Sweeping yet precise, moving from essential detail to bracing illustration, Steiner spans the entire history of philosophy in the West as it entwines with literature, finding that, as Sartre stated, in all philosophy there is “a hidden literary prose.”“The poetic genius of abstract thought,” Steiner believes, “is lit, is made audible. Argument, even analytic, has its drumbeat. It is made ode. What voices the closing movements of Hegel’s Phenomenology better than Edith Piaf’s non de non, a twofold negation which Hegel would have prized? This essay is an attempt to listen more closely.”

    K. Rowling's Harry Potter series. But how should Christians approach modern works of fantasy, especially debated points such as magic and witches?From Homer to Harry Potter provides the historical background readers need to understand this timeless genre. It explores the influence of biblical narrative, Greek mythology, and Arthurian legend on modern fantasy and reveals how the fantastic offers profound insights into truth. The authors draw from a Christian viewpoint informed by C. S. Lewis and J. R. R. Tolkien to assess modern authors such as Philip Pullman, Walter Wangerin, and J. K. Rowling. This accessible book guides undergraduate students, pastors, and lay readers to a more astute and rewarding reading of all fantasy literature.

    It features a biography of the author (including an interview), a full-length analysis of the novel, and a great deal more. If you're studying this novel, reading it for your book club, or if you simply want to know more about it, you'll find this guide informative and helpful. This is part of a new series of guides to contemporary novels. The aim of the series is to give readers accessible and informative introductions to some of the most popular, most acclaimed and most influential novels of recent years - from ‘The Remains of the Day' to ‘White Teeth'. A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question.

    It then examines the beginning of "civilisation" in the Americas and the Pacific, before their first contact with Europeans. Eurasia dominates the central part of the book, with the empires of China and the Mongols and the rise of Islam. This is followed by a section on world balance after Europeans had made contact with the long-established societies of the Americas and Asians, while the last part deals with the massive economic changes of the modern world. Themes include contact between different cultures and how history interlocks; the passing on of ideas, technology and religions; how 'civilisation' spread; the relationship between settled societies and nomadic groups; the importance of trade; how Europe moved from the periphery to the centre in the last 1,000 years; and the coming of industrialisation.

    Children’s Literature charts the makings of the Western literary imagination from Aesop’s fables to Mother Goose, from Alice's Adventures in Wonderland to Peter Pan, from Where the Wild Things Are to Harry Potter.The only single-volume work to capture the rich and diverse history of children’s literature in its full panorama, this extraordinary book reveals why J. R. R. Tolkien, Dr. Seuss, Laura Ingalls Wilder, Beatrix Potter, and many others, despite their divergent styles and subject matter, have all resonated with generations of readers. Children’s Literature is an exhilarating quest across centuries, continents, and genres to discover how, and why, we first fall in love with the written word.

    The greatly esteemed essayist, novelist, and philosopher reflects on the art of translation and on Rainer Maria Rilke's Duino Elegies and gives us his own translation of Rilke's masterwork.

    This diverse and powerful body of literature has established a specific practice of post-colonial writing in cultures as various as India, Australia, the West Indies and Canada, and has challenged both the traditional canon and dominant ideas of literature and culture.The Empire Writes Back was the first major theoretical account of a wide range of post-colonial texts and their relation to the larger issues of post-colonial culture, and remains one of the most significant works published in this field. The authors, three leading figures in post-colonial studies, open up debates about the interrelationships of post-colonial literatures, investigate the powerful forces acting on language in the post-colonial text, and show how these texts constitute a radical critique of Eurocentric notions of literature and language.This book is brilliant not only for its incisive analysis, but for its accessibility for readers new to the field. Now with an additional chapter and an updated bibliography, The Empire Writes Back is essential for contemporary post-colonial studies.

    This Companion presents an extensive historical survey of the development of utopianism, from the publication of Utopia to today's dark and despairing tendency towards dystopian pessimism, epitomised by works such as George Orwell's Nineteen Eighty-Four and Margaret Atwood's The Handmaid's Tale. Chapters address the difficult definition of the concept of utopia, and consider its relation to science fiction and other literary genres. The volume takes an innovative approach to the major themes predominating within the utopian and dystopian literary tradition, including feminism, romance and ecology, and explores in detail the vexed question of the purportedly 'western' nature of the concept of utopia. The reader is provided with a balanced overview of the evolution and current state of a long-standing, rich tradition of historical, political and literary scholarship.

    A meditation on life, a philosophical enquiry into human nature and a profoundly funny dissection of urban madness.Christopher Ross, philosopher and traveller, decided to cease his journeyings and go underground, working for a year as a station assistant on Platform 6 (northbound Victoria Line) at Oxford Circus. After training school, where he is taught how not to electrocute himself and always to look a member of the public in the eye as they are assaulting you, he faces up to his new duties with a mixture of curiosity and foreboding.‘Tunnel Visions’ is a delightful mixture of lived experience in the sureal world of London’s Underground and the more elevated ideas, thoughts and imaginings that experience provokes. Oxford Circus station, complete with its weeping wall, its streakers, buskers, onanists and cupboard containing one employee whose ideal working day was to sleep soundly 100 feet below ground, is a Plato’s Cave of reflection and human comedy. Christopher Ross, a still point in the whirling stream of the bizarre and otherworldly life below ground, has written a profoundly funny book.

    The essays span fifty years of critical reaction, from the first publication of The Fellowship of the Ring through the release of Peter Jackson's film trilogy, which inspired a new generation of readers to discover the classic work and prior generations to rediscover its power and beauty. Fans and scholars alike will appreciate these important, insightful, and timely pieces. Fourteen of the fifteen have been previously published but are gathered here for the first time. The final essay in the volume, "The Road Back to Middle-earth" by Tom Shippey, was commissioned especially for this collection. Shippey examines how Peter Jackson translated the text into film drama, shaping the story to fit the understanding of a modern audience without compromising its deep philosophical core.

    One was a celebrity at twenty-three, the other virtually unknown until his dying days. One was right-wing and religious, the other a socialist and an atheist. Yet, as this ingenious and important new book reveals, at the heart of their lives and writing, Evelyn Waugh and George Orwell were essentially the same man. Orwell is best known for Animal Farm and 1984, Waugh for Brideshead Revisited and comic novels like Scoop and Vile Bodies. However different they may seem, these two towering figures of twentieth-century literature are linked for the first time in this engaging and unconventional biography, which goes beyond the story of their amazing lives to reach the core of their beliefs–a shared vision that was startlingly prescient about our own troubled times.Both Waugh and Orwell were born in 1903, into the same comfortable stratum of England’s class-obsessed society. But at first glance they seem to have lived opposite lives. Waugh married into the high aristocracy, writing hilarious novels that captured the amoral time between the wars. He converted to Catholicism after his wife’s infidelity and their divorce. Orwell married a moneyless student of Tolkien’s who followed him to Barcelona, where he fought in the Spanish Civil War. She saved his life there–twice–but her own fate was tragic.Waugh and Orwell would meet only once, as the latter lay dying of tuberculosis, yet as The Same Man brilliantly shows, in their life and work both writers rebelled against a modern world run by a privileged, sometimes brutal, few. Orwell and Waugh were almost alone among their peers in seeing what the future–our time–would bring, and they dedicated their lives to warning us against what was coming: a world of material wealth but few values, an existence without tradition or community or common purpose, where lives are measured in dollars, not sense. They explained why, despite prosperity, so many people feel that our society is headed in the wrong direction. David Lebedoff believes that we need both Orwell and Waugh now more than ever.Unique in its insights and filled with vivid scenes of these two fascinating men and their tumultuous times, The Same Man is an amazing story and an original work of literary biography.

    The engaging and informative narrative touches on all aspects of civilization, including geography, communication, and technological and artistic developments, and provides extensive coverage of the modern era. This new edition includes a thoroughly updated bibliographic essay and a new discussion of the most significant events in world history and civilization since 1976.

    This highly entertaining biography, written by Jason Thomas and culled from the recollections and family records of Duke's godson, Pony Duke, represents the only candid record of Doris Duke's remarkable life and highly controversial death. From early childhood—too rich to play with other children for fear of disease, kidnapping, or mixing with those of less desirable lineage—Doris was virtually imprisoned in a cold, sterile mansion on Manhattan's Fifth Avenue (the house reeked of ammonia used to keep her environment germ-free) with a powerful father and a bitter, blue-blooded mother. As she broke free into adulthood, Doris inherited a massive fortune and learned to live life on her own terms. She entered into an arranged marriage and later divorced (her first); she learned the ways of sex and desire in the arms of a muscular Hawaiian Olympic champion; she followed her next love into World War II and returned alone. And amid her numerous and headline-making affairs, Doris Duke increased her vast wealth. Her investments in real estate, art, and business allowed her to leave behind far more money than she inherited, something few heiresses can boast. She learned from an early age that those who befriended her mind or romanced her body more than likely desired her wallet, and this realization left Doris Duke a lonely woman.<br>From interviews, private family documents, and the words of Doris herself, Too Rich provides facts and insights never before unearthed by the outside media. Her bizarre adoption of a thirty-five-year-old woman, Chandi Heffner, and, in later years, sensational events surrounding Duke's death and suspected murder in 1993—including the inside story of her butler, Bernard Lafferty—are meticulously documented in this uniquely intimate portrait of one of the most interesting and controversial celebrities of the twentieth century.<br><br>PONY DUKE is Doris Duke's cousin and godson and one of the surviving members of the Duke clan. He is a self-employed businessman and rancher living in Montana. JASON THOMAS is a novelist and former nationally syndicated columnist.<br><br>She was the richest child born in America; she had the president's private phone number; her scandalous marriages and affairs—with an ambassador, Olympian, musician, politician, general, international stud, and movie star—were legendary. But who, really, was Doris Duke? Who was the mysterious woman behind the billions, who took private pleasure in singing gospel music, loving nature, and seducing men? What insurmountable rules and expectations of wealth corralled her life into the world of the lonely elite—and led, at the age of eighty, to her alleged murder?<br><br>Too Rich was made into a successful CBS television mini-series entitled Too Rich: The Secret Life of Doris Duke starring Richard Chamberlain and Lauren Bacall.

    The ancient Roman philosopher and cynical power broker, Seneca? The 16th century French philosopher Montaigne certainly brought it to a peak of perfection. There were many 19th century masters, not so many after that. Who is the greatest living essayist writing in English? That requires no debate at all. It is unquestionably Joseph Epstein. He is not only the best living essayist; he is right up there in the company of Seneca and Montaigne, but one of our own, living in our era and dealing with our pleasures and travails. Epstein is penetrating. He is witty. He has a magic touch with words, that hard to define but immediately recognizable quality called style. Above all, he is impossible to put down. Epstein reads omnivorously and brings us the best of what he reads, passages that we would never have found on our own. How easy it is today, in the digital age, drowning in emails and other ephemera, to forget the simple delight of reading for no intended purpose. Like any master essayist, however, this one brings us more than the shared experience of a lifetime of reading. He brings us himself, alternately scolding and charming, sparkling and deep, buoyant and sad, zany and wise, rebellious and conservative, bookworm and sports fan, clever and everyman, debunker and preservationist, deep into high culture, deep into low culture, curious, fresh, and settled in his ways. This is the friend we all wish we could have, the ideal, humane companion who is completely comfortable in his own human skin. Like Plutarch, he gives us life teaching by example, but with a wry smile and such a sure hand that we hardly notice the instruction. It is pure pleasure.

    The novel has been hailed as one of the most striking early examples of postmodernism and has become a famous test case for theories about reading because of the apparent impossibility of deciding between several radically different interpretations. Does the book have two narrators, as it first appears, or one? How much is fantasy and how much is reality? Whose fantasy and whose reality are they? Brian Boyd, Nabokov's biographer and hitherto the foremost proponent of the idea that Pale Fire has one narrator, John Shade, now rejects this position and presents a new and startlingly different solution that will permanently shift the nature of critical debate on the novel. Boyd argues that the book does indeed have two narrators, Shade and Charles Kinbote, but reveals that Kinbote had some strange and highly surprising help in writing his sections. In light of this interpretation, Pale Fire now looks distinctly less postmodern--and more interesting than ever.In presenting his arguments, Boyd shows how Nabokov designed Pale Fire for readers to make surprising discoveries on a first reading and even more surprising discoveries on subsequent readings by following carefully prepared clues within the novel. Boyd leads the reader step-by-step through the book, gradually revealing the profound relationship between Nabokov's ethics, aesthetics, epistemology, and metaphysics. If Nabokov has generously planned the novel to be accessible on a first reading and yet to incorporate successive vistas of surprise, Boyd argues, it is because he thinks a deep generosity lies behind the inexhaustibility, complexity, and mystery of the world. Boyd also shows how Nabokov's interest in discovery springs in part from his work as a scientist and scholar, and draws comparisons between the processes of readerly and scientific discovery.This is a profound, provocative, and compelling reinterpretation of one of the greatest novels of the twentieth century.