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."

    In this collection of lively and provocative pieces he talks about what readers want from books and how to look at the literature we encounter in a new light.

    So says the Marquis de Sade, philosopher and pornographer. His virtuous Justine, who keeps to the rules, is rewarded with rape and humiliation; his Juliette, Justine's triumphantly monstrous antithesis, viciously exploits her sexuality.With brilliance and wit, Angela Carter takes on these outrageous figments of de Sade's extreme imagination and transforms them into symbols of our time: The Hollywood sex goddesses, mothers and daughters, pornography, even the sacred shrines of sex and marriage lie devastatingly exposed before our eyes.Author Bio: Angela Carter (1940-1992) was best known for her subversive short stories, including her most famous collection, The Bloody Chamber. Carter translated the fairy tales of Charles Perrault, and wrote the screenplay for Neil Jordan's 1984 film, The Company of Wolves, based on her short story.

    This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

    Hailed by the New York Times as "one of the most influential texts in gender studies, men's studies and gay studies," this book uncovers the homosocial desire between men, from Restoration comedies to Tennyson's Princess.

    From Homer to Hawthorne, Plato to Pascal, and Shakespeare to Solzhenitsyn, the great writers of Western civilization can be found in its pages. In addition, this new edition offers a much broader representation of women authors, such as Charlotte Brontë, Emily Dickinson and Edith Wharton, as well as non-Western writers such as Confucius, Sun-Tzu, Chinua Achebe, Mishima Yukio and many others. This fourth edition also features a simpler format that arranges the works chronologically in five sections (The Ancient World; 300-1600; 1600-1800; and The 20th Century), making them easier to look up than ever before. It deserves a place in the libraries of all lovers of literature.

    It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.

    Newly revised and expanded by the author, this study of epic fantasy analyzes the genre from its earliest beginnings in Medieval romances, on through practitioners like Tolkien, up to today's brightest lights.

    It's an occasionally ribald, frequently witty and unerringly erudite guided tour of the secret labyrinth that lurks beneath the English language, taking in monks and monkeys, film buffs and buffaloes, and explaining precisely what the Rolling Stones have to do with gardening.

    At her death in 1964, O'Connor left behind a body of unpublished essays and lectures as well as a number of critical articles that had appeared in scattered publications during her too-short lifetime. The keen writings comprising Mystery and Manners, selected and edited by O'Connor's lifelong friends Sally and Robert Fitzgerald, are characterized by the directness and simplicity of the author's style, a fine-tuned wit, understated perspicacity, and profound faith.The book opens with "The King of the Birds," her famous account of raising peacocks at her home in Milledgeville, Georgia. Also included are: three essays on regional writing, including "The Fiction Writer and His Country" and "Some Aspects of the Grotesque in Southern Fiction"; two pieces on teaching literature, including "Total Effect and the 8th Grade"; and four articles concerning the writer and religion, including "The Catholic Novel in the Protestant South." Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are widely seen as gems.This bold and brilliant essay-collection is a must for all readers, writers, and students of contemporary American literature.

    It concludes with a moving meditation on a modern world robbed of imagination--a world without religion, without art--and on the difficulties of faith in a disbelieving age. In between are previously uncollected stories and poems, a pageant of scenes from seventeenth-century Massachusetts, five late "golf dreams," and several of Updike's commentaries on his own work. At the heart of the book are his matchless reviews--of John Cheever, Ann Patchett, Toni Morrison, William Maxwell, John le Carré, and essays on Aimee Semple McPherson, Max Factor, and Albert Einstein, among others. Also included are two decades of art criticism--on Chardin, El Greco, Blake, Turner, Van Gogh, Max Ernest, and more.Updike's criticism is gossip of the highest order, delivered in an intimate and generous voice.

    In Reading Comics, critic Douglas Wolk shows us why this is and how it came to be. Wolk illuminates the most dazzling creators of modern comics-from Alan Moore to Alison Bechdel to Dave Sim to Chris Ware-and introduces a critical theory that explains where each fits into the pantheon of art. Reading Comics is accessible to the hardcore fan and the curious newcomer; it is the first book for people who want to know not just what comics are worth reading, but also the ways to think and talk and argue about them.

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.

    For comfort, he turned to his bookshelves, back to the ghost stories that obsessed him as a boy, and to the writers through the ages who have attempted to confront what comes after death.In Ghostland, Parnell goes in search of the ‘sequestered places’ of the British Isles, our lonely moors, our moss-covered cemeteries, our stark shores and our folkloric woodlands. He explores how these landscapes conjured and shaped a kaleidoscopic spectrum of literature and cinema, from the ghost stories and weird fiction of M.R. James, Arthur Machen and Algernon Blackwood to the children’s fantasy novels of Alan Garner and Susan Cooper; from W.G. Sebald’s The Rings of Saturn and Graham Swift’s Waterland to the archetypal ‘folk horror’ film The Wicker Man…Ghostland is Parnell’s moving exploration of what has haunted our writers and artists—and what is haunting him. It is a unique and elegiac meditation on grief, memory and longing, and of the redemptive power of stories and nature.

    The popularity of murder mystery books, TV series, and even board games shows that there is an appetite for death, and the more unusual or macabre the method, the better. With gunshots or stabbings the cause of death is obvious, but poisons are inherently more mysterious. How are some compounds so deadly in such tiny amounts?Agatha Christie used poison to kill her characters more often than any other crime fiction writer. The poison was a central part of the novel, and her choice of deadly substances was far from random; the chemical and physiological characteristics of each poison provide vital clues to the discovery of the murderer. Christie demonstrated her extensive chemical knowledge (much of it gleaned by working in a pharmacy during both world wars) in many of her novels, but this is rarely appreciated by the reader.Written by former research chemist Kathryn Harkup, each chapter takes a different novel and investigates the poison used by the murderer. Fact- and fun-packed, A is for Arsenic looks at why certain chemicals kill, how they interact with the body, and the feasibility of obtaining, administering, and detecting these poisons, both when Christie was writing and today.