Under Nina Baym's direction, the editors have considered afresh each selection and all the apparatus to make the anthology an even better teaching tool.

    The darker comedy of The Clouds satirizes Athenian philosophers - Socrates in particular - and reflects the uncertainties of a generation in which all traditional religious and ethical beliefs were being challenged. The Birds takes place in a flawed utopia, with man's eternal flaws observed from up above. In Lysistrata a band of women use sex's manipulative power in order to try and end a war. In The Frogs, the god Dionysus visits the underworld, consulting the late Aeschylus and Euripides regarding whether or not classical Athens will ever have another great dramatist - and provoking an argument between both.Three of the leading Greek translators of the twentieth century - William Arrowsmith, Richmond Lattimore, and Douglas Parker - have created versions of the comedies that are at once contemporary, historically accurate, and funny. Also included are introductions to each play that describe the historical and literary background of the work.

    

    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.

    Lansdale, Tanith Lee, and Gene Wolfe, and bestsellers such as Holly Black, Neil Gaiman, and Sarah Langan. Includes a 36,000 word novella by George R.R. Martin set in his A Song of Fire and Ice universe.Contents How Bria Died • (2009) • shortstory by Michael AronovitzOaks Park • (2010) • shortfiction by M. K. HobsonHurt Me • (2010) • shortfiction by Daniel Abraham [as by M. L. N. Hanover ]He Said, Laughing • (2010) • shortstory by Simon R. GreenThe Thing About Cassandra • (2010) • shortfiction by Neil GaimanTragic Life Stories • (2010) • shortfiction by Steve DuffyThe Dog King • (2010) • shortstory by Holly BlackThimbleriggery and Fledglings • (2010) • shortfiction by Steve BermanThe Broadsword • (2010) • novella by Laird BarronFrumpy Little Beat Girl • shortfiction by Peter AtkinsCrawlspace • (2010) • shortfiction by Stephen Graham JonesAs Red as Red • (2010) • shortfiction by Caitlín R. KiernanMother Urban's Booke of Dayes • (2010) • shortstory by Jay LakeA Thousand Flowers • (2010) • novelette by Margo LanaganAre You Trying To Tell Me This Is Heaven? • (2010) • shortstory by Sarah LanganThe Stars Are Falling • (2010) • novelette by Joe R. LansdaleSea Warg • (2010) • shortfiction by Tanith LeeThe Mystery Knight: A Tale of the Seven Kingdoms • [Dunk and Egg • 3] • (2010) • novella by George R. R. MartinThe Naturalist • (2010) • shortfiction by Maureen F. McHugh [as by Maureen McHugh ]Raise Your Hand If You're Dead • (2010) • shortstory by John ShirleyLesser Demons • (2010) • novelette by Norman PartridgeParallel Lines • (2010) • shortstory by Tim PowersThe Moon Will Look Strange • (2010) • shortstory by Lynda E. RuckerYou Dream • (2010) • shortstory by Ekaterina SediaRed Blues • (2010) • shortfiction by Michael SkeetBrisneyland by Night • (2010) • shortstory by Angela SlatterMalleus, Incus, Stapes • (2010) • shortfiction by Sarah TottonThe Return • (2010) • shortfiction by S. D. TullisThe Dire Wolf • (2010) • shortfiction by Genevieve ValentineThe Things • (2010) • shortstory by Peter WattsBloodsport • (2010) • shortfiction by Gene Wolfe

    A refreshing alternative to voluminous literature anthologies, this compact, inexpensive, and diverse collection of fiction, poetry, and drama provides a concise yet complete introduction to the study of literature.

    In the lush and vivid prose for which she has become famous, Condé has constructed a Guadeloupean wake for Francis Sancher.

    A poem in five books, of circular narrative design, titled with the Greek name for Homer, which simultaneously charts two currents of history: the visible history charted in events—the tribal losses of the American Indian, the tragedy of African enslavement—and the interior, unwritten epic fashioned from the suffering of the individual in exile.

    His fake dad's a bully, and Asa knows everything, and baseball's a great way to act all that out.HOW TO SAY I LOVE YOU, TOOHis mom's back, and Asa's looking down the road again, wondering if his life will stand still long enough for him to risk falling in love. . . .Recipient of a 1993 Newbery Honor, this novel is an achingly beautiful, powerfully rendered journey through childhood that is not to be missed, now available in a new edition with a striking new cover.

    If you’re sleepy in the jungleAnd you wish to find a pillow, Take a friendly word of warning:DO NOT USE AN ARMADILLO! Covering everything from centipedes to whales, from swinging on swings to ice-skating in winter, from eating applesauce to celebrating birthdays, the delightful poems in this extensive collection convey the experiences of childhood with a fresh timelessness.

    It was the biggest and most beautiful ship fourteen-year-old Michele had ever seen. Sailing on the ship were three men who would come to stay at Michele's parents' inn. The men said they were searching - one for beauty, one for adventure, and one for "something difficult to explain." What they brought with them was a mystery and adventure that would change Michele's life - and all of Capri - forever.

    But what happensif they decide to get… even closer?

    It also provides a straightforward but comprehensive treatment of VLSI design processes and design rules for students and all novice digital systems designers.

    He was in trouble with the law from the age of 12. He stole hundreds of horses and cattle. He robbed two banks. He killed three men.Yet, when Ned was sentenced to death, thousands of people rallied to save his life. He stood up to the authorities and fought for what he believed in. He defended the rights of people who had no power.Was he a villain? Or a hero?What do you think?Black Snake tells the story of the short but amazing life of Ned Kelly, Australia’s most famous bushranger. Although this book is non-fiction, each chapter begins with a short piece of fiction. These fictional pieces look at Ned from the point of view of different people: some who loved him, some who hated him; some who admired him, some who thought he was a monster.Reviews“Carole Wilkinson takes the reader beyond the surface of the Ned Kelly legend… She brings the story alive through the everyday life and struggles of this unkilely hero… Wilkinson leads readers to ponder how Ned became an Australian icon in an accessible text which consummately uses fact and fictional reconstructions to achieve its purposes.”CBC Book of the Year Judges’ Report 2003“With Black Snake, Carole Wilkinson turns her hand from historical fiction to factual reportage, retelling the familiar story of the Ned Kelly legend. Factually, simple and without bias, Black Snake presents the circumstances behind the events as well as the conflicts between the personalities. It can be used as a biography, or read as an adventure. “Through her consummate research and a deep empathy with the characters which she has resurrected, Carole Wilkinson has that rare ability to bring the past to life, in all of its authentic, ‘warts-and-all’ realism. Recommended.”Magpies November 2002

    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