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."

    But this beautiful, loving, and intelligent little boy also had enormous hope for his new life. In heartrending prose, Nasdijj writes about their tight-knit, untraditional family--and the precious time they spent together. This searing, poetic memoir will make you cry; yet it is ultimately triumphant, for Awee got what he wanted most in his short life: a real dad.""

    A book which should appeal to both literary theorists and to readers of the novel, this study invites the reader to consider how the plot reflects the patterns of human destiny and seeks to impose a new meaning on life.

    Calasso ranges through Baudelaire's life and work, focusing on two painters—Ingres and Delacroix—about whom Baudelaire wrote acutely, and then turns to Degas and Manet, who followed in the tracks Baudelaire laid down in his great essay "The Painter of Modern Life." In Calasso's lavishly illustrated mosaic of stories, insights, close readings of poems, and commentaries on paintings, Baudelaire's Paris comes brilliantly to life. In the eighteenth century, a folie was a garden pavilion set aside for people of leisure, a place of delight and fantasy. Following Baudelaire, Calasso has created a brilliant and dramatic "Folie Baudelaire"—a place where the reader can encounter the poet himself, his peers, his city, and his extraordinary likes and dislikes, finally discovering that that place is situated in the middle of the land of "absolute literature."

    The astounding yet true story of the life of Ignacz Semmelweis provided Celine with a narrative whose appalling events and bizarre twists would have lain beyond credibility in a work of pure fiction. Semmelweis, now regarded as the father of antisepsis, was the first to diagnose correctly the cause of the staggering mortality rates in the lying-in hospital at Vienna. However, his colleagues rejected both his reasoning and his methods, thereby causing thousands of unnecessary deaths in maternity wards across Europe. This episode, one of the most infamous in the history of medicine, and its disastrous effects on Semmelweis himself, are the subject of Celine's semi-fictional evocation, one in which his violent descriptive genius is already apparent. The overriding theme of his later writing--a caustic despair verging on disgust for humanity--finds its first expression here, and yet he also reveals a more compassionate aspect to his character. Semmelweis was not published until 1936, after the novels that made Celine famous. -It is not every day we get a thesis such as Celine wrote on Semmelweis!- wrote Henry Miller of this volume.

    A series of "protocols of drug experiments," written by himself and his co-participants between 1927 and 1934, together with short prose pieces that he published during his lifetime, On Hashish provides a peculiarly intimate portrait of Benjamin, venturesome as ever at the end of the Weimar Republic, and of his unique form of thought.Consciously placing himself in a tradition of literary drug-connoisseurs from Baudelaire to Hermann Hesse, Benjamin looked to hashish and other drugs for an initiation into what he called "profane illumination." At issue here, as everywhere in Benjamin's work, is a new way of seeing, a new connection to the ordinary world. Under the influence of hashish, as time and space become inseparable, experiences become subtly stratified and resonant: we inhabit more than one plane in time. What Benjamin, in his contemporaneous study of Surrealism, calls "image space" comes vividly to life in this philosophical immersion in the sensuous.This English-language edition of On Hashish features a section of supplementary materials--drawn from Benjamin's essays, letters, and sketches--relating to hashish use, as well as a reminiscence by his friend Jean Selz, which concerns a night of opium-smoking in Ibiza. A preface by Howard Eiland discusses the leading motifs of Benjamin's reflections on intoxication.

    From the narratives of army life during World War Two to the domestic and familial scenes of his final book, this selection presents Jarrell's art at its best, comparable in power and variety to that of his contemporaries Robert Lowell and Elizabeth Bishop.

    Archeophonics, defined as the archeology of lost sound, is one way of understanding the role and the task of poetry: to recover the buried sounds and shapes of languages in the tradition of the art, and the multitude of private connections that lie undisclosed in one's emotional memory. The book takes seriously the opening epigraph by the late great James Schuyler: "poetry, like music, is not just song." It recognizes that the poem is not a decorative art object but a means of organizing the world, in the words of anthropologist Clifford Geertz, "into transient examples of shaped behavior." Archeophonics is a series of discrete poems that are linked by repeated phrases and words, and its themes and nothing less than joy, outrage, loss, transhistorical thought, and day-to-day life. It is a private book of public and civic concerns.

    At thirteen, he learned to rappel when he joined the 1292 Lord Strathcone’s Horse Army Cadets. Soon kicked out for insubordination, he was already hooked on climbing and saw alpinism as a way to make his single mother proud and end his family’s cycle of poverty. He describes early climbs attempted with nothing to guide him but written trail descriptions and the cajones of youth. He slowly acquires the skills, equipment and partners necessary to tackle more and more difficult climbs, farther and farther afield: throughout the Canadian Rockies, into Alaska and the French Alps and on to Everest, Peru, and the challenging mountains in Pakistan. From each he learns lessons that only nature and extreme endeavor can teach. This is the story of the culture of climbing in the days of punk rock, spurred on by the rhythm of adrenaline and the arrogance of youth. It is also a portrait of the power of the mountains to lift us – physically, emotionally, intellectually,

    H. Abrams definitively studies the Romantic Age (1789–1835)—the age in which Shelley claimed that "the literature of England has arisen as it were from a new birth." Abrams shows that the major poets of the age had in common important themes, modes of expression, and ways of feeling and imagining; that the writings of these poets were an integral part of a comprehensive intellectual tendency which manifested itself in philosophy as well as poetry, in England and in Germany; and that this tendency was causally related to drastic political and social changes of the age.But Abrams offers more than a work of scholarship, for he ranges before and after, to place the age in Western culture. he reveals what is traditional and what is revolutionary in the period, providing insights into those same two forces in the ideas of today. He shows that central Romantic ideas and forms of imagination were secularized versions of traditional theological concepts, imagery, and design, and that modern literature participates in the same process. Our comprehension of this age and of our own time is deepened by a work astonishing in its learning, vision, and humane understanding.

    As in his earlier acclaimed Shakespeare Our Contemporary, Kott provides startling insights and intuitive leaps which link our world to that of the ancient Greeks. The title refers to the Bacchae of Euripides, that tragedy of lust, revenge, murder, and "the joy of eating raw flesh" which Kott finds paradigmatic in its violence and bloodshed.Jan Kott was born in Warsaw, Poland in 1914. In 1969 he left Poland for the United States. He received the 1985 George Jean Nathan Award for Dramatic Criticism for The Theater of Essence (Northwestern University Press, 1984).

    This experience gave Carducci a unique perspective on music and "Rock And The Pop Narcotic" is perhaps the only book of popular music criticism that attempts to achieve a genuine aesthetic of rock music. The content runs the gamut of music, touching on everything from the Allman Brothers to Husker Du to Black Flag.

    Eliot), Ernst Robert Curtius (1886-1956), one of the foremost literary scholars of this century, examines the continuity of European literature from Homer to Goethe, with particular emphasis on the Latin Middle Ages. In an extensive new epilogue, drawing on hitherto unpublished material, Peter Godman, Professor of Medieval Latin at the University of Tubingen, analyzes the intellectual and political context and character of Curtius's ideas.

    In fifty poems, each consisting solely of four connected quatrains, Ashbery apparently plays by the rules while simultaneously violating every single one. Over and over again, the familiar, almost sonnet-like sixteen-line form creates an outline of a poem within which, one would expect, poetry is meant to arrive--as a station waits for a train. And yet, as with many of the world's greatest poems, the act of creating poetry also relies on the reading and the reader--in other words, as this collection's signature poem "Paradoxes and Oxymorons" puts it, "the poem is / you." In "Shadow Train," Ashbery demonstrates how language influences our experience of reality, creating it and sustaining it while also remaining mysterious and ineffable: constantly arriving, but impossible to catch.

    His use of it gives him yet another chance to say things never said before in prose or in verse and, as well, to bring new life to a form in which Donne talked to Death, Shelley to the West Wind, Whitman to the Earth, Pound to his Songs, O'Hara to the Sun at Fire Island.  Koch, in this new book, talks to things important in his life -- to Breath, to World War Two, to Orgasms, to the French Language, to Jewishness, to Psychoanalysis, to Sleep, to his Heart, to Friendship, to High Spirits, to his Twenties, to the Unknown. He makes of all these "new addresses" an exhilarating autobiography of a most surprising and unforeseeable kind.From the Hardcover edition.