The poem first appeared in 1872 in Lewis Carroll’s classic THROUGH THE LOOKING-GLASS AND WHAT ALICE FOUND THERE, and since then, its mysterious and lyrical lines have delighted readers of all ages. With great wit and imagination, illustrator Joel Stewart offers a singular vision of the world of "Jabberwocky" and all its memorable creatures.

    Hrafnkel's Saga, Thorstein the Staff-Struck, and Ale Hood are set in the pastoral society of native Iceland, the homely touch and stark realism giving the incidents a strong feeling of immediacy.The remaining four -Hreidar the Fool, Halldor Sorrason, Audun´s Story, and Ivar´s Story- were written without first-hand knowledge of Scandinavia, and describe the adventures of Icelandic poets and peasants at the royal courts of Norway and Iceland. Pagan elements tightly woven into the pattern of Christian ethics give these stories their distinctive character and cohesion.

    A new collection by the much praised poet whose second book THE DEAD AND THE LIVING, was both the Lamont Poetry Selection for 1983 and winner of the National Book Critics Circle Award.

    As selected by J.D. McClatchy, this collection includes masterpieces from four continents and more than two dozen languages in translations by such distinguished poets as Elizabeth Bishop, W.S. Merwin, Ted Hughes, and Seamus Heaney. Among the countries and writers represented are: Bangladesh--Taslima NasrinChile--Pablo NerudaChina--Bei Dao, Shu TingEl Salvador--Claribel AlegriaFrance--Yves BonnefoyGreece--Odysseus Elytis, Yannis RitsosIndia--A.K. RamanujanIsrael--Yehuda AmichaiJapan--Shuntaro TanikawaMexico--Octavio PazNicaragua--Ernesto CardenalNigeria--Wole SoyinkaNorway--Tomas TranstromerPalestine--Mahmoud DarwishPoland--Zbigniew Herbert, Czeslaw MiloszRussia--Joseph Brodsky, Yevgeny YevtushenkoSenegal--Leopold Sedar SenghorSouth Africa--Breyten BreytenbachSt. Lucia, West Indies--Derek Walcott

    In it, Hélène Cixous and Catherine Clément put forward the concept of écriture feminine, exploring the ways women’s sexuality and unconscious shape their imagination, their language, and their writing. Through their readings of historical, literary, and psychoanalytic accounts, Cixous and Clément explore what is hidden and repressed in culture, revealing the unconscious of history.

    Compulsively readable, full of fear and persistence, they resonate with the wildness and generosity of Ginsberg, Whitman, and Ted Berrigan, turning the everyday into an encompassing, harrowing, humorous, necessary vision. Beckman is, as Publishers Weekly notes, “the real thing.”Joshua Beckman is the author of numerous poetry collections, translations, and collaborative works. His awards include a NYFA Fellowship and a Pushcart Prize. He lives in Seattle and New York.

    It is a typical example of a Romantic closet drama. Manfred was adapted musically by Robert Schumann in 1852, in a composition entitled Manfred: Dramatic Poem with music in Three Parts, and later by Pyotr Ilyich Tchaikovsky in his Manfred Symphony, Op. 58, as well as by Carl Reinecke. Friedrich Nietzsche was impressed by the poem's depiction of a super-human being, and wrote some music for it. Byron wrote this "metaphysical drama", as he called it, after his marriage failed in scandal amidst charges of sexual improprieties and an incestuous affair between Byron and his half-sister, Augusta Leigh. Attacked by the press and ostracized by London society, Byron fled England for Switzerland in 1816 and never returned. Because Manfred was written immediately after this and because Manfred regards a main character tortured by his own sense of guilt for an unmentionable offense, some critics consider Manfred to be autobiographical, or even confessional.The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. Byron commenced this work in late 1816, only a few months after the famed ghost-story sessions which provided the initial impetus for Mary Shelley's Frankenstein. The supernatural references are made clear throughout the poem. In one scene, for example, (Act III, Scene IV, Interior of the Tower), Manfred recalls traveling through time (or astral projection traveling) to Caesar's palace, "and fill'd up, As 't were anew, the gaps of centuries...".

    Wandering away into the night, with no memory, she can only utter the words, "I am". She ultimately arrives at the home of a couple whose only daughter has disappeared, setting in motion a tale of loss and redemption.

    In the second, a man walking along the seashore recalls his dead father while other familiar voices speak to him from the past.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    A satirical poem that intentionally over-dramatizes an incident in which a lock of a woman's hair is cut without her permission.

    The first playwright of democracy, Euripides wrote with enduring insight and biting satire about social and political problems of Athenian life.  In contrast to his contemporaries, he brought an exciting--and, to the Greeks, a stunning--realism to the "pure and noble form" of tragedy.  For the first time in history, heroes and heroines on the stage were not idealized:  as Sophocles himself said, Euripides shows people not as they ought to be, but as they actually are.

    Within the psychic architecture that is EVER, Blake Butler explores the way bodies swell and contract, going from skin to house and back again. And the way houses too shrink to fit us first like clothing and then like skin and then tighter still. The result is a strange, visionary ontological dismemberment that takes you well beyond what you'd ever expect--Brian Evenson. Blake Butler is a daring invigorator of the literary sentence, and the room-ridden narrator of his debut novella, EVER, nerves her way into a hallucinative ruckus of rousing originality--Gary Lutz. In EVER--as in, indicating any time in the past or future--light is entropic; 'the sky could lift your skin off'; domestic rituals are anamorphotic mind fucks granting 'no exit method'; and doors won't open even when you don't try...--Miranda Mellis.

    With more than twenty-five years of experience teaching creative writing between them, Anne Bernays and Pamela Painter offer more than seventy-five exercises for both beginners and more experienced writers. These exercises are designed to develop and refine two basic skills: writing like a writer and, just as important, thinking like a writer. They deal with such topics as discovering where to start and end a story; learning when to use dialogue and when to use indirect discourse; transforming real events into fiction; and finding language that both sings and communicates precisely. What If? will be an essential addition to every writer's library, a welcome and much-used companion, a book that gracefully borrows a whisper from the muse.

    Celebrated scholar Joseph Campbell shares his intimate and inspiring reflections on the art of living in this beautifully packaged book, part of a new series to be based on his unpublished writings.