voice and argument, and can manage to seem equally at home with Freudianism, feminism, and traditional literary criticism."--Times Literary Supplement "As a practicing critic Culler has always been a deconstructor, and he approaches this topic with special immediacy and force. In On Deconstruction he offers generous summaries of numerous representative articles and a fine annotated bibliography. . . . His magisterial way of tracing particular topics and techniques through our diaspora of critical texts, and his provocative analyses, cannot fail to focus any critic's thinking about deconstruction."--Modern Language Quarterly "Gifted with grace and clarity, Culler provides us with a stimulating survey of contemporary literary criticism."--Antioch Review With an emphasis on readers and reading, Jonathan Culler considered deconstruction in terms of the questions raised by psychoanalytic, feminist, and reader-response criticism. On Deconstruction is both an authoritative synthesis of Derrida's thought and an analysis of the often-problematic relation between his philosophical writings and the work of literary critics. Culler's book is an indispensable guide for anyone interested in understanding modern critical thought. This edition marks the twenty-fifth anniversary of the first publication of this landmark work and includes a new preface by the author that surveys deconstruction's history since the 1980s and assesses its place within cultural theory today.

    It begins with a Preface, created after the rest of the manuscript was completed, that explains the core of his method and what sets it apart from any preceding philosophy. The Introduction, written before the rest of the work, summarizes and completes Kant's ideas on skepticism by rendering it moot and encouraging idealism and self-realization. The body of the work is divided into six sections of varying length, entitled "Consciousness," "Self-Consciousness," "Reason," "Spirit," "Religion," and "Absolute Knowledge." A myriad of topics are discussed, and explained in such a harmoniously complex way that the method has been termed Hegelian dialectic. Ultimately, the work as a whole is a remarkable study of the mind's growth from its direct awareness to scientific philosophy, proving to be a difficult yet highly influential and enduring work.

    Put simply, this group, which was founded in Paris in 1960, approaches creative writing in a way that still has yet to make its impact in the United States and its creative writing programs. Rather than inspiration, rather than experience, rather than self-expression, the Oulipians viewed imaginative writing as an exercise dominated by what they called "constraints." Quite commonly, they would attempt to write stories, for instance, in which strict rules had to be imposed and followed (for example, Georges Perec's notorious novel A Void, which was written without the use of the letter "e"). While a major contribution to literary theory, Oulipo is perhaps most distinguished as an indispensable guide to writers. "This reader is truly impressed by Motte's capacity to present, in a clear fashion, material that is still new and 'difficult' to most of his readership." (Jean-Jacques Thomas, South Atlantic Review 5-88)

    His two earliest, and perhaps most accessible, successes—A Portrait of the Artist as a Young Man and Dubliners—are here brought together in one volume. Both works reflect Joyce’s lifelong love-hate relationship with Dublin and the Irish culture that formed him.In the semi-autobiographical Portrait, young Stephen Dedalus yearns to be an artist, but first must struggle against the forces of church, school, and society, which fetter his imagination and stifle his soul. The book’s inventive style is apparent from its opening pages, a record of an infant’s impressions of the world around him—and one of the first examples of the “stream of consciousness” technique.Comprising fifteen stories, Dubliners presents a community of mesmerizing, humorous, and haunting characters—a group portrait. The interactions among them form one long meditation on the human condition, culminating with “The Dead,” one of Joyce’s most graceful compositions centering around a character’s epiphany. A carefully woven tapestry of Dublin life at the turn of the last century, Dubliners realizes Joyce’s ambition to give his countrymen “one good look at themselves.” Kevin J. H. Dettmar is Professor of English and Cultural Studies at Southern Illinois University Carbondale. He is the author or editor of a half-dozen books on James Joyce, modernist literature, and rock music. He is currently finishing a term as President of the Modernist Studies Association.--back cover

    Gordon Livingston returned to the U.S. and began work as a psychiatrist. In that capacity, he has listened to people talk about their lives and the limitless ways that they have found to be unhappy. He is also a parent twice bereaved. In one thirteen-month period, he lost his eldest son to suicide, his youngest to leukemia. Out of a lifetime of experience, Livingston has extracted thirty bedrock truths: We are what we do. Any relationship is under the control of the person who cares the least. The perfect is the enemy of the good. Only bad things happen quickly. Forgiveness is a form of letting go, but they are not the same thing. The statute of limitations has expired on most of our childhood traumas. Livingston illuminates these and twenty-four others in perfectly calibrated essays, many of which emphasize our closest relationships and the things that we do to impede or enhance them. These writings underscore that "we are what we do," and that while there may be no escaping who we are, we have the capacity to face loss, misfortune, and regret, and to move beyond them.

    If you ever wanted to know what words like alienation and commodity fetishism and surplus value mean, this is the commodity for you.

    This deeper content - the metahistorical element - indicates what an appropriate historical explanation might be.In pursuing his thesis, White provides a book that will be of interest to philosophers as well as historians. He explicates the styles of such historians as Michelet, Ranke, Tocueville, and Borchardt and of such philosophers of history as Hegel, Marx, Nietzsche, and Croce.

    S. Lewis after his conversion, The Pilgrim's Regress is, in a sense, the record of Lewis s own search for meaning and spiritual satisfaction—a search that eventually led him to Christianity.Here is the story of the pilgrim John and his odyssey to an enchanting island which has created in him an intense longing—a mysterious, sweet desire. John s pursuit of this desire takes him through adventures with such people as Mr. Enlightenment, Media Halfways, Mr. Mammon, Mother Kirk, Mr. Sensible, and Mr. Humanist and through such cities as Thrill and Eschropolis as well as the Valley of Humiliation.Though the dragons and giants here are different from those in Bunyan s Pilgrim s Progress, Lewis s allegory performs the same function of enabling the author to say simply and through fantasy what would otherwise have demanded a full-length philosophy of religion.

    Only Mr. Davies, author of Fifth Business, The Manticore, and World of Wonders, could have woven together their destinies with such wit, humour-and wisdom.

    A volume of five of Shakespeare's most enduring works of tragedies, offering perennial insights into human emotion as well as telling inscriptions of the particular concerns of Shakespeare's own day.

    In a series of essays that progress from the tiniest earth dwellers to the most far flung celestial bodies—considering the similarity of gods to donkeys, the inexorability of love and vines, the relations of exploding stars to exploding sea cucumbers—Amy Leach rekindles a vital communion with the wild world, dormant for far too long. Things That Are is not specifically of the animal, the human, or the phenomenal; it is a book of wonder, one the reader cannot help but leave with their perceptions both expanded and confounded in delightful ways.

    Male, female, deft, fraudulent, constantly shifting: which of the masquerade of passengers on the Mississippi steamboat Fidele is the confidence man? The central motif of Melville's last and most modern novel can be seen as a symbol of American cultural history.

    For Foucault this was "by far the book I wrote most easily and with the greatest pleasure". Here, Foucault explores theory, criticism and psychology through the texts of Raymond Roussel, one of the fathers of experimental writing, whose work has been celebrated by the likes of Cocteau, Duchamp, Breton, Robbe Grillet, Gide and Giacometti.This revised edition includes an Introduction, Chronology and Bibliography to Foucault's work by James Faubion, an interview with Foucault, conducted only nine months before his death, and concludes with an essay on Roussel by the poet John Ashbery.