By unfolding the histories of the meaningful objects in their family home in Haworth, Lutz immerses readers in a nuanced re-creation of the sisters' daily lives while moving us chronologically forward through the major biographical events: the death of their mother and two sisters, the imaginary kingdoms of their childhood writing, their time as governesses, and their determined efforts to make a mark on the literary world.From the miniature books they made as children to the blackthorn walking sticks they carried on solitary hikes on the moors, each personal possession opens a window onto the sisters' world, their beloved fiction, and the Victorian era. A description of the brass collar worn by Emily’s bull mastiff, Keeper, leads to a series of entertaining anecdotes about the influence of the family’s dogs on their writing and about the relationship of Victorians to their pets in general. The sisters' portable writing desks prove to have played a crucial role in their writing lives: it was Charlotte's snooping in Emily’s desk that led to the sisters' first publication in print, followed later by the publication of Jane Eyre and Wuthering Heights.Charlotte's letters provide insight into her relationships, both innocent and illicit, including her relationship with the older professor to whom she wrote passionately. And the bracelet Charlotte had made of Anne and Emily's intertwined hair bears witness to her profound grief after their deaths.Lutz captivatingly shows the Brontës anew by bringing us deep inside the physical world in which they lived and from which their writings took inspiration.

    The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    They opened up new worlds and cast light on all the complexities she encountered in this one.She was whisked away to Narnia – and Kirrin Island – and Wonderland. She ventured down rabbit holes and womble burrows into midnight gardens and chocolate factories. She wandered the countryside with Milly-Molly-Mandy, and played by the tracks with the Railway Children. With Charlotte’s Web she discovered Death and with Judy Blume it was Boys. No wonder she only left the house for her weekly trip to the library or to spend her pocket money on amassing her own at home.In Bookworm, Lucy revisits her childhood reading with wit, love and gratitude. She relives our best-beloved books, their extraordinary creators, and looks at the thousand subtle ways they shape our lives. She also disinters a few forgotten treasures to inspire the next generation of bookworms and set them on their way.Lucy brings the favourite characters of our collective childhoods back to life – prompting endless re-readings, rediscoveries, and, inevitably, fierce debate – and brilliantly uses them to tell her own story, that of a born, and unrepentant, bookworm.

    These fantastic stories have travelled across cultural borders, and been passed down from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. Marina Warner has loved fairy tales over her long writing career, and she explores here a multitude of tales through the ages, their different manifestations on the page, the stage, and the screen. From the phenomenal rise of Victorian and Edwardian literature to contemporary children's stories, Warner unfolds a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers' Hansel and Gretel, and Hans Andersen's The Little Mermaid, to modern-day realizations including Walt Disney's Snow White and gothic interpretations such as Pan's Labyrinth. In ten succinct chapters, Marina Warner digs into a rich collection of fairy tales in their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. She makes a persuasive case for fairy tale as a crucial repository of human understanding and culture.

    Over the next three years they haunted every used and rare bookshop between New York and Boston that they could find, from dingy, dust-filled barns to elegant Park Avenue galleries. Starting small on cheap, out-of-print used books, their addiction soon graduated to first editions and, finally, to three-quarter morocco, custom-bound antiquarian classics that they could not afford. Along the way, they gained an education in books—and in people—that we can all savor. This warm and witty story is filled with eccentric characters, from a punk book dealer peddling fifty-thousand-dollar modern firsts to a golf-obsessed Shakespearean scholar with books on demonic possession in his basement. Part travel story, part love story, and part memoir, Used and Rare is an absorbing and delightful journey and a love letter to book lovers everywhere.

    His publisher turned it down, so Dickens used what little money he had to put out A Christmas Carol himself. He worried it might be the end of his career as a novelist.The book immediately caused a sensation. And it breathed new life into a holiday that had fallen into disfavor, undermined by lingering Puritanism and the cold modernity of the Industrial Revolution. It was a harsh and dreary age, in desperate need of spiritual renewal, ready to embrace a book that ended with blessings for one and all.With warmth, wit, and an infusion of Christmas cheer, Les Standiford whisks us back to Victorian England, its most beloved storyteller, and the birth of the Christmas we know best. The Man Who Invented Christmas is a rich and satisfying read for Scrooges and sentimentalists alike.

    Following a literary itinerary from London to Venice, Tehran and points beyond, and via authors from Woolf and Dante to Nobel Prize-winners Orhan Pamuk, Wole Soyinka, Mo Yan, and Olga Tokarczuk, he explores how these works have shaped our idea of the world, and the ways in which the world bleeds into literature.To chart the expansive landscape of world literature today, Damrosch explores how writers live in two very different worlds: the world of their personal experience and the world of books that have enabled great writers to give shape and meaning to their lives. In his literary cartography, Damrosch includes compelling contemporary works as well as perennial classics, hard-bitten crime fiction as well as haunting works of fantasy, and the formative tales that introduce us as children to the world we’re entering. Taken together, these eighty titles offer us fresh perspective on enduring problems, from the social consequences of epidemics to the rising inequality that Thomas More designed Utopia to combat, as well as the patriarchal structures within and against which many of these books’ heroines have to struggle--from the work of Murasaki Shikibu a millennium ago to Margaret Atwood today.Around the World in 80 Books is a global invitation to look beyond ourselves and our surroundings, and to see our world and its literature in new ways.

    On the hundredth night, they shared pancakes to celebrate, but it soon became evident that neither wanted to let go of their storytelling ritual. So they decided to continue what they called "The Streak." Alice's father read aloud to her every night without fail until the day she left for college. Alice approaches her book as a series of vignettes about her relationship with her father and the life lessons learned from the books he read to her.Books included in the Streak included: Great Expectations by Charles Dickens, the Oz books by L. Frank Baum, Harry Potter by J. K. Rowling, Alice's Adventures in Wonderland by Lewis Carroll, and Shakespeare's plays.

    Taking examples from the plays of Aeschylus, Sophocles and Euripides, The Poetics introduces into literary criticism such central concepts as mimesis (‘imitation’), hamartia (‘error’), and katharsis (‘purification’). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.Malcolm Heath’s lucid English translation makes the Poetics fully accessible to the modern reader. It is accompanied by an extended introduction, which discusses the key concepts in detail and includes suggestions for further reading.

    She invites us behind the scenes of novel-writing, sharing her own habits and spilling the secrets of her craft. And she offers priceless advice to aspiring authors. As she works her way through one hundred novels–from classics such as the thousand-year-old Tale of Genji to recent fiction by Zadie Smith and Alice Munro–she infects us anew with the passion for reading that is the governing spirit of this gift to book lovers everywhere.

    Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition.Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

    He shares his passion for books, which began with ordering through The Weekly Reader in grade school. Interwoven throughout is an historical account of the bookseller's trade--from the great Alexandria library with an estimated one million papyrus scrolls to Sylvia Beach's famous Paris bookstore, Shakespeare and Company, which led to the effort to publish and sell James Joyce's Ulysses during the 1920s.

    The first entry included here is dated 1918 and the last, three weeks before her death in 1941. Between these points of time unfolds the private world??—??the anguish, the triumph, the creative vision??—??of one of the great writers of the twentieth century. “A Writer’s Diary . . . is Virginia Woolf . . . The whole vibrates with the ups and downs of a passionate relationship . . . in the intensities, variations, alarms and excursions, panics and exaltations of her relationship to her art.”??—??New York Times Book ReviewEdited and with a Preface by Leonard Woolf.

    But equally important for the centuries to follow were geniuses of a different sort: Florence's manuscript hunters, scribes, scholars, and booksellers, who blew the dust off a thousand years of history and, through the discovery and diffusion of ancient knowledge, imagined a new and enlightened world.At the heart of this activity, which bestselling author Ross King relates in his exhilarating new book, was a remarkable man: Vespasiano da Bisticci. Born in 1422, he became what a friend called "the king of the world's booksellers." At a time when all books were made by hand, over four decades Vespasiano produced and sold many hundreds of volumes from his bookshop, which also became a gathering spot for debate and discussion. Besides repositories of ancient wisdom by the likes of Plato, Aristotle, and Quintilian, his books were works of art in their own right, copied by talented scribes and illuminated by the finest miniaturists. His clients included a roll-call of popes, kings, and princes across Europe who wished to burnish their reputations by founding magnificent libraries.Vespasiano reached the summit of his powers as Europe's most prolific merchant of knowledge when a new invention appeared: the printed book. By 1480, the king of the world's booksellers was swept away by this epic technological disruption, whereby cheaply produced books reached readers who never could have afforded one of Vespasiano's elegant manuscripts.A thrilling chronicle of intellectual ferment set against the dramatic political and religious turmoil of the era, Ross King's brilliant The Bookseller of Florence is also an ode to books and bookmaking that charts the world-changing shift from script to print through the life of an extraordinary man long lost to history--one of the true titans of the Renaissance.