In course of time ice piled over the Well, and out of it grew something they called Ymir, the father of the terrible Frost Giants. Ymir was fed on the milk of a magic cow who licked the ice, and with it salt from the Well of Life. As she licked with her tongue, she formed the first of the gods, the Ǣsir, who was called Buri. Buri had a son Borr, and Borr was the father of Odin. Odin and his brothers overcame the ice and frost giants. They thrust Ymir down into the Yawning Void, and of his body they made the world we live in. They set the sea in a ring about the world, and planted the World Tree, the Ash Yggdrasill, to hold it in place. From this making of the world, to Ragnarok, the last Great Battle, Roger Lancelyn Green tells the story in one continuous narrative. It is easy to read, and there is a clear rhythm carrying through to the final climax. He has taken his material from original sources, of which he gives a brief account in his foreword. “The interest in these myths often preceded reading abilty, but this telling will be found good to read aloud, and boys and gtirls from 10 up will easily manage it for themselves. “

    "A Curtain of Green and Other Stories" (1941), her first book, includes many of her most popular stories, such as "A Worn Path, " "Powerhouse, " and the farcical "Why I Live at the P.O." "The Wide Net and Other Stories" (1943), in which historical figures such as Aaron Burr ("First Love") and John James Audubon ("A Still Moment") appear as characters, shows her evolving mastery as a regional chronicler. "The Golden Apples" (1949) is a series of interrelated stories about the inhabitants of the fictional town of Morgana, Mississippi. It was Welty's favorite among her books. The stories of "The Bride of the Innisfallen and Other Stories" (1955) are set both in the South and in Europe. Also included are two stories from the 1960s, "Where Is the Voice Coming From?," based on the shooting of Medgar Evers, and "The Demonstrators." A selection of nine literary and personal essays includes evocations of the Jackson of her youth that is essential to her work and cogent discussions of literary form.

    The so-called divinities of Olympus have not a single worshipper among living men. They belong now not to the department of theology, but to those of literature and taste. There they still hold their place, and will continue to hold it, for they are too closely connected with the finest productions of poetry and art, both ancient and modern, to pass into oblivion.

    Although his private life shocked his contemporaries his poetry was immensely popular and influential, especially in Europe. This comprehensive edition includes the complete texts of his two poetic masterpieces Childe Harold's Pilgrimage and Don Juan, as well as the dramatic poems Manfred and Cain. There are many other shorter poems and part of the satire English Bards and Scotch Reviewers. In addition there is a selection from Byron's inimitable letters, extracts from his journals and conversations, as well as more formal writings.

    Most of it was written between 1915 and 1962, although much of the early work was abandoned and the early cantos, as finally published, date from 1922 onwards. It is a book-length work, widely considered to be an intense and challenging read. The Cantos is generally considered one of the most significant works of modernist poetry in the 20th century. As in Pound's prose writing, the themes of economics, governance and culture are integral to the work's content.The most striking feature of the text, to a casual browser, is the inclusion of Chinese characters as well as quotations in European languages other than English. A close reader will normally require a scholarly commentary to help understand the text. The range of allusion to historical events is broad, and abrupt changes occur with little transition.There is also wide geographical reference. Pound added to his earlier interests in the classical Mediterranean culture and East Asia selective topics from medieval and early modern Italy and Provence, the beginnings of the United States, England of the 17th century, and details from Africa he had obtained from Leo Frobenius. Many references in the text lack explanation. Pound initially believed that he possessed poetic and rhetorical techniques which would themselves generate significance, but as time passed he became more concerned with the messages he wished to convey.The section he wrote at the end of World War II, begun while he was interned in American-occupied Italy, has become known as The Pisan Cantos. It was awarded the first Bollingen Prize in 1948. There were many repercussions, since this in effect honoured a poet who was under indictment for treason. :::Delmore Schwartz said about The Cantos, "They are one of the touchstones of modern poetry." William Carlos Williams said, "[Pound] discloses history by its odor, by the feel of it—in the words; fuses it with the words, present and past, to MAKE his Cantos. Make them."Since the 1969 revised edition, the Italian Cantos LXXII and LXXIII (as well as a 1966 fragment concluding the work) have been added. Now appearing for the first time is Pound's recently found English translation of Italian Canto LXXII.

    Unconventional in both style and content, it shattered the myths of small town American life. A collection of epitaphs of residents of a small town, a full understanding of Spoon River requires the reader to piece together narratives from fragments contained in individual poems."

    Here, Wallace turns his critical eye with equal enthusiasm toward Roger Federer and Jorge Luis Borges; Terminator 2 and The Best of the Prose Poem; the nature of being a fiction writer and the quandary of defining the essay; the best underappreciated novels and the English language's most irksome misused words; and much more.Both Flesh and Not restores Wallace's essays as originally written, and it includes a selection from his personal vocabulary list, an assembly of unusual words and definitions.

    Using the architecture, sculpture, and stained glass of the two locales as a starting point, Adams breathes life into what others might see merely as monuments of a past civilization. With daring and inventive conceits, Adams looks at the ordinary people, places, and events in the context of the social conventions and systems of thought and belief of the thirteenth century turning the study of history into a kind of theater.As Raymond Carney discusses in his introduction, Adams' freeedom from the European traditions of study lends an exuberance—and puckish wit—to his writings.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    In the process, he transformed both crime writing and the American language.Written during the war, The Lady in the Lake (1943) takes Philip Marlowe out of the seamy L.A. streets to the deceptive tranquility of the surrounding mountains, as the search for a businessman’s missing wife expands into an elegy of loneliness and loss. The darker tone typical of Chandler’s later fiction is evident in The Little Sister (1949), in which an ambitious starlet, a blackmailer, and a seemingly naïve young woman from Manhattan, Kansas, are the key players in a plot that provides fuel for a bitter indictment of Hollywood and Chandler’s most savage portrayal of his adopted city.The Long Goodbye (1953), his most ambitious and self-revealing novel, uncovers a more anguished resonance in the Marlowe character, in a plot that hinges on the betrayal of friendship and the compromises of middle age. Playback (1958), written originally as a screenplay, is Chandler’s seventh and last novel.A special feature of this volume is Chandler’s long-unavailable screenplay for the film noir classic, Double Indemnity (1944), adapted from James M. Cain’s novel. Written with director Billy Wilder, it is one of the best screenplays in American cinema, masterful in construction and dialogue. Supplementing the volume, and providing a more personal glimpse of Chandler’s personality, is a selection of letters and essays—including “The Simple Art of Murder,” in which Chandler muses on his pulp roots and on the special qualities of his hero and style.

    In collections such as Will You Please Be Quiet, Please? and What We Talk About When We Talk About Love, Carver wrote with unflinching exactness about men and women enduring lives on the knife-edge of poverty and other deprivations. Beneath his pared-down surfaces run disturbing, violent undercurrents. Suggestive rather than explicit, and seeming all the more powerful for what is left unsaid, Carver’s stories were held up as exemplars of a new school in American fiction known as minimalism or “dirty realism,” a movement whose wide influence continues to this day. Carver’s stories were brilliant in their detachment and use of the oblique, ambiguous gesture, yet there were signs of a different sort of sensibility at work. In books such as Cathedral and the later tales included in the collected stories volume Where I’m Calling From, Carver revealed himself to be a more expansive writer than in the earlier published books, displaying Chekhovian sympathies toward his characters and relying less on elliptical effects.In gathering all of Carver’s stories, including early sketches and posthumously discovered works, The Library of America’s Collected Stories provides a comprehensive overview of Carver’s career as we have come to know it: the promise of Will You Please Be Quiet, Please? and the breakthrough of What We Talk About, on through the departures taken in Cathedral and the pathos of the late stories. But it also prompts a fresh consideration of Carver by presenting Beginners, an edition of the manuscript of What We Talk About When We Talk About Love that Carver submitted to Gordon Lish, his editor and a crucial influence on his development. Lish’s editing was so extensive that at one point Carver wrote him an anguished letter asking him not to publish the book; now, for the first time, readers can read both the manuscript and published versions of the collection that established Carver as a major American writer. Offering a fascinating window into the complex, fraught relationship between writer and editor, Beginners expands our sense of Carver and is essential reading for anyone who cares about his achievement.Contents--What We Talk About When We Talk About LoveWhy Don’t You Dance?ViewfinderMr. Coffee and Mr. FixitGazeboI Could See the Smallest ThingsSacksThe BathTell the Women We’re GoingAfter the DenimSo Much Water So Close to HomeThe Third Thing That Killed My Father OffA Serious TalkThe CalmPopular MechanicsEverything Stuck to HimWhat We Talk About When We Talk About LoveOne More ThingStories from FiresThe LieThe CabinHarry’s DeathThe PheasantCathedralFeathersChef’s HousePreservationThe CompartmentA Small, Good ThingVitaminsCarefulWhere I’m Calling FromThe TrainFeverThe BridleCathedralFrom Where I’m Calling FromBoxesWhoever Was Using This BedIntimacyMenudoElephantBlackbird PieErrandOther FictionThe HairThe AficionadosPoseidon and CompanyBright Red ApplesFrom The Augustine NotebooksKindlingWhat Would You Like to See?DreamsVandalsCall If You Need MeSelected EssaysMy Father’s LifeOn WritingFiresAuthor’s Note to Where I’m Calling FromBeginners (The Manuscript Version of What We Talk About When We Talk About Love)Why Don’t You Dance?ViewfinderWhere Is Everyone?GazeboWant to See Something?The FlingA Small, Good ThingTell the Women We’re GoingIf It Please YouSo Much Water So Close to HomeDummyPieThe CalmMineDistanceBeginnersOne More Thing--loa.org

    Carson envisions a present-day interview with a seventh-century BC poet, and offers miniature lectures on topics as varied as orchids and Ovid. She imagines the muse of a fifteenth-century painter attending a phenomenology conference in Italy. She constructs verbal photographs of a series of mysterious towns, and takes us on a pilgrimage in pursuit of the elusive and intimate anthropology of water. Blending the rhythm and vivid metaphor of poetry with the discursive nature of the essay, the writings in Plainwater dazzle us with their invention and enlighten us with their erudition.

    In these pages, Oliver shares the wonder of dawn, the grace of animals, and the transformative power of attention. Whether studying the leaves of a tree or mourning her adored dog, Percy, she is ever patient in her observations and open to the teachings contained in the smallest of moments.Our most precious chronicler of physical landscape, Oliver opens our eyes to the nature within, to its wild and its quiet. With startling clarity, humor, and kindness, A Thousand Mornings explores the mysteries of our daily experience.

    But he was also the most radical writer in the English literary tradition of his day, a fiery political visionary committed to social change and progress. The generous selection in this volume represents the wide range of his writing, both poetry and prose. Arranged chronologically, the accompanying introductory essays set Shelley's works in their historical, social and political context.The Wordsworth Poetry Library comprises the works of the greatest English-speaking poets, as well as many lesser-known poets. Each collection has a specially commissioned introduction.

    The poems - together with introductory paragraphs - have a link to the date on which they appear. Shakespeare celebrates midsummer night, Maya Angelou International Women's Day and Lewis Carroll April Fool's day.Perfect for reading aloud and sharing with all the family, it contains a full spectrum of poetry from familiar favourites to exciting contemporary voices. Alfred, Lord Tennyson, W. B. Yeats, A. A. Milne and Christina Rossetti sit alongside Roger McGough, Carol Ann Duffy and Benjamin Zephaniah.

    This volume also includes poems and translations never previously collected, and a selection of drafts that demonstrate the poet's constant drive to reimagine his work. Collected Poems at last offers readers the opportunity to take in, in its entirety, one of the great careers in twentieth-century poetry.