Ricoeur here examines the creation of meaning at the textual level, with narrative rather than metaphor as the ruling concern.Ricoeur finds a "healthy circle" between time and narrative: time is humanized to the extent that it portrays temporal experience. Ricoeur proposes a theoretical model of this circle using Augustine's theory of time and Aristotle's theory of plot and, further, develops an original thesis of the mimetic function of narrative. He concludes with a comprehensive survey and critique of modern discussions of historical knowledge, understanding, and writing from Aron and Mandelbaum in the late 1930s to the work of the Annales school and that of Anglophone philosophers of history of the 1960s and 1970s."This work, in my view, puts the whole problem of narrative, not to mention philosophy of history, on a new and higher plane of discussion."—Hayden White, History and Theory "Superb. . . . A fine point of entrance into the work of one of the eminent thinkers of the present intellectual age."—Joseph R. Gusfield, Contemporary Sociology

    It covers a broad range of fictional narratives, from Richardson’s Clarissa, Dostoyevski’s Crime and Punishment, and Austen’s Pride and Prejudice to Woolf’s Mrs. Dalloway, Nabokov’s Lolita, and Hammett’s The Maltese Falcon. Zunshine’s surprising new interpretations of well-known literary texts and popular cultural representations constantly prod her readers to rethink their own interest in fictional narrative. Written for a general audience, this study provides a jargon-free introduction to the rapidly growing interdisciplinary field known as cognitive approaches to literature and culture.

    —New York Times Book ReviewNo writer I know of comes close to even trying to articulate the weird magic of poetry as Ruefle does. She acknowledges and celebrates in the odd mystery and mysticism of the act—the fact that poetry must both guard and reveal, hint at and pull back... Also, and maybe most crucially, Ruefle’s work is never once stuffy or overdone: she writes this stuff with a level of seriousness-as-play that’s vital and welcome, that doesn’t make writing poetry sound anything but wild, strange, life-enlargening fun. -The Kenyon ReviewProfound, unpredictable, charming, and outright funny...These informal talks have far more staying power and verve than most of their kind. Readers may come away dazzled, as well as amused... —Publishers WeeklyThis is a book not just for poets but for anyone interested in the human heart, the inner-life, the breath exhaling a completion of an idea that will make you feel changed in some way. This is a desert island book. —Matthew DickmanThe accomplished poet is humorous and self-deprecating in this collection of illuminating essays on poetry, aesthetics and literature... —San Francisco ExaminerOver the course of fifteen years, Mary Ruefle delivered a lecture every six months to a group of poetry graduate students. Collected here for the first time, these lectures include "Poetry and the Moon," "Someone Reading a Book Is a Sign of Order in the World," and "Lectures I Will Never Give." Intellectually virtuosic, instructive, and experiential, Madness, Rack, and Honey resists definition, demanding instead an utter—and utterly pleasurable—immersion. Finalist for the 2012 National Book Critics Circle Award.Mary Ruefle has published more than a dozen books of poetry, prose, and erasures. She lives in Vermont.

    From adjectives and exclamation points to dialect and hoopetedoodle, Elmore Leonard explains what to avoid, what to aspire to, and what to do when it sounds like "writing" (rewrite).Beautifully designed, filled with free-flowing, elegant illustrations and specially priced, Elmore Leonard's 10 Rules of Writing is the perfect writer's—and reader's—gift.

    Essential reading for students and anyone interested in the great philosophers, this book opens up appreciation of Heidegger beyond the study of philosophy to the reaches of poetry and our fundamental relationship to the world. Featuring "The Origin of the Work of Art," a milestone in Heidegger's canon, this enduring volume provides potent, accessible entry to one of the most brilliant thinkers of modern times.

    Offering bold new ways of conceiving the present, Lauren Berlant describes the cruel optimism that has prevailed since the 1980s, as the social-democratic promise of the postwar period in the United States and Europe has retracted. People have remained attached to unachievable fantasies of the good life—with its promises of upward mobility, job security, political and social equality, and durable intimacy—despite evidence that liberal-capitalist societies can no longer be counted on to provide opportunities for individuals to make their lives “add up to something.”Arguing that the historical present is perceived affectively before it is understood in any other way, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, contingency, and crisis. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary. Cruel Optimism is a remarkable affective history of the present.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    R. R. Tolkien is perhaps best known for The Hobbit and The Lord of the Rings, but it is in The Silmarillion that the true depth of Tolkien's Middle-earth can be understood. The Silmarillion was written before, during, and after Tolkien wrote The Hobbit and The Lord of the Rings. A collection of stories, it provides information alluded to in Tolkien's better known works and, in doing so, turns The Lord of the Rings into much more than a sequel to The Hobbit, making it instead a continuation of the mythology of Middle-earth. Verlyn Flieger's expanded and updated edition of Splintered Light, a classic study of Tolkien's fiction first published in 1983, examines The Silmarillion and The Lord of the Rings in light of Owen Barfield's linguistic theory of the fragmentation of meaning. Flieger demonstrates Tolkien's use of Barfield's concept throughout the fiction, showing how his central image of primary light splintered and refracted acts as a metaphor for the languages, peoples, and history of Middle-earth.

    Author of pervious studies of Joyce, T.S. Eliot, Wyndham Lewis and Pound (to name a few), Kenner bestrides modern literature if not like a colossus then at least a presence of formidable proportions. A new book by him is certainly an event....A demanding, enticing book that glitters at the same time it antagonizes...."The Pound Era presents us with an idiosyncratic but sharply etched skeletal view of our immediate literary heritage."—The New York Times

    From Gothic ghost stories to psychological horror to science fiction, women have been primary architects of speculative literature of all sorts. And their own life stories are as intriguing as their fiction. Everyone knows about Mary Shelley, creator of Frankenstein, who was rumored to keep her late husband’s heart in her desk drawer. But have you heard of Margaret “Mad Madge” Cavendish, who wrote a science-fiction epic 150 years earlier (and liked to wear topless gowns to the theater)? If you know the astounding work of Shirley Jackson, whose novel The Haunting of Hill House was reinvented as a Netflix series, then try the psychological hauntings of Violet Paget, who was openly involved in long-term romantic relationships with women in the Victorian era. You’ll meet celebrated icons (Ann Radcliffe, V. C. Andrews), forgotten wordsmiths (Eli Colter, Ruby Jean Jensen), and today’s vanguard (Helen Oyeyemi). Curated reading lists point you to their most spine-chilling tales.Part biography, part reader’s guide, the engaging write-ups and detailed reading lists will introduce you to more than a hundred authors and over two hundred of their mysterious and spooky novels, novellas, and stories.

     We do it in the dark. Under the sheets. With a penlight. We wear sunglasses and a baseball hat at the bookstore. We have a "special place" where we store them. Let's face it: Not many folks are willing to publicly admit they love romance novels. Meanwhile, romance continues to be the bestselling fiction genre. Ever. So what's with all the shame? Sarah Wendell and Candy Tan -- the creators of the wildly popular blog Smart Bitches, Trashy Books -- have no shame! They look at the good, the bad, and the ugly in the world of romance novels and tackle the hard issues and questions: -- The heroine's irresistible Magic Hoo Hoo and the hero's untamable Wang of Mighty Lovin' -- Sexual trends. Simultaneous orgasms. Hymens. And is anal really the new oral? -- Romance novel cover requirements: man titty, camel toe, flowers, long hair, animals, and the O-face -- Are romance novels really candy-coated porn or vehicles by which we understand our sexual and gender politics? With insider advice for writing romances, fun games to discover your inner Viking warrior, and interviews with famous romance authors, Beyond Heaving Bosoms shows that while some romance novels are silly -- maybe even tawdry -- they can also be intelligent, savvy, feminist, and fabulous, just like their readers!

    Unfortunately, many depictions of technical subjects in literature, film, and television are pure fiction. A basic understanding of biology, physics, engineering, and medicine will help you create more realistic stories that satisfy discerning readers.This book brings together scientists, physicians, engineers, and other experts to help you:Understand the basic principles of science, technology, and medicine that are frequently featured in fiction.Avoid common pitfalls and misconceptions to ensure technical accuracy.Write realistic and compelling scientific elements that will captivate readers.Brainstorm and develop new science- and technology-based story ideas.Whether writing about mutant monsters, rogue viruses, giant spaceships, or even murders and espionage, Putting the Science in Fiction will have something to help every writer craft better fiction.Putting the Science in Fiction collects articles from "Science in Sci-fi, Fact in Fantasy," Dan Koboldt's popular blog series for authors and fans of speculative fiction (dankoboldt.com/science-in-scifi). Each article discusses an element of sci-fi or fantasy with an expert in that field. Scientists, engineers, medical professionals, and others share their insights in order to debunk the myths, correct the misconceptions, and offer advice on getting the details right.

    The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing.As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the technology of poetry--its sounds--to create works of art that are performed in us when we read them aloud.He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Gl�ck, and Frank Bidart.This ideal introductory volume belongs in the library of every poet and student of poetry.

    Drawing on her hugely popular lecture courses at Yale and Harvard over the past thirty years, Marjorie Garber offers passionate and revealing readings of the plays in chronological sequence, from The Two Gentlemen of Verona to The Two Noble Kinsmen. Supremely readable and engaging, and complete with a comprehensive introduction to Shakespeare's life and times and an extensive bibliography, this magisterial work is an ever-replenishing fount of insight on the most celebrated writer of all time.

    The masterly essay on Tolstoy's view of history, in which Sir Isaiah underlines a fundamental distinction between those people (foxes) who are fascinated by the infinite variety of things and those (hedgehogs) who relate everything to a central, all-embracing system.