Let us go then, you and I,When the evening is spread out against the skyLike a patient etherised upon a table;Let us go, through certain half-deserted streets . . .- The Love Song of J. Alfred PrufrockAs a poet, editor and essayist, T. S. Eliot was the most influential figure of his age, and one of the defining figures of the twentieth century. As well as winning the Nobel Prize for Literature in 1948, he was the author of Old Possum's Book of Practical Cats, providing the lyrics for Andrew Lloyd Webber's musical Cats, which has been performed all over the world for the past twenty-five years. His poetry is as relevant and revelatory today as it was when first published. This selection, made by Eliot himself, includes many of his most celebrated works, including 'The Love Song of J. Alfred Prufrock', The Waste Land, and 'The Hollow Men'.
Introducing English Grammar introduces readers to the methodology and terminology needed to analyse English sentences. The approach taken is in line with current research in grammar, a particular advantage for students who may go on to study syntax in more depth. All the examples and exercises use real language taken from both standard and non-standard geographical areas and dialects, and include excerpts from Australian and British newspaper articles. Students are encouraged to think about the terminology as a tool kit for studying language and to test what can and cannot be described using these tools. This new edition has been fully updated and features: an expanded introduction; new texts and exercises that include data from social media; revised material on 'Grammar at work' and 'English worldwide'; more suggestions for further reading at the end of the book; a brand new companion website with extensive further reading and answers to the exercises, which can be found at www.routledge.com/cw/borjars. Written for readers with no previous experience of grammatical analysis, Introducing English Grammar is suited to anyone beginning a study of linguistics, English language or speech pathology, as well as to students whose interests are primarily literary but who need a better understanding of the structure of English.
"The latest entry in the publisher's series (41 and counting) proves the resilience of, and market for, these locale noirs. Editor Michaëlis, a Danish book critic, is both scholarly and insightful in the introduction and outlines how the stories reflect the greed and ennui of modern Denmark in contrast to the Danish idyll depicted in tourist brochures . . . Although some stories veer from noir orthodoxy, there are fine examples of lyrical writing, noir sensibilities, and insight into the current Danish psyche. Overall, a very impressive anthology." --Library Journal "The indefatigable noir series of anthologies (Orange County Noir, Trinidad Noir, Brooklyn Noir 3, etc.) focuses in its 43rd volume on the home of Hans Christian Andersen . . . Based on this collection, Copenhagen may be a great place to visit, but nobody seems to live there, at least not well or long." --Kirkus Reviews "Fans used to the watered-down noir now prevalent in America will notice immediately the much harder edge of these stories, which are much closer to the noir of the 1940s and '50s." --Booklist "[This] volume has grim, uncomfortable power." --Publishers Weekly Joining Rome, Paris, Istanbul, London, and Dublin as European hosts for the Akashic Noir series, Copenhagen Noir features brand-new stories from a top-notch crew of Danish writers, with several Swedish and Norwegian writers thrown into the mix. This volume definitively reveals why Scandinavian crime fiction has come to be so popular across the world. Includes brand-new stories by: Naja Marie Aidt, Jonas T. Bengtsson, Helle Helle, Christian Dorph and Simon Pasternak, Susanne Staun, Lene Kaaberbøl and Agnete Friis, Klaus Rifbjerg, Gretelise Holm, Georg Ursin, Kristian Lundberg, Kristina Stoltz, Seyit Öztürk, Benn Q. Holm, and Gunnar Staalesen. Bo Tao Michaëlis is a book critic and editor living in Copenhagen, Denmark.
Born with the extraordinary power to look deep within the human heart, David Selig recklessly misuses his gift in the pursuit of pleasure, until his power begins to die and he must come to terms with what it means to be truly human. This is a fascinating portrait. Never has the experience of telepathy been conveyed so vividly, so excitingly, so chillingly. And never has Silverberg created so moving a story, as he depicts the flux of dying and thrust towards rebirth.
From John Green, the #1 bestselling author of Turtles All the Way Down "The greatest romance story of this decade." —Entertainment Weekly -Millions of copies sold- #1 New York Times Bestseller #1 Wall Street Journal Bestseller #1 USA Today Bestseller #1 International Bestseller TIME Magazine’s #1 Fiction Book of 2012 TODAY Book Club pick Now a Major Motion Picture Despite the tumor-shrinking medical miracle that has bought her a few years, Hazel has never been anything but terminal, her final chapter inscribed upon diagnosis. But when a gorgeous plot twist named Augustus Waters suddenly appears at Cancer Kid Support Group, Hazel’s story is about to be completely rewritten. Insightful, bold, irreverent, and raw, The Fault in Our Stars brilliantly explores the funny, thrilling, and tragic business of being alive and in love.
Complete poems are bulky and too heavy to carry around. Collected poems pretend to be complete, but usually are not. Selected poems are altogether unpretentious and reader-friendly. But they can be problematic. Who decides what poems are important for inclusion in a volume of selected poems? When the selection occurs during the author’s lifetime, may one assume that the author was involved? What motivates the choice of one poem over another? How do readers’ preferences influence this choice? How do new readers and familiar readers of a poet negotiate the poems that are left out of the selection? The essays in this volume address these questions in a variety of ways, and also provide an overview of poetic writing from modernist poets to the present day, using selections from the 1940s until now. They offer new insight into the uses, both pedagogical and critical, of selection. Because Selected Poems usually address a large general public, these essays have also been written for all those who wish to know more about how these slimmer, more attractive volumes are produced.
'I am inclined to think that we want new forms . . . as well as thoughts', confessed Elizabeth Barrett to Robert Browning in 1845. The Oxford Handbook of Victorian Poetry provides a closely-read appreciation of the vibrancy and variety of Victorian poetic forms, and attends to poems as both shaped and shaping forces. The volume is divided into four main sections. The first section on 'Form' looks at a few central innovations and engagements—'Rhythm', 'Beat', 'Address', 'Rhyme', 'Diction', 'Syntax', and 'Story'. The second section, 'Literary Landscapes', examines the traditions and writers (from classical times to the present day) that influence and take their bearings from Victorian poets. The third section provides 'Readings' of twenty-three poets by concentrating on particular poems or collections of poems, offering focused, nuanced engagements with the pleasures and challenges offered by particular styles of thinking and writing. The final section, 'The Place of Poetry', conceives and explores 'place' in a range of ways in order to situate Victorian poetry within broader contexts and discussions: the places in which poems were encountered; the poetic representation and embodiment of various sites and spaces; the location of the 'Victorian' alongside other territories and nationalities; and debates about the place - and displacement - of poetry in Victorian society. This Handbook is designed to be not only an essential resource for those interested in Victorian poetry and poetics, but also a landmark publication—provocative, seminal volume that will offer a lasting contribution to future studies in the area.