It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.

    With controversial ideas and funny stories, it covers topics that readers will recognize from their course and some new but equally important areas to challenge their thinking. Part of a highly popular new series this book will make you better able to question and understand this burgeoning field.

    Now published in six paperback volumes (packaged in two attractive slipcases), the new anthology boasts slimmer volumes, thicker paper, a bolder typeface, and dozens of newly included or newly translated works from around the world. The Norton Anthology of World Literature represents continuity as well as change. Like its predecessor, the anthology is a compact library of world literature, offering an astounding forty-three complete longer works, more than fifty prose works, over one hundred lyric poems, and twenty-three plays. More portable, more suitable for period courses, more pleasant to read, and more attuned to current teaching and research trends, The Norton Anthology of World Literature remains the most authoritative, comprehensive, and teachable anthology for the world literature survey.

    Yet after his death a largely negative image of the man himself took hold; he has been portrayed as a racist, a misogynist and a narcissist. Now Larkin scholar James Booth, for seventeen years a colleague of the poet's at the University of Hull, offers a very different portrait. Drawn from years of research and a wide variety of Larkin's friends and correspondents, this is the most comprehensive portrait of the poet yet published.Booth traces the events that shaped Larkin in his formative years, from his early life when his his political instincts were neutralised by exposure to his father's controversial Nazi values. He studies how the academic environment and the competition he felt with colleagues such as Kingsley Amis informed not only Larkin's poetry, but also his little-known ambitions as a novelist.Through the places and people Larkin encountered over the course of his life, including Monica Jones, with whom he had a tumultuous but enduring relationship, Booth pieces together an image of a rather reserved and gentle man, whose personality—and poetry—have been misinterpreted by decades of academic study. Philip Larkin: Life, Art and Love reveals the man behind the words as he has never been seen before.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    When Sigmund Freud awakened modern interest in the dream a century ago, his theory of interpretation undermined the potential insights dreams had to offer. For Freud, dreams were little more than fragmented puzzle parts made up of events from our waking lives. Most of us today still live under Freud's far-reaching influence. When we wake up after experiencing a powerful series of images, we too readily explain them away or simply ignore them all together. Whatever emotion or insight the dream evokes slowly fades. But what if Freud was wrong? Unless we challenge his deeply-ingrained assumptions, we will forever lose the gift of our dreams.International bestselling author Rodger Kamenetz believes it is not too late to reclaim the lost power of our nightly visions. Kamenetz's exploration of the world of dreams reopens all the questions scientists and psychologists claimed to have settled long ago. The culmination of decades of research, The History of Last Night's Dream is a riveting intellectual and cultural investigation of dreams and what they have to teach us. We discover how the age-old struggle between what we dream and how we interpret our dreams has shaped Western culture from biblical times to today. Kamenetz introduces us to an eighty-seven-year-old female kabbalist in Jerusalem, a suave Tibetan Buddhist dream teacher in Copenhagen, and a crusty intuitive postman-turned-dream master in northern Vermont. He fearlessly delves into this mysterious inner realm and shows us that dreams are not only intensely meaningful but that they hold essential truths about who we are. In the end, each of us has the choice to embark on this illuminating path to the soul. But one thing is certain: our dreams will never be the same again.

    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.

    How else to explain our imaginative failure in the face of global warming? In his first major book of nonfiction since In an Antique Land, Ghosh examines our inability—at the level of literature, history, and politics—to grasp the scale and violence of climate change.The extreme nature of today’s climate events, Ghosh asserts, make them peculiarly resistant to contemporary modes of thinking and imagining. This is particularly true of serious literary fiction: hundred-year storms and freakish tornadoes simply feel too improbable for the novel; they are automatically consigned to other genres. In the writing of history, too, the climate crisis has sometimes led to gross simplifications; Ghosh shows that the history of the carbon economy is a tangled global story with many contradictory and counterintuitive elements.Ghosh ends by suggesting that politics, much like literature, has become a matter of personal moral reckoning rather than an arena of collective action. But to limit fiction and politics to individual moral adventure comes at a great cost. The climate crisis asks us to imagine other forms of human existence—a task to which fiction, Ghosh argues, is the best suited of all cultural forms. His book serves as a great writer’s summons to confront the most urgent task of our time.

    Ambiguity, according to Empson, includes "any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language." From this definition, broad enough by his own admission sometimes to see "stretched absurdly far," he launches into a brilliant discussion, under seven classifications of differing complexity and depth, of such works, among others, as Shakespeare's plays and the poetry of Chaucer, Donne, Marvell, Pope, Wordsworth, Gerard Manley Hopkins, and T. S. Eliot.

    At the turn of eighteenth-century England, a spirited young woman copes with the suit of a snobbish gentleman as well as the romantic entanglements of two of her four sisters.

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    Carpenter finds himself orphaned and alone on the Oregon trail in the middle of Nebraska Territory. He also finds himself smitten with the beautiful Emma Cooper, three years his senior, who has ridden off into the morning sunrise with the despicable Zeke Jones. Jed's will to reach his family's original destination in Oregon is hampered by his lack of survival skills and the specter of the oncoming winter. Through an unlikely true friendship with a "Damn Indian", Pete Scares-the-Ponies, Jedediah learns and hones those skills. Instead of heading for Oregon, though, Jed finds himself in a little mining camp called Buckskin Joe in the early days of the great Pikes Peak gold rush. His whole life takes a turn when the mysterious "Silverheels" comes to town and he experiences a love that will carry him through fifty years of solitude and beyond . . . the kind of love we all seek. Jedediah's story will draw you into the breathtaking beauty of the Rocky Mountains in the early days of the territory that became the state of Colorado. Along the way, you will experience joy, sorrow, love and adventure, in this fictional explanation of the naming of one of Colorado's prominent mountains, Mount Silverheels.

    Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    The anguished and volatile intensity associated with the artistic temperament was once thought to be a symptom of genius or eccentricity peculiar to artists, writers, and musicians. Her work, based on her study as a clinical psychologist and researcher in mood disorders, reveals that many artists subject to exalted highs and despairing lows were in fact engaged in a struggle with clinically identifiable manic-depressive illness. Jamison presents proof of the biological foundations of this disease and applies what is known about the illness to the lives and works of some of the world's greatest artists including Lord Byron, Vincent Van Gogh, and Virginia Woolf.

    Nor do many know that she wrote it during a devastating and anxious period in her life. Thwarted in her passionate, secret, and forbidden love for a married man, she found herself living in a home suddenly imperiled by the fact that her father, a minister, the sole support of the family, was on the brink of blindness. After his hasty operation, as she nursed him in an isolated apartment kept dark to help him heal his eyes, Brontë began writing Jane Eyre, an invigorating romance that, despite her own fears and sorrows, gives voice to a powerfully rebellious and ultimately optimistic woman’s spirit.The Secret History of Jane Eyre expands our understanding of both Jane Eyre and the inner life of its notoriously private author. Pfordresher connects the people Brontë knew and the events she lived to the characters and story in the novel, and he explores how her fecund imagination used her inner life to shape one of the world’s most popular novels.By aligning his insights into Brontë’s life with the timeless characters, harrowing plot, and forbidden romance of Jane Eyre, Pfordresher reveals the remarkable parallels between one of literature’s most beloved heroines and her passionate creator, and arrives at a new understanding of Brontë’s brilliant, immersive genius.