In a philosophical approach to color, William Gass explores man's perception of the color blue as well as its common erotic, symbolic, and emotional associations.

    In it he captures the Isherwood-like atmosphere of Nazi Germany while telling a satiric story about the rise to power of one man - a thinly veiled caricature of his own brother-in-law. The man is Hendrik Hofgen, a character actor who in his own life plays a bizarre part in the elite circle of the Third Reich. Hofgen is publicly a revolutionary, but secretly he is a man driven by an obsessive need for power and fame. Although he benefits from the prestige of being married to the daughter of an eminent politician, he endangers his rise in Nazi society by his compulsive involvement with ‘a black Venus.’ His brilliant success as Mephisto in FAUST brings him the support of the Führer’s prime minister, who appoints him head of the State Theater. His dreams are finally realized, but the story ends on a note of despair as Hofgen is forced to confront the emptiness of his life. Mann weaves his tale with amazing skill. The result is a fascinating novel of decadence and evil.Klaus Mann, the second child of Thomas Mann, was born in Munich in 1906. He began writing short stories and articles in 1924, and within a year was a theatrical critic for a Berlin newspaper. In 1925 both a volume of short stories and his first novel, THE PIOUS DANCE, were published. His sister, Erika, to whom he was very close, was in the cast of his first play, ANJA AND ESTHER. Mann left Germany in 1933 and lived in Amsterdam until 1936, during which time he became a Czechoslovakian citizen, having been deprived of his German citizenship by the Nazis. He moved to America in 1936, living in Princeton, New Jersey, and New York City. He became a U.S. citizen in 1943. He died at the age of forty-two in Cannes, France. Robin Smyth was a European correspondent for the London Observer.

    Based on his own experience and the stories of his patients, Frankl argues that we cannot avoid suffering but we can choose how to cope with it, find meaning in it, and move forward with renewed purpose. At the heart of his theory, known as logotherapy, is a conviction that the primary human drive is not pleasure but the pursuit of what we find meaningful. Man's Search for Meaning has become one of the most influential books in America; it continues to inspire us all to find significance in the very act of living.

    In A Guide to the Good Life, William B. Irvine plumbs the wisdom of Stoic philosophy, one of the most popular and successful schools of thought in ancient Rome, and shows how its insight and advice are still remarkably applicable to modern lives. In A Guide to the Good Life, Irvine offers a refreshing presentation of Stoicism, showing how this ancient philosophy can still direct us toward a better life. Using the psychological insights and the practical techniques of the Stoics, Irvine offers a roadmap for anyone seeking to avoid the feelings of chronic dissatisfaction that plague so many of us. Irvine looks at various Stoic techniques for attaining tranquility and shows how to put these techniques to work in our own life. As he does so, he describes his own experiences practicing Stoicism and offers valuable first-hand advice for anyone wishing to live better by following in the footsteps of these ancient philosophers. Readers learn how to minimize worry, how to let go of the past and focus our efforts on the things we can control, and how to deal with insults, grief, old age, and the distracting temptations of fame and fortune. We learn from Marcus Aurelius the importance of prizing only things of true value, and from Epictetus we learn how to be more content with what we have. Finally, A Guide to the Good Life shows readers how to become thoughtful observers of their own life. If we watch ourselves as we go about our daily business and later reflect on what we saw, we can better identify the sources of distress and eventually avoid that pain in our life. By doing this, the Stoics thought, we can hope to attain a truly joyful life.

    The guide presents the major debates that surround these works as they develop, from Martin Esslin's early appropriation of the plays as examples of the Theatre of the Absurd, to recent poststructuralist and postcolonial readings by critics such as Steven Connor, Mary Bryden and Declan Kiberd. Throughout, Boxall clarifies and contextualizes critical responses to the plays, and considers the difficult relationship between Beckett and his critics.

    Great poetry is a catalyst for change: a change of mind, a change of heart, a change of life- and yes, over and over, again and again, with each new reading, and each new phase of our journey.That’s why poetry is dangerous. It gives voice to our unspoken dreams; it is a mirror to our own deepest joys, desires, and sorrows. It can tip us over into a new life, into a new way of seeing and being, that a moment ago we might even have had no words for.In this new volume of his Ten Poems series, Roger Housden takes ten great poems and in personal, intimate essays shows how they led him, and can also lead us, into a more deeply lived and examined life. Housden says, “Every one of the poems in this book has struck me a blow, a direct hit, each of them, into the heart of hearts. Every one of them, in its own way, has opened a door for me to go deeper into my own experience, my own longings, my own sorrows and joys, and into the silence that surrounds all of this, all of us, always.”

    Arriving anonymously at a leper colony in the Congo, he is diagnosed as the mental equivalent of a 'burnt-out case', a leper mutilated by disease and amputation. Querry slowly moves towards a cure, his mind getting clearer as he works for the colony. However, in the heat of the tropics, no relationship with a married woman, however blameless, will ever be taken as innocent.

    There he wrote five scrolls describing the "true principles" required for victory in the martial arts and on the battlefield. Instead of relying on religion or theory, Musashi based his writings on his own experience, observation, and reason.

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    Written as a result of the author's Greek travels and studies, Cassandra speaks to us in a pressing monologue whose inner focal points are patriarchy and war. In the four accompanying pieces, which take the form of travel reports, journal entries, and a letter, Wolf describes the novel's genesis. Incisive and intelligent, the entire volume represents an urgent call to examine the past in order to insure a future.

    Thoreau lived alone in a secluded cabin at Walden Pond. It is one of the most influential and compelling books in American literature. This new paperback edition-introduced by noted American writer John Updike-celebrates the 150th anniversary of this classic work. Much of Walden's material is derived from Thoreau's journals and contains such engaging pieces as "Reading" and "The Pond in the Winter" Other famous sections involve Thoreau's visits with a Canadian woodcutter and with an Irish family, a trip to Concord, and a description of his bean field. This is the complete and authoritative text of Walden-as close to Thoreau's original intention as all available evidence allows. For the student and for the general reader, this is the ideal presentation of Thoreau's great document of social criticism and dissent.

    First published over forty years ago, it made its youthful author England's most controversial intellectual. The Outsider is an individual engaged in an intense self-exploration-a person who lives at the edge, challenges cultural values & "stands for Truth." Born into a world without perspective, where others simply drift thru life, the Outsider creates his own set of rules & lives them in an unsympathetic environment. The relative handful of people who fulfilled Wilson's definition of the Outsider in the 1950s have now become a significant social force, making Wilson's vision more relevant today than ever. Thru the works & lives of various artists--including Kafka, Camus, Eliot, Hemingway, Hesse, Lawrence, Van Gogh, Nijinsky, Shaw, Blake, Nietzsche & Dostoyevski--Wilson explores the psyche of the Outsider, his effect on society & society's effect on him. Wilson illuminates the struggle of those who seek not only the transformation of Self but also the transformation of society as a whole. The book is essential for everyone who shares his conviction that "a new religion is needed".

    Tolkien's On Fairy-stories is his most-studied and most-quoted essay, an exemplary personal statement of his own views on the role of imagination in literature, and an intellectual tour de force vital for understanding Tolkien's achievement in writing The Lord of the Rings .Contained within is an introduction to Tolkien's original 1939 lecture and the history of the writing of On Fairy-stories, with previously unseen material. Here, at last, Flieger and Anderson reveal the extraordinary genesis of this seminal work and discuss how the conclusions that Tolkien reached during the composition of the essay would shape his writing for the rest of his life.

    A pseudo-biographical "stroll" through town and countryside rife with philosophic musings, The Walk has been hailed as the masterpiece of Walser's short prose. Walking features heavily in his writing, but nowhere else is it as elegantly considered. Without walking, "I would be dead," Walser explains, "and my profession, which I love passionately, would be destroyed. Because it is on walks that the lore of nature and the lore of the country are revealed, charming and graceful, to the sense and eyes of the observant walker." The Walk was the first piece of Walser's work to appear in English, and the only one translated before his death. However, Walser heavily revised his most famous novella, altering nearly every sentence, rendering the baroque tone of his tale into something more spare. An introduction by translator Susan Bernofsky explains the history of The Walk, and the difference between its two versions.

    Hence: Can Machiavelli, who makes the following observations, be Machiavellian as we understand the disparaging term? 1. So it is that to know the nature of a people, one need be a Prince; to know the nature of a Prince, one need to be of the people. 2. If a Prince is not given to vices that make him hated, it is unsusal for his subjects to show their affection for him. 3. Opportunity made Moses, Cyrus, Romulus, Theseus, and others; their virtue domi-nated the opportunity, making their homelands noble and happy. Armed prophets win; the disarmed lose. 4. Without faith and religion, man achieves power but not glory. 5. Prominent citizens want to command and oppress; the populace only wants to be free of oppression. 6. A Prince needs a friendly populace; otherwise in diversity there is no hope. 7. A Prince, who rules as a man of valor, avoids disasters, 8. Nations based on mercenary forces will never be solid or secure. 9. Mercenaries are dangerous because of their cowardice 10. There are two ways to fight: one with laws, the other with force. The first is rightly man’s way; the second, the way of beasts.