The best authors put painstaking--sometimes obsessive--effort into each element of their stories, from plot and character development to dialogue and point of view.What made Nabokov choose the name Lolita? Why did Fitzgerald use first-person narration in The Great Gatsby? How did Kerouac, who raged against revision, finally come to revise On the Road? Veteran editor and teacher Richard Cohen draws on his vast reservoir of a lifetime's reading and his insight into what makes good prose soar. Here are Gabriel Garc�a M�rquez's thoughts on how to start a novel ("In the first paragraph you solve most of the problems with your book"); Virginia Woolf offering her definition of style ("It is all rhythm. Once you get that, you can't use the wrong words"); and Vladimir Nabokov on the nature of fiction ("All great novels are great fairy tales").Cohen has researched the published works and private utterances of our greatest authors to discover the elements that made their prose memorable. The result is a unique exploration of the act and art of writing that enriches our experience of reading both the classics and the best modern fiction. Evoking the marvelous, the famous, and the irreverent, he reveals the challenges that even the greatest writers faced--and shows us how they surmounted them.Praise for How to Write Like Tolstoy"The highest compliment one can pay How to Write Like Tolstoy is that it provokes an overwhelming urge to read and write, to be in dialogue or even doomed competition with the greatest creative minds . . . . That Mr. Cohen is an editor, that his love of literature comes in large part from awe in the presence of better writers than he, is no small matter. His love is infectious, and regardless of how well he ends up teaching us to write, that is miracle enough."--Wall Street Journal"[A] perfect tasting menu . . . the homage of a passionate reader to the writers who have provided his 'main pastime.' "--The Sunday Times (U.K.)"This book is a wry, critical friend to both writer and reader. It is filled with cogent examples and provoking statements. You will agree or quarrel with each page, and be a sharper writer and reader by the end."--Hilary Mantel "These twelve essays are like twelve perfect university lectures on the craft of writing fiction. The professor--or, in this case, author--succeeds in being not only knowledgeable but also interesting, charming, and engaging."--Library Journal (starred review)"Insightful . . . [Cohen] escorts his readers to Iris Murdoch for sage counsel on launching a novel, to Salman Rushdie for shrewd guidance on developing an unreliable narrator, to Rudyard Kipling for a cagey hint on creating memorable minor characters, and to Leo Tolstoy for a master's help in transforming personal experience into fictional art."--Booklist

    Cream, published by Phaidon in 1998, was a sensational cultural event. Fresh Cream consolidates the biennial status of Cream as a frame of reference and an essential source of new art for art professionals and newcomers alike. Pursuing the theme of its predecessor, with 10 new world-class contemporary curators each choosing ten emerging artists, the book presents in its entirety the works of 100 artists and an up-to-the-minute global overview of the contemporary art world, not only for now but also for the future. These artists have risen to intense international acclaim since the 1990s or, in the opinion of the curators who have selected them, are about to emerge internationally in the near future. Fresh Cream contains the enormous breadth of ideas and forms that exist in contemporary art. The artists' spreads are arranged in an A-Z order, featuring numerous examples of each artist's work alongside a concise text from the selecting curator and vital biographical information about the artist. A conversation between the 10 curators and the commissioning editor gives a penetrative insight into their selections and of the key issues in contemporary art. The cultural context in which the artists work - from philosophy to fiction - is presented through recent texts from 10 contemporary writers, one selected by each curator. Itself embodying the creative originality and innovation of its content, Fresh Cream is packaged in an incredible, inflated, clear plastic pillow.

    This latest edition includes new notes and exercises, and has a freshly designed, learning-friendly format that makes it more relevant and accessible to students of poetry in Southern Africa.

    The original No Fear series made Shakespeare’s plays much easier to read, but these dynamic visual adaptations are impossible to put down. Each of the titles is illustrated in its own unique style, but all are distinctively offbeat, slightly funky, and appealing to teen readers. Each book will feature:

    Goddard takes readers on a tour through the works of William Shakespeare, celebrating his incomparable plays and unsurpassed literary genius.

    This funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but that we’re too embarrassed to ask. Questions such as: What is “good” or “bad” art—and does it even matter? Is art still capable of shocking us or have we seen it all before? And what happens if you place apiece of art in a rubbish dump?

    The book also analyzes the complex and problematic films of Brian De Palma, attacks the 1980s fantasy cinema of Lucas and Spielberg, examines the work of women directors, and celebrates the films of Scorcese and Michael Cimino.

    With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind??—??a must-have for all poetry-lovers.

    The result was an immediate war as Rufus’s elder brother Robert fought to gain the crown he saw as rightfully his; this conflict marked the start of 400 years of bloody disputes as the English monarchy’s line of hereditary succession was bent, twisted and finally broken when the last Plantagenet king, Richard III, fell at Bosworth in 1485.The Anglo-Norman and Plantagenet dynasties were renowned for their internecine strife, and in Lost Heirs we will unearth the hidden stories of fratricidal brothers, usurping cousins and murderous uncles; the many kings – and the occasional queen – who should have been but never were. History is written by the winners, but every game of thrones has its losers too, and their fascinating stories bring richness and depth to what is a colourful period of history. King John would not have gained the crown had he not murdered his young nephew, who was in line to become England’s first King Arthur; Henry V would never have been at Agincourt had his father not seized the throne by usurping and killing his cousin; and as the rival houses of York and Lancaster fought bloodily over the crown during the Wars of the Roses, life suddenly became very dangerous indeed for a young boy named Edmund.

    Of the 160 First Folios listed in a census of 1902, 14 were subsequently stolen-and only two of these were ever recovered. In his efforts to catalog all these precious First Folios, renowned Shakespeare scholar Eric Rasmussen embarked on a riveting journey around the globe, involving run-ins with heavily tattooed criminal street gangs in Tokyo, bizarre visits with eccentric, reclusive billionaires, and intense battles of wills with secretive librarians. He explores the intrigue surrounding the Earl of Pembroke, arguably Shakespeare's boyfriend, to whom the First Folio is dedicated and whose personal copy is still missing. He investigates the uncanny sequence of events in which a wealthy East Coast couple drowned in a boating accident and the next week their First Folio appeared for sale in Kansas. We hear about Folios that were censored, the pages ripped out of them, about a volume that was marked in red paint-or is it blood?-on every page; and of yet another that has a bullet lodged in its pages. Part literary detective story, part Shakespearean lore, The Shakespeare Thefts will charm the Bard's many fans.

    You will read about: Nell Gwynn, who rose from hawking oysters on the docks to be the mistress of King Charles II of England Veronica Franco, an Italian poet and courtesan turned politician who lobbied in defense of Venice's painted ladies Barbara Uttmann of Annaberg who revitalized her community after the local silver mines petered out---by organizing a female corps of lacemakers. Long Meg from Lancashire, English folk hero or heroine, depending on the situation, who never tired of the outrageous fun of cross-dressing and whose adventurous exploits made her the subject of popular books and countless songs in the seventeenth century. And countless other amazing heroines and harpies---200 biographical anecdotes of fascinating detail and enlightening variety.

    Little is known about the wife of the world's most famous playwright; a great deal, none of it complimentary, has been assumed. The omission of her name from Shakespeare's will has been interpreted as evidence that she was nothing more than an unfortunate mistake from which Shakespeare did well to distance himself. Yet Shakespeare is above all the poet of marriage. Before him, there were few comedies or tragedies about wooing or wedding. And yet he explored the sacrament in all its aspects, spiritual, psychological, sexual, sociological, and was the creator of some of the most tenacious and intelligent heroines in English literature. Is it possible, therefore, that Ann, who has been mocked and vilified by scholars for centuries, was the inspiration? Until now, there has been no serious critical scholarship devoted to the life and career of the farmer's daughter who married England's greatest poet. Part biography, part history, Shakespeare's Wife is a fascinating reconstruction of Ann's life, and an illuminating look at the daily lives of Elizabethan women, from their working routines to the rituals of courtship and the minutiae of married life. In this thoroughly researched and controversial book, Greer steps off the well-trodden paths of orthodoxy, asks new questions, and begins to right the wrongs done to Ann Shakespeare.

    But it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores:*the relation of simple to complex genres*the history of literary genre in theory*the generic organisation of implied meanings*the structuring of interpretation by genre*the uses of genre in teaching.John Frow’s lucid exploration of this fascinating concept will be essential reading for students of literary and cultural studies.

    While students are familiar with and may be using the latest products and newest formats, they may not understand how the media has evolved to this point or what all these changes mean. This is where Media and Culture steps in. The eighth edition pulls back the curtain and shows students how the media really works, giving students the deeper insight and context they need to become informed media critics.

    He loves music of all kinds - jazz, classical, folk, rock - and has more than six thousand records at home. And when he writes, his words have a music all their own, much of it learned from jazz. Jay Rubin, a self-confessed fan, has written a book for other fans who want to know more about this reclusive writer. He reveals the autobiographical elements in Murakami's fiction, and explains how he developed a distinctive new style in Japanese writing. In tracing Murakami's career, he uses interviews he conducted with the author between 1993 and 2001, and draws on insights and observations gathered from over ten years of collaborating with Murakami on translations of his works.