These texts are characterized by a startling and macabre novelty, with elements of the grotesque, fantastic and child-like touching the imagination of the everyday. They express the cultural landscape of Stalinism -- years of show trials, mass atrocities and stifled political life. Their painful, unsettling eloquence testify to the humane and the comic in this absurdist writer's work. The translator Neil Cornwall gives a biographical introduction to his subject, enlarged upon by the poet Hugh Maxton in a contextual assessment of the writing of Flann O'Brien, Le Fanu and Doyle, and of their shared concerns with detective fiction, terror and death. Daniil Kharms 91905-42) died under Stalin. Along with fellow poets and prose-writers of the era -- Khlebnikov, Biely, Mandelstam, Zabolotsky and Pasternak -- he is one of the emerging experimentalists of Russian modernism.

    The name conjures up J.K. Rowling's wondrous world of magic that has captured the imaginations of millions on both the printed page and the silver screen with bestselling novels and blockbuster films. The true magic found in this children's fantasy series lies not only in its appeal to people of all ages but in its connection to the greater world of classic literature. Harry Potter's Bookshelf: The Great Books Behind the Hogwarts Adventures explores the literary landscape of themes and genres J.K. Rowling artfully wove throughout her novels-and the influential authors and stories that inspired her. From Jane Austen's Emma and Charles Dickens's class struggles, through the gothic romances of Dracula and Frankenstein and the detective mysteries of Dorothy L. Sayers, to the dramatic alchemy of C.S. Lewis, J.R.R. Tolkien, and William Shakespeare, Rowling cast a powerful spell with the great books of English literature that transformed the story of a young wizard into a worldwide pop culture phenomenon.

    Tolkien's On Fairy-stories is his most-studied and most-quoted essay, an exemplary personal statement of his own views on the role of imagination in literature, and an intellectual tour de force vital for understanding Tolkien's achievement in writing The Lord of the Rings .Contained within is an introduction to Tolkien's original 1939 lecture and the history of the writing of On Fairy-stories, with previously unseen material. Here, at last, Flieger and Anderson reveal the extraordinary genesis of this seminal work and discuss how the conclusions that Tolkien reached during the composition of the essay would shape his writing for the rest of his life.

    From the authors of Weird N.J.--with more than 125,000 copies sold--comes asecond amazing collection of the wonderful weirdness that fills every inch ofthe Garden State.

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.

    By experimenting with new concepts of time, integrating Eastern philosophies into Western music, and exploring multiphonics and other new sounds on his saxophone, he opened avenues of expression that influenced musicians and composers from jazz to rock to avant-garde.Bill Cole focuses on two aspects of John Coltrane in this provocative study: Coltrane the musician and Coltrane the religious person. Deeply interrelated, both aspects are bound up with Coltrane's identification as an African- American. Coltrane accepted the traditional African belief in the magical powers of sound and connected his music to its African roots via a devout religiosity. Cole shows how Coltrane's influences extended from tribal tone languages to speeches by Martin Luther King, Jr. -- he even adapted King's rhythmic inflections into a saxophone solo.Bill Cole offers a lengthy musical analysis of Coltrane's career; it also includes a detailed discography with recording data and personnel and over two dozen photographs. Cole draws on quotes from Coltrane himself, transcriptions of his improvisations, analyses of his music, research into West African religion, and his own personal reminiscences of the man, to offer a stimulating perspective on Coltrane's music, life, and thought.

    Winik's amusing tales of outrageous mistakes, haunting uncertainty, and the never-ending struggle to stay true to her heart strike a powerful chord with creative, impassioned, independent-minded free spirits who know they're different -- and want to stay that way. Winik's seven Rules for the Unruly are: THE PATH IS NOT STRAIGHT · MISTAKES NEED NOT BE FATAL PEOPLE ARE MORE IMPORTANT THAN ACHIEVEMENTS OR POSSESSIONS BE GENTLE WITH YOUR PARENTS · NEVER STOP DOING WHAT YOU CARE ABOUT MOST LEARN TO USE A SEMICOLON · YOU WILL FIND LOVE Rules for the Unruly shows us how taking risks, living creatively, and cherishing our inner weirdness can become the secret of our happiness and success, not our downfall.

    Literary Criticism. The two discussions in WHAT WE SHOULD HAVE KNOWN took place at the offices of n+1 in the summer of 2007. Eleven n+1 editors and contributors--including Caleb Crain, Meghan Falvey, Mark Greif, and Ilya Bernstein--met to talk frankly about regrets they have (or don't have) about college--what they wish they had read or had not read, listened to or not listened to, thought or not thought, been or not been. The idea for the discussions was prompted by a desire to give college students a directed guide, of some sort, to the world of literature, philosophy, and thought that they might not otherwise receive from the current highly specialized university environment. They were also an attempt to answer the "canon"-based approach to college study in two ways: by identifying canonical books produced by our contemporaries or near-contemporaries--something conservative writers have always refused to do--and, second, by articulating a better reason to read the best books ever written than that they authorize and underwrite a system of brutal economic competition and inequality.

    With hundreds of new examples pulled from everyday life, Junk English 2 shows how our language has become so pliable and flabby that the more we read and hear, the less we know.

    Davies has re-edited them to produce a single volume and in the prefatory "A Drink with Marchbanks" even given us his own view of the journalist he created. A pleasant entertainment covering such diverse topics as politics, theater, and manners, this volume offers a humorous and insightful picture of postwar Canadian life as seen through the eyes of a delightful eccentric who reminds this reader of a boozeless W. C. Fields.

    His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war thought and literature. In What is Literature? Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write.

    Learn what kind of water is safe to drink and use. A miraculous transformation occurs within your body when you drink the healthiest water available.

    The book's first two parts, "Recollections" and "Interviews," provide autobiographical glimpses of the very private Larkin's childhood, his youth at Oxford, the genesis of his forty-year career as a librarian, and the influences that initially steered his poetry. The second half of the book reflects Larkin's literary standards and opinions in often witty and surprising, always beautifully wrought, essays and reviews. His subjects range from Emily Dickinson (were her first lines her best?) to the contemporary mystery novel. Required Writing concludes with a selection of pieces on jazz music."Larkin is a punctilious, honest critic. He prefers good clear writing to pretentious eyewash; he prefers tunes to discordant wailing; and he prefers home to abroad. Unlike the majority of critics, he is clear-sighted enough to say so." --A. N. Wilson, Sunday Telegraph"I read the collection with growing excitement, agreement and admiration. It is the best contemporary account of the writer's true aims I have encountered." --John Mortimer, Sunday Times (London)"Subtle, supple, craftily at ease, Required Writing is on a par with Larkin's poetry--which is just about as high as praise can go." --Clive James, Observer Philip Larkin was the author of poetry collections, including High Windows, The Whitsun Weddings, and The Less Deceived; a book of essays entitled All What Jazz: A Record Diary; and two novels, Jill, and A Girl in Winter, published early in his career. Required Reading was originally published by Farrar, Straus & Giroux.

    But we’d be surprised to learn how much these beloved characters were shaped by the cultural and religious traditions of their makers. Superman Is Jewish? follows the “people of the book” as they become the people of the comic book. Harry Brod reveals the links between Jews and superheroes in a penetrating investigation of iconic comic book figures. With great wit and compelling arguments, Brod situates superheroes within the course of Jewish- American history: they are aliens in a foreign land, like Superman; figures plagued by guilt for not having saved their families, like Spider-Man; outsiders persecuted for being different, like the X-Men; nice, smart people afraid that nobody will like them when they’re angry, like the Hulk. Brod blends humor with sharp observation as he considers the overt and discreet Jewish characteristics of these well-known figures and explores how their creators—including Jerry Siegel, Joe Shuster, Stan Lee, and Jack Kirby— integrated their Jewish identities and their creativity. Brod makes a strong case that these pioneering Jews created New World superheroes using models from Old World traditions. He demonstrates how contemporary characters were inspired by the golem, the mystically created artificial superhuman of Jewish lore. And before Superman was first drawn by Joe Shuster, there were those Jews flying through the air drawn by Marc Chagall. As poignant as it is fascinating, this lively guided tour travels from the Passover Haggadah’s exciting action scenes of Moses’s superpowers through the Yiddish humor of Mad to two Pulitzer Prizes awarded in one decade to Jewish comic book guys Art Spiegelman and Michael Chabon. Superman Is Jewish? explores the deeper story of how an immigrant group can use popular entertainment media to influence the larger culture and in the process see itself in new, more empowering ways. Not just for Jewish readers or comic book fans, Superman Is Jewish? is a story of America, and is as poignant as it is fascinating. *** A surprising question, one that takes a certain amount of chutzpah to even raise. To add even a bit more chutzpah, this book considers questions about the Jewishness of more superheroes than just Superman, and offers answers that will surprise many. You mean Spider-Man is Jewish too? Well, actually, yes, but in a very different way than Superman is. And, as we’ll see, the shift between them reflects the evolution of Jewish life in America itself in the generation between the two, the generation that gets us from World War II and the “Golden Age” of comics to the 1960s and the “Silver Age” of comics. The historical turning points of those tumultuous years and others, like the powerful 1950s crusade against comics for supposedly causing juvenile delinquency, turn out to be central to our story because these events, and their great impact on American Jews, appear on comic book pages themselves, and behind the scenes in their production. For it turns out that the history of Jews and comic book superheroes, that very American invention, is the history of Jews and America, particularly the history of Jewish assimilation into the mainstream of American culture.

    Kenneth Turan’s fifty-four favorite films embrace a century of the world’s most satisfying romances and funniest comedies, the most heart-stopping dramas and chilling thrillers.Turan discovered film as a child left undisturbed to watch Million Dollar Movie on WOR-TV Channel 9 in New York, a daily showcase for older Hollywood features. It was then that he developed a love of cinema that never left him and honed his eye for the most acute details and the grandest of scenes.Not to be Missed blends cultural criticism, historical anecdote, and inside-Hollywood controversy. Turan’s selection of favorites ranges across all genres. From All About Eve to Seven Samurai to Sherlock Jr., these are all timeless films—classic and contemporary, familiar and obscure, with big budgets and small—each underscoring the truth of director Ingmar Bergman’s observation that “no form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.”