They choose the same university, and through smoke-filled nights, lectures, sexual encounters and first loves, their bond deepens: a friendship which seems like it will last for evermore.But then, at an end-of-year party, something happens which changes everything ... Afterwards, they drift apart. Now Stella, a lawyer in New York, lives for her work; Laura, a struggling journalist in Dublin, is still waiting for the scoop to kick-start her career; while Amanda, broken and beautiful, lives a life of slow decay in London. Then the phone call comes which brings them back together, to the friendship they swore would last, and the night when it all went wrong. The Privileged is a haunting tale of friendship, loyalty and how one decision, one night, can decide the future.

    Lewis' The Discarded Image paints a lucid picture of the medieval world view, as historical and cultural background to the literature of the Middle Ages and Renaissance. It describes the image discarded by later ages as the medieval synthesis itself, the whole organization of their theology, science and history into a single, complex, harmonious mental model of the universe. This, Lewis' last book, was hailed as the final memorial to the work of a great scholar and teacher and a wise and noble mind.

    During his lifetime he worked as a civil servant and published only a handful of short stories, the best known being The Transformation. His other three novels, published after his death, helped to found his reputation as a uniquely perceptive interpreter of the twentieth century.Discussing both Kafka's crisis-ridden life and the subtleties of his art, Ritchie Robertson provides an intriguing and accessible look at the life of this fascinating author. Using Metamorphosis as a recurring example, Robertson shows how Kafka's work explores such characteristically modern themes as the place of the body in culture, the power of institutions over people, and the possibility of religion after Nietzsche had proclaimed the death of God.

    Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

    E. Talbot Donaldson's translation of the text has been selected for this Norton Critical Edition because of its skillful emulation of the original poem's distinct alliterative verse. Selections of the authoritative Middle English text are also included for comparative analysis. Sources and Backgrounds includes a large collection of contemporary religious and historical documents pertaining to the poem, including selections from the Douai Bible, accounts of the plague, and legal statutes. Criticism includes twenty interpretive essays by leading medievalists, among them E. Talbot Donaldson, George Kane, Jill Mann, Derek Pearsall, C. David Benson, and Elizabeth D. Kirk. A Glossary and Selected Bibliography are also included.

    Contending with the perils and the varied cast of characters of the marriage market, Belinda strides resolutely toward independence. Admired by her contemporary, Jane Austen, and later by Thackeray and Turgenev, Edgeworth tackles issues of gender and race in a manner at once comic and thought-provoking. The 1802 text used in this edition also confronts the difficult and fascinating issues of racism and mixed marriage, which Edgeworth toned down in later editions.

    It is a world populated by ineffectual wizards and sharp-as-tacks witches, by tired policemen and devious dictators, by reformed thieves and vampires who have sworn to drink no blood. It is a world that is vastly different from our own . . . except when it isn't.Now, in The Wit and Wisdom of Discworld, various nuggets of Pratchett's witty commentary and sagacious observations have been compiled by Pratchett expert Stephen Briggs, a man who, they say, knows even more about Discworld than Terry Pratchett.Within these pages, you'll find musings on:Interior decorating: "It's a fact known throughout the universes that no matter how carefully the colors are chosen, institutional decor ends up as either vomit green, unmentionable brown, nicotine yellow, or surgical appliance pink. By some little-understood process of sympathetic resonance, corridors painted in those colors always smell slightly of boiled cabbage—even if no cabbage is ever cooked in the vicinity." (Equal Rites)Travel: "Any seasoned traveler soon learns to avoid anything wished on them as a 'regional speciality,' because all the term means is that the dish is so unpleasant the people living everywhere else will bite off their own legs rather than eat it. But hosts still press it upon distant guests anyway: 'Go on, have the dog's head stuffed with macerated cabbage and pork noses—it's a regional speciality.'" (The Last Continent)Young men: "And then there was the young male walk. At least women swung only their hips. Young men swung everything, from the shoulders down. You have to try to occupy a lot of space. It makes you look bigger, like a tomcat fluffing his tail. The boys tried to walk big in self-defense against all those other big boys out there. I'm bad, I'm fierce, I'm cool, I'd like a pint of shandy and me mam wants me home by nine." (Monstrous Regiment)Class: "'Old money' meant that it had been made so long ago that the black deeds that had originally filled the coffers were now historically irrelevant. Funny, that; a brigand for a father was something you kept quiet about, but a slave-taking pirate for a great-great-great-grandfather was something to boast of over the port. Time turned the evil bastards into rogues, and rogue was a word with a twinkle in its eye and nothing to be ashamed of." (Making Money). . . and more culled from all the Discworld novels.

    

    When the notorious toothpaste millionaire decides to hold his own deadly version of the Book of Revelations, Greene opens up a powerful vision of the limitless greed of the rich; black comedy and painful satire combine in a totally compelling novel.(Source: back cover)

    One of the most acclaimed novelists of her generation, here, for the first time, her work as a journalist and critic is collected.Angela Carter is a great traveller, on many fronts. Long autobiographical pieces on her life in South Yorkshire and South London are followed by highly individual inspections of home and abroad. Some of her most brilliant writing is devoted to Japan, that strange and unfathomable country—exotically and erotically described here—so perfectly suited to the Carter pen. Domestically, Angela Carter used her mordant wit and accurate eye to inspect England and Englishness as it manifested itself throughout the land. On the home front, she writes on Zoos and Fun Fairs, on fashion and make-up, on sexual fads and fripperies, on film and television—and Britain in the gone-but-not-forgotten 60s and 70s springs to life. Finally she turns her attention to her own craft, and her book reviews are masterpieces—at last Katherine Mansfield and Colette are assessed by their equal; Linda Lovelace, Gay Talese and Judith Krantz get a literary spanking where it hurts most; D.H. Lawrence may rise again, but it seems unlikely.Critics have always used superlatives to describe the work of Angela Carter. What these writings show is that she is also one of the funniest, most perceptive critics of our age, a maverick who has lived through our life and times, and hasn't missed a thing.

    Since then, it has continued to be read and taught, and it continues to shape the way Canadians look at themselves. Distinguished, provocative, and written in effervescent, compulsively readable prose, Survival is simultaneously a book of criticism, a manifesto, and a collection of personal and subversive remarks. Margaret Atwood begins by asking: “What have been the central preoccupations of our poetry and fiction?” Her answer is “survival and victims.”Atwood applies this thesis in twelve brilliant, witty, and impassioned chapters; from Moodie to MacLennan to Blais, from Pratt to Purdy to Gibson, she lights up familiar books in wholly new perspectives.

    For Lucy Ashton and Edgar Ravenswood, acts of heroism are thwarted and love is doomed by social, political and historical division. This edition restores the action to the years of uncertainty and political flux before the Union of Scotland and England in 1707, rather than after, as Scott's later revision had placed it.

    Inspired by the Prometheus Bound of Aeschylus, Shelley's play serves as a sort of sequel, matching its Greek predecessor in stature and pure poetic power. It depicts its philanthropist hero's ultimate triumph over the superstition and bigotry of the gods. As Shelley himself stated in his Defence of Poetry, Prometheus Unbound awakens and enlarges the mind.

    Brilliant and wide-ranging, Donne's verse is distinguished by its passion, insight, and inspired use of striking metaphors or "conceits." This volume contains a rich selection of the poet's best work, including, from the Songs and Sonnets: "The Good Morrow," "The Canonization," "The Relic," and "A Valediction: Forbidding Mourning"; from the Elegies: "On His Mistress" and "To His Mistress Going to Bed"; a selection from the Holy Sonnets (including "Death Be Not Proud"); "Good Friday. 1613. Riding Westward," "Hymn to God My God, in My Sickness" and many more.