She draws her strength from that solid foundation, bringing delight and beauty to her elderly husband, to the small town of Sweet Water where they live, to the prairie land itself, and to the young narrator of her story, Neil Herbert. All are bewitched by her brilliance and grace, and all are ultimately betrayed. For Marian longs for "life on any terms," and in fulfilling herself, she loses all she loved and all who loved her. This, Willa Cather's most perfect novel, is not only a portrait of a troubling beauty, but also a haunting evocation of a noble age slipping irrevocably into the past.

    AbrahamsMules and Men is the first great collection of black America's folk world. In the 1930's, Zora Neale Hurston returned to her "native village" of Eatonville, Florida to record the oral histories, sermons and songs, dating back to the time of slavery, which she remembered hearing as a child. In her quest, she found herself and her history throughout these highly metaphorical folk-tales, "big old lies," and the lyrical language of song. With this collection, Zora Neale Hurston has come to reveal'and preserve'a beautiful and important part of American culture.Zora Neale Hurston (1901-1960) was a novelist, folklorist, anthropologist and playwright whose fictional and factual accounts of black heritage are unparalleled. She is also the author of Tell My Horse, Their Eyes Were Watching God, Dust Tracks on a Road, and Mule Bone.Ruby Dee, a member of the Theatre Hall of Fame, starred on Broadway in the original productions of A Raisin in the Sun and Purlie Victorious, and was featured in Spike Lee's Do the Right Thing. She is also an award-winning author and the producer of numerous television dramas.

    Early posthumously published collections-some of them featuring liberally “edited” versions of the poems-did not fully and accurately represent Dickinson’s bold experiments in prosody, her tragic vision, and the range of her intellectual and emotional explorations. Not until the 1955 publication of The Complete Poems of Emily Dickinson, a three-volume critical edition compiled by Thomas H. Johnson, were readers able for the first time to assess, understand, and appreciate the whole of Dickinson’s extraordinary poetic genius.This book, a distillation of the three-volume Complete Poems, brings together the original texts of all 1,775 poems that Emily Dickinson wrote.

    Your students will gain an appreciation and understanding of ancient and modern cultures through myths and epics from the Middle East, Greece and Rome, the Far East and Pacific islands, the British Isles, Northern Europe, Africa, and the Americas. An introduction and historical background supplement each myth. Questions at the end of each selection prompt analysis and response.

    His brilliant and provocative essays made him the literary voice of the Civil Rights Era, and they continue to speak with powerful urgency to us today, whether in the swirling debate over the Black Lives Matter movement or in the words of Raoul Peck’s documentary “I Am Not Your Negro.” Edited by Nobel laureate Toni Morrison, the Library of America’s Collected Essays is the most comprehensive gathering of Baldwin’s nonfiction ever published.With burning passion and jabbing, epigrammatic wit, Baldwin fearlessly articulated issues of race and democracy and American identity in such famous essays as “The Harlem Ghetto,” “Everybody’s Protest Novel,” “Many Thousands Gone,” and “Stranger in the Village.”Here are the complete texts of his early landmark collections, Notes of a Native Son (1955) and Nobody Knows My Name (1961), which established him as an essential intellectual voice of his time, fusing in unique fashion the personal, the literary, and the political. “One writes,” he stated, “out of one thing only—one’s own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give.” With singular eloquence and unblinking sharpness of observation he lived up to his credo: “I want to be an honest man and a good writer.”The classic The Fire Next Time (1963), perhaps the most influential of his writings, is his most penetrating analysis of America’s racial divide and an impassioned call to “end the racial nightmare…and change the history of the world.” The later volumes No Name in the Street (1972) and The Devil Finds Work (1976) chart his continuing response to the social and political turbulence of his era and include his remarkable works of film criticism. A further 36 essays—nine of them previously uncollected—include some of Baldwin’s earliest published writings, as well as revealing later insights into the language of Shakespeare, the poetry of Langston Hughes, and the music of Earl Hines.

    The book is a frame narrative primarily depicting a fictional island society as described by the character Raphael Hythloday who lived there some years, who describes and its religious, social and political customs.

    Written shortly after The Scarlet Letter, The House of the Seven Gables re-addresses the theme of human guilt in a style remarkable in both its descriptive virtuosity and its truly modern mix of fantasy and realism.

    This is a book about the Civil War, and one Union soldier's struggle with his inner demons as he prepares for, and fights his first battle.

    This fictional re-creation of the battle of Shiloh in April 1862 fulfills the standard set by his monumental history, conveying both the bloody choreography of two armies and the movements of the combatants' hearts and minds.

    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

    This inexpesnive pamphlet edition is sure to be prized by Americans of all ages.

    From nine months of interviews with more than two hundred people, Smith has chosen the voices that best reflect the diversity and tension of a city in turmoil: a disabled Korean man, a white male Hollywood talent agent, a Panamanian immigrant mother, a teenage black gang member, a macho Mexican-American artist, Rodney King's aunt, beaten truck driver Reginald Denny, former Los Angeles police chief Daryl Gates, and other witnesses, participants, and victims. A work that goes directly to the heart of the issues of race and class, Twilight ruthlessly probes the language and the lives of its subjects, offering stark insight into the complex and pressing social, economic, and political issues that fueled the flames in the wake of the Rodney King verdict and ignited a conversation about policing and race that continues today.

    The arrangement by both theme and genre encourages students to think deeply about crucial topics while they learn about the four main genres of literature. The new edition provides a broader selection of works -- including many from non-Western traditions -- and more help for reading literature.

    One of Paine's greatest and most widely read works, considered a classic statement of faith in democracy and egalitarianism, defends the early events of the French Revolution, supports social security for workers, public employment for those in need of work, abolition of laws limiting wages, and other social reforms.

    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.