For parents helping with their children’s homework, casual theatre-goers who want to enhance their enjoyment of the most popular plays and the general reader who feels they should probably know more about Britain’s most splendid scribe, Shakespeare for Grown-ups covers Shakespeare's time; his personal life; his language; his key themes; his less familiar works and characters; his most famous speeches and quotations; phrases and words that have entered general usage, and much more. With lively in-depth chapters on all the major works including Hamlet, Othello, King Lear, The Tempest, Romeo and Juliet, Much Ado About Nothing, Antony and Cleopatra, Richard II, Henry V, A Midsummer Night's Dream, The Merchant of Venice and Macbeth, Shakespeare for Grown-ups is the only guide you’ll ever need.

    The author also considers the stories of nations and how these may affect the way a national identity can emerge from stories. He looks at the stories of Romulus and Remus in the founding of Rome, the hidden agenda of stories in the antagonism between Britain and Ireland and how stories of alienation in film such as Aliens and Men in Black reveal often disturbing narratives at work in projections of North American national identity. Throughout, On Stories stresses that far from heralding the demise of the story, the digital and supposedly postmodern era opens up powerful new ways of thinking about narrative.

    In it we find Derrida at work on his systematic deconstruction of Western metaphysics. The book's first half, which includes the celebrated essay on Descartes and Foucault, shows the development of Derrida's method of deconstruction. In these essays, Derrida demonstrates the traditional nature of some purportedly nontraditional currents of modern thought—one of his main targets being the way in which "structuralism" unwittingly repeats metaphysical concepts in its use of linguistic models.The second half of the book contains some of Derrida's most compelling analyses of why and how metaphysical thinking must exclude writing from its conception of language, finally showing metaphysics to be constituted by this exclusion. These essays on Artaud, Freud, Bataille, Hegel, and Lévi-Strauss have served as introductions to Derrida's notions of writing and différence—the untranslatable formulation of a nonmetaphysical "concept" that does not exclude writing—for almost a generation of students of literature, philosophy, and psychoanalysis.Writing and Difference reveals the unacknowledged program that makes thought itself possible. In analyzing the contradictions inherent in this program, Derrida goes on to develop new ways of thinking, reading, and writing,—new ways based on the most complete and rigorous understanding of the old ways. Scholars and students from all disciplines will find Writing and Difference an excellent introduction to perhaps the most challenging of contemporary French thinkers—challenging because Derrida questions thought as we know it.

    A vital counter-interpretation of madness in women, showing how it is often a consequence of, rather than a deviation from, the traditional female role.

    (In fact, he says, in certain situations reading the book is the worst thing you could do). Using examples from such writers as Graham Greene, Oscar Wilde, Montaigne, and Umberto Eco, he describes the varieties of "non-reading"—from books that you've never heard of to books that you've read and forgotten—and offers advice on how to turn a sticky social situation into an occasion for creative brilliance. Practical, funny, and thought-provoking, How to Talk About Books You Haven't Read is in the end a love letter to books, offering a whole new perspective on how we read and absorb them. It's a book for book lovers everywhere to enjoy, ponder, and argue about—and perhaps even read.Pierre Bayard is a professor of French literature at the University of Paris VIII and a psychoanalyst. He is the author of Who Killed Roger Ackroyd? and of many other books. Jeffrey Mehlman is a professor of French at Boston University and the author of a number of books, including Emigré New York. He has translated works by Derrida, Lacan, Blanchot, and other authors.

    Building on the strengths of the first edition, the volume is designed to introduce the reader to the guiding concepts of present literary and cultural debate by presenting substantial extracts from the period's most seminal thinkers.

    In The Shadow Of The Vampire offers a close up view of her devotees and disciples, fangs and all. Over 100 photographs from Anne Rice's Memnoch Ball in New Orleans as well as other events serve as a portrait of this growing subculture. The photographs illustrate the themes the readers relate to in their fantasies and everyday lives and the extremes to which they will go to be close to their mentor. The subjects of the photographs, the fans themselves, explain in accompanying interviews their spiritual relationships to romance, eroticism, loneliness, bloodlust or outsider status of the characters in the book. From the people who sleep in coffins to the teenage Goth-rockers to the HIV-positive man who found a deep allegorical comfort in the vampire Lestat, their responses range from the burlesque to the sublime.

    But instead of feeling hopeful, she is wracked with ambivalence. The long demanding hours at the lab have created an exquisite pressure cooker, and she doesn't know how to answer the marriage question. When it all becomes too much and her life plan veers off course, she finds herself on a new path of discoveries about everything she thought she knew.

    However you feel (or want to feel), let 1001 Books for Every Mood be your guide. Acclaimed critic and novelist Hallie Ephron serves up a literary feast, sure to satisfy your emotional appetite. Whether you want to cry or laugh, remember or forget, behave or misbehave-it's all here. It's your must-have guide to hours and hours of reading pleasure, now and forever-no matter what your mood!Want even more?

    But Robert Ferguson’s new biography tells a different tale; for where the novels are sexually explicit and brutally frank—woundingly so to those close to Miller—they are also the fantasies of a man escaping from his past, and from himself.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    history. A murderer’s tale is not always shrouded in darkness, trauma and failure to perform as a normal person. Some killers are just as successful in life as those around them or even more so. They are able to function as any regular human being and charm their communities and victims into believing that they are of a good, pure nature. Ted Bundy was a handsome, charming and ambitious man who carried his hatred deeper and more hidden than any other murderers do. He was able to lead a life that included normal friendships and relationships, and he even got far as both a student and a politician. But the hatred was there…it was always there… Bundy ended the lives of over thirty young women, ensuring that their final moments were ugly and violent. His torture methods were cruel, and there was no mercy shown to each female as he bludgeoned, strangled or cut them. Ted Bundy - The Campus Killer - a name of nightmares. This is his story.

    BOOK OF THE BITCH: A Complete Guide to Understanding and Caring for Bitches

    Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.

    “Well written and I was left wanting to read on.... It is certainly an intriguing concept” (Troubador)“Writing is dynamic and fast-paced. There's a definite charm about the novel that, I think, would appeal to the kind of audience cultivated by writers such as Marina Lewycka” (HHB Agency)“What a charming novel. I’m from Dundee myself, and the masterful way you wove together setting and culture was admirable. Your characters, too, were powerful yet compassionate, and the prose had a lovely twisting quality” (Canongate Press)“This is fresh and intriguing” (Andrew Lownie)Mrs Keiller's Marmalade is a book about marmalade, the isolation of old age, respect for tradition and the pain of abandonment. Maggie Keiller is a fictional descendent of John Keiller, the last patriarch of Keiller marmalade, whose clan famously created the first ‘Dundee Marmalade’. She is married John's son Billy Keiller in 1909 but lost him in the same year to a storm which visited their small enclave of Auchobane, a village perched precociously on the Dundee coastline of North-East Scotland. Forward fifty years, and Maggie lives a lonely life in Rose Cottage surrounded only by her jars of fine and vintage homemade marmalade. Her only visitor is Dougie, an elderly grocery man and decorated veteran. Maggie’s life is changed when she unexpectedly receives a letter from her estranged niece in London, asking for haven for her teenage daughter. Maggie takes her on, not out of affection for her niece whom she loathes, but to fill the void left by her childless marriage. Isla arrives in 1969, a year on the cusp of a revolution in the London she has just left, and in her own life, hiding the pregnancy she has kept from her mother. Maggie teaches Isla about her heritage, and hopes to pass on to her the tradition of marmalade making. For Isla, abandoned by mother and lover, and struggling to cope with the imminent arrival of an unwanted child, her bond with Maggie becomes a channel to help regain the self-esteem taken from her over her young years. The book culminates in Isla’s entry into the silver spoon Marmalade competition, fifty years after Maggie Keiller had taken the same prize.