These poems are written with the authority of classical myth, yet sound utterly contemporary: the poet's gaze - whether on the natural world or the details of his own life - is unflinching and clear, its utter seriousness leavened by a wry, dry and disarming humour. Alongside fine translations from Neruda and Montale and dynamic (and at times horrific) retellings of stories from Ovid, the poems in "The Wrecking Light" pitch the power and wonder of nature against the frailty and failure of the human. Ghosts sift through these poems - certainties become volatile, the simplest situations thicken with strangeness and threat - all of them haunted by the pressure and presence of the primitive world against our own, and the kind of dream-like intensity of description that has become Robertson's trademark. This is a book of considerable grandeur and sweep which confirms Robertson as one of the most arresting and powerful poets at work today.

    It is a book that should be performed as well as read.

    "Criticism" provides readers with a wide chronological and thematic range of scholarly interpretations, divided into two sections. The first, "1745-1940," includes assessments by Henry Fielding, Samuel Johnson, Samuel Taylor Coleridge, William Makepeace Thackeray, D. H. Lawrence, W. B. Yeats, F. R. Leavis, and Andr� Breton, among others. The second, "After 1940," is by subject and collects critical discussions of A Tale of the Tub, the poems, the English and Irish politics, and Gulliver's Travels, by Hugh Kenner, Marcus Walsh, Irvin Ehrenpreis, Penelope Wilson, Derek Mahon, S. J. Connolly, George Orwell, R. S. Crane, Jenny Mezciems, Ian Higgins, and Claude Rawson. A Chronology and Selected Bibliography are also included.

    It scrutinizes its symbolistic dimensions and stylistic excellence while keeping an undeviating focus on the poignant classic of love in the time of war. This study further demonstrates how the novel appeals at different levels like the other works of Hemingwayas a story of war, a story of love, a story of the growth of the heros soul, a story of memorable characters and a work of artistic excellence. The present book will definitely prove useful to students, researchers as well as teachers of English Literature interested in the study of Hemingway and his works.

    The much-anticipated poetry chapbook by Sam Pink, author of the cult favorites Person and I Am Going to Clone Myself Then Kill the Clone and Eat It, who the Los Angeles Review of Books called, “Simply one of the best, darkest, funniest, wildest, and [most] touching writers we’ve got.”

    For readers devoted to poetry, it offers illuminating examples of the infinitely various ways a poem reaches a reader.In both the book and the videos on the accompanying DVD, poems by Sappho, Shakespeare, Keats, Whitman, and Dickinson as well as contemporary poets are introduced by people from across the United States—a construction worker, a Supreme Court justice, a glassblower, a marine—each of whom speaks about his or her connection to the poem. Their comments are variously poignant, funny, heartening, tart, penetrating, and eccentric, showing some of the ways poetry is alive for American readers. An Invitation to Poetry will inspire a fresh experience of poetry's pleasure and insight.

    As the grief-stricken Swabey looks back on their affair, the exact nature of his responsibility for Clara’s death is movingly revealed.

    An adaptation of the ballad singing culture of the gaucho minority that saw its way of life threatened by social and political changes of the 19th century.

    In The Shadow Of The Vampire offers a close up view of her devotees and disciples, fangs and all. Over 100 photographs from Anne Rice's Memnoch Ball in New Orleans as well as other events serve as a portrait of this growing subculture. The photographs illustrate the themes the readers relate to in their fantasies and everyday lives and the extremes to which they will go to be close to their mentor. The subjects of the photographs, the fans themselves, explain in accompanying interviews their spiritual relationships to romance, eroticism, loneliness, bloodlust or outsider status of the characters in the book. From the people who sleep in coffins to the teenage Goth-rockers to the HIV-positive man who found a deep allegorical comfort in the vampire Lestat, their responses range from the burlesque to the sublime.

    In this international classic, Paz has written one of the most enduring and powerful works ever created on Mexico and its people, character, and culture. Compared to Ortega y Gasset's The Revolt of the Masses for its trenchant analysis, this collection contains his most famous work, "The Labyrinth of Solitude," a beautifully written and deeply felt discourse on Mexico's quest for identity that gives us an unequalled look at the country hidden behind "the mask." Also included are "The Other Mexico," "Return to the Labyrinth of Solitude," "Mexico and the United States," and "The Philanthropic Ogre," all of which develop the themes of the title essay and extend his penetrating commentary to the United States and Latin America.

    Matriarchs like Mercy Amado—despite her drunken, philandering (now ex-) husband—could raise three daughters and become a teacher. Now she watches helplessly as her daughters drift apart as adults. The Latino bonds of familia don't seem to hold. Celeste, the oldest daughter who won't speak to the youngest, is fiercely intelligent and proud. She has fled the uncertainty of her growing up in Los Angeles, California, to seek financial independence in San Jose. Her sisters did the same thing but very differently. Sylvia married a rich but abusive Anglo, and, to hide away, she immersed herself in the suburbia of her two young daughters. And Nataly, the baby, went very hip into the free-spirited Latino art world, working on her textile creations during the day and waiting on tables in an upscale restaurant by night. Everything they know comes crashing down in a random tragic moment and Mercy must somehow make what was broken whole again.Désirée Zamorano says that she was taken aback by the negative reaction toSonia Sotomayor's self-description as a "wise Latina." And she is appalled by stereotypical rendering of Latinas in mainstream literature, saying that true-to-life middle-class Latinas are invisible in the fabric of American culture. Zamorano is a playwright, Pushcart Prize nominee for fiction, and the director of the Community Literacy Center at Occidental College. She also collaborates with InsideOut Writers, a program that works with formerly incarcerated youth. She lives in Pasadena, California.

    Boxed set collecting Poetry For The Beat Generation (1959), Blues and Haikus (1959), and Readings By Jack Kerouac On The Beat Generation (1960), remastered with bonus tracks.

    In their dreams, they catch glimpses of Estrella’s braids, hear echoes of her voice, and read old letters that eventually, mysteriously, stopped arriving. They recall regimented school assemblies, nationalistic class performances, and a trip to the beach. Soon it becomes clear that Estrella’s father was a ranking government officer implicated in the violent crimes of the Pinochet regime, and the question of what became of her after she left school haunts her erstwhile friends. Growing up, these friends―from her pen pal, Maldonado, to her crush, Zúñiga―were old enough to sense the danger and tension that surrounded them, but were powerless in the face of it. They could control only the stories they told one another and the “ghostly green bullets” they fired in the video game they played obsessively.One of the leading Latin American writers of her generation, Nona Fernández effortlessly builds a choral and constantly shifting image of young life in the waning years of the dictatorship. In her short but intricately layered novel, she summons the collective memory of a generation, rescuing felt truth from the oblivion of official history.

    In the wake of his father's premature death, Jose Cemi comes of age in a turn of the century Cuba described in the Washington Post as "an island paradise where magic and philosophy twist the lives of the old Cuban bourgeoisie into extravagant wonderful shapes."

    Introduction by George Stade.