Index.

    Ranging from Prince to Def Leppard, Lucille Clifton to Frederick Seidel, Robbins’s mastery of poetry and popular music shines in Equipment for Living. He has a singular ability to illustrate points with seemingly disparate examples (Friedrich Kittler and Taylor Swift, to W.B. Yeats and Anna Kendrick’s “Cups”). Robbins weaves a discussion on poet Juliana Spahr with the different subsets of Scandinavian black metal, illuminating subjects in ways that few scholars can achieve. Equipment for Living is also a wonderful guide to essential poetry and popular music.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    At her death in 1964, O'Connor left behind a body of unpublished essays and lectures as well as a number of critical articles that had appeared in scattered publications during her too-short lifetime. The keen writings comprising Mystery and Manners, selected and edited by O'Connor's lifelong friends Sally and Robert Fitzgerald, are characterized by the directness and simplicity of the author's style, a fine-tuned wit, understated perspicacity, and profound faith.The book opens with "The King of the Birds," her famous account of raising peacocks at her home in Milledgeville, Georgia. Also included are: three essays on regional writing, including "The Fiction Writer and His Country" and "Some Aspects of the Grotesque in Southern Fiction"; two pieces on teaching literature, including "Total Effect and the 8th Grade"; and four articles concerning the writer and religion, including "The Catholic Novel in the Protestant South." Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are widely seen as gems.This bold and brilliant essay-collection is a must for all readers, writers, and students of contemporary American literature.

    In The Best Minds of My Generation - a compilation of lectures from the course, expertly edited by renowned Beats scholar, Bill Morgan - Ginsberg gives us the convoluted origin story of the 'Beat' idea. Amongst anecdotes of meeting Kerouac, Burroughs and other figures for the first time, Ginsberg elucidates the importance of music, and particularly jazz rhythms, to Beat writing, discusses their many influences - literary, pharmaceutical and spiritual - and paints a portrait of a group who were leading a literary revolution. A unique document that works both as historical record and unconventional memoir, The Best Minds of My Generation is a vivid, personal and eye-opening look at one of the most important literary movements of the twentieth century.

    Along the way, he takes us on an exploration of lost islands, mythical realms, and the medieval world. Eco also sheds light on the indignant reviews of James Joyce’s Ulysses by fascist journalists of the 1920s and 1930s, and provides a lively examination of Saint Thomas Aquinas’s notions about the soul of an unborn child, censorship, violence, and WikiLeaks. These are essays full of passion, curiosity, and obsessions by one of the world’s most esteemed scholars and critically acclaimed, best-selling novelists.

    I write poetry... I believe poetry is a primal impulse within all of us. I believe we are all capable of it and furthermore that a small, often ignored corner of us positively yearns to try it. —Stephen Fry, The Ode Less Travelled Stephen Fry believes that if one can speak and read English, one can write poetry. Many of us have never been taught to read or write poetry and think of it as a mysterious and intimidating form. Or, if we have been taught, we remember uncomfortable silence when an English teacher invited the class to "respond" to a poem. In The Ode Less Travelled, Fry sets out to correct this problem by giving aspiring poets the tools and confidence they need to write poetry for pleasure. Fry is a wonderfully engaging teacher and writer of poetry himself, and he explains the various elements of poetry in simple terms, without condescension. His enjoyable exercises and witty insights introduce the concepts of Metre, Rhyme, Form, Diction, and Poetics. Aspiring poets will learn to write a sonnet, on ode, a villanelle, a ballad, and a haiku, among others. Along the way, he introduces us to poets we've heard of, but never read. The Ode Less Travelled is a lively celebration of poetry that makes even the most reluctant reader want to pick up a pencil and give it a try. BACKCOVER: Advanced Praise: “Delightfully erudite, charming and soundly pedagogical guide to poetic form… Fry has created an invaluable and highly enjoyable reference book.” —Publishers Weekly “A smart, sane and entertaining return to the basics… If you like Fry’s comic manner… this book has a lot of charm… People entirely fresh to the subject could do worse than stick with his cheerful leadership.” —The Telegraph (UK) “…intelligent and informative, a worthy enterprise well executed.” —Observer (UK) "If you learn how to write a sonnet, and Fry shows you how, you may or may not make a poem. But you will unlock the stored wisdom of the form itself." —Grey Gowrie, The Spectator (UK) “…intelligent and informative, a worthy enterprise well executed.” —Observer (UK)

    Thus, in an elegant anagram (translation = lost in an art), Pulitzer Prize-winning author and pioneering cognitive scientist Douglas Hofstadter hints at what led him to pen a deep personal homage to the witty sixteenth-century French poet Clément Marot.”Le ton beau de Marot” literally means ”The sweet tone of Marot”, but to a French ear it suggests ”Le tombeau de Marot”—that is, ”The tomb of Marot”. That double entendre foreshadows the linguistic exuberance of this book, which was sparked a decade ago when Hofstadter, under the spell of an exquisite French miniature by Marot, got hooked on the challenge of recreating both its sweet message and its tight rhymes in English—jumping through two tough hoops at once. In the next few years, he not only did many of his own translations of Marot's poem, but also enlisted friends, students, colleagues, family, noted poets, and translators—even three state-of-the-art translation programs!—to try their hand at this subtle challenge.The rich harvest is represented here by 88 wildly diverse variations on Marot's little theme. Yet this barely scratches the surface of Le Ton beau de Marot, for small groups of these poems alternate with chapters that run all over the map of language and thought.Not merely a set of translations of one poem, Le Ton beau de Marot is an autobiographical essay, a love letter to the French language, a series of musings on life, loss, and death, a sweet bouquet of stirring poetry—but most of all, it celebrates the limitless creativity fired by a passion for the music of words.Dozens of literary themes and creations are woven into the picture, including Pushkin's Eugene Onegin , Dante's Inferno, Salinger's Catcher in the Rye , Villon's Ballades, Nabokov’s essays, Georges Perec's La Disparition, Vikram Seth's The Golden Gate, Horace's odes, and more.Rife with stunning form-content interplay, crammed with creative linguistic experiments yet always crystal-clear, this book is meant not only for lovers of literature, but also for people who wish to be brought into contact with current ideas about how creativity works, and who wish to see how today’s computational models of language and thought stack up next to the human mind.Le Ton beau de Marot is a sparkling, personal, and poetic exploration aimed at both the literary and the scientific world, and is sure to provoke great excitement and heated controversy among poets and translators, critics and writers, and those involved in the study of creativity and its elusive wellsprings.

    One of the first Melvilleans to advance what has since become known as the "theory of the two Moby-Dicks," Olson argues that there were two versions of Moby-Dick, and that Melville's reading King Lear for the first time in between the first and second versions of the book had a profound impact on his conception of the saga: "the first book did not contain Ahab," writes Olson, and "it may not, except incidentally, have contained Moby-Dick." If literary critics and reviewers at the time responded with varying degrees of skepticism to the "theory of the two Moby-Dicks," it was the experimental style and organization of the book that generated the most controversy.

    Prepared by recognized authorities, its articles treat their topics in sufficient depth and with enough lucidity to satisfy the scholar and the general reader alike. Entries vary in length from relatively brief notices to substantial articles of about 20,000 words.The Princeton Encyclopedia of Poetry and Poetics, published in 1965, established itself as a standard work in the field. Among the 215 contributors were Northrop Frye writing on allegory, Murray Krieger on belief in poetry, Philip Wheelwright on myth, John Hollander on music, and William Carlos Williams on free verse. In 1974, the Enlarged Edition increased the entries with dozens of new subjects, including rock lyric, computer poetry, and black poetry, to name just a few.The New Princeton Encyclopedia of Poetry and Poetics accounts for the extraordinary change and explosion of knowledge within literary and cultural studies since the 1970s. This edition, completely revised, preserves what was most valuable from previous editions, while subjecting each existing entry to revision. Over 90 percent of the entries have been extensively revised and most major ones entirely rewritten. Completely new entries number 162, including those by new contributors Camille Paglia, Barbara Herrnstein Smith, Elaine Showalter, Houston Baker, Andrew Ross, and many more. New entries include those on cultural criticism, discourse, feminist poetics, and Chicano poetry.Improvements cover several areas: All the recent developments in theory that bear on poetry are included; bibliographies of secondary sources are extended; cross-references among entries and through blind entries have been expanded for greater ease of use; and coverage of emergent and non-Western poetries is dramatically increased. Indeed, a hallmark of the encyclopedia is its world-wide orientation on the poetry of national and cultural groups.

    In this book, she has written a few poems, where she has described herself in some complex and in simple words. Most of the poems are about her black and white memories and few are on generic topics. In this book, the reader will see her describing a relationship between mother nature and human nature in a poetic way.

    The social function of the creative personality is a recurrent theme with Henry Miller, and this book is perhaps his most poignant and concentrated analysis of the artist's dilemma.

    Burt dispels preconceptions about poetry and explains how poems speak to one another--and how they can speak to our lives. She shows readers how to find more poems once they have some poems they like, and how to connect the poetry of the past to the poetry of the present. Burt moves seamlessly from Shakespeare and other classics to the contemporary poetry circulated on Tumblr and Twitter. She challenges the assumptions that many of us make about "poetry," whether we think we like it or think we don't, in order to help us cherish--and distinguish among--individual poems.A masterful guide to a sometimes confounding genre, Don't Read Poetry will instruct and delight ingénues and cognoscenti alike.

    It shows how the deaths of two comrades compelled Tolkien to pursue the dream they had shared, and argues that Tolkien transformed the cataclysm of his generation while many of his contemporaries surrendered to disillusionment. The fruit of five years of meticulous research, this is the first substantially new biography of Tolkien since 1977, distilled from his personal wartime papers and a multitude of other sources.