Apocalyptic catastrophes, whether in Haiti or Japan, raze cities, drown coastlines, and—if you are willing to read the ruins—reveal the human sources of "natural" disaster.

    The drawings provide a retrospective of Wolfe's twenty-three years as a graphic artist.

    Anyone who appreciates the dramatic action of Shakespeare's history plays but is confused by much of the historical detail will welcome this guide to the Richards, Edwards, Henrys, Warwicks and Norfolks who ruled and fought across Shakespeare's page and stage. Not only theater-goers and students, but today's film-goers who want to enrich their understanding of film adaptations of plays such as Richard III and Henry V will find this revised edition of Shakespeare's English Kings to be an essential companion.Saccio's engaging narrative weaves together three threads: medieval English history according to the Tudor chroniclers who provided Shakespeare with his material, that history as understood by modern scholars, and the action of the plays themselves. Including a new preface, a revised further reading list, genealogical charts, an appendix of names and titles, and an index, the second edition of Shakespeare's English Kings offers excellent background reading for all of the ten history plays.

    Derived from the authors' Archaeology: Discovering Our Past, this book follows the same organizing principle but in less detail.

    Jacobs pursues this challenging task by alternating largely theoretical, theological chapters—drawing above all on Augustine and Mikhail Bakhtin—with interludes that investigate particular readers (some real, some fictional) in the act of reading. Among the authors considered are Shakespeare, Cervantes, Nabakov, Nicholson Baker, George Eliot, W.H. Auden, and Dickens. The theoretical framework is elaborated in the main chapters, while various counterfeits of or substitutes for genuinely charitable interpretation are considered in the interludes, which progressively close in on that rare creature, the loving reader. Through this doubled method of investigation, Jacobs tries to show how difficult it is to read charitably—even should one wish to, which, of course, few of us do. And precisely because the prospect of reading in such a manner is so offputting, one of the covert goals of the book is to make it seem both more plausible and more attractive.

    Beginning with approaches that students are already familiar with and then moving to less common schools of criticism, Theory into Practice provides extensive guidance for writing literary analyses from each of the critical perspectives.

    He was sleek and prosperous, with a dainty goatee. Though he smiled reassuringly, the poet noticed that he kept a safe distance. In a soothing, urbane voice, the physician explained the treatment: stewed prunes to evacuate the bowels; succulent meats to ease digestion; cinnabar and the sweating tub to cleanse the disease from the skin. The doctor warned of minor side effects: uncontrolled drooling, fetid breath, bloody gums, shakes and palsies. Yet desperate diseases called for desperate remedies, of course.Were Shakespeare's shaky handwriting, his obsession with venereal disease, and his premature retirement connected? Did John Milton go blind from his propaganda work for the Puritan dictator Oliver Cromwell, as he believed, or did he have a rare and devastating complication of a very common eye problem? Did Jonathan Swift's preoccupation with sex and filth result from a neurological condition that might also explain his late-life surge in creativity? What Victorian plague wiped out the entire Brontë family? What was the cause of Nathaniel Hawthorne's sudden demise? Were Herman Melville's disabling attacks of eye and back pain the product of "nervous affections," as his family and physicians believed, or did he actually have a malady that was unknown to medical science until well after his death? Was Jack London a suicide, or was his death the product of a series of self-induced medical misadventures? Why did W. B. Yeats's doctors dose him with toxic amounts of arsenic? Did James Joyce need several horrific eye operations because of a strange autoimmune disease acquired from a Dublin streetwalker? Did writing Nineteen Eighty-Four actually kill George Orwell? The Bard meets House, M.D. in this fascinating untold story of the impact of disease on the lives and works of some the finest writers in the English language. In Shakespeare's Tremor and Orwell's Cough, John Ross cheerfully debunks old biographical myths and suggests fresh diagnoses for these writers' real-life medical mysteries. The author takes us way back, when leeches were used for bleeding and cupping was a common method of cure, to a time before vaccinations, sterilized scalpels, or real drug regimens. With a healthy dose of gross descriptions and a deep love for the literary output of these ten greats, Ross is the doctor these writers should have had in their time of need.

    Encyclopedic in scope and heroically audacious, "The Novel: An Alternative History" is the first attempt in over a century to tell the complete story of our most popular literary form. Contrary to conventional wisdom, the novel did not originate in 18th-century England, nor even with Don Quixote, but is coeval with civilization itself. After a pugnacious introduction, in which Moore defends innovative, demanding novelists against their conservative critics, the book relaxes into a world tour of the premodern novel, beginning in ancient Egypt and ending in 16th-century China, with many exotic ports-of-call: Greek romances; Roman satires; medieval Sanskrit novels narrated by parrots; Byzantine erotic thrillers; 5000-page Arabian adventure novels; Icelandic sagas; delicate Persian novels in verse; Japanese war stories; even Mayan graphic novels. Throughout, Moore celebrates the innovators in fiction, tracing a continuum between these premodern experimentalists and their postmodern progeny. Irreverent, iconoclastic, informative, entertaining - "The Novel: An Alternative History" is a landmark in literary criticism that will encourage readers to rethink the novel.

    Arguably, no literary work is more familiar to us. Everyone knows at least six words from Hamlet, and most people know many more. Yet the play—Shakespeare’s longest—is more than “passing strange,” and it becomes even more complex when considered closely.  Reading Hamlet alongside other writers, philosophers, and psychoanalysts—Carl Schmitt, Walter Benjamin, Freud, Lacan, Nietzsche, Melville, and Joyce—Simon Critchley and Jamieson Webster go in search of a particularly modern drama that is as much about ourselves as it is a product of Shakespeare’s imagination. They also offer a startling interpretation of the action onstage: it is structured around “nothing”—or, in the enigmatic words of the player queen, “it nothing must.”  From the illusion of theater and the spectacle of statecraft to the psychological interplay of inhibition and emotion, Hamlet discloses the modern paradox of our lives: how thought and action seem to pull against each other, the one annulling the possibility of the other. As a counterweight to Hamlet’s melancholy paralysis, Ophelia emerges as the play’s true hero. In her madness, she lives the love of which Hamlet is incapable. Avoiding the customary clichés about the timelessness of the Bard, Critchley and Webster show the timely power of Hamlet to cast light on the intractable dilemmas of human existence in a world that is rotten and out of joint.

    The MOST IMPORTANT, INFORMATIVE AND EXPLOSIVE BOOK EVER WRITTEN ABOUT THE ANUNNAKI, THEIR WORLD, THEIR RETURN TO EARTH, AND PLAN FOR HUMANITY in:• 2,034 A.D. • 2,031-2,033 A.D. • 2,029 A.D. • 2,028 A.D. • 2,027-2,026 A.D. • 2,026 A.D. • 2,025 A.D. • 2,024 A.D. • 2,022-2023 A.D. • The author, Maximillien de Lafayette, have been so fortunate as to study with the Anunnaki Ulema who are the guardians of this knowledge in Egypt, Iraq, the islands of Arwad and Cyprus. This is the first time he is making use of this depot of knowledge about the Return of the Anunnaki to Planet Earth, and we are very lucky to have access to it. The subjects introduced in this book are explosive. Most important is the fact that it reveals the potential return of the Anunnaki in 2022, and the most frightening transformation that it would bring to the earth. If this is going to happen, a huge number of the people on earth, those grossly contaminated by Grays’ DNA, will be annihilated. You know who they are – the child murderers, the rapists, those who torture, those who abuse, the vicious politicians, the slaves of money and power, etc. Yes, we all know who they are. But the Anunnaki, who have no false sentimentality at all, will not tolerate even a medium level contamination. Unless they do their best to clean themselves during the grace period of the next 9 years, those of mid level contamination will also be destroyed. Those who would manage to clean themselves to a certain degree may possibly (but without any guarantee) be able to escape the burning, smoking earth through special portals, called Ba’abs. For those of us interested in the use of esoteric codes, they are here for you to learn. Each term will teach you how to use it for your benefit, how to apply it not only to your spiritual growth, but to your business, relationships, and daily life. You will learn how to interpret the codes in many ancient languages, how to build a physical amulet/code that will protect certain aspects of your life, and how to develop your psychic and extrasensory powers by simply using these codes. You will learn how the Anunnaki, our original creators, and how God fit into all this. Religion, true and false, will be explored. Jesus, who never really died on the Cross, will be shown as a historical figure, with his wife, Mary Magdalene, with whom he escaped to ancient Marseille. Who were Adam and Eve? Who was the Serpent? How do the gods of Sumer signify to us? The book is arranged in the time-honoured tradition of questions and answers.The return of the Anunnaki is not a new idea. It has been already announced in sacred scriptures, but of course interpreted differently. Some said Jesus is an Anunnaki, and he will return as a cosmic Messiah. A new school of religious thought in Iran suggests that Mohammed will return as a celestial being. And we should not to forget the Rapture and the Gnostics as well. But all of them have their origin in the Anunnaki texts, because these texts were written thousands of years before the Old Testament, the New Testament, and the Quran. The book will explore this topic and includes:• What Is Going To Happen To Organized Religions?• How Will The Human Mind Benefit From The Anunnaki Connection?.• What Will Happen To The Teachings Of Jesus, Moses, Mohammed, And Buddha, If The Anunnaki Demolish All Religions And Our Religious Beliefs Systems?• What Will Happen To The Vast Number

    

    These include not only famous and expected names (Harriet Beecher Stowe, Willa Cather, Dorothy Parker, Flannery O’Connor, Gwendolyn Brooks, Grace Paley, Toni Morrison, and Jodi Picoult among them), but also many who were once successful and acclaimed yet now are little known, from the early American best-selling novelist Catherine Sedgwick to the Pulitzer Prize–winning playwright Susan Glaspell. Showalter shows how these writers—both the enduring stars and the ones left behind by the canon—were connected to one another and to their times. She believes it is high time to fully integrate the contributions of women into our American literary heritage, and she undertakes the task with brilliance and flair, making the case for the unfairly overlooked and putting the overrated firmly in their place.Whether or not readers agree with the book’s roster of writers, A Jury of Her Peers is an irresistible invitation to join the debate, to discover long-lost great writers, and to return to familiar titles with a deeper appreciation. It is a monumental work that will greatly enrich our understanding of American literary history and culture.

    Chesterton was one of the most well-known and beloved writers of his time. Yet he has been strangely neglected today. Dale Ahlquist's television series, The Apostle of Common Sense, introduced Chesterton to a new generation, and re-introduced him to a generation that had forgotten him. This new book now compliments this highly acclaimed series, and it is a perfect initiation...

    The lifetime work of Professor Alexander Schmidt of Königsberg, this book has long been the indispensable companion for every person seriously interested in Shakespeare, Renaissance poetry and prose of any sort, or English literature. It is really two important books in one.Schmidt’s set contains every single word that Shakespeare used, not simply words that have changed their meaning since the seventeenth century, but every word in all the accepted plays and the poems. Covering both quartos and folios, it carefully distinguishes between shades of meaning for each word and provides exact definitions, plus governing phrases and locations, down to the numbered line of the Cambridge edition of Shakespeare. There is no other word dictionary comparable to this work.Even more useful to the general reader, however, is the incredible wealth of exact quotations. Arranged under the words of the quotation itself (hence no need to consult confusing subject classifications) are more than 50,000 exact quotations. Each is precisely located, so that you can easily refer back to the plays or poems themselves, if you wish context.Other features helpful to the scholar are appendixes on basic grammatical observations, a glossary of provincialisms, a list of words and sentences taken from foreign languages, a list of words that form the latter part of word-combinations. This third edition features a supplement with new findings.

    To understand the universe in the far future, we must first describe its present state and structure on the grand scale, and how its present properties arose. Dr Islam explains these topics in an accessible way in the first part of the book. From this background he speculates about the future evolution of the universe and predicts the major changes that will occur. The author has largely avoided mathematical formalism and therefore the book is well suited to general readers with a modest background knowledge of physics and astronomy.