The authors of the essays on recent criticism and productions are Heather DuBrow, University of Wisconsin at Madison, and William Liston, Ball State University, respectively.

    Sidney argues with wit and irony that poetry is the art which best teaches what is good and true.

    But what if your source turns out to be unworthy of your silence? What if it's your source who betrays you?The Messenger tells the story of an unlikely friendship between two men looking to change the world - a repentant jihadist and an idealistic journalist. This troubling real-life thriller takes us from their first meeting in a spartan flat in the rough suburbs of Manchester, to a bombing in Pakistan, a dramatic arrest and Malik's reporting career on the brink of ruin.Ten years later, Malik returns to this extraordinary tale. He asks where we can place our trust - in reams of evidence, in a government we believe is on our side, in a terrorist who swears he's changed, in a friend who has no one else to turn to. Malik explores the uncomfortable questions about why he, as well as the wider media and the nation, surrendered to fear so easily. And he reveals how the age of terror laid the groundwork for an era of fake news and demagogues.This is investigative journalism and storytelling of the highest order.

    Depicting her personal life in extraordinary detail -- her student days at Oxford, her Communist activities, her early affairs, and her enduring marriage to John Bayley -- he also deftly interprets her philosophical works and twenty-six novels with brilliant clarity and insight. Murdoch emerges as a writer who in her early years imagined herself as the heir to George Eliot but later found a kinship with Dostoevsky's fantastic realism, his obsessions with sadomasochism, and his philosophical fascination with moral anarchy. Relying on ninety-five hitherto unseen diaries, hundreds of interviews, and thousands of letters, Conradi has written a riveting biography that is as much an absorbing history of literary England from 1940 to the present as it is a vivid depiction of one of our greatest twentieth-century writers.

    In between, Moore’s stories have been shortlisted for more than a dozen different awards including the Bridport Prize, the Fish Prize, the Lightship Flash Fiction Prize, the Manchester Fiction Prize and the Nottingham Short Story Competition. The title story won first prize in the novella category of The New Writer Prose and Poetry Prizes.

    But the thirteen chapters, each a short story in its own right, create an exquisitely observed world that is anything but sleepy. A world of Kissingeresque realpolitik enacted in boys’ games on a frozen lake; of “nightcreeping” through the summer backyards of strangers; of the tabloid-fueled thrills of the Falklands War and its human toll; of the cruel, luscious Dawn Madden and her power-hungry boyfriend, Ross Wilcox; of a certain Madame Eva van Outryve de Crommelynck, an elderly bohemian emigré who is both more and less than she appears; of Jason’s search to replace his dead grandfather’s irreplaceable smashed watch before the crime is discovered; of first cigarettes, first kisses, first Duran Duran LPs, and first deaths; of Margaret Thatcher’s recession; of Gypsies camping in the woods and the hysteria they inspire; and, even closer to home, of a slow-motion divorce in four seasons.Pointed, funny, profound, left-field, elegiac, and painted with the stuff of life, Black Swan Green is David Mitchell’s most subtlest and effective achievement to date.

    Michael Ryan's comprehensive textbook on the practice of literary theory demonstrates how the full panoply of theoretical approaches can be used to read the same texts.

    Nicholas and Lally were the children of the great house, set in the bleak and magical Fen country; Thomasine was the unconventional niece of two genteel maiden aunts in the village; Daniel was the son of the local blacksmith, a fiercely independent, ambitious boy who longed to break away from the stifling confines of his East Anglian upbringing. As the drums of war sounded in the distance, the Firedrake, a mysterious and ancient Blythe family heirloom disappeared, setting off an uncontrollable chain of events.The Great War changed everything, and both Nicholas and Daniel returned from the front damaged by their experiences. Thomasine, freed from the narrow disciplines of her childhood, and enjoying the new hedonism which the twenties brought, thought that she could escape from the ties that bound her to both Nicholas and Daniel. But the passions and enmities of their youth had intensified in the passing years, and the four friends had to experience tragedy and betrayal before the Firedrake made its reappearance and, with it, a new hope for the future.

    The text and essays are complemented by biographical and critical introductions, bibliographies, and a glossary of critical and theoretical terms.In this third edition, a new section details in unique depth the revisions James made from the serialized Colliers Weekly edition to the New York Edition. New documents and illustrations enhance the historical contexts section, and new psychoanalytic essay with a Lacanian perspective appears in the section of contemporary criticism.

    Calasso ranges through Baudelaire's life and work, focusing on two painters—Ingres and Delacroix—about whom Baudelaire wrote acutely, and then turns to Degas and Manet, who followed in the tracks Baudelaire laid down in his great essay "The Painter of Modern Life." In Calasso's lavishly illustrated mosaic of stories, insights, close readings of poems, and commentaries on paintings, Baudelaire's Paris comes brilliantly to life. In the eighteenth century, a folie was a garden pavilion set aside for people of leisure, a place of delight and fantasy. Following Baudelaire, Calasso has created a brilliant and dramatic "Folie Baudelaire"—a place where the reader can encounter the poet himself, his peers, his city, and his extraordinary likes and dislikes, finally discovering that that place is situated in the middle of the land of "absolute literature."

    Here Benjamin evolves a theory of language as the medium of all creation, discusses theater and surrealism, reminisces about Berlin in the 1920s, recalls conversations with Bertolt Brecht, and provides travelogues of various cities, including Moscow under Stalin. He moves seamlessly from literary criticism to autobiography to philosophical-theological speculations, cementing his reputation as one of the greatest and most versatile writers of the twentieth century. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times.

    Two young lovers, Catherine and Daniel, have trespassed into the rose garden of Burnt Norton, an abandoned house in the English countryside.Hearing the sound of footsteps, they hide, and then witness the poet T.S. ('Tom') Eliot and his close friend Emily enter the garden and bury a mysterious tin in the earth. Tom and Emily knew each other in America in their youth; now in their forties, they have come together again. In the enclosed world of an English village one autumn, their story becomes entwined with that of Catherine and Daniel, who are certain in their newfound love and full of possibility.

    All contributors have been recent faculty members of the prestigious Warren Wilson Low Residency Program, including such literary favorites as Margot Livesey, Charles Baxter, Robert Boswell, Jim Shepard, Antonya Nelson, David Shields, and the editors themselves.Each writer was asked to submit an original story, accompanied by an essay describing the challenges of the story and how they were met. Since writers resist herding, the editors were happily surprised by the wide range of essays—"fiction writers, when given the space, think about their work very differently." We learn about the genesis of a story, how story evolves, what was eventually relinquished and why, and how a story—surprisingly—might "insist" on changing.Arranged alphabetically by author, and beginning with Richard Russo's cogent introduction, this volume is a treasure throughout.

    A reclusive young widower and political apostate, Salgado goes on the run after he is persuaded to blow up the pipelines of a sluicing operation sucking the local groundwater dry. Meanwhile, Evan Hatch, a London-based flack for an "issues-management" PR firm, is dying from leukemia. Hoping to find a donor, he tracks down his long-lost brother in Mexico (from where he had been adopted at birth) while en route to the WTO meeting in Seattle. Chano, desperately needing to cross the border, finds his brother (Evan) first, and steals his passport. In the third narrative strand, Chano’s young son, Daniel, himself given up for adoption in Costa Rica, is also looking for his father. Traveling to Mexico, he is forced to flee when the police take him hostage hoping to force his father turn himself in. Squirreling himself away on a freighter, he is rescued by a UK refugee organization whose activists fly to Seattle with him to participate in the protest hoping to reunite him with his father, who, masquerading as Evan, is about to give a speech to the European Roundtable of Industrialists…

    This story of three closely related Oxfordshire communities - a hamlet, the nearby village and a small market town - is based on the author's experiences during childhood and youth. It chronicles May Day celebrations and forgotten children's games, the daily lives of farmworkers and craftsmen, friends and relations - all painted with a gaiety and freshness of observation that make this trilogy an evocative and sensitive memorial to Victorian rural England.With a new introduction by Richard Mabey