Highly respected and widely read author Isaac Asimov offers a fresh, easy-to-read approach to understanding the greatest writer of all time.Designed to provide the modern reader with a working knowledge of topics pertinent to Shakespeare's audience, this book explores, scene-by-scene, thirty-eight plays and two narrative poems, including their mythological, historical and geographical roots.

    Geared toward students, teachers, readers, and writers alike, The Penguin Dictionary of Literary Terms and Literary Theory explains critical jargon (intertextuality, aporia), schools of literary theory (structuralism, feminist criticism), literary forms (sonnet, ottava rima), and genres (elegy, pastoral) and examines artifacts, historic locales, archetypes, origins of well-known phrases, and much, much more. Scholarly, straightforward, comprehensive, and even entertaining, this is a resource that no word-lover should be without.

    From the ghost stories of the Gothic to the zombies and vampires of twenty-first-century popular literature, from Mrs Radcliffe to Ms Rowling, the fantastic has been popular with readers. Since Tolkien and his many imitators, however, it has become a major publishing phenomenon. In this volume, critics and authors of fantasy look at its history since the Enlightenment, introduce readers to some of the different codes for the reading and understanding of fantasy, and examine some of the many varieties and subgenres of fantasy; from magical realism at the more literary end of the genre, to paranormal romance at the more popular end. The book is edited by the same pair who produced The Cambridge Companion to Science Fiction (winner of a Hugo Award in 2005).

    Wallace’s pieces for Harper’s magazine in the ’90s were, according to Lipsky, “like hearing for the first time the brain voice of everybody I knew: Here was how we all talked, experienced, thought. It was like smelling the damp in the air, seeing the first flash from a storm a mile away. You knew something gigantic was coming.”Then Rolling Stone sent Lipsky to join Wallace on the last leg of his book tour for Infinite Jest, the novel that made him internationally famous. They lose to each other at chess. They get iced-in at an airport. They dash to Chicago to catch a make-up flight. They endure a terrible reader’s escort in Minneapolis. Wallace does a reading, a signing, an NPR appearance. Wallace gives in and imbibes titanic amounts of hotel television (what he calls an “orgy of spectation”). They fly back to Illinois, drive home, walk Wallace’s dogs. Amid these everyday events, Wallace tells Lipsky remarkable things—everything he can about his life, how he feels, what he thinks, what terrifies and fascinates and confounds him—in the writing voice Lipsky had come to love. Lipsky took notes, stopped envying him, and came to feel about him—that grateful, awake feeling—the same way he felt about Infinite Jest. Then Lipsky heads to the airport, and Wallace goes to a dance at a Baptist church.A biography in five days, Although Of Course You End Up Becoming Yourself is David Foster Wallace as few experienced this great American writer. Told in his own words, here is Wallace’s own story, and his astonishing, humane, alert way of looking at the world; here are stories of being a young writer—of being young generally—trying to knit together your ideas of who you should be and who other people expect you to be, and of being young in March of 1996. And of what it was like to be with and—as he tells it—what it was like to become David Foster Wallace.

    It tells the story of William Stoner, who attends the state university to study agronomy, but instead falls in love with English literature and becomes an academic. The novel narrates the many disappointments and struggles in Stoner's academic and personal life, including his estrangement from his wife and daughter, set against the backdrop of the first half of the twentieth century.In his entry in the Bookmarked series, author Steve Almond writes about why Stoner has endured, and the manner in which it speaks to the impoverishment of the inner life in America. Almond will also use the book as a launching pad for an investigation of America’s soul, in the process, writing about his own struggles as a student of writing, as a father and husband, and as a man grappling with his own mortality.

    It includes essays on writers, of course (Laurence Sterne, Franz Kafka, James Joyce, and Kathy Acker among them), but also on Gerhard Richter, David Lynch, and Sonic Youth and all of them are written with the same stylish and provocative flare that made McCarthy's Remainder such a hit. This is an indispensable introduction to the mind and work of one of today s most brilliant and controversial novelists."

    The stories she loves most follow other organic patterns found in nature―spirals, meanders, and explosions, among others. Alison’s manifesto for new modes of narrative will appeal to serious readers and writers alike. As Jane Alison writes in the introduction to her insightful and appealing book about the craft of writing: “For centuries there’s been one path through fiction we’re most likely to travel―one we’re actually told to follow―and that’s the dramatic arc: a situation arises, grows tense, reaches a peak, subsides. . . . But: something that swells and tautens until climax, then collapses? Bit masculo-sexual, no? So many other patterns run through nature, tracing other deep motions in life. Why not draw on them, too?”W. G. Sebald’s The Emigrants was the first novel to show Alison how forward momentum can be created by way of pattern, rather than the traditional arc―or, in nature, wave. Other writers of nonlinear prose considered in her “museum of specimens” include Nicholson Baker, Anne Carson, Marguerite Duras, Jamaica Kincaid, Clarice Lispector, Gabriel García Márquez, Susan Minot, David Mitchell, Caryl Phillips, and Mary Robison.Meander, Spiral, Explode is a singular and brilliant elucidation of literary strategies that also brings high spirits and wit to its original conclusions. It is a liberating manifesto that says, Let’s leave the outdated modes behind and, in thinking of new modes, bring feeling back to experimentation. It will appeal to serious readers and writers alike.

    As he analyzes the opening sections of novels and short stories by such writers as Agnon, Gogol, Kafka, Chekhov, García Márquez, and Raymond Carver, Oz instructs, challenges, and guides. He writes about the notion of "beginnings," what the beginning of a novel or short story might "mean" to the author and how important it is. And best of all-he entertains. He highlights opening paragraphs in which authors make promises they may or may not deliver later in the work, or deliver in unexpected ways, or they may deliver more than they have promised. It is a game that miraculously and playfully engages both writer and reader. The Story Begins is a resourceful, accessible, and friendly companion for all students of literature and writing and for all book lovers.

    In considering such aspects, the author goes beyond the domain of pure aesthetics and offers an interpretation of some basic cultural problems of our time.

    Reflections on my life --On the structural analysis of science fiction --Science fiction : a hopeless case --with exceptions --Philip K. Dick : a visionary among the Charlatans --The time-travel story and related matters of science-fiction structuring --Metafantasia : the possibilities of science fiction --Cosmology and science fiction --Todorov's fantastic theory of literature --Unitas oppositorum : the prose of Jorge Luis Borges --About the Strugatsky's Roadside picnic

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    Lovecraft (1890-1937), the most important American supernaturalist since Poe, has had an incalculable influence on all the horror-story writing of recent decades. Altho his supernatural fiction has been enjoying an unprecedented fame, it's not widely known that he wrote a critical history of supernatural horror in literature that has yet to be superceded as the finest historical discussion of the genre. This work is presented in this volume in its final, revised text. With incisive power, Lovecraft here formulates the esthetics of supernatural horror & summarizes the range of its literary expression from primitive folklore to the tales of his own 20th-century masters. Following a discussiom of terror-literature in ancient, medieval & renaissance culture, he launches on a critical survey of the whole history of horror fiction from the Gothic school of the 18th century (when supernatural horror found its own genre) to the time of De la Mare & M.R. James. The Castle of Otranto, Radcliffe, "Monk" Lewis, Vathek Charles Brockden Brown, Melmoth the Wanderer, Frankenstein, Bulwer-Lytton, Fouqué's Undine, Wuthering Heights, Poe (full chapter), The House of the Seven Gables, de Maupassant's The Horla, Bierce, The Turn of the Screw , M.P. Shiel, W.H. Hodgson, Machen, Blackwood & Dunsany are among those discussed in depth. He also notices a host of lesser writers--enough to draw up an extensive reading list. By charting so completely the background for his own concepts of horror & literary techniques, Lovecraft throws light on his own fiction as well as on the horror-literature which has followed. For this reason this book will be especially intriguing to those who've read his fiction as an isolated phenomenon. Any searching for a guide thru the inadequately marked region of literary horror, need search no further. Unabridged & corrected republication of 1945 edition. New introduction by E.F. Bleiler.

    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.

    Emphasizing both the coherence and the diversity of English metrical practice from Chaucer's time to ours, Timothy Steele explains how poets harmonize the fixed units of meter with the variable flow of idiomatic speech, and examines the ways in which poets have used meter, rhyme, and stanza to communicate and enhance meaning. Steele illuminates as well many practical, theoretical, and historical issues in English prosody, without ever losing sight of the fundamental pleasures, beauties, and insights that fine poems offer us. Written lucidly, with a generous selection of helpful scansions and explanations of the metrical effects of the great poets of the English language, All the Fun's in How You Say a Thing is not only a valuable handbook on technique; it is also a wide-ranging study of English verse and a mine of entertaining information for anyone wishing more fully to write, enjoy, understand, or teach poetry.

    He was also a great wit and prose stylist, well known for his aphorisms. Between 1745 and 1755, Johnson wrote perhaps his best-known work, A Dictionary of the English Language. During the decade he worked on the Dictionary, Johnson, needing to augment his precarious income, also wrote a series of semi-weekly essays under the title The Rambler. These essays, often on moral and religious topics, tended to be more grave than the title of the series would suggest. They ran until 1752. Initially they were not popular, but once collected as a volume they found a large audience. Johnson's final major work was his Lives of the Poets (1781), comprising short biographies of about 50 English poets, most of whom were alive in the eighteenth century. Amongst his other works are The Idler (1758-1760), Rasselas, Prince of Abissinia (1759) and The Patriot (1774).