Considering various types of participatory writing as different strains of one style—immersion writing—Robin Hemley offers new perspectives and practical advice for writers of this nonfiction genre.Immersion writing can be broken down into the broad categories of travel writing, immersion memoir, and immersion journalism. Using the work of such authors as Barbara Ehrenreich, Hunter S. Thompson, Ted Conover, A. J. Jacobs, Nellie Bly, Julio Cortazar, and James Agee, Hemley examines these three major types of immersion writing and further identifies the subcategories of the quest, the experiment, the investigation, the infiltration, and the reenactment. Included in the book are helpful exercises, models for immersion writing, and a chapter on one of the most fraught subjects for nonfiction writers—the ethics and legalities of writing about other people.A Field Guide for Immersion Writing recalibrates and redefines the way writers approach their relationship to their subjects. Suitable for beginners and advanced writers, the book provides an enlightening, provocative, and often amusing look at the ways in which nonfiction writers engage with the world around them.A Friends Fund Publication.

    Bradley put Shakespeare on the map for generations of readers and students for whom the plays might not otherwise have become 'real' at all" writes John Bayley in his foreword to this edition of Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth.Approaching the tragedies as drama, wondering about their characters as he might have wondered about people in novels or in life, Bradley is one of the most liberating in the line of distinguished Shakespeare critics. His acute yet undogmatic and almost conversational critical method has—despite fluctuations in fashion—remained enduringly popular and influential. For, as John Bayley observes, these lectures give us a true and exhilarating sense of "the tragedies joining up with life, with all our lives; leading us into a perspective of possibilities that stretch forward and back in time, and in our total awareness of things."

    So-called illiberal democracy and authoritarian populism are in the political ascendant; the shelves of our bookshops groan with the work of attention-grabbing thinkers insisting that permissiveness, multiculturalism and 'identity politics' have failed us and that we must now fall back on some notion of tradition. We have had our fun, and now it's time to get serious, to shore our fragments against the ruin of postmodernist meaninglessness. It's not only the usual, conservative suspects who have got on board with this argument. Authentocrats critiques the manner in which post-liberal ideas have been mobilised underhandedly by centrist politicians who, at least notionally, are hostile to the likes of Donald Trump and UKIP. It examines the forms this populism of the centre has taken in the United Kingdom and situates the moderate withdrawal from liberalism within a story which begins in the early 1990s. Blairism promised socially liberal politics as the pay-off for relinquishing commitments to public ownership and redistributive policies: many current centrists insist New Labour's error was not its capitulation to the market, but its unwillingness to heed the allegedly natural conservatism of England's provincial working classes. In this book, we see how this spurious concern for 'real people' is part of a broader turn within British culture by which the mainstream withdraws from the openness of the Nineties under the bad-faith supposition that there's nowhere to go but backwards. The self-anointing political realism which declares that the left can save itself only by becoming less liberal is matched culturally by an interest in time-worn traditional identities: the brute masculinity of Daniel Craig's James Bond, the allegedly 'progressive' patriotism of nature writing, a televisual obsession with the World Wars. Authentocrats charges liberals themselves with fuelling the post-liberal turn, and asks where the space might be found for an alternative.

    Highly respected and widely read author Isaac Asimov offers a fresh, easy-to-read approach to understanding the greatest writer of all time.Designed to provide the modern reader with a working knowledge of topics pertinent to Shakespeare's audience, this book explores, scene-by-scene, thirty-eight plays and two narrative poems, including their mythological, historical and geographical roots.

    It presents a user-friendly introduction to contemporary critical theories.

    The author of 'The Life and Times of the Thunderbolt Kid' isn't, after all, a Shakespeare scholar, a playwright, or even a biographer. Reading 'Shakespeare The World As Stage', however, one gets the sense that this eclectic Iowan is exactly the type of person the Bard himself would have selected for the task. The man who gave us 'The Mother Tongue' and 'A Walk in the Woods' approaches Shakespeare with the same freedom of spirit and curiosity that made those books such reader favorites. A refreshing take on an elusive literary master.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    First published on the eve of war in 1939, the essay has often been read as a pacifist manifesto. Rachel Bespaloff was a French contemporary of Weil’s whose work similarly explored the complex relations between literature, religion, and philosophy. She composed her own distinctive discussion of the Iliad in the midst of World War II—calling it “her method of facing the war”—and, as Christopher Benfey argues in his introduction, the essay was very probably written in response to Weil. Bespaloff’s account of the Iliad brings out Homer’s novelistic approach to character and the existential drama of his characters’ choices; it is marked, too, by a tragic awareness of how the Iliad speaks to times and places where there is no hope apart from war.This edition brings together these two influential essays for the first time, accompanied by Benfey’s scholarly introduction and an afterword by the great Austrian novelist Hermann Broch.

    During the last twelve years, half of the Man Booker awards went to novels written in non-standard English. What would once have been derogatorily termed "dialect literature" has come into its own in a language known variously as slang, creole, patois, pidgin, or, in the words of Nigerian novelist Ken Saro-Wiwa, "rotten English."The first anthology of its kind, "Rotten English" celebrates vernacular literature from around the English-speaking world, from Robert Burns, Mark Twain, and Zora Neale Hurston to Papua New Guinea's John Kasaipwalova and Tobago's Marlene Nourbese Philip. With concise introductions that explain the context and aesthetics of the vernacular tradition, Rotten English pays tribute to the changes English has undergone as it has become a global language.Contents:"Raal right singin'": vernacular poetry. Colonization in reverse" and Bans O'killing by Louise BennettWings of a dove by Kamau BrathwaiteAuld lang syne, Highland Mary, and "Bonnie Lesley" by Robert BurnsA negro love song and When Malindy sings by Paul Laurence DunbarMother to son and Po' boy blues by Langston HughesInglan is a bitch by Linton Kwesi JohnsonWukhand by Paul Keens-DouglasTommy by Rudyard KiplingUnrelated incidents-no.3 by Tom LeonardComin back ower the border by Mary McCabeQuashie to Buccra by Claude McKayDis poem by MutabarukaQuestions! Questions! by M. NourbeSe Philipno more love poems #1 by Ntozake Shange"So like I say ... ": vernacular short stories. Po' Sandy by Charles ChestnuttThe brief wondrous life of Oscar Wao by Junot DiazLetters from Whetu by Patricia GraceSpunk and Story in Harlem slang by Zora Neale HurstonBetel nut is bad magic for airplanes by John KasaipwalovaJoebell and America by Earl LovelaceThe ghost of Firozsha Baag by Rohinton MistryThe celebrated jumping frog of Calaveras County and A True story, repeated word for word as I heard it by Mark TwainA soft touch and Granny's old junk by Irvine WelshOnly the dead know Brooklyn by Thomas Wolfe. "I wanna say I am somebody": selections from vernacular novels. from True history of the Kelly Gang by Peter Careyfrom The snapper by Roddy Doylefrom Once there were warriors by Alan DuffAn overture to the commencement of a very rigid journey by Jonathan Safran Foerfrom Beasts of no nation by Uzodinma IwealaBaywatch and de preacher from Tide running by Oonya KempadooFace, from Rolling the R's by R. Zamora Linmarkfrom Londonstani by Gautam Malkanifrom No mate for the magpie by Frances Molloyfrom Push by Sapphirefrom Sozaboy: a novel in rotten English by Ken Saro-Wiwafrom The housing lark by Sam Selvon. "A new English": essays on vernacular literature. The African writer and the English. language by Chinua AchebeHow to tame a wild tongue by Gloria AnzalduaIf Black English isn't a language, then tell me what is? by James Baldwinfrom History of the voice: the development of nation language in Anglophone Caribbean poetry by Kamau Brathwaitefrom Minute on Indian education by Thomas MacaulayAfrican speech ... English words by Gabriel OkaraThe absence of writing or How I almost became a spy by M. NourbeSe PhilipMother tongue by Amy Tan

    S. Eliot, Marcel Proust, James Joyce, and Gertrude Stein. As Alfred Kazin later wrote, "Wilson was an original, an extraordinary literary artist . . . He could turn any literary subject back into the personal drama it had been for the writer."

    Long celebrated as a pathbreaking achievement in the social history of the ancient world, M.I. Finley's brilliant study remains, as classicist Bernard Knox notes in his introduction to this new edition, "as indispensable to the professional as it is accessible to the general reader"--a fundamental companion for students of Homer and Homeric Greece.

    Teaching Literature is an inspirational guidebook for all teachers of English and American literature in higher education.- Written by leading academic, prolific author and cultural journalist, Elaine Showalter- Original and provocative reflections on teaching literature in higher education- Encourages teachers to make their classroom practice intellectually exciting- Wide-ranging: covers the practical, theoretical, and methodological aspects of teaching literature- Highly practical - employs real examples from real classes and careers throughoutDraws on 40 years of international teaching experience

    But what has remained unclear is whether she escapes from the forms of power that she opposes. Antigone proves to be a more ambivalent figure for feminism than has been acknowledged, since the form of defiance she exemplifies also leads to her death. Butler argues that Antigone represents a form of feminist and sexual agency that is fraught with risk. Moreover, Antigone shows how the constraints of normative kinship unfairly decide what will and will not be a liveable life.

    These culminated in What is Art?, published in 1898. Although Tolstoy perceived the question of art to be a religious one, he considered & rejected the idea that art reveals & reinvents through beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire & even his own novels are condemned in the course of Tolstoy's impassioned & iconoclastic redefinition of art as a force for good, for the improvement of humankind.

    Goddard takes readers on a tour through the works of William Shakespeare, celebrating his incomparable plays and unsurpassed literary genius.