The Cavalry Charges: Writings on Books, Film, and Music, Revised Edition is a collection of anecdotal reflections that relate many of the experiences that shaped Barry Gifford as a writer. Representative of Gifford's body of work, this volume is divided into three sections: books, film and television, and music. Within these sections, Gifford's best work is showcased, including a nine-part dossier on Marlon Brando's One-Eyed Jacks, in which Gifford examines the public and private lives of those involved in the film, producing an innovative framework for the movie. New to the collection are four previously published essays: a brief look at the novels of Alvaro Mutis; a reflection on Gifford's schooling under Nebraska poet John Neihardt; an essay on Elliot Chaze and his novel, Black Wings Has My Angel; and a short piece on Sailor and Lula.

Did Charlotte Bronte take opium? Did the Reverend Bronte carry a loaded pistol? What, precisely, does 'wuthering' mean? Distinguished literary critic John Sutherland takes an idiosyncratic look at the world of the Brontes, from the bumps on Charlotte's head to the nefarious origins of Mr Rochester's fortune, by way of astral telephony, letterwriting dogs, an exploding peat bog, and much, much more. Also features 'Jane Eyre abbreviated' by John Crace, author of the Guardian's 'Digested Reads' column - read Charlotte Bronte's masterpiece in five minutes!

Provides cross-disciplinary perspectives on the study of animals in humanities This volume critically investigates current topics and disciplines that are affected, enriched or put into dispute by the burgeoning scholarship on Animal Studies. What new questions and modes of research need come into play if we are to seriously acknowledge our entanglements with other animals? World-leading scholars from a range of disciplines, including Literature, Philosophy, Art, Biosemiotics, and Geography, set the agenda for Animal Studies today. Rather than a narrow specialism, the 35 newly commissioned essays in this book show how we think of other animals to be intrinsic to fields as major as ethics, economies as widespread as capitalism and relations as common as friendship. The volume contains original, cutting-edge research and opens up new methods, alignments, directions as well as challenges for the future of Animal Studies. Uniquely, the chapters each focus on a single topic, from 'Abjection' to 'Voice' and from 'Affection' to 'Technology', thus embedding the animal question as central to contemporary concerns across a wide range of disciplines. Key Features Provides in one work prominent scholars in animal studies and their reflections on the trajectory of the field Embeds the 'animal question' as central to contemporary concerns across a wide range of disciplines Brings discourses from the sciences into dialogue with the arts and humanities Opens up new methods, alignments, directions and challenges for the future of animal studies Afterword from Cary Wolfe (Bruce and Elizabeth Dunlevie Professor of English, Rice University)

When Romantic Religion was first published thirty-five years ago, no one dreamed that Lord of the Rings and The Chronicles of Narnia would one day be boxoffice hits and that their authors, J.R.R. Tolkien and C.S. Lewis, would be household names. R.J. Reilly's remarkably readable and perceptive book about the two writers and their two brilliant friends, Owen Barfield and Charles Williams, was soon treasured by fans as the best book on their circle of writer-philosophers, the Inklings. Romantic Religion went out of print and commanded high prices on the rare-book market. Now it has finally been republished so that a new generation of readers can delve into this book, whose relevance has kept pace with the growing reputations of its subjects. The title Romantic Religion reflects Reilly's premise that these four thinkers share a "matured romanticism." For them, creative imagination is central, with literary and religious views intimately related. Reilly devotes an insightful chapter to each of the writers and, in his conclusion, discusses their differences and similarities. Barfield fans will be especially impressed by the author's ability to clarify Barfield's famously condensed prose. In a compelling new preface, Reilly considers the changing reputations of the four writers and their relevance for today's readers. The book was first published, he tells us, during a war and horrendous societal dilemmas, not very different from those that plague the world today. Now, as then, says Reilly, the four writers remind us of "the possibility of a higher and saner life." They remind us that "if we belong to the party not of memory but of hope, it is because we are imaginative beings and can imagine better beings and better worlds." This is the first study to examine in depth the theological and philosophic implications of the work of that remarkable group of writers now called the Oxford Christians. In focusing on the central religious concern of the group, R.J.Reilly provides and approach that is destined to become normative. This is not a work of convention literary biography (even less hagiography) or conventional literary history. Rather, it is intellectually informed criticism that makes possible a deep understanding of the enduring dimensions of the work of four of the most attractive and challenging writers of our time. With the republication of Romantic Religion, this wise, penetrating picture of our own possibilities is put before us once more.

While humans have used their hands to engage in combat since the dawn of man, boxing originated in Ancient Greece as an Olympic event. It is one of the most popular, controversial and misunderstood sports in the world. For its advocates, it is a heroic expression of unfettered individualism. For its critics, it is a depraved and ruthless physical and commercial exploitation of mostly poor young men. This Companion offers engaging and informative essays about the social impact and historical importance of the sport of boxing. It includes a comprehensive chronology of the sport, listing all the important events and personalities. Essays examine topics such as women in boxing, boxing and the rise of television, boxing in Africa, boxing and literature, and boxing and Hollywood films. A unique book for scholars and fans alike, this Companion explores the sport from its inception in Ancient Greece to the death of its most celebrated figure, Muhammad Ali.

"Life is either a daring adventure or it is nothing." "The fool wonders, the wise man asks." "Comedy is tragedy plus time." "Friends are the sunshine of life." It is hard to imagine a more convenient reference--and a more engaging book to browse in--than The Little Oxford Dictionary ofQuotations. Here at your fingertips are over 4,000 of the best things ever said on more than 300 topics. From Actors to Writing by way of America, Children, Cinema, Last Words, Marriage, Politicians, Sex, and Taxes, it only takes a moment to find the perfect witticism, bon mot, or sage adage to suit any occasion.
Full of snappy one-liners and the world's greatest ideas, this stimulating volume ranges from the wisdom of the Bible, Shakespeare, and the great philosophers to the more modern meditations of Bona, J. K. Rowling, and George W. Bush. There is Yogi Berra's immortal "The future ain't what it used to be," Robert Louis Stevenson's "Wine is bottled poetry," and Lao Tzu's "A good traveler has no fixed plans." From literature to the law, music to the movies, readers will find an abundance of classic quotes and little known gems to enliven their speeches, conversation, reports and correspondence. And to make this volume even easier to use, a full index allows readers to search the text by author as well as theme.
The fifth edition has many new themes--including Africa, Facts, Honesty, India, Insight, Kissing, Persistence, Wisdom, Wit--and over 400 new quotations. Concise, convenient, authoritative, and affordable, The Little Oxford Dictionary of Quotations allows readers to keep a traveling data base of entertainment and information right in their pocket. It's as handy as it is indispensable--the perfect reference for home, school, and office.

This is an illustrated cultural history of the emergence of modern literature in China from the late nineteenth century through the early years of the Chinese Republic, the 1930s and the war period, ending in 1949. Wu Fuhui takes an interdisciplinary approach to the topic, drawing in book production, translation, popular and elite texts, international influences and political history. Presented here in English translation for the first time, Wu argues that this was a transformative period in Chinese literature informed both by developments in China's domestic history and the dynamics of global circulation and encounter.

Playwright, biographer, screenwriter, and critic S. N. Behrman (1893-1973) characterized the years he spent writing for The New Yorker as a time defined by ""feverish contact with great theatre stars, rich people and social people at posh hotels, at parties, in mansions and great estates."" While he hobnobbed with the likes of Mary McCarthy, Elia Kazan, and Greta Garbo and was one of Broadway's leading luminaries, Behrman would later admit that the friendships he built with the magazine's legendary editors Harold Ross, William Shawn, and Katharine S. White were the ""one unalloyed felicity"" of his life. People in a Magazine collects Behrman's correspondence with his editors along with telegrams, interoffice memos, and editorial notes drawn from the magazine's archives - offering an unparalleled view of mid-twentieth-century literary life and the formative years of The New Yorker, from the time of Behrman's first contributions to the magazine in 1929 until his death.

Adventure is just a book away as best-selling author Nancy Pearl returns with recommended reading for more than 120 destinations around the globe. "Book Lust To Go" connects the best fiction and nonfiction to particular destinations, whether your bags are packed or your armchair is calling. With stops from Texas to Timbuktu, Nancy Pearl's reading recommendations will send you on your way.

As a result of fabricated accounts endlessly repeated since his death, the early nineteenth-century French satirist, J. J.Grandville (180347), is often perceived as being as bizarre as his inventive protosurrealist imagery. With the recent bicentennial of his birth, it is time for a reassessment of this seminal artist based on primary sources. The Diary of J. J. Grandville and the Missouri Album: The Life of an Opposition Caricaturist and Romantic Book Illustrator in Paris under the July Monarchy by Clive F. Getty does just that. This first major study in English of Grandville allows him to speak for himself through a careful examination of his diary, fragments of which are to be found in a previously unexamined album of drawings in the Special Collections of the University of Missouri-Columbia Libraries.An introductory biography situates the artist within the political, social,and cultural climate of France during the Romantic era and the July Monarchy of Louis-Philippe. The main body of the book consists of an annotated catalog of the albums drawings. Since the majority originate from his diaries, they provide valuable new insights into Grandville's life and work, particularly during those years most extensively represented: 1830, 1833, and 1846. An epilogue explores the genesis of the Missouri Album. The biography follows Grandville from his native Nancy to Paris where he first gained fame as a satirist with the human/ animal hybrids of Les Mtamorphoses du jour (182829). After the Revolution of 1830, he produced opposition caricatures for Philipons La Caricature, Le Charivari, and the Association mensuelle. With the establishment of press censorship in 1835, Grandville turned to book illustration, producing such innovative masterpiecesas Scnes de la vie prive et pub-liquedes animaux (1842) and Un autre monde (1844). The biography ends with the unusual circumstances of Grandville's death in 1847 and an analysis of the distorted accounts about the deceased artist and

This book treats the literary work of Julia Augusta Webster within the context of Websters participation in nineteenth century British aestheticism. Websters personal life, her experience as a member of the Suffrage Society and her tenure on the London School Board, as well as her position as poetry reviewer for the Athenaeum and participation in the salon society of the 1880s, inform her later work, but her earliest poetry and fiction also reflect the beginnings of the aestheticist perspective on the transience and impermanence of life. This book makes use of extensive archival materials to provide context for a study of Websters literary work, beginning with her first volume of poetry Blanche Lisle and concluding with her posthumously published Mother and Daughter sonnets. In tracing the trajectory of Websters development as an aestheticist poet, Patricia Rigg extends Webster scholarship into areas of the writers work not previously explored.

This long-awaited dictionary provides an extensive list of ancient, beautiful Sanskrit names with their significance and spiritual meanings. Numerous references to classical scriptures of India are included to help in research and further study of a name. The special qualities implied by each name, such as particular aspects of God, character traits, and spiritual virtues are highlighted with cross-references to other names having the same quality.

This book scrutinizes the genre of the author-as-character with respect to three broad issues-authorship, the posthumous, and cultural revisionism-that arise in reading such works from a contemporary perspective. Late twentieth-century fiction 'postmodernizes' romantic and modern authors not only to understand them better, but also to understand itself in relation to a past (literary tradition, aesthetic paradigms, cultural formations, etc.) that has not really passed. Penelope Fitzgerald's 'The Blue Flower', Peter Ackroyd's 'The Last Testament of Oscar Wilde and Chatterton', Peter Carey's 'Jack Maggs', Michael Cunningham's 'The Hours', Colm Toibin's 'The Master', and Geoff Dyer's 'Out of Sheer Rage: Wrestling with D. H. Lawrence - 'the mighty dead' (Harold Bloom) are brought back to life, reanimated and bodied forth in new textual bodies that project a postmodern understanding of the author as a historically and culturally contingent subjectivity constructed along the lines of gender, sexual orientation, class, and nationality.

For many Spanish Americans in the early nineteenth century, Philadelphia was Filadelfia, a symbol of republican government for the Americas and the most important Spanish-Language print center in the early United States. In Letters from Filadelfia, Rodrigo Lazo opens a window into Spanish-Language writing produced by Spanish American exiles, travelers, and immigrants who Settled and passed through Philadelphia during this vibrant era, when the city's printing presses offered a vehicle for the voices advocating independence in the shadow of Spanish colonialism.The first book-length study of Philadelphia publications by intellectuals such as Vicente Rocafuerte, Jose Maria Heredia, Manuel Torres, Juan German Roscio, and Servando Teresa de Mier, Letters from Filadelfia offers an approach to discussing their work as part of early Latino literature and the way in which it connects to the United States and other parts of the Americas. Lazo's book is an important contribution to the complex history of the United States' first capital. More than the foundation for the U.S. nation-state, Philadelphia reached far beyond its city limits and, as considered here, suggests new ways to conceptualize what it means to be American.

This book builds upon critical reevaluations of modernism and British literature of the 1930s with a simultaneous focus on discourses of race, gender, and empire. The essays direct attention to the complications and ambivalence accumulating around the meanings of Englishness. They reject analyses of texts as chronicles of personal psychological development in favor of analyses that assume texts are shaped by their authors' public intellectual involvement. In addition, they offer detailed, specific explorations of ways in which British women in the 1930s narrativize empire and war. Thus they will resonate with significance for readers in the early twenty-first century for women empire and war, as well as terror and security, are part of the discourse of everyday life.

Gleaning Modernity shows how earlier eighteenth-century literary texts might have eased the way for Britain's increasing modernity. They allowed Modern scenarios to be played out imaginatively, as simulations for experimental, predictive ends. The process spoke to the needs and desires of readers in a world of rapid, managed change. It worked unobtrusively first because of the practice of recycling old forms, as Pope and Richardson did, for example, with Horatian and tragic models, respectively; and second because given texts offered different readers a range of interpretative options. Along with providing original readings of such major texts as Gulliver's Travels and Clarissa, this study enlarges our sense of the Modernizing process. It also shows how a consumer-driven Darwinian model of adaptive change, affecting literature and its readership, can help us understand the ways in which literature can have social efficacy.

This comprehensive study of the literary output of Sir John Suckling reconstructs the various contexts in which the poems, plays, letters, and prose tracts were produced and, by means of close textual analysis, reveals the nature of one writer's engagement_both creative and subversive_with the social, religious, political, and cultural dimensions of Caroline England. It challenges the common view of Suckling as primarily a court wit and courtier playwright and makes a case for reading much of his poetry and drama as a critique of the social values and aesthetic fashions associated with the patronage of Queen Henrietta Maria. In other words, this so-called 'Cavalier' is revealed as an astute and skeptical commentator on national and international affairs, whose discontent with the religious and political consequences of King Charles I's government during the 1630s was often at odds with his unshakable loyalty to the crown.

Enrique Lihn (1929-1988), winner of the Premio Casa de las Americas (Poesia de paso, 1966), was one of Chile's most significant creative minds of the twentieth century. Surprising his predecessors, inspiring his contemporaries, and always venerated by younger inheritors of his legacy, he is as important to the Latin American literary community as Gabriela Mistral, Pablo Neruda, or Nicanor Parra. This book provides a detailed study of all major stages of his literary production, from his third book, La pieza oscura [The Dark Room] (1963) to his posthumous Diario de Muerte [Diary of Dying] (1989). A critical introduction provides an orientation to Lihn's work as related to the critical apparatus of Western Marxism and postmodern theory. An additional auxiliary section comes between chapters two and three, accommodating the vary significant change in historical period from the pre- to post-Pinochet eras, and further investigating Theodor Adorno's provocative questioning of whether "art after Auschwitz" can truly exist.

Tragedy in the eighteenth century is often said to have expired or been deflected into nondramatic forms like history and satire, and to have survived mainly as a "tragic sense" in writers like Samuel Johnson. Leopold Damrosch shows that many readers were still capable of an imaginative response to tragedy. In Johnson, however, moral and aesthetic assumptions limited his ability to appreciate or create tragedy, despite a deep understanding of human suffering. This limitation, Mr. Damrosch argues, derived partly from his Christian belief, and more largely from a view of reality that did not allow exclusive focus on its tragic aspects. The author discusses Irene, The vanity of Human Wishes, and Johnson's criticism of tragedy, particularly that of Shakespeare. A Final chapter places Johnson's view in the context of modern theories. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This book is the first work in the English language to discuss the participation of women writers in the narrative construction of Mozambican nationhood over the past half-century. Covering the rise of anti-colonial nationalism in the 1950s, the advent of the Marxist-Leninist Republic in the 1970s, the war that followed independence in the 1980s, and the transition to democracy and the neo-liberal economy in the 1990s, the volume focuses on four representative women writers who belong to distinct but overlapping periods and work in different genres. Dealing with Noemia de Sousa's poetry, Lina Magaia's testimonial writings, Lilia Momple's short fiction, and Paulina Chiziane's novels, the result is a close reading of the ways in which women have narrated and counter-narrated Mozambican nationhood to take account of the gendered power relations that traditionally underpin national community as imagined by men.

This volume explores a wide range of Victorian texts, including novels, poems, sermons, and some less easily categorized writings, in terms of their use of language and imagery suggestive of the Apocalypse. The focus is less upon the conscious or deliberate use of the Apocalypse as a source of sublime metaphors or as a guide to cultural decline than on the ways in which certain tropes recur in the writings of the period. These can be characterized in terms of oppositions that both structure apocalyptic literature and characterize much Victorian writing: human/inhuman, desert/city, veiled/revealed, time/the eternal, this world/other world. The book sets out to show that what might be called a cultural affinity exists between the writing of the Victorian era and apocalyptic literature, and to argue that such a relationship was unavoidable for a society steeped in the bible as it confronted dramatic changes in its relationships with nature, God, and time.

Investigating autobiographical writing of Mary McCarthy, Henry James, Jean-Paul Sartre, Saul Friedlander, and Maxine Hong Kingston, this book argues that autobiographical truth is not a fixed but an evolving content in a process of self-creation. Further, Paul John Eakin contends, the self at the center of all autobiography is necessarily fictive. Professor Eakin shows that the autobiographical impulse is simply a special form of reflexive consciousness: from a developmental viewpoint, the autobiographical act is a mode of self-invention always practiced first in living and only eventually, and occasionally, in writing.

Originally published in 1988.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.