A magnificent blend of travel journal, cultural commentary, and historical insight, Black Lamb and Grey Falcon probes the troubled history of the Balkans, and the uneasy relationships amongst its ethnic groups. The landscape and the people of Yugoslavia are brilliantly observed as West untangles the tensions that rule the country's history as well as its daily life.

    This book, by the noted historian who served as a consultant for the film, adds new dimensions to this famous legend.

    But beyond these familiar details, the Brontes' story has remained largely obscure. This landmark book is the first definitive history of this fascinating family. Based on eleven years of research among newly discovered letters by every member of the family, original manuscripts, and the newspapers of that time, it gives a new and fuller picture of the Brontes' lives from beginning to end and, in the process, demolishes many myths. The father, Patrick, was not, as commonly believed, the cold patriarch of a family of victims. Charlotte, ruthlessly self-willed, ran roughshod over her sisters and went so far as to alter or destroy their manuscripts when she disapproved. Emily was so psychologically and physically dependent on her fantasy life that she could not survive in the outside world. Anne, widely regarded as the gentlest of the sisters, had a core of steel and was a more daring and revolutionary author than Charlotte. Branwell, the adored brother, was a talented poet who provided much of Charlotte's inspiration.

    This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

    Modern editions use a later revised version printed in 1817 and featuring a gloss. Along with other poems in Lyrical Ballads, it was a signal shift to modern poetry and the beginning of British Romantic literature.It relates the events experienced by a mariner who has returned from a long sea voyage. The Mariner stops a man on his way to a wedding ceremony and begins to narrate a story. The Wedding-Guest's reaction turns from bemusement to impatience, fear, and fascination as the Mariner's story progresses, as can be seen in the language style: for example, the use of narrative techniques such as personification and repetition to create a sense of danger, or the supernatural, or serenity, depending on the mood each different part of the poem.

    At her death in 1817, Jane Austen left the world six of the most beloved novels written in English—but her shortsighted family destroyed the bulk of her letters; and if she kept any diaries, they did not survive her.  Now acclaimed biographer Claire Tomalin has filled the gaps in the record, creating a remarkably fresh and convincing portrait of the woman and the writer. While most Austen biographers have accepted the assertion of Jane's brother Henry that "My dear Sister's life was not a life of events," Tomalin shows that, on the contrary, Austen's brief life was fraught with upheaval.  Tomalin provides detailed and absorbing accounts of Austen's ill-fated love for a young Irishman, her frequent travels and extended visits to London, her close friendship with a worldly cousin whose French husband met his death on the guillotine, her brothers' naval service in the Napoleonic wars and in the colonies, and thus shatters the myth of Jane Austen as a sheltered and homebound spinster whose knowledge of the world was limited to the view from a Hampshire village.

    Two different versions of the play were published in the Jacobean era, several years later. The powerful effect of early productions of the play is indicated by the legends that quickly accrued around them—that actual devils once appeared on the stage during a performance, "to the great amazement of both the actors and spectators", a sight that was said to have driven some spectators mad.

    His friends and colleagues during this time included W. H. Auden, Stephen Spender, and E. M. Forster, as well as colorful figures he met in Germany and later fictionalized in his two Berlin novels-who appeared again, fictionalized to an even greater degree, in I Am a Camera and Cabaret. What most impressed the first readers of this memoir, however, was the candor with which he describes his life in gay Berlin of the 1930s and his struggles to save his companion, a German man named Heinz, from the Nazis. An engrossing and dramatic story and a fascinating glimpse into a little-known world, Christopher and His Kind remains one of Isherwood's greatest achievements. A major figure in twentieth-century fiction and the gay rights movement, Christopher Isherwood (1904-1986) is the author of Down There on a Visit, Lions and Shadows, A Meeting by the River, The Memorial, Prater Violet, A Single Man, and The World in the Evening, all available from the University of Minnesota Press.

    Jo's greatest fear is that her illegitimate baby might be mentally deficient like her own father. To soothe, clean and cook for her is Geof, an effeminate art student, with whom she makes a temporary home. Bruised by insensitivity and rejection, the boy and girl find a very real comfort in each other.

    She was Rose Buckland, Lee's cousin by marriage.From the Paperback edition.

    Nowhere is his glorious poetic and pictorial legacy more evident than in The Marriage of Heaven and Hell, which many consider his most inspired and original work.The Marriage of Heaven and Hell is both a humorous satire on religion and morality and a work that concisely expresses Blake's essential wisdom and philosophy, much of it revealed in the 70 aphorisms of his "Proverbs of Hell." This beautiful edition, reproduced from a rare facsimile, invites readers to enjoy the rich character of Blake's own hand-printed text along with his deeply stirring illustrations, reproduced on 27 full-color plates. A typeset transcription of the text is included.

    As Islamic morality squads staged arbitrary raids in Tehran, fundamentalists seized hold of the universities, and a blind censor stifled artistic expression, the girls in Azar Nafisi's living room risked removing their veils and immersed themselves in the worlds of Jane Austen, F. Scott Fitzgerald, Henry James, and Vladimir Nabokov. In this extraordinary memoir, their stories become intertwined with the ones they are reading. Reading Lolita in Tehran is a remarkable exploration of resilience in the face of tyranny and a celebration of the liberating power of literature.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    It begins as the day-today record of the life of a typical eleven-year-old girl, preoccupied by piano lessons and birthday parties. But as war engulfs Sarajevo, Zlata Filipovic becomes a witness to food shortages, the deaths of friends, and learns to wait out bombardments in a neighbor’s cellar. Yet throughout she remains courageous and observant. The result is a book that has the power to move and instruct readers a world away.

    Told by an eclectic group of historical and modern characters in a continuous conversation across ages and generations, Top Girls was hailed as 'the best British play ever from a woman dramatist' by The Guardian.