Epic does many things. Among others, it defines the nature of the human storyteller; recalls the creation of the world and of the human race; describes the paradoxical role of the hero as both the Everyman and the radical exception; and establishes the complex quest underlying all human action. Epic illustrates that these ingredients of epic storytelling are universal cultural elements, in existence across multiple remote geographical locations, historical eras, ethnic and linguistic groups, and levels of technological and economic development. Frederick Turner argues that epic, despite being scoffed at and neglected for over sixty years, is the most fundamental and important of all literary forms and thereby deserves serious critical attention. It is the source and originof all other literature, the frame within which any story is possible. The mission of this book is to repair gaps in the literary understanding of epic studies and offer permission to future epic writers and composers. The cultural genres of Marvel Comics, gothic, anime, manga, multi-user dungeon gaming, and superhero movies reprise all the epic themes and motifs. Consider The Wizard of Oz, Star Wars, The Lord of the Rings, Lost, The Matrix, Superman, Harry Potter, and Narnia. Here can be found the epic beast-man, the miraculous birth of the hero, the creation myth, the founding of the city, the quest journey, the descent into the land of the dead, the monsters, and the trickster. This book will be of interest to all readers fascinated by folklore, oral tradition, religious studies, anthropology, mythology, and enthusiastic about literature in general.

There is widespread belief that the world's religions con- tradict each other. It follows that if one religion is true, the others must be false--an assumption that implies, and may actually create, religious strife. In Natural Religion, acclaimed poet, critic and essayist Frederick Turner sets out to show that the natural world offers grounds for stating that all religions are, in some respect, true. Through the ages, various ways have been proposed to resolve religious differences. Some argue for the destruction of all religions but one's own. Others substitute an abstract principle for the real ritual and moral practice of religion. Still others doubt all religious truth and, consequently, all truth. Others accept a kind of pluralistic relativism. This book explores syncretism, whereby all religions are seen as grasping the same strange and complex reality, but by very different means and handles. The idea that all religions are true raises a supervening question: if so, what must the real physical universe be like? Turner approaches these questions in terms of scientific inquiry. There is not enough room in space itself to fit in all theologies; but there may be enough room in time if new scientific descriptions of time's nature are to be believed. Turner argues that in the time-models of contemporary cosmological and evolutionary science all times may be connected and time may be infinitely branched and causally looped so that both forward-in-time and backward-in-time factors may be in operation in the same event. Thus, the fundamental substance of the universe may be information rather than matter or energy. The universe is more like a vast living organism than a vast machine. Turner argues that all existing religions can be shown to fit into this model, which in turn points to deeper implications of religious doctrines, languages and practices. There would be plenty of "room" in such a view of time for a tree of different yet linked religious worlds and poetic language may be the most effective tool for describing the divine.

Epic does many things. Among others, it defines the nature of the human storyteller; recalls the creation of the world and of the human race; describes the paradoxical role of the hero as both the Everyman and the radical exception; and establishes the complex quest underlying all human action. Epic illustrates that these ingredients of epic storytelling are universal cultural elements, in existence across multiple remote geographical locations, historical eras, ethnic and linguistic groups, and levels of technological and economic development.

Frederick Turner argues that epic, despite being scoffed at and neglected for over sixty years, is the most fundamental and important of all literary forms and thereby deserves serious critical attention. It is the source and originof all other literature, the frame within which any story is possible. The mission of this book is to repair gaps in the literary understanding of epic studies--and offer permission to future epic writers and composers.

The cultural genres of Marvel Comics, gothic, anime, manga, multi-user dungeon gaming, and superhero movies reprise all the epic themes and motifs. Consider The Wizard of Oz, Star Wars, The Lord of the Rings, Lost, The Matrix, Superman, Harry Potter, and Narnia. Here can be found the epic beast-man, the miraculous birth of the hero, the creation myth, the founding of the city, the quest journey, the descent into the land of the dead, the monsters, and the trickster. This book will be of interest to all readers fascinated by folklore, oral tradition, religious studies, anthropology, mythology, and enthusiastic about literature in general.

There is widespread belief that the world's religions con- tradict each other. It follows that if one religion is true, the others must be false--an assumption that implies, and may actually create, religious strife. In Natural Religion, acclaimed poet, critic and essayist Frederick Turner sets out to show that the natural world offers grounds for stating that all religions are, in some respect, true.

Through the ages, various ways have been proposed to resolve religious differences. Some argue for the destruction of all religions but one's own. Others substitute an abstract principle for the real ritual and moral practice of religion. Still others doubt all religious truth and, consequently, all truth. Others accept a kind of pluralistic relativism. This book explores syncretism, whereby all religions are seen as grasping the same strange and complex reality, but by very different means and handles. The idea that all religions are true raises a supervening question: if so, what must the real physical universe be like? Turner approaches these questions in terms of scientific inquiry. There is not enough room in space itself to fit in all theologies; but there may be enough room in time if new scientific descriptions of time's nature are to be believed. Turner argues that in the time-models of contemporary cosmological and evolutionary science all times may be connected and time may be infinitely branched and causally looped so that both forward-in-time and backward-in-time factors may be in operation in the same event. Thus, the fundamental substance of the universe may be information rather than matter or energy. The universe is more like a vast living organism than a vast machine.

Turner argues that all existing religions can be shown to fit into this model, which in turn points to deeper implications of religious doctrines, languages and practices. There would be plenty of "room" in such a view of time for a tree of different yet linked religious worlds and poetic language may be the most effective tool for describing the divine.

Frederick Turner, professor of arts and humanities at the University of Texas at Dallas, was educated at Oxford University. A poet, translator, philosopher, cultural critic, and former editor of the Kenyon Review, he has authored twenty-four books, including Beauty, The Culture of Hope, Genesis, Hadean Eclogues, Shakespeare's Twenty-First Century Economics, and Paradise.

In this groundbreaking interdisciplinary work, Frederick Turner presents a new theory of aesthetics based on the argument that beauty is an objective reality in the universe. He identifies the experience of beauty as a pancultural, neurobiological phenomenon. Drawing on a wide range of fields - ritual and dramatic performance, the oral tradition, paleoanthropology and human evolution, neurobiology, cosmology and theoretic physics, chaos theory and fractal mathematics - the book describes evolution as a self-organizing, emergent process that generates increasingly advanced forms of self-reflection, and proposes that the experience of beauty is the recognition of this evolutionary process and the reward for participating in it.

In this groundbreaking interdisciplinary work, Frederick Turner presents a new theory of aesthetics based on the argument that beauty is an objective reality in the universe. He identifies the experience of beauty as a pancultural, neurobiological phenomenon. Drawing on recent work in a wide range of fields--ritual and dramatic performance, the oral tradition, paleoanthropology and human evolution, neurobiology, cosmology and theoretic physics, chaos theory and fractal mathematics--the book describes evolution as a self-organizing, emergent process that generates increasingly advanced forms of self-reflection, and proposes that the experience of beauty is the recognition of this evolutionary process and the reward for participating in it. The experience of aesthetic beauty, Turner says, is an adaptive function that drives evolution through sexual selection. Those individuals most sensitive to beauty survived surface cultural changes, excelled in mating rituals, and were participants in the positive evolution of the species. Turner shows how, as a result, neurotransmitters in the brain respond to certain inherited systems by which we appreciate beauty. Turner also presents the implications for theories of art and literature that follow from his identification of the inherent genres of human aesthetic experience. Forms of art cannot be arbitrary but must be rooted in our biological inheritance. This calls into question theories about modern art, and suggests that modernist culture turned its back on beauty in an attempt to repress and avoid the shame of humanness and our biological nature. This book breaks radically with contemporary positions in psychology, sociology, philosophy, andart, and offers an alternative to present trends in literary and critical theory. It should be of interest to a wide variety of readers, including the artistic community, critical theorists, students of oral traditions, philosophers, and aestheticians.

Attila Jozsef is Hungary's greatest modern poet. His extraordinary poetry is exhilarating in its power, transcending the scars of a difficult life. Born into poverty in 1905, deserted by his father and put out to fostering, Jozsef had a brutalised childhood, and tried to poison himself at the age of nine. Mostly self-educated, he was prosecuted at 18 for blasphemy in a poem, and expelled from university a year later for With a Pure Heart, a now celebrated poem which spoke for a whole generation. He is a genuine revolutionary poet, neither simple-minded nor difficult, though his thought and imagery are complex. A deeply divided man, his poetry has a robust physicality as well as a jaunty and heroic intelligence - Marxist in its dedication but fuelled in its audacity by both Freud and Surrealism. Diagnosed as schizophrenic, he underwent psychoanalysis, and yet continued to write magnificent poetry which - although darker - drew upon highly exacting and intricate structures and metres, and upon an eclectic but balanced framework of ideas. By 1937 he was almost destitute, financially and emotionally, and in deteriorating mental health. But he was still writing some of his most compelling work, compulsive guilt-ridden poetry whose glittering lyricism is at once personal and mythic, even while receiving shock treatments and heavy medication in a sanatorium. Finally, at the age of 32, he clambered onto a railway track, and a train broke his neck and cut off his right arm.

The works of Gjekë Marinaj, Albania’s leading poet, have been praised, translated, published, and discussed in over twenty languages and countries. His most celebrated poem, "Horses," drew the attention of the dictatorship’s censors when it was published and forced Marinaj to escape his country pursued by armed men. Later, the poem became the anthem for the democratic forces that freed the country. He has won several of the world’s most prestigious prizes for his poetry and criticism, but his remarkable body of passionate, profound, and wildly original poetry is only now translated and published in English for the first time. Frederick Turner, a prizewinning Anglo-American poet, critic, and translator, has translated this generous collection of Marinaj’s major poems into English with the close collaboration of the poet himself. Gathered into nine sections—Home, Albania, Amor, Admonitions, Acheron, Heroines, Metaphysics, Poets, and The Earth—the volume concludes with an extraordinary long poem, "The Lost Layers of Vyasa’s Skin." With his fascinating introductory essay, Turner contextualizes Marinaj’s work, describing the ways in which Albanian history, culture, and politics have energized Marinaj’s poetry and its poetics.

An interdisciplinary scholar, devotee of the classics, and leading practitioner of Expansive Poetry, Frederick Turner asks in the introduction to Hadean Eclogues, “Suppose there could be a poetry, even a scientific description of reality, that left undamaged the principles, the honor, the history and myth, the ritual, the intellectual criteria of believers and unbelievers—as long as they were people of depth and thought and imagination?�

An interdisciplinary scholar, devotee of the classics, and leading practitioner of Expansive Poetry, Frederick Turner asks in the introduction to Hadean Eclogues, “Suppose there could be a poetry, even a scientific description of reality, that left undamaged the principles, the honor, the history and myth, the ritual, the intellectual criteria of believers and unbelievers—as long as they were people of depth and thought and imagination?�

In The Kid and Me Frederick Turner deftly re-creates the Lincoln County War in what was then New Mexico Territory. The 1878 war pitted an established faction led by James Dolan against new arrivals in the county led by John Tunstall and Alexander McSween. When Tunstall and McSween opened a dry-goods store in 1876 in a direct challenge to Dolan's monopoly on the dry-goods business, trouble was inevitable. Both the Dolan and the Tunstall-McSween factions garnered supporters, including lawmen, criminal gangs, and ranch hands. The ambush and murder of Tunstall by a local sheriff's posse loyal to Dolan sparked a wave of revenge killings and bloody reprisals in which Billy the Kid-one of Tunstall's ranch hands-played a prominent role. Narrated by George Coe, an aged veteran of New Mexico's Lincoln County War but now a devout painter of village churches, The Kid and Me tells what it felt like to ride alongside Billy the Kid, whom Coe both admired and greatly feared. Gang loyalty, extreme violence, political corruption in the highest places, and profound moral ambiguity characterize this tale of what made the American West wild.

How does a photographer learn to see? How does he create his own visual language-as unique as a fingerprint and as inimitable as the voice of a great writer? In Iluminaciones, Jack Parsons's seventeenth book, he takes the viewer on a very personal, deeply intuitive journey that reveals how he has honed his photographic vision. The answer is subtle-and remarkable: It is by growing into his own photographs. Here he shares with us ninety-one of his favorite photographs taken over the long arc of his stellar career. These are images that, over time, taught him, as he says, "to see the everyday world with new and better eyes" and that encouraged him "to look deeply instead of glancing and forgetting." The photographs in Iluminaciones were taken all over the world, from the vast expanses of America's desert Southwest to a mosque in Turkey and temples in Laos, Burma, and Japan, of colorful streets in Mexico and Italy to quiet swimming pools in Southern California, from monumental urban landscapes in Eastern Europe to clouds forming over Ireland and Maui. Most of the pictures are of simple, commonplace things and places that we might not give a second glance. Yet Parsons did and in so doing both reveals and celebrates the subtle power and quiet beauty of the everyday. Complemented by the artful commentary of Frederick Turner, Iluminaciones is a stunning visual exploration of the beauty that shines through our world when we take the time to stop and look. ** Nominated for a 2015 IPPY Award" from the Independent Publishers Association **

Jack Parsons has been investigating the incredible landscapes, amazing light, and diverse cultures of the American Southwest for more than thirty-five years, in turn becoming a master of photographic art. He has been the photographer for fifteen acclaimed books, including the seminal 1993 publication of "Santa Fe Style," which helped to chronicle and establish a regional aesthetic for New Mexico's architecture that is now recognized worldwide.In his commitment to capturing and comprehending the land and life of New Mexico, Parsons has made more than 400,000 photographs of every type of landscape and culture in the 'Land of Enchantment, ' as New Mexico is called. "Dark Beauty" features 100 of his rarely seen or published photographs of New Mexico, taken from the time of his arrival in the summer of 1969 right up to the present day.From captivating images of small towns, fiestas, and everyday life, to spectacular views of mountains, rivers, and plains, from enduring glimpses of old adobe houses, Pueblo villages, and religious structures, to refreshingly new views of murals, Main Streets, and iconography, Parsons presents a personal, elegiac narrative of his 'home place.' Seen as a whole, the photographs in "Dark Beauty" reveal a deep understanding and reverence for New Mexico's complex and rich history, unique multiculturalism, and unparalleled beauty. With Jack Parsons as our guide, we gain a true sense and appreciation of New Mexico's lure as a uniquely American place.Excerpt: "I first came to New Mexico in the summer of 1969, driving into Taos in the late afternoon in an old VW convertible. I had gone to school in Boulder, and the West had been deeply imprinted on me. My master's thesis was o n D. H. Lawrence, and this had made me wonder what effect this magical land would have on me. It didn't disappoint. Almost immediately, I fell in love with this difficult, demanding, dark, and profound world. All that we take for granted having lived here---the beautiful, slanting afternoon light, the Sangre de Cristos turning a deep red as the sun starts to disappear, sagebrush plains stretching far to the west--all of this greeted me when I first arrived in Taos, and I felt that, after many years, I was finally home."-- Jack Parsons, from his preface"Among the things I admire about the photographs of Jack Parsons is that he is not afraid of the picturesque. He has not retreated from it nor found some arch way around it. Instead, Parsons walks right up to his subjects and points his lens at mountains, sunsets, cloud formations, weathered buildings, and Hispanic art. But he does so in ways that require us to really look at these things and ponder the meanings embedded in those very picturesque aspects of New Mexico that bring visitors out here while they turn many other artists away It takes an artist to evoke this long and continually unfolding drama, yet in virtually every one of the images contained in these pages it is here for us to discover. But we have to be willing to look past the picturesque." -- Frederick Turner, from his introduction"

This scarce antiquarian book is a selection from Kessinger PublishingA AcentsAcentsa A-Acentsa Acentss Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of intere

A faded newspaperman downs a double Maker's Mark and contemplates life as a "ham-and-egger," a hack. Then one day he finds the scoop of a lifetime in a Chicago basement: diaries belonging to the infamous Judith Campbell Exner. Right, "that" Judy, the game girl who waltzed into the midst of America's most powerful politicians, entertainers, and criminals as they conspired to rule America.

When Frank Sinatra flew Judy to Hawaii for a weekend of partying, she could hardly have imagined where it would lead her: straight to the White House and the waiting arms of Jack Kennedy. And then came the day that JFK and his brother Bobby asked her to carry a black bag to Chicago, where she was to hand it off to the boss of bosses, Sam Giancana. As our Narrator pieces the notebooks into a coherent story, he finds mob connections, rigged primaries, assassination plots, and trysts--and begins to see beyond the tabloid fare to a real woman, adrift and defenseless in a dangerous world where the fates of nations are at stake. As one by one the men Judy loved betrayed her and disappeared, and as the FBI pursued her into a living hell, her diary entries disintegrate along with the beautiful, tough, sweet woman the Narrator has come to know. Who was Exner, after all? Just a gangster's moll? Or a bighearted woman who believed the sky-high promises of the New Frontier--and paid the price?

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.