Every year on the anniversary of her incarceration, she taunts him with a phone call, giving him one message; when I get out, I'll kill you.Now, Bracken has transferred back to Edinburgh from Fife and is thrown into the deep end on his first day back on duty.There's a killer who is emulating Ailsa, threatening to surpass her body count.Bracken knows he needs her on board to help him track the killer down, but she's reluctant to get involved.Then the case takes an unexpected twist, and she agrees to help. But this new killer is taking them down a dark, twisted path, where nobody sees the outcome.Until it's too late.

    Symbolist poets and writers — Stéphane Mallarmé and Maurice Maeterlinck among them — defended the play's literary brilliance. Beyond its notoriety, the drama's haunting poetic imagery, biblical cadences, and febrile atmosphere have earned it a reputation as a masterpiece of the Aesthetic movement of fin de siècle England.Written originally in French in 1892, this sinister tale of a woman scorned and her vengeance was translated into English by Lord Alfred Douglas. The play inspired some of Aubrey Beardsley's finest illustrations, and an abridged version served as the text for Strauss' renowned opera of the same name. This volume reprints the complete text of the first English edition, published in 1894, and also includes "A Note on Salomé" by Robert Ross, Wilde's lifelong friend and literary executor. Students, lovers of literature and drama, and admirers of Oscar Wilde and his remarkable literary gifts will rejoice in this inexpensive edition.

    For Jay, a retired research scientist this return to the classroom is his "one last chance" to learn the great literature he'd neglected in his youth--and, even more, a final opportunity to more fully understand his son, a writer and classicist. But through the sometimes uncomfortable months that the two men explore Homer's great work together--first in the classroom, where Jay persistently challenges his son's interpretations, and then during a surprise-filled Mediterranean journey retracing Odysseus's famous voyages--it becomes clear that Daniel has much to learn, too: Jay's responses to both the text and the travels gradually uncover long-buried secrets that allow the son to understand his difficult father at last.

    Ranging through many languages, he chose for translation writers whose work marked a significant turning point in the development of world literature, or key poems which exemplify what is most vital in a given period or genre. This new enlarged edition, devoted chiefly to poetry, includes some forty pages of previously uncollected material. Anglo-Saxon: The Seafarer. Chinese: (Cathay) Rihaku (Li Po). Bunno, Mei Sheng, T'ao Yuan Ming. Egyptian: Conversations in Courtship. French: du Bellay, de Boufflers, D'Orléans, Lalorgue, Lubicz-Milosz, Rimbaud, Tailhade. Prose: de Gourmont. Hindi: Kabir. Italian: Cavalcanti, St. Francis, Guinicelli, Leopardi, Montanari, Orlandi. Japanese Noh Plays: 15 plays with Fenollosa's commentary. Latin: Catullus, Horace, Navagero, Rutilius. Provençal: Bertrand de Born, Cercalmon, Daniel, Folquet de Romans, Li Viniers, Ventadorn.

    VERA & LINUS is a series of short sketches. The book's theme is the love between the two protagonists, Vera and Linus. They are mischief makers and tricksters of the most daring sort, and they are constantly up to no good, but the language holds them with a clear restraint, a restraint born perhaps out of the peculiar nature of their love, a love both for each other and the things of the world. Their mastery, and shifting natures allow them to compel the workaday world as they see it, but not to rule over each other, and so their game begins, as Vera struggles to outwit Linus, and Linus to outwit Vera.

    Out of this rare collaboration has come a dramatic work that is eminently readable and at the same time suitable for staging.

    The scene opens with several small vessels drifting about on the ocean. There had been a fire, followed by an explosion aboard a vessel carrying slaves. Most of the crew were pretty nasty people, but there were two pairs of people who become the heroes of this story. One of these is Ben Brace and a sixteen year old boy seaman, whom he had rescued from being eaten by the thirty or so crew members who had found enough spars, timber, sails, ropes and barrels to construct a large raft, though rather badly made, because these men were consoling themselves with a rum-barrel. At a distance floated the ship's gig, with the captain, the mate, the carpenter and three other men. Finally, there is a construction, hardly more than a large barrel, containing Snowball, an African ship's cook of the Coromantee tribe, together with a little girl of eight or ten. Luckily these get together with Ben Brace and the boy William, and it is their adventures that the story is mainly about. The author is a natural historian, and he tells us lots of interesting things about the fish and other denizens of the deep. Naturally the whole thing comes right in the end, with the wicked perishing, and the good being picked up by a whale-ship.

    Its centerpiece is the song cycle, "Drift," which takes the anonymous 10th century Anglo-Saxon quest poem The Seafarer as its inspiration. Both ancient and contemporary tales of travel and exile shadow the plight and losses of wanderers across the waters in this haunting new book. Drift is the second of Bergvall's explorations of historical English language.

    C.S. Lewis cites William Morris as one of his favorite authors and J.R.R. Tolkein admits to being influenced greatly by Morris' fantasies. The hero of this romance is named Golden Walter, son of Bartholomew Golden, a great merchant in the town of Langton on Holm. Tired of his mundane life, Walter sets out on a sea voyage, anxious to see and learn more of the outside world, eventually winning for himself the kingdom of Stark-Wall and the love of a beautiful maiden.

    When they are not subject to unimaginable violence, the condemned tell one another stories about the city, shaded with love and humor, to pass the time. Quiet laughter is the prisoners’ balm, delivered through parables and riddles. Gradually, the underground narrative turns into a narrative of the above-ground. Initially centered around people, the book comes to focus on the city itself. And we discover there is as much suffering and hope in the Istanbul above ground as there is in the cells underground.Despite its apparently bleak setting, this is a novel about creation, compassion, and the ultimate triumph of the imagination.

    Autoportrait is a physical, psychological, sexual, political, and philosophical triumph. Beyond "sincerity," Levé works toward an objectivity so radical it could pass for crudeness, triviality, even banality: the author has stripped himself bare. With the force of a set of maxims or morals, Levé's prose seems at first to be an autobiography without sentiment, as though written by a machine—until, through the accumulation of detail, and the author's dry, quizzical tone, we find ourselves disarmed, enthralled, and enraptured by nothing less than the perfect fiction . . . made entirely of facts.

    This exciting new series assembles key documents and criticism concerning these works that have so recently become central components of the American literature curriculum. Each casebook will reprint documents relating to the work's historical context and reception, present the best in critical essays, and when possible, feature an interview of the author. The series will provide, for the first time, an accessible forum in which readers can come to a fuller understanding of these contemporary masterpieces and the unique aspects of American ethnic, racial, or cultural experience that they so ably portray.Perhaps more than any other single text, Maya Angelou's I Know Why the Caged Bird Sings helped to establish the mainstream status of the renaissance in black women's writing. This casebook presents a variety of critical approaches to this classic autobiography, along with an exclusive interview with Angelou conducted specially for this volume and a unique drawing of her childhood surroundings in Stamps, Arkansas, drawn by Angelou herself.

    But six weeks soon turned into nine years, and helping out transformed into running the company. During his stint, Tim discovered a booming city in hedonistic reaction to years of fascism, where the evenings lasted until dawn, sleep was something you only did at work, and five hour lunches invariably involved a plate of bull's testicles. Frothing with a language designed to make foreigners dribble, hospitalized by tapa-induced flatulence, and constantly frustrated by the unapproachable beauty of the women parading through the Vogue offices, he nevertheless fell in love with a city, a country, and its people—despite the fact he rarely has a clue what they’re talking about. Tim Parfitt's rise from unwanted guest to paparazzi-pursued mover in Spain's glamorous social scene is a hilarious comedy of errors.

    In Cairo, he bought Zetnaybia, a beautiful slave girl, then later with Caliph Hakim his travels went beyond the Orient and even Earth itself as they voyaged on hashish...

    How did this happen? Easy, this is Greece and nothing ever goes to plan. The couple’s latest adventure in Koroni, on the Messinian peninsula, takes them on another perilous and funny journey, with house rental dramas, scorpion threats, a publishing upheaval, and much more. But when they are finally seduced by the charm of unspoilt Koroni, make new friends, grapple with Greek lessons, and reconnect with some of the memorable characters of their Mani days, they discover once more why they continue to be in love with this resilient country, despite its ongoing economic crisis. And there’s not even a sting in this tale. Well … almost! REVIEWS: "This book is rare within the travel writing genre. It cleverly combines a travel narrative with enlightened observations about Greece, while retaining a light and entertaining touch throughout.” – Peter Kerr, best-selling author of Snowball Oranges