She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other "minorities" have been barred from producing written art. In chapters entitled "Prohibitions," "Bad Faith," "Denial of Agency," Pollution of Agency," "The Double Standard of Content," "False Categorization," "Isolation," "Anomalousness," "Lack of Models," Responses," and "Aesthetics" Joanna Russ names, defines, and illustrates those barriers to art-making we may have felt but which tend to remain unnamed and thus insolvable.

    He tells of the Nazi cult of the primeval German forest; the play of Christian and pagan myth in Bernini's Fountain of the Four Rivers; and the duel between a monumental sculptor and a feminist gadfly on the slopes of Mount Rushmore. The result is a triumphant work of history, naturalism, mythology, and art. "A work of great ambition and enormous intellectual scope...consistently provocative and revealing."--New York Times"Extraordinary...a summary cannot convey the riches of this book. It will absorb, instruct, and fascinate."--New York Review of Books

    Written before the emergence of the Internet but newly updated for the twenty-first century reader, A Gentle Madness captures that last moment in time when collectors frequented dusty bookshops, street stalls, and high-stakes auctions, conducting themselves with the subterfuge befitting a true bibliomaniac. A Gentle Madness is vividly anecdotal and thoroughly researched. Nicholas A. Basbanes brings an investigative reporter’s heart and instincts to the task of chronicling collectors past and present in pursuit of bibliomania. Now a classic of collecting, A Gentle Madness is a book lover’s delight.

    From the first millennium BC until today, the myths have been repeated in an inexhaustible series of variations and reinterpretations. They can be found in the latest movies and television shows and in software for interactive computer games. This book combines a retelling of Greek myths with a comprehensive account of the world in which they developed their themes, their relevance to Greek religion and society, and their relationship to the landscape."Contexts, Sources, Meanings" describes the main literary and artistic sources for Greek myths, and their contexts, such as ritual and theater."Myths of Origin" includes stories about the beginning of the cosmos, the origins of the gods, the first humans, and the founding of communities."The Olympians: Power, Honor, Sexuality" examines the activities of all the main divinities."Heroic exploits" concentrates on the adventures of Perseus, Jason, Herakles, and other heroes."Family sagas" explores the dramas and catastrophes that befall heroes and heroines."A Landscape of Myths" sets the stories within the context of the mountains, caves, seas, and rivers of Greece, Crete, Troy, and the Underworld."Greek Myths after the Greeks" describes the rich tradition of retelling, from the Romans, through the Renaissance, to the twenty-first century.Complemented by lavish illustrations, genealogical tables, box features, and specially commissioned drawings, this will be an essential book for anyone interested in these classic tales and in the world of the ancient Greeks.

    His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

    Puchner introduces us to numerous visionaries as he explores sixteen foundational texts selected from more than four thousand years of world literature and reveals how writing has inspired the rise and fall of empires and nations, the spark of philosophical and political ideas, and the birth of religious beliefs. Indeed, literature has touched the lives of generations and changed the course of history.At the heart of this book are works, some long-lost and rediscovered, that have shaped civilization: the first written masterpiece, the Epic of Gilgamesh; Ezra’s Hebrew Bible, created as scripture; the teachings of Buddha, Confucius, Socrates, and Jesus; and the first great novel in world literature, The Tale of Genji, written by a Japanese woman known as Murasaki. Visiting Baghdad, Puchner tells of Scheherazade and the stories of One Thousand and One Nights, and in the Americas we watch the astonishing survival of the Maya epic Popol Vuh. Cervantes, who invented the modern novel, battles pirates both real (when he is taken prisoner) and literary (when a fake sequel to Don Quixote is published). We learn of Benjamin Franklin’s pioneering work as a media entrepreneur, watch Goethe discover world literature in Sicily, and follow the rise in influence of The Communist Manifesto. We visit Troy, Pergamum, and China, and we speak with Nobel laureates Derek Walcott in the Caribbean and Orhan Pamuk in Istanbul, as well as the wordsmiths of the oral epic Sunjata in West Africa.Throughout The Written World, Puchner’s delightful narrative also chronicles the inventions—writing technologies, the printing press, the book itself—that have shaped religion, politics, commerce, people, and history. In a book that Elaine Scarry has praised as “unique and spellbinding,” Puchner shows how literature turned our planet into a written world.

    In a profound extension of Jung's ideas of the collective unconscious, Hillman goes back to classical theories in terms of the poetics of mythology. He relates our dreaming life to the myths of the underworld--the dark side of the soul, its images and shadows--and to the gods and figures of death. This leads to a revisioning of dream interpretation in relation to the psychology of dying. He concludes with the long section on specific dream images and themes as they appear in psychological praxis.

    But what came before the Greeks? What if we could prove that all myths have one common origin in a celestial cosmology? What if the gods, the places they lived & what they did are but ciphers for celestial activity, a language for the perpetuation of complex astronomical data? Drawing on scientific data, historical & literary sources, the authors argue that our myths are the remains of a preliterate astronomy, an exacting science whose power & accuracy were suppressed & then forgotten by an emergent Greco-Roman world view. This fascinating book throws into doubt the self-congratulatory assumptions of Western science about the unfolding development & transmission of knowledge. This is a truly seminal & original thesis, a book that should be read by anyone interested in science, myth & the interactions between the two.

    How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster’s infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated."

    Each powerful character will fire the imagination, entertain, and provoke debate.

    Turner demonstrates how the analysis of ritual behavior and symbolism may be used as a key to understanding social structure and processes. He extends Van Gennep's notion of the "liminal phase" of rites of passage to a more general level, and applies it to gain understanding of a wide range of social phenomena. Once thought to be the "vestigial" organs of social conservatism, rituals are now seen as arenas in which social change may emerge and be absorbed into social practice.As Roger Abrahams writes in his foreword to the revised edition: "Turner argued from specific field data. His special eloquence resided in his ability to lay open a sub-Saharan African system of belief and practice in terms that took the reader beyond the exotic features of the group among whom he carried out his fieldwork, translating his experience into the terms of contemporary Western perceptions. Reflecting Turner's range of intellectual interests, the book emerged as exceptional and eccentric in many ways: yet it achieved its place within the intellectual world because it so successfully synthesized continental theory with the practices of ethnographic reports."

    From unicorns, salamanders, satyrs, giants, elves and trolls, to dragons, nymphs, mermaids, werewolves and griffins — take an enchanting journey through the history, folklore, and mythology of these beasts from virtually every culture in the world. With stories and amazing facts on even the most obscure mythological creature, this is a cornucopia of magic and folklore.

    Even as the decline of the reading of literature, as argued by the National Endowment for the Arts, proceeds in our culture, Garber ( One of the most powerful women in the academic world "The New York Times") gives us a deep and engaging meditation on the usefulness and uselessness of literature in the digital age. What is literature, anyway? How has it been understood over time, and what is its relevance for us today? Who are its gatekeepers? Is its canonicity fixed? Why has literature been on the defensive since Plato? Does it have any use at all, or does it merely serve as an aristocratic or bourgeois accoutrement attesting to worldly sophistication and refinement of spirit? Is it, as most of us assume, good to read literature, much less study it and what does either mean?"""The Use and Abuse of Literature" is a tour de force about our culture in crisis that is extraordinary for its brio, panache, and erudition (and appreciation of popular culture) lightly carried. Garber s winning aim is to reclaim literature from the margins of our personal, educational, and professional lives and restore it to the center, as a fierce, radical way of thinking."

    This is a comprehensive, illustrated anthology of more than 300 myths from around the world which have shaped humankind's collective experience.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.