Norrie Epstein - whose The Friendly Shakespeare was called "spirited, informative and provocative" by The New York Times - strips away the polite veneer of Victorian society to reveal Dickens's life and times in all their squalor and glory, from his childhood days toiling in a blacking factory while his father languished in debtor's prison, to his first visit to the United States, where he was hailed as the greatest living writer. The Friendly Dickens includes an illuminating guide to all of Dickens's works and lively appreciations of characters both major and minor, interviews with aficionados from Patrick Stewart to biographer Phyllis Rose, eye-catching illustrations, copious quotations, a highly opinionated filmography and informative sidebars on almost every page.

    Told with humour and insight, it looks back across the decades at the life of this close knit, notorious East End family. Maureen Flanagan, a then 20 year old hairdresser started visiting the Kray family home in Vallance Road each week to give the twins’ mother, Violet, her weekly shampoo and set. Over the cups of tea and the rollers and hairpins, Violet began to confide in ‘Flan’ about her life, her incredible pride in her twins, the celebrities who visited her at their humble East End home - and her troubled relationship with her husband.

    He soon realised he would have to learn on the job - put himself forward and show that he had what it took.Taking initiative, following up hunches (even far-fetched ones), obsessing about details, trying new investigative techniques, thinking laterally - these were essential. In addition, you had to be a bit of a psychologist.The Making of a Detective follows Pat Marry's path from rookie to Detective Inspector through the stories of key cases he worked on and investigations he led. It includes high profile cases like Rachel Calally's murder by her husband Joe O'Reilly. But there are also stories that have faded from public memory, such as the 1995 murder of Marilyn Rynn, which involved the first use of DNA evidence to solve a crime in Ireland. Or the 2001 murder of Mary Gough, a case solved mainly by scrutinizing her husband's internet use - then a new investigative tool.The Making of a Detective is a unique and gripping insight into the work of a dedicated garda operating at the very top of his profession.'An absolutely fascinating book ... Really interesting stories and insights' Sean O'Rourke, RTÉ Radio 1'An absolute must-read ... as page turning as a crime novel' Irish Examiner

    Brilliant!' - THE SUN 'It blew my doors off' - IAN RANKIN SPINETINGLER AWARD WINNER NED KELLY AWARD WINNER STEEL DAGGER AWARD SHORTLISTED BOOK 1: The Cold Cold Ground Two dead. Nothing seems to link them, but Sean Duffy knows the links that seem to be invisible are just waiting to be uncovered. And as a policeman who has solved six murders so far in his career, but not yet brought a single case to court, Duffy is determined that this time, someone will pay. BOOK 2: I Hear the Sirens in the Street Sean Duffy knows that one tiny clue is all it takes to solve a murder, so when a dismembered torso is found in a suitcase, he knows there'll be a way to find the killer. Now he's fully fit after the severe trauma of his last case, he goes from country lanes to city streets, and wherever he goes, he smells a rat ... BOOK 3: In the Morning I'll Be Gone Sean Duffy heard about the spectacular escape of IRA man Dermot McCann from Her Majesty's Maze prison, and he knows, with chilly certainty, that their paths will cross. Can he outrun the most skilled terrorist the IRA ever created? And will the past catch him first?

    At first everyone thinks it's a heart attack or stroke. But then it is discovered that he was poisoned. Who would do this and why? Finding that out falls to Sergeant Winston Windflower of the RCMP along with his trusted side-kick Eddie Tizzard. Along the way they discover that there are many more secrets hidden in this small community and powerful people who want to keep it that way. Windflower also discovers two more things; a love of living in a small community that is completely different from his up-bringing in a remote Indian reserve and maybe the love of his life. He gets a taste of East Coast food and hospitality as well as a sense of how crime and corruption can linger beneath the surface or hide in the thick blanket of fog that sometimes creeps in from the nearby Atlantic Ocean.

    In September 1970, two boys met in the playground on their first day at secondary school in North London. They formed what would be described at the Old Bailey thirty years later as ‘a unique and wicked bond’. Between 1982 and 1986, striking near lonely railway stations in London and the Home Counties, their partnership took them from rape to murder. Three police forces pooled their resources to catch them in the biggest criminal manhunt since the Yorkshire Ripper Enquiry.A Dangerous Place is the first full-length account of the crimes of John Duffy and David Mulcahy. Told by the son of one of the police officers who led the enquiry, exhaustively researched and with unprecedented access, this is the story of two of the most notorious serial killers of the twentieth century and the times they operated in. It is the story of the women who died at their hands. It is the story of the women who survived them, and who had the courage to ensure justice was done. And it is the story of a father, told by a son.

    Index.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    During the past ten years Harold Pinter has written a new play, three film scripts, sheaves of poems, several sketches and created, with composer James Clarke, a pioneering work for radio, Voices. He has acted on stage, screen and radio, he has appeared on countless political platforms, and his work has been extensively celebrated in festivals at Dublin's Gate Theatre and New York's Lincoln Center. In 2005 he was awarded the Nobel Prize for Literature and in 2006, the European Theatre Prize. As if this were not enough, he has in the last five years twice come close to death. But he has faced hospitalisation with stoic resilience and his spirit remains as fiercely combative as ever. As he wrote in 2005 to Professor Avraham Oz, one of Israel's leading internal opponents of authoritarianism: "Let's keep fighting."

    In addition to the Pulitzer Prize he was awarded for his reviews in The Washington Post, he picked up an Edgar from the Mystery Writers of America for his most recent book, On Conan Doyle.Dirda's latest volume collects fifty of his witty and wide-ranging reflections on literary journalism, book collecting, and the writers he loves. Reaching from the classics to the post-moderns, his allusions dance from Samuel Johnson, Ralph Waldo Emerson and M. F. K. Fisher to Marilynne Robinson, Hunter S. Thompson, and David Foster Wallace. Dirda's topics are equally diverse: literary pets, the lost art of cursive writing, book inscriptions, the pleasures of science fiction conventions, author photographs, novelists in old age, Oberlin College, a year in Marseille, writer's block, and much more, not to overlook a few rants about Washington life and American culture. As admirers of his earlier books will expect, there are annotated lists galore—of perfect book titles, great adventure novels, favorite words, essential books about books, and beloved children's classics, as well as a revealing peek at the titles Michael keeps on his own nightstand.

    Now, in his first book of nonfiction, Percy challenges the notion that literary and genre fiction are somehow mutually exclusive. The title essay is an ode to the kinds of books that make many readers fall in love with fiction: science fiction, fantasy, mysteries, horror, from J.R.R. Tolkien to Anne Rice, Ursula K. Le Guin to Stephen King. Percy's own academic experience banished many of these writers in the name of what is "literary" and what is "genre." Then he discovered Michael Chabon, Aimee Bender, Cormac McCarthy, Margaret Atwood, and others who employ techniques of genre fiction while remaining literary writers. In fifteen essays on the craft of fiction, Percy looks to disparate sources such as Jaws, Blood Meridian, and The Girl with the Dragon Tattoo to discover how contemporary writers engage issues of plot, suspense, momentum, and the speculative, as well as character, setting, and dialogue. An urgent and entertaining missive on craft, Thrill Me brims with Percy's distinctive blend of anecdotes, advice, and close reading, all in the service of one dictum: Thrill the reader.

    The debate had engaged the European literary community since the 1930s; with this fierce manifesto, Barthes challenged the notion of literature's obligation to be socially committed. Yes, Barthes allows, the writer has a political and ethical responsibility. But the history of French literature shows that the writer has often failed to meet it—and from his perspective, literature is committed to little more than the myth of itself. Expert and uncompromising, Writing Degree Zero introduced the themes that would soon establish Barthes as one of the leading voices in literary criticism.

    This anthology of classic and cutting-edge statements in literary theory has now been updated to include recent influential texts in the areas of Ethnic Studies, Postcolonialism and International StudiesA definitive collection of classic statements in criticism and new theoretical work from the past few decades All the major schools and methods that make up the dynamic field of literary theory are represented, from Formalism to Postcolonialism Enables students to familiarise themselves with the most recent developments in literary theory and with the traditions from which these new theories derive

    With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers.Greenblatt explores this rich theme by addressing four of Shakespeare’s preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare’s works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare’s interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority—that is, Shakespeare’s deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained.A book that could only have been written by Stephen Greenblatt, Shakespeare’s Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.

    As a culture we have become less interested in the exploration of the glorious mind, and more interested in creating and mastering technologies that will yield material well-being. But while cultural pessimism is always fashionable, there is still much to give us hope. In The Givenness of Things, the incomparable Marilynne Robinson delivers an impassioned critique of our contemporary society while arguing that reverence must be given to who we are and what we are: creatures of singular interest and value, despite our errors and depredations.Robinson has plumbed the depths of the human spirit in her novels, including the National Book Critics Circle Award-winning Lila and the Pulitzer Prize-winning Gilead, and in her new essay collection she trains her incisive mind on our modern predicament and the mysteries of faith. These seventeen essays examine the ideas that have inspired and provoked one of our finest writers throughout her life. Whether she is investigating how the work of the great thinkers of the past, Calvin, Locke, Bonhoeffer--and Shakespeare--can infuse our lives, or calling attention to the rise of the self-declared elite in American religious and political life, Robinson's peerless prose and boundless humanity are on display. Exquisite and bold, The Givenness of Things is a necessary call for us to find wisdom and guidance in our cultural heritage, and to offer grace to one another.Humanism --Reformation --Grace --Servanthood --Givenness --Awakening --Decline --Fear --Proofs --Memory --Value --Metaphysics --Theology --Experience --Adam --Limitation --Realism