Thompson. In letters to a Who's Who of luminaries from Norman Mailer to Charles Kuralt, Tom Wolfe to Lyndon Johnson, William Styron to Joan Baez—not to mention his mother, the NRA, and a chain of newspaper editors—Thompson vividly catches the tenor of the times in 1960s America and channels it all through his own razor-sharp perspective. Passionate in their admiration, merciless in their scorn, and never anything less than fascinating, the dispatches of The Proud Highway offer an unprecedented and penetrating gaze into the evolution of the most outrageous raconteur/provocateur ever to assault a typewriter.

    For example:The word adamant came into English around 855 C.E. as a synonym for 'diamond,' very different from today's meaning of the word: "utterly unyielding in attitude or opinion."Before the year 1200, the word silly meant "blessed," and was derived from Old English saelig, meaning "happy." This word went through several incarnations before adopting today's meaning: "stupid or foolish."In Semantic Antics, lexicographer Sol Steinmetz takes readers on an in-depth, fascinating journey to learn how hundreds of words have evolved from their first meaning to the meanings used today.

    in the eastern outreaches of the Roman Empire. Sold as a child and crippled from the beatings of his master, Epictetus was eventually freed, rising from his humble roots to establish an influential school of Stoic philosophy. Stressing that human beings cannot control life, only how they respond to it, Epictetus dedicated his life to outlining the simple way to happiness, fulfillment, and tranquility. By putting into practice the ninety-three witty, wise, and razor-sharp instructions that make up The Art of Living, readers learn to successfully meet the challenges of everyday life and face life's inevitable losses and disappointments with grace. Epictetus's teachings rank among the greatest wisdom texts of human civilization. Sharon Lebell presents this esteemed philosopher's invaluable insights for the first time in a splendidly down-to-earth rendition. The result is the West's first and best primer for living the best possible life -- as helpful in the twenty-first century as it was in the first.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Fine art, and book illustrations from Arthur Rackham, Charles Robinson, Richard Dadd, Henry Fuseli, Sir John Everett Millais, William Blake, Noel Paton, and William Holman Hunt will grace the pages of this elegant edition. With beautiful four-color art, and a whimsical design, Shakespeare on Love will make a timeless gift.

    A basic reference work on Judaism discusses the Bible, the Talmud, and other writings; Jewish history; beliefs and rituals; and the Jewish calendar, holidays, and life-cycle ceremonies.

    Features twenty new chapters that cover such areas as Internet behavior, raising well-mannered children, dating, post-September 11 travel etiquette, tipping, and observing religious ceremonies.

    Bushido has played a significant role in shaping the behavior of modern Japanese government, corporations, society, and individuals, as well as in developing modern Japanese martial arts within Japan and internationally. The Japanese original of this book, Bushido Shoshinshu, (Bushido for Beginners), has been one of the primary sources on the tenets of Bushido, a way of thought that remains fascinating and relevant to the modern world, East and West. This handbook, written after five hundred years of military rule in Japan, was composed to provide practical and moral instruction for warriors, correcting wayward tendencies and outlining the personal, social, and professional standards of conduct characteristic of Bushido, the Japanese chivalric tradition.With a bright, conversational narrative by Thomas Clear,y and powerfully evocative line drawings by master illustrator Oscar Ratti, this book is indispensable to corporate executives, students of Asian Culture, martial artists, or anyone sincerely interested in Japan and its people.

    Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.

    Celebrating the 125th anniversary of its original publication, this expanded and updated edition of a classic reference features a new, simplified organization.

    Great literature increases knowledge of and desire for the good life by showing readers what virtue looks like and where vice leads. It is not just what one reads but how one reads that cultivates virtue. Reading good literature well requires one to practice numerous virtues, such as patience, diligence, and prudence. And learning to judge wisely a character in a book, in turn, forms the reader's own character.Acclaimed author Karen Swallow Prior takes readers on a guided tour through works of great literature both ancient and modern, exploring twelve virtues that philosophers and theologians throughout history have identified as most essential for good character and the good life. In reintroducing ancient virtues that are as relevant and essential today as ever, Prior draws on the best classical and Christian thinkers, including Aristotle, Aquinas, and Augustine. Covering authors from Henry Fielding to Cormac McCarthy, Jane Austen to George Saunders, and Flannery O'Connor to F. Scott Fitzgerald, Prior explores some of the most compelling universal themes found in the pages of classic books, helping readers learn to love life, literature, and God through their encounter with great writing.In examining works by these authors and more, Prior shows why virtues such as prudence, temperance, humility, and patience are still necessary for human flourishing and civil society. The book includes end-of-chapter reflection questions geared toward book club discussions, features original artwork throughout, and includes a foreword from Leland Ryken.

    G. Jung undertook the telling of his life story. At regular intervals he had conversations with his colleague and friend Aniela Jaffé, and collaborated with her in the preparation of the text based on these talks. On occasion, he was moved to write entire chapters of the book in his own hand, and he continued to work on the final stages of the manuscript until shortly before his death on June 6, 1961.

    Over the summer, Nehru wrote her a series of letters in which he told her the story of how and when the earth was made, how human and animal life began, and how civilizations and societiesevolved all over the world.Written in 1928, these letters remain fresh and vibrant, and capture Nehru's love for people and for nature, whose story was for him 'more interesting than any other story or novel that you may have read'.

    Features: Over 900 new recipes -- 1,200 in all-reflect current eating habits and lifestyles; 500 new photographs -- over 700 in all-including 60 percent more of finished food than the last edition; Dozens of new recipes offer ethnic flavours, fresh ingredients, or vegetarian appeal; Many recipes feature make-ahead directions or quick-to-the-table meals; New chapter provides recipes for crockery cookers; Efficient, easy-to-read format, with recipes categorised into 21 chapters, each thoroughly indexed for easy reference; Expanded chapter on cooking basics includes advice on food safety, menu planning, table setting, and make-ahead cooking, plus a thorough glossary on ingredients and techniques; Appliance-friendly recipes help cooks save time and creatively use new kitchen tools; Nutrition information with each recipe, plus diabetic exchanges; Contemporary food photography attracts browsers and helps cooks discover new recipes to make; Icons identify low-fat, no-fat, fast, and best-loved recipes; Every recipe tested and perfected by the Better Homes and Gardens Test Kitchen; Revised and updated cooking charts, ingredient photos, emergency substitutions, and equivalents; Respected, reliable kitchen reference with hundreds of cooking terms, tips, and techniques.

    It provides a comprehensive, accessible, and jargon-free guide to the forms and structures of Spanish as it is currently spoken and written in Spain and Latin America. Extensive examples are used to illustrate grammatical points, many from contemporary sources in both Spain and the Americas that highlight, where appropriate, differences in regional usage. Levels of usage (formal, colloquial, familiar, and popular) are specified, so that the importance of context in the use of language is recognized. This new edition has been updated throughout; it is the first grammar in English that incorporates the findings of the exhaustive new descriptive grammar of the Royal Spanish Academy (Gramatica descriptive de la lengua espanola, 5300pp). The 4th edition is also more accessible to students; complex explanations have been simplified and clarified, and a glossary of grammatical terms has been added to aid students.