Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: The Bean Trees, Pigs in Heaven, the Poisonwood Bible, Animal Dreams, Prodigal Summer. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: The Bean Trees, first published in 1988, is the first book written by Barbara Kingsolver, followed by a sequel Pigs in Heaven. The protagonist of the novel, Taylor Greer, a native of Kentucky, finds herself in Oklahoma near Cherokee territory. The novel begins with a woman leaving a Cherokee infant with Taylor. The remainder of the novel traces the experiences of Taylor and the child, whom Taylor has named Turtle. Covering Turtle's early childhood, the story includes a colorful cast of characters, including a Guatemalan couple and Mattie, the owner of Jesus Is Lord Used Tires. The novel also makes reference to the issue of Native American parental rights. The Bean Trees opens in rural Kentucky. Taylor goes on to tell the story of how she is scared of tires. Taylor was the one to escape small-town life. She did so by avoiding pregnancy, getting a job working at the hospital, and saving up enough money to buy herself an old Volkswagen bug. About five years after high school graduation, she decides to go on a journey to see what life has to offer her. Her car breaks down in the middle of the Cherokee Nation in Oklahoma. As she sits in her car, getting ready to leave, a woman approaches and puts a baby in the front seat of Taylors car, telling her to take it. She tells Taylor she is the sister of the childs mother and that the baby was born in a Plymouth car. The woman leaves with no further explanation. Taylor is bewildered, but drives off with the child. They go to a hotel, and while bathing the baby, Taylor discovers that the baby, a girl, has been abused and sexually molested. She names the baby Tur...More: http: //booksllc.net/?id=138820

    Derek Attridge argues that such resistance represents not a dead end, but a crucial starting point from which to explore anew the power and practices of Western art.In this lively, original volume, the author:considers the implications of regarding the literary work as an innovative cultural event, both in its time and for later generations; provides a rich new vocabulary for discussions of literature, rethinking such terms as invention, singularity, otherness, alterity, performance and form; returns literature to the realm of ethics, and argues the ethical importance of the literary institution to a culture; demonstrates how a new understanding of the literary might be put to work in a 'responsible, ' creative mode of reading.The Singularity of Literature is not only a major contribution to the theory of literature, but also a celebration of the extraordinary pleasure of the literary, for reader, writer, student or critic.

    The aged, abused monarch—a man in his eighties, like Harold Bloom himself—is at once the consummate figure of authority and the classic example of the fall from majesty. He is widely agreed to be William Shakespeare’s most moving, tragic hero. Award-winning writer and beloved professor Harold Bloom writes about Lear with wisdom, joy, exuberance, and compassion. He also explores his own personal relationship to the character: Just as we encounter one Emma Bovary or Hamlet when we are seventeen and another when we are forty, Bloom writes about his shifting understanding—over the course of his own lifetime—of Lear, so that this book also explores an extraordinarily moving argument for literature as a path to and a measure of our humanity. Bloom is mesmerizing in the classroom, wrestling with the often tragic choices Shakespeare’s characters make. He delivers that kind of exhilarating intimacy, pathos, and clarity in Lear.

    M. Forster's Aspects of the Novel and Milan Kundera's The Art of the Novel, How Fiction Works is a scintillating study of the magic of fiction--an analysis of its main elements and a celebration of its lasting power. Here one of the most prominent and stylish critics of our time looks into the machinery of storytelling to ask some fundamental questions: What do we mean when we say we "know" a fictional character? What constitutes a telling detail? When is a metaphor successful? Is Realism realistic? Why do some literary conventions become dated while others stay fresh?James Wood ranges widely, from Homer to Make Way for Ducklings, from the Bible to John le Carré, and his book is both a study of the techniques of fiction-making and an alternative history of the novel. Playful and profound, How Fiction Works will be enlightening to writers, readers, and anyone else interested in what happens on the page.

    Not that it has wanted for spirited advocates; but, despite all efforts, it has remained firmly on the periphery. The one signal exception is Goethe's novel Die Leiden des jungen Werthers usually rendered as 'The Sorrows of Young Werther'. Werther was an extraordinary and immediate bestseller both in Germany and abroad.

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

      John Gardner was almost as famous as a teacher of creative writing as he was for his own works. In this practical, instructive handbook, based on the courses and seminars that he gave, he explains, simply and cogently, the principles and techniques of good writing. Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of a refined sentence. Written with passion, precision, and a deep respect for the art of writing, Gardner’s book serves by turns as a critic, mentor, and friend. Anyone who has ever thought of taking the step from reader to writer should begin here.

    Tyra went from dating deadbeats to dating athletes. But living the good life came at a price.... "The Skeletons In My Closet" By: LaShonda DeVaughn, Author of A Hood Chick's Story I & II - They say in order to receive true and real love, we must all take chances. Will Kenneth end up being the real deal? Or will Rita end up regretting her decision in courting a young thug? "Taking Chances" By: Mimi Renee, Author of Deadly Decisions and Pretty Bright - Despite years of women playing games to take her husband away from her, Jai was determined to hold on. Her best friend questions why she puts up with his infidelity. Jai reasons: It's just Something In His Backstroke. "Something In His Backstroke" By: Tysha - Author of The Boss...the story of a female hustler - Fairytales should all have happy endings. Unfortunately, in Zoe's world each ending comes with a tale of lies... "Sleeping With The Enemy" By: Kaie Golson

    Its cast of characters include the Notorious P.I.G., the proprietor of the house, who uses his power to satisfy his licentious fetishes. Of his customers, there's Wanda, an exotic dancer who loathes P.I.G., but only tolerates him because he has the best dope in town. Wanda's boyfriend Mike is the owner of an upscale strip club, as well as a full time pimp. Trap House is the bastard child of real life and the author's vivid imagination. Its author, Sa'id Salaam, paints a graphic portrait of the inner-workings of an under-world. He takes you so close you can almost hear the sizzle of the cocaine as it's smoked almost smell the putrid aroma of crack as it's exhaled. Yet for all the grit and grime, Trap House has the audacity to be a love story. Through the sordid sex and brutality is an underlying tale of redemption and self empowerment. Trap House drives home the realit

    Examining the ancient poetry and myths found in African, Latin American, and Caribbean culture, and particularly the Yoruba trickster figure of Esu-Elegbara and the Signifying Monkey whose myths help articulate the black tradition's theory of its literature, Gates uncovers a unique system for interpretation and a powerful vernacular tradition that black slaves brought with them to the New World. His critical approach relies heavily on the Signifying Monkey--perhaps the most popular figure in African-American folklore--and signification and Signifyin(g). Exploring signification in black American life and literature by analyzing the transmission and revision of various signifying figures, Gates provides an extended analysis of what he calls the Talking Book, a central trope in early slave narratives that virtually defines the tradition of black American letters. Gates uses this critical framework to examine several major works of African-American literature--including Zora Neale Hurston's Their Eyes Were Watching God, Ralph Ellison's Invisible Man, and Ishmael Reed's Mumbo Jumbo--revealing how these works signify on the black tradition and on each other. The second volume in an enterprising trilogy on African-American literature, The Signifying Monkey--which expands the arguments of Figures in Black--makes an important contribution to literary theory, African-American literature, folklore, and literary history.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    Taking his title from the wounded cry of the once great Max Bialystock in The Producers -- “Look at me now! Look at me now! I’m wearing a cardboard belt!” -- Epstein gives us his largest and most comprehensive collection to date.Writing as a memoirist, polemicist, literary critic, and amused observer of contemporary culture, he uses to deft and devastating effect his signature gifts: wide-ranging erudition, sparkling humor, and a penetrating intelligence. In personally revealing essays about his father and about his years as a teacher, in deeply considered examinations of writers from Paul Valery to Truman Capote, and in incisive take-downs of such cultural pooh-bahs as Harold Bloom and George Steiner, this remarkable collection presents us with the best work of our country’s most singular talent, engaged with the richness and variety of life, witty in his response to the world, and always entertaining.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    But the romances happening inside of it are even hotter!Candy has the body of a goddess, the most expensive cars and exclusive fashion that money can buy, Her business is the envy of every woman she knows-and the ones she doesn't, too. It should be enough, but Candy wants more than money, and more than lust.She wants love.When Rich one of Harlem's most powerful drug dealers becomes a fixture in Candy's shop, he ignites a fire inside her salon that might just burn it all down-because he and Candy have their eye on the same woman, a beautiful bohemian stylist named Vanessa. And just outside of their three-way battle, the other stylists of Candy's Shop are taking sides and setting their sights on their own prey. This hurricane of sex lust and love might just destroy everything Candy's worked so hard to build. It might even take her life.When jealousy, anger, and lust combine, it's more flammable than a match and a can of hairspray. Will Candy be able to win over the lesbian lover of her dreams? Will Vanessa succumb to Rich's slick-talking ways? And what happens if all three of them try to find their own Harlem happily-ever-after together?Fans of lesbian romance, LGBTQ+ romance, and menage romances hot enough to melt the pages will love this. If you crave drama, romance and lovers who have to fight for their happy-ever-afters, you won't be able to put this one down!One-Click to start reading Lickin' License today!