In their haunted, almost visionary clarity, the poems assay the weight and worth of what has been held in the hand and in the memory. Scenes from a childhood spent far from the horrors of World War II are colored by a strongly contemporary sense that "Anything can happen," and other images from the dangerous present--a fireman's helmet, a journey on the Underground, a melting glacier--are fraught with this same anxiety. But the volume, which includes some "found prose" poems and translations, offers resistance as the poet gathers his staying powers and stands his ground in the hiding places of love and excited language. With more relish and conviction than ever, Heaney maintains his trust in the obduracy of workaday realities and the mystery of everyday renewals.

    He watched his father ascend the ranks within the academy to become one of the most respected warriors in the kingdom. The only thing he has ever wanted is to become an academy student and follow the path of his father. Unfortunately, only the best can enter the academy and Justan is a horrible fighter. Everyone tells him that he is more suited to scholarly work than swordplay. In desperation he hurls himself into training, eager to overcome the doubters and walk into the academy triumphant, unaware that secretive powers plot to disrupt his plans. Meanwhile, an evil wizard of immense power is using magic to twist the bodies of the creatures of the land and transform them into monsters. With these creatures and the peoples of the wilds, he is building an army . . . Ogres and dragons, warriors and wizards are destined to clash, their fates guided by The Bowl of Souls.

    One hundred years after his release from Reading Gaol, the life and work of Oscar Wilde has lost none of its fascination. In his day, his wit and writings enchanted and scandalized society in equal measure; his downfall came at the height of his powers. Devastated by his notorious trial for indecency, imprisoned for ``homosexual offenses,'' he was to spend two ruinous years in solitary confinement. As he was later to tell Andre Gide, Reading Gaol ``was not fit for dogs. I thought I would go mad.'' The Ballad was written from personal experience, and there was to be no more writing after this. As Wilde observed: ``Something is killed in me.'' Bankrupt, disgraced, and in exile, Wilde was to die not long after his release at the age of 46. His final resting place is the cemetery of Pere Lachaise in Paris. His tomb bears an inscription from The Ballad of Reading Gaol: ``And alien tears will fill for him/Pity's long broken urn/For his mourners will be outcast men/And outcasts always mourn.'' This commemorative edition of the poem is illustrated with the powerfully moving wood engravings of Garrick Palmer. 48 pp 5 x 8 8 wood engravings

    Written in Lallan Scots, it is a most exciting piece of poetic drama.

    Five main characters are linked loosely and intermittently and at the center of the play is an ever-changing love triangle of petty criminals. It is a gritty, grimy urban society, a depressing  microcosm of drugs, shoplifting, prostitution, and sexual adventure. The characters have shunned morality and conduct hedonistic and destructive lives in this shocking, humorous, nihilistic play that examines a completely corrupted society.

    Highly popular and influential in the development of Elizabethan drama, it established a new genre in English theatre; the revenge play.

    It appeared in two phases. A few first copies were printed and illuminated by William Blake himself in 1789; five years later he bound these poems with a set of new poems in a volume titled Songs of Innocence and of Experience Shewing the Two Contrary States of the Human Soul.

    Mandeville claims to have served in the Great Khan's army, and to have travelled in 'the lands beyond' - countries populated by dog-headed men, cannibals, Amazons and Pygmies. Although Marco Polo's slightly earlier narrative ultimately proved more factually accurate, Mandeville's was widely known, used by Columbus, Leonardo da Vinci and Martin Frobisher, and inspiring writers as diverse as Swift, Defoe and Coleridge. This intriguing blend of fact, exaggeration and absurdity offers both fascinating insight into and subtle criticism of fourteenth-century conceptions of the world.

    Against a tradition of devotional writings which focussed on knowing God through Christ's Passion and his humanity, these texts describe a transcendent God who exists beyond human knowledge and human language. These four texts are at the heart of medival mystical theology in their call for contemplation, calm, and above all, love, as the way to understand the Divine.

    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.

    It is a depiction of sides that people don't readily show, sides of vulnerability, insecurity and tiny amounts of hope. One could say it is the result of shedding light into a world of secrecy, escapism, an alternate reality belonging to an alternate version of an individual. When No One Is Watching is the truth in its purest form.

    His subjects include the permeable boundaries of Belfast neighborhoods, of memory, of public and private fear, and, indeed, of the forms of language and art. Carson finds unexpected uses—constructive and destructive—of the building rubble of Belfast history. Rich in lore of place, these innovative and vividly fresh poems draw deeply on traditions—oral, local, and literary.

    He studies his books late into the evening and searches for truth in their pages. His cat, Pangur, leads a simple life, too, chasing prey in the darkness. As night turns to dawn, Pangur leads his companion to the truth he has been seeking.The White Cat and the Monk is a retelling of the classic Old Irish poem “Pangur Bán.” With Jo Ellen Bogart’s simple and elegant narration and Sydney Smith’s classically inspired images, this contemplative story pays tribute to the wisdom of animals and the wonders of the natural world.

    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.

    A passionate exploration of the forces that shape us, The Last Love Poem I Will Ever Write explores themes of survival and the powerlessness of the self in a chaotic and unfair world, finding hope in the emotions and vitality of poetry. With characteristic meditative lyricism, the poet reflects on grief and the power of language in extended odes (“Ode to Nothing,” “Ode to Words”) and slips effortlessly from personal trauma (“Song of What Happens”) to public catastrophe (“Charlottesville Elegy”).The Last Love Poem I Will Ever Write confirms Orr’s place among the preeminent lyric poets of his generation, engaging the deepest existential issues with wisdom and humor and transforming them into celebratory song.