The Classic Fairy Tales focuses on six tale types: "Little Red Riding Hood," "Beauty and the Beast," "Snow White," "Cinderella," "Bluebeard," and "Hansel and Gretel," and presents multicultural variants and sophisticated literary rescriptings. Also reprinted are tales by Hans Christian Andersen and Oscar Wilde."Criticism" gathers twelve essays that interpret aspects of fairy tales, including their social origins, historical evolution, psychological drama, gender issues, and national identities.A Selected Bibliography is included.

    These 100 recipes will enable anyone with a grill to achieve champion barbecue flavor right in their own backyard. The selection features Mills' own secret concoctions and treasured family recipes as well as choice contributions from his pitmaster friends, and it covers all manner of barbecued meat and fish, sauces and dry rubs, as well as the sides, soups, and down-home sweets that complete any great barbecue feast.With its folksy, fun-loving tone and its unique insider's take on a hugely popular--and deeply American--subject, this volume will appeal to barbecue lovers, food mavens, and cooks of all stripes.

    Presents practical, Buddhist-based guidelines to achieving happiness in romantic relationships through a series of inspirational quotes complemented by thematic watercolors and divided into three sections that explore the concepts of illusion, reality, and life.

    It could not anticipate what was to come after, neither could it grasp what had happened in literary theory in the light of where it was to lead.

    Recognized internationally as one of America's greatest literary critics, Helen Vendler is a frequent reviewer of poetry for The New Yorker and The New York Review of Books. Poems, Poets, Poetry reflects her teaching to thousands of undergraduates in the core poetry course that she has taught at Harvard since 1981.- An innovative approach to reading and writing about poetry. Part One begins with a unique demonstration: Vendler first reads a dozen poems to show how they represent life events, then rereads the same dozen poems to reveal how poets use language to transform those events into memorable art. The author devotes the rest of the text to unfolding poetry's layers: formal, thematic, linguistic, lyric, social, historical, and evaluative. To illustrate this, Vendler examines 65 poems, and provides prompts to help students read 106 others. Two new chapters in Part Two illuminate ways to think and write about both individual works and groups of poems.- An ample and diverse anthology of 268 poems by 128 poets. Spanning eight centuries of English-language poetry, the anthology in Part Three offers a broad choice of canonical and contemporary selections that includes one of the most extensive collections of multicultural American poetry available in an introductory text.

    Imagine getting dinner on the table for your family in forty-five minutes or less. In this inspired and indispensable new cookbook, Paula Deen’s sons show you how to whip up 125 delicious Southern-style recipes quicker than you can say, “Come and get it!”The Deen brothers know a lot about cooking good food fast. They hosted the Food Network hit Road Tasted, appear regularly on Good Morning America, and are co-owners (with their mom) of Savannah’s famous The Lady & Sons Restaurant. Their fast-paced lifestyles require no-fuss meals without a lot of prep. Jamie’s a family man who’s got to work, serve supper, and still chase after his three-year-old son. Bobby, one of People magazine’s most eligible bachelors, appreciates a good meal before heading out to work at his restaurant or for a night on the town. They’re the perfect guys to write a guide to swift dishes that don’t stint on taste or Southern authenticity.This mouthwatering collection offers dishes that really deliver on flavor yet can be prepared within a budget. There are no hard-to-find ingredients or tricky techniques to follow, just the tasty, irresistible cooking that the Deens have come to be known for. For lunch, dinner, or late-night snacks, if you’ve got meat in mind, how about Speedy Mini-Meat Loaves with Baked Sweet Potato Wedges? If chicken’s your choice, Broiled Pesto Chicken with Cherry Tomatoes is a satisfying possibility. And if you’re really on the go, there are whole chapters devoted to simple grilling and crockpot cooking.Lighter fare includes Turkey and Black Bean Burgers with Corny Salsa and Jerk Shrimp Kebabs with Tomatoes, Onions, and Peppers, and main-course salads such as Jamie’s Nutty Orange Chicken Salad. If you have kids, they will love Yummy Orange Beef Fingers. In fact, in honor of Jamie’s son, there’s a whole chapter devoted to kids’ food called “Jack’s Favorites” (which might become your kids’ favorites too!). And what’s a meal without dessert? Jamie and Bobby offer their favorite temptations, ranging from Chocolate Peanut-Butter Malteds to Quick Blackberry Cream Pie.Seasoned with wonderful never-before-seen color photos of the entire Deen family and sprinkled liberally with Jamie’s and Bobby’s down-home charm, and including signature dishes from The Lady & Sons Restaurant, The Deen Bros. Take It Easy is a treat in itself for anyone with a full life and an empty stomach.

    In " An Introduction to the Event-Related Potential Technique," Steve Luck offers the first comprehensive guide to the practicalities of conducting ERP experiments in cognitive neuroscience and related fields, including affective neuroscience and experimental psychopathology. The book can serve as a guide for the classroom or the laboratory and as a reference for researchers who do not conduct ERP studies themselves but need to understand and evaluate ERP experiments in the literature. It summarizes the accumulated body of ERP theory and practice, providing detailed, practical advice about how to design, conduct, and interpret ERP experiments, and presents the theoretical background needed to understand why an experiment is carried out in a particular way. Luck focuses on the most fundamental techniques, describing them as they are used in many of the world's leading ERP laboratories. These techniques reflect a long history of electrophysiological recordings and provide an excellent foundation for more advanced approaches.The book also provides advice on the key topic of how to design ERP experiments so that they will be useful in answering questions of broad scientific interest. This reflects the increasing proportion of ERP research that focuses on these broader questions rather than the "ERPology" of early studies, which concentrated primarily on ERP components and methods. Topics covered include the neural origins of ERPs, signal averaging, artifact rejection and correction, filtering, measurement and analysis, localization, and the practicalities of setting up the lab.

    With a historian’s perspective and a critic’s insight, award-winning author Andrew Delbanco marvelously demonstrates that Melville was very much a man of his era and that he recorded — in his books, letters, and marginalia; and in conversations with friends like Nathaniel Hawthorne and with his literary cronies in Manhattan — an incomparable chapter of American history. From the bawdy storytelling of Typee to the spiritual preoccupations building up to and beyond Moby Dick, Delbanco brilliantly illuminates Melville’s life and work, and his crucial role as a man of American letters.

    We see, hear, and feel Umberto Eco, the passionate reader who has gotten lost over and over again in the woods, loved it, and come back to tell the tale, The Tale of Tales. Eco tells us how fiction works, and he also tells us why we love fiction so much. This is no deconstructionist ripping the veil off the Wizard of Oz to reveal his paltry tricks, but the Wizard of Art himself inviting us to join him up at his level, the Sorcerer inviting us to become his apprentice.

    It's a chunky book of 400 questions that range from the heinous to the nauseating to the downright disturbing, each a field-tested conversation starter—because no matter how strange or far-fetched, Would You Rather...? knows that choice provokes thinking, and thinking is fun. Some questions, like a Rorschach test, reveal values: Would you rather . . . Age only from the neck up -OR- age only from the neck down? Be stupid and rich -OR- smart and poor? Some delight in their own grossness: Eat three earthworms -OR- wear a necklace made of them on your wedding day? Be trapped in an elevator with wet dogs -OR- three fat men with bad breath? Some churn up prejudices: Lose your mate to the same sex as yourself -OR- the opposite sex? Some create that squirming sensation: Get a bad case of poison ivy way up inside your nose -OR- inside your inner ear? Or ethical dilemmas: Be president of a firm that poaches endangered species -OR- work for a corrupt politician? And some are just deliciously absurd: Catch a porcupine thrown from a second-story window -OR- a skunk thrown from the same window? Each question is followed up with related, often off-the-wall information, from odd trivia to dumb jokes to the occasional practical advice (go for the skunk—the porcupine's got 30,000 quills, while tomato juice will take away the skunk smell).

    But it's also true, as Sebastian Faulks argues in this remarkable book, that the novel helped invent the British: for the first time we had stories that reflected the experiences of ordinary people, with characters in which we could find our reality, our understanding and our escape.In Faulks on Fiction, Faulks examines many of these enduring fictional characters from over the centuries -- Heroes from Tom Jones to John Self, Lovers from Mr Darcy to Lady Chatterly, Villains from Fagin to Barbara Covett, and Snobs from Emma Woodhouse to James Bond -- and shows us how they mapped and inspired the British psyche, and continue to do so.Published to coincide with a major BBC series, Faulks on Fiction is an engaging and opinionated look at the psychology of the British through their literature, and a unique social history of Britain from one of our most respected writers.From the Trade Paperback edition.

    Tolkien's epic fantasies The Lord of the Rings and The Hobbit have enthralled reader for more than half a century. The realm of Middle-earth is one of the most fully realized worlds in literature, yet the remarkable mythology upon which Tolkien founded is still a mystery to most readers.The Magical Worlds of The Lord of the Rings reveals the ancient folklore and legends that inspired Tolkien's masterpiece. From the Finnish saga Kalevala and the events in Beowulf to Arthurian mythology, Shakespeare, and even World War II, this indispensable guide provides insights not only into literature's most beloved fantasy but also the man who brought it to life.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    This fully updated and expanded book is not about how the music business should work, but how it does work. Industry insider Moses Avalon tells it like it is how producers dip into budgets, artists steal songs, lawyers write contracts in code and shows you how to survive these and other career-stifling situations. Deconstructing actual major and indie-label record deals, this book dissects each party's involvement and offers perspective on their actual roles, how much they get paid, and what their agendas really are. Engineers, managers, producers, artists, labels and lawyers each take their turn in the hot seat. It also outlines realistic alternatives for newcomers, such as "baby" production deals and vanity labels. This third edition includes: an entire chapter comparing ASCAP and BMI a publishing first * new insights for indie artists, including the lowdown on digital-distribution scams and independent A&R * information on new legislation and its impact on sampling and other legal matters * new music-industry "family trees" that reflect recent consolidation and reorganization * 80 pages of new material * and much more.

    Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.