. . and human endurance, this beautiful new edition features Wilder's unpublished production notes, diary entries, and other illuminating documentary material, all of which is included in a new Afterword by Tappan Wilder.Time magazine called The Skin of Our Teeth "a sort of Hellzapoppin' with brains," as it broke from established theatrical conventions and walked off with the 1943 Pulitzer Prize for Best Drama. Combining farce, burlesque, and satire (among other styles), Thornton Wilder departs from his studied use of nostalgia and sentiment in Our Town to have an Eternal Family narrowly escape one disaster after another, from ancient times to the present. Meet George and Maggie Antrobus (married only 5,000 years); their two children, Gladys and Henry (perfect in every way!); and their maid, Sabina (the ageless vamp) as they overcome ice, flood, and war -- by the skin of their teeth.

    Eliot’s work, all with an active Table of Contents for easy navigation! The collection is formatted for optimal viewing on the Nook! The collection includes:PRUFROCK AND OTHER OBSERVATIONS, which contains:• The Love Song of J. Alfred Prufrock• Portrait of a Lady• Preludes• Rhapsody on a Windy Night• Morning at the Window• The Boston Evening Transcript• Aunt Helen• Cousin Nancy• Mr. Apollinax• Hysteria• Conversation Galante• La Figlia Che PiangePOEMS, containing:• Gerontion• Burbank with a Baedeker: Bleistein with a Cigar• Sweeney Erect• A Cooking Egg• Le Directeur• Mélange adultère de tout• Lune de Miel• The Hippopotamus• Dans le Restaurant• Whispers of Immortality• Mr. Eliot's Sunday Morning Service• Sweeney Among the NightingalesTHE WASTE LANDEELDROP AND APPLEPEX (short story)THE SACRED WOOD: ESSAYS ON POETRY AND CRICTICISM, containing:• The Perfect Critic• Imperfect Critics• Tradition and the Individual Talent• The Possibility of a Poetic Drama• Euripides and Professor Murray• "Rhetoric" and Poetic Drama• Notes on the Blank Verse of Christopher Marlowe• Hamlet and His Problems• Ben Jonson• Philip Massinger• Swinburne As Poet• Blake• DanteEZRA POUND: HIS METRIC AND POETRY

    But just a few years after the defeat of Hitler came the Mau Mau uprising in Kenya - a mass armed rebellion by the Kikuyu people, demanding the return of their land and freedom. The draconian response of Britain's colonial government was to detain nearly the entire Kikuyu population of one-and-a half-million - to hold them in camps or confine them in villages ringed with barbed wire - and to portray them as sub-human savages.From 1952 until the end of the war in 1960 tens of thousands of detainees - and possibly a hundred thousand or more - died from the combined effects of exhaustion, disease, starvation and systemic physical brutality. Until now these events have remained untold, largely because the British government in Kenya destroyed most of its files. For the last eight years Caroline Elkins has conducted exhaustive research to piece together the story, unearthing reams of documents and interviewing several hundred Kikuyu survivors.Britain's Gulag reveals what happened inside Kenya's detention camps, as well as the efforts to conceal the truth. Now, for the first time, we can understand the full savagery of the Mau Mau war and the ruthless determination with which Britain sought to control its empire.

    There are two times most people turn to it: for love and loss. The Art of Losing will be the first anthology of its kind, delivering poetry with a purpose. Editor Kevin Young has introduced and selected 150 devastatingly beautiful poems that embrace the pain and heartbreak of mourning. Divided into five sections (Reckoning, Remembrance, Rituals, Recovery, and Redemption), with poems by some of our most beloved poets as well as the best of the current generation of poets, The Art of Losing is the ideal a gift for a loved one in a time of need and for use by ministers, rabbis, and palliative care workers who tend to those who are experiencing loss. Among the poets included: Elizabeth Alexander, W.H. Auden, Amy Clampitt, Billy Collins, Emily Dickinson, Louise Gluck, Ted Hughes, Galway Kinnell, Kenneth Koch, Philip Larkin, Li-Young Lee, Philip Levine, Marianne Moore, Sharon Olds Mary Oliver, Robert Pinsky, Adrienne Rich, Theodore Roethke, Anne Sexton, Wallace Stevens, Dylan Thomas, Derek Walcott, and James Wright.

    Archeophonics, defined as the archeology of lost sound, is one way of understanding the role and the task of poetry: to recover the buried sounds and shapes of languages in the tradition of the art, and the multitude of private connections that lie undisclosed in one's emotional memory. The book takes seriously the opening epigraph by the late great James Schuyler: "poetry, like music, is not just song." It recognizes that the poem is not a decorative art object but a means of organizing the world, in the words of anthropologist Clifford Geertz, "into transient examples of shaped behavior." Archeophonics is a series of discrete poems that are linked by repeated phrases and words, and its themes and nothing less than joy, outrage, loss, transhistorical thought, and day-to-day life. It is a private book of public and civic concerns.

    Mutability – a sense that all matter is unstable in the face of mortality – is at the heart of this new collection and each poem is involved in that drama: the held tension that is embodied life, and life’s losing struggle with the gravity of nature.Working as before with an ear to the oral tradition, these poems attend to the organic shapes and sounds and momentum of the language as it’s spoken as well as how it’s thought: fresh, fluid and propulsive, but also fragmentary, repetitive. These are poems that are written to be read aloud.Orpheus and Tithonus appear at the beginning and end of this book, alive in an English landscape, stuck in the clockwork of their own speech, and the Hours – goddesses of the seasons and the natural apportioning of Time – are the presiding figures. The persistent conditions are flux and falling, and the lines are in constant motion: approaching, from daring new angles, our experience of being human, and coalescing into poems of simple, stunning beauty.

    Whether illuminating a common laborer or a legendary thinker, Dubie meets his subjects with utter compassion for their humanity and the dignity behind their creative work. In pursuit of the well-told story, his love of history is ever-present—though often he recreates his own.“With its restoration of so many out-of-print poems and its addition of new works, The Mercy Seat was one of last year’s most significant publications.” —American Book Review“The voices of Dubie’s monologues are full of astonishing intimacy.” —The Washington Post Book World

    When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear--they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya's girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky's long-awaited Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.Finalist for the T. S. Eliot PrizeFinalist for the Forward Prize for Best Collection

    

    Some of these words appeal because of their aptness, some for their obscurity, some for their euphony, and some for their quirkiness.

    But they’re real, they’re honest, and hopefully they’ll make you feel a little less alone." -Ashley Dun

    In these quasi-abstract, experimental lines, collaged words torn from their contexts take on new meanings. Waldrop, a longtime admirer of such artists as the French poet Raymond Queneau and the American painter Robert Motherwell, imposes a tonal override on purloined materials, yet the originals continue to show through. These powerful poems, at once metaphysical and personal, reconcile Waldrop's romantic tendencies with formal experimentation, uniting poetry and philosophy and revealing him as a transcendentalist for the new millennium.

    Now, with over 10,000 entries, this edition features the latest in expletives, sexual obscenities and lavatorial euphemisms.

    Each selection showcases a writer's unique voice to demonstrate how writers present themselves through their work and to provide students with models they can use to develop their own voices. Arranged alphabetically by author and by five types of writing (informal, personal, expository, and argumentative writing, as well as short fiction) and with minimal apparatus, the readings allow instructors to be flexible and allow the writing to speak for itself.

    In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing.