Kilpatrick, "good, better, and best." With the experience of a lifetime of writing, he tells us, he wants to make a few judgment calls. And Jack Kilpatrick, master of the art, is as good as his word. In the tradition of Theodore Bernstein, Edwin Newman, and William Safire, James J. Kilpatrick gives us a finely crafted, witty guide to writing well. Written for laymen and professionals alike, The Writer's Art highlights techniques and examples of good writing. A section of the book called "My Crotchets and Your Crotchets" comprises more than 200 personal judgment calls, often controversial, often funny, on word usage.

    For a New Novel reevaluates the techniques, ethos, and limits of contemporary fiction. This is a work of immense importance for any discussions of the history of the novel, and for contemporary thinking about the future of fiction.

    The author shows how, as the novel has been eclipsed by the mass media, novelists have sought to retain and regain a wide readership by drawing on the themes and preoccupations of these forms. Making use of contemporary fiction by such writers as Fowles, Borges, Spark, Barthelme, Brautigan, Vonnegut and Barth, and drawing on Russian Formalist theories of literary evolution, the book argues that metafiction uses parody along with popular genres and non-literary forms as a way not only of exposing the inadequate and obsolescent conventions of the classic novel, but of stuggesting the lines along which fiction might develop in the future.

    Narratology is a systematic account of narrative techniques, methods, their transmission, and reception, in which Bal distills years of study of the ways in which we understand both literary and non-literary works.In this third edition, Bal updates the book to include more analysis of film narratives while also sharpening and tightening her language to make it the most readable and student-friendly edition to date. Bal also introduces new sections that treat and clarify several modernist texts that pose narratological challenges. With changes prompted by ten years of feedback from scholars and teachers, Narratology remains the most important contribution to the study of the way narratives work, are formed, and are received.

    It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore."In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.

    Every people or nation has its own way of experiencing this psychic reality, and so a study of the world's fairy tales yields a wealth of insights into the archetypal experiences of humankind. Perhaps the foremost authority on the psychological interpretation of fairy tales is Marie-Louise von Franz. In this book—originally published as An Introduction to the Interpretation of Fairy Tales —she describes the steps involved in analyzing and illustrates them with a variety of European tales, from "Beauty and the Beast" to "The Robber Bridegroom." Dr. von Franz begins with a history of the study of fairy tales and the various theories of interpretation. By way of illustration she presents a detailed examination of a simple Grimm's tale, "The Three Feathers," followed by a comprehensive discussion of motifs related to Jung's concept of the shadow, the anima, and the animus. This revised edition has been corrected and updated by the author.

    Sidney argues with wit and irony that poetry is the art which best teaches what is good and true.

    There’s a famous piece of writing advice—offered by Ernest Hemingway, Stephen King, and myriad writers in between—not to use -ly adverbs like “quickly” or “fitfully.” It sounds like solid advice, but can we actually test it? If we were to count all the -ly adverbs these authors used in their careers, do they follow their own advice compared to other celebrated authors? What’s more, do great books in general—the classics and the bestsellers—share this trait?In Nabokov’s Favorite Word Is Mauve, statistician and journalist Ben Blatt brings big data to the literary canon, exploring the wealth of fun findings that remain hidden in the works of the world’s greatest writers. He assembles a database of thousands of books and hundreds of millions of words, and starts asking the questions that have intrigued curious word nerds and book lovers for generations: What are our favorite authors’ favorite words? Do men and women write differently? Are bestsellers getting dumber over time? Which bestselling writer uses the most clichés? What makes a great opening sentence? How can we judge a book by its cover? And which writerly advice is worth following or ignoring?

    Instead of insisting on the uniqueness and newness of electronic writing and interactive fiction, however, Aarseth situates these literary forms within the tradition of "ergodic" literature—a term borrowed from physics to describe open, dynamic texts such as the I Ching or Apollinaire's calligrams, with which the reader must perform specific actions to generate a literary sequence.Constructing a theoretical model that describes how new electronic forms build on this tradition, Aarseth bridges the widely assumed divide between paper texts and electronic texts. He then uses the perspective of ergodic aesthetics to reexamine literary theories of narrative, semiotics, and rhetoric and to explore the implications of applying these theories to materials for which they were not intended.

    It engages directly with the difficulty many students find intimidating, asking 'What is ''Literary Theory''?' and offering a clear, concise, accessible guide to the major theories and theorists, including: humanism; structuralism; poststructuralism; psychoanalytic approaches; feminist approaches; queer theory; ideology and discourse; new historicism; race and postcolonialism; postmodernism. The final chapter points to new directions in literary and cultural theory.

    —New York Times Book ReviewNo writer I know of comes close to even trying to articulate the weird magic of poetry as Ruefle does. She acknowledges and celebrates in the odd mystery and mysticism of the act—the fact that poetry must both guard and reveal, hint at and pull back... Also, and maybe most crucially, Ruefle’s work is never once stuffy or overdone: she writes this stuff with a level of seriousness-as-play that’s vital and welcome, that doesn’t make writing poetry sound anything but wild, strange, life-enlargening fun. -The Kenyon ReviewProfound, unpredictable, charming, and outright funny...These informal talks have far more staying power and verve than most of their kind. Readers may come away dazzled, as well as amused... —Publishers WeeklyThis is a book not just for poets but for anyone interested in the human heart, the inner-life, the breath exhaling a completion of an idea that will make you feel changed in some way. This is a desert island book. —Matthew DickmanThe accomplished poet is humorous and self-deprecating in this collection of illuminating essays on poetry, aesthetics and literature... —San Francisco ExaminerOver the course of fifteen years, Mary Ruefle delivered a lecture every six months to a group of poetry graduate students. Collected here for the first time, these lectures include "Poetry and the Moon," "Someone Reading a Book Is a Sign of Order in the World," and "Lectures I Will Never Give." Intellectually virtuosic, instructive, and experiential, Madness, Rack, and Honey resists definition, demanding instead an utter—and utterly pleasurable—immersion. Finalist for the 2012 National Book Critics Circle Award.Mary Ruefle has published more than a dozen books of poetry, prose, and erasures. She lives in Vermont.

    Grab it while it's practically FREE.Thanks to your support, "How to Master Lucid Dreaming" became a #1 Bestseller in 6 different categories including: Spirituality, Personal Growth, Self-Help. You're missing out on an ABSOLUTELY INCREDIBLE part of your life. It's time to change that. There are a ridiculous amount of techniques online for lucid dreaming. Too many. Enough to overwhelm any beginner and annoy any expert. This book is a journey into mastery of lucid dreaming. No more trying random techniques from forums. It's time to build a sustainable practice and delve into the depths of your consciousness.I've helped thousands of people with lucid dreaming over the past 9 years. It's your turn. What's Included in the Book - The Biggest Obstacle to Lucid Dreaming and How to Overcome It- How to Achieve Anything You Set Your Mind To- How to Use Your Mind as a Rocket Booster Instead of Dead Weight- How to Remember More of Your Life With a Stupidly Simple Practice- The Forgotten Jewel of a Hidden Type of Memory- Why You've Been Doing Reality Checks Completely Wrong (and totally wasting your time)- How to Completely Let Go of Your Stressful Day- How Not To Waste Time With Lucid Dreaming Techniques- The 5 Things Every Good Lucid Dreaming Technique Has in Common- 5 Steps to Mastering Your TechniqueIf you just want to experience lucid dreaming once, then move on, this book isn't for you. But if you want to master lucid dreaming and be able to experience it any time you want, get this book. What are the Benefits of Lucid Dreaming? - Deep personal and spiritual exploration into the nature of consciousness and who you really are- Receive life-changing information from your subconscious- Artistic and creative Inspiration (imagine composing music while flying in the sky with rainbow colored sound streaming all around you...)- Wipe away years of minor depression- FUN! Fun! FUN! Tons of fun- Overcome fears that are holding you back in life- Explore different realms that you'll suddenly have access to- Heal emotional traumas through interacting directly with your subconscious mind- Overcome nasty nightmares that leave you feeling crappy in the morning- Add more hours of actually being ALIVE every day- Shift your entire perspective on life, reality, consciousness and what it's all about- Soar like a bird in the sky, feeling the wind against your skin (one of the most amazing experiences ever) What people are saying about the book "I'm on day 3 of the program today and had my first lucid dream last night! Thank you sooooo much for this book, I am loooving it and soo excited about my own lucid journey!"- Jess Webb"I’ve got LaBerge’s course, Lucid Dreaming Secrets Unveiled by Darius Thomas, Robert Waggoner’s Lucid Dream Workshop, etc. etc...

    We have a postmodern architecture, a postmodern dance, perhaps even a postmodern philosophy and a postmodern condition. But do we have a postmodern fiction?In this trenchant and lively study Brian McHale undertakes to construct a version of postmodernist fiction which encompasses forms as wide-ranging as North American metafiction, Latin American magic realism, the French New New Novel, concrete prose and science fiction. Considering a variety of theoretical approaches including those of Ingarden, Eco, Doležel, Pavel, and Hrushovski, McHale shows that the common denominator is postmodernist fictin’s ability to thrust its own ontological status into the foreground and to raise questions about the world (or worlds) in which we live. Far from being, as unsympathetic critics have sometimes complained, about nothing but itself — or even about nothing at all — postmodernist fiction in McHale’s construction of it proves to be about (among other things) those handy literary perennials, Love and Death.

    Some tricks are completely unethical but, many can be used ethically, however any criminal would consider them unfair because they are sneaky and effective beyond what an investigator might use on a day-to-day basis to catch a criminal including...How a dirty cop can beat the daylights out of a completely compliant subject, on video, and get away with it every time!The Dirty Trick I wish I had learned YEARS ago! (This alone is worth the price of the book many times over.)The social media Dirty Trick Al-Queda used to blow up 4 Top Secret U.S. helicopters!The “How Much Do They Drink” Dirty Trick.WARNING: Don't even think about using any of the Dirty Tricks in the “Off Limits” chapter!The one Dirty Trick thieves hate even more than getting caught!Real-World Case Studies.The “Freakishly Effective” Dirty Trick to catch underage drinkers in a bar. (This is one I almost didn't include!)REVEALED: The Dirty Trick that saved me from a beating.The Dirty Trick cops use to shut down a Private Investigator's surveillance in 30 seconds or less. (Don't conduct another surveillance until you learn this one!)A cute little Dirty Trick to drive a stalker crazy. (I've used this one pro-actively for years!)One sneaky way to discover who installed a hidden cam.Bonus Tips!Section on Little Known Sources of Info (If you're a real-world P.I. you better learn these!)The best time of day to use “The Last Place You Look Dirty Trick”.The “Particularly Devastating” trick to catch a liar. (That's what the U.S Government said in a previously classified report!)The Post Card Dirty Trick. (This is so powerful it's one of my all-time favorites!)And Much, Much More!

    He enthused a generation of writers and readers and was an influential supporter of the young T.S Eliot. Principles of Literary Criticism was the text that first was the text that first established his reputation and pioneered the movement that became known as the 'New Criticism' Through a powerful presentation of the need to read critically and creatively, with an alertness to the psychological and emotional effects of language, Richards presented a powerful new understanding both of literature and of the role of the reader. Highly controversial when first published, Principles of Literary Criticism remains a work which no one with a serious interest in literature can afford to ignore. Contents: The chaos of criticism theories | The phantom aesthetic state | The language of criticism | Communication and the artist | The critics' concern with value | Value as an ultimate idea | A psychological theory of value | Art and morals | Actual and possible misapprehensions | Poetry for poetry's sake | A sketch for a psychology | Pleasure | Emotion and the coenesthesia | Memory | Attitudes | The analysis of a poem | Rhythm and metre | On looking at a picture | Sculpture and the construction of form | The Impasse of musical theory | A theory of communication | The availability of the poet's experience | Tolstoy's infection theory | The normality of the artist | Badness in poetry | Judgement and divergent readings | Levels of response and the width of appeal | The allusiveness of modern poetry | Permanence as a criterion | The Definition of a poem | Art, play and civilization | The Imagination