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    His Doré Bible was a treasured possession in countless homes, and his best-received works continued to appear through the years in edition after edition. His illustrations for Dante's Divine Comedy constitute one of his most highly regarded efforts and were Doré's personal favorites.The present volume reproduces with excellent clarity all 135 plates that Doré produced for The Inferno, Purgatory, and Paradise. From the depths of hell onto the mountain of purgatory and up to the empyrean realms of paradise, Doré's illustrations depict the passion and grandeur of Dante's masterpiece in such famous scenes as the embarkation of the souls for hell, Paolo and Francesca (four plates), the forest of suicides, Thaïs the harlot, Bertram de Born holding his severed head aloft, Ugolino (four plates), the emergence of Dante and Virgil from hell, the ascent up the mountain, the flight of the eagle, Arachne, the lustful sinners being purged in the seventh circle, the appearance of Beatrice, the planet Mercury, and the first splendors of paradise, Christ on the cross, the stairway of Saturn, the final vision of the Queen of Heaven, and many more.Each plate is accompanied by appropriate lines from the Henry Wadsworth Longfellow translation of Dante's work.

    Unlike much of the current form, full of blood, monsters and melodrama, Aickman's stories achieve a quieter, more subtle and, in several ways, more lasting sense of disquiet. His lucid, finely tuned prose moves imperceptibly from the small crises and celebrations of ordinary life into another sphere. In these 11 stories, the occasion may be a walking tour of Northern England, a birthday present of a Victorian dollhouse or a stay at a Swedish sanatorium for insomniacs, but it simultaneously traps the characters with dread and opens them up to a new awareness of a greater, deeper and more dangerous world. A remarkable collection by an author who deserves to be better known.Copyright 1988 Reed Business Information, Inc.

    His fresh and beautiful prose translations will re-open many half-forgotten doors, and stimulate new enthusiasms.

    

    Here long-suffering Telumee tells her life story and tells us about the proud line of Lougandor women she continues to draw strength from. Time flows unevenly during the long hot blue days as the madness of the island swirls around the villages, and Telumee, raised in the shelter of wide skirts, must learn how to navigate the adversities of a peasant community, the ecstasies of love, and domestic realities while arriving at her own precious happiness. In the words of Toussine, the wise, tender grandmother who raises her, “Behind one pain there is another. Sorrow is a wave without end. But the horse mustn’t ride you, you must ride it.” A masterpiece of Caribbean literature, The Bridge of Beyond relates the triumph of a generous and hopeful spirit, while offering a gorgeously lush, imaginative depiction of the flora, landscape, and customs of Gua­deloupe. Simone Schwarz-Bart’s incantatory prose, interwoven with Creole proverbs and lore, appears here in a remarkable translation by Barbara Bray.

    But he was also the most radical writer in the English literary tradition of his day, a fiery political visionary committed to social change and progress. The generous selection in this volume represents the wide range of his writing, both poetry and prose. Arranged chronologically, the accompanying introductory essays set Shelley's works in their historical, social and political context.The Wordsworth Poetry Library comprises the works of the greatest English-speaking poets, as well as many lesser-known poets. Each collection has a specially commissioned introduction.

    Collected here and illustrated to wonderful haunting effect by Edward Gorey, these short, funny pieces offer moral instruction for all types of mischief makers—from a certain young Jim, "who ran away from his nurse and was eaten by a lion," to the tale of Matilda, "who told lies and was burned to death”—and add up to a delightful read for any fan of Roald Dahl or Shel Silverstein.

    In a heightened state of emotion, people speak at the rate of 160 words per minute. Inspired by the intersection of these two seemingly unrelated concepts, Pulitzer Prize-winning author Robert Olen Butler wrote sixty-two stories, each exactly 240 words in length, capturing the flow of thoughts and feelings that go through a person's mind after their head has been severed. The characters are both real and imaginedMedusa (beheaded by Perseus, 2000 BC), Anne Boleyn (beheaded at the behest of Henry VIII, 1536), a chicken (beheaded for Sunday dinner, Alabama, 1958), and the author (decapitated, on the job, 2008). Told with the intensity of a poet and the wit of a great storyteller, these final thoughts illuminate and crystallize more about the characters' own lives and the worlds they inhabit than many writers manage to convey in full-length biographies or novels. The stories, which have appeared in literary magazines across the country, are a delightful and intriguing creative feat from one of today's most inventive writers.

    S. Eliot, Marianne Moore, many other notables.

    This newly edited anthology reflects the diverse experiences of those who lived through the war, bringing together the words of poets, soldiers, and civilians affected by the conflict. Here are famous verses by Rupert Brooke, Siegfried Sassoon, and Wilfred Owen; poetry by women writing from the home front; and the anonymous lyrics of soldiers' songs. Arranged thematically, the selections take the reader through the war's stages, from conscription to its aftermath, and offer a blend of voices that is both unique and profoundly moving.

    Trout Fishing in America is by turns a hilarious, playful, and melancholy novel that wanders from San Francisco through America's rural waterways; In Watermelon Sugar expresses the mood of a new generation, revealing death as a place where people travel the length of their dreams, rejecting violence and hate; and The Pill Versus the Springhill Mine Disaster is a collection of nearly 100 poems, first published in 1968.

    (His very first—rejected—comics story dealt with the subject, as does his most recent work, the two-volume Putain de Guerre.) But It Was the War of the Trenches is Tardi’s defining, masterful statement on the subject, a graphic novel that can stand shoulder to shoulder with Erich Maria Remarque’s All Quiet on the Western Front and Ernest Hemingway’s A Farewell to Arms.Tardi is not interested in the national politics, the strategies, or the battles. Like Remarque, he focuses on the day to day of the grunts in the trenches, and, with icy, controlled fury and disgust, with sardonic yet deeply sympathetic narration, he brings that existence alive as no one has before or since. Yet he also delves deeply into the underlying causes of the war, the madness, the cynical political exploitation of patriotism. And in a final, heartbreaking coda, Tardi grimly itemizes the ghastly human cost of the war, and lays out the future 20th century conflicts, all of which seem to spring from this global burst of insanity.Trenches features some of Tardi’s most stunning artwork. Rendered in an inhabitually lush illustrative style, inspired both by abundant photographic documentation and classic American war comics, augmented by a sophisticated, gorgeous use of Craftint tones, trenches is somehow simultaneously atypical and a perfect encapsulation of Tardi’s mature style. It is the indisputable centerpiece of Tardi’s oeuvre.It Was the War of the Trenches has been an object of fascination for North American publishers: RAW published a chapter in the early 1980s, and Drawn and Quarterly magazine serialized a few more in the 1990s. But only a small fraction of Trenches has ever been made available to the English speaking public (in now out of print publications); the Fantagraphics edition, the third in an ongoing collection of the works of this great master, finally remedies this situation.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    As legend has it, God blessed the only survivor of this medieval pogrom, Rabbi Yom Tov Levy, as one of the Lamed-Vov, the thirty-six Just Men of Jewish tradition, a blessing which extended to one Levy of each succeeding generation. This terrifying and remarkable legacy is traced over eight centuries, from the Spanish Inquisition, to expulsions from England, France, Portugal, Germany, and Russia, and to the small Polish village of Zemyock, where the Levys settle for two centuries in relative peace. It is in the twentieth century that Ernie Levy emerges, The Last of the Just, in 1920s Germany, as Hitler’s sinister star is on the rise and the agonies of Auschwitz loom on the horizon. This classic work, long unavailable in a trade edition, is one of those few novels that, once read, is never forgotten.