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This scarce antiquarian book is a selection from Kessinger PublishingAcentsa -a centss 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 interest for e

This scarce antiquarian book is a selection from Kessinger Publishing's 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 interest for everyone

The experimental genius of American artists-interpreted by one of our most dependably brilliant critics.
Richard Poirier suggests, in the title of his new book, that the United States has been uncommonly hospitable to literary and artistic experimentation, to innovation and daring. Just as the nation likes to imagine itself as always in a state of becoming and renewal, some of its greatest writers seem willing to accept a measure of neglect during their lifetimes while remaining confident of posthumous triumph. With analytical daring and shrewd literary delicacy, Poirier advances these themes in essays ranging from Emerson and Whitman to "those avowed imperialists of the novelistic imagination Herman Melville, Henry James, and Norman Mailer," along with kindred twentieth-century figures such as T. S. Eliot and Frank O'Hara, Gertrude Stein and Marianne Moore.
Poirier's explorations of the American scene are not limited to poets and novelists. His moving account of the American ballets of George Balanchine, of Bette Midler in performance, of the reclusive Arthur Inman-whose immense diary offers incomparable glimpses into daily life during World War II-and his challenging refutations of some persistent myths of American "manhood" and of America itself, by outside observers like Jean Baudrillard or Martin Amis, will bring readers to a new appreciation of the most interesting (and difficult) features of American culture.

A classic since its first edition in 1966, "Modern American Usage" has been called a book that "every literate American ought to read." Now fully revised and brought up-to-date, this one-volume course in good writing brims with helpful answers--large and small--for readers who want to use English clearly, naturally, and correctly.
Alphabetical for easy consulting (and full of cross-references), the book carries the reader to the entry that explains a troublesome word or phrase--and shows how to use or avoid it. Every page offers natural ways to avoid saying or writing the vague, the long-winded, the needlessly technical, and the hopelessly stale. With verve and eloquence, Erik Wensberg spears the empty words that clog clear thought--"impact," "frustrated," "basically," and many more--and offers us good English words that are definite and have more life.
Offering standards by which to judge language now and in the future, Modern American Usage takes account of a generation of changes in American idiom and of attempts to reform the use of pronouns, titles, and phrases to fit shifting ideals of social justice. All this it does with easy learning and with sympathy alike for the experienced writer and for those who come new to American English.

James Branch Cabell (1879-1956) is best known for his tales of the imaginary land of Poictesme, where chivalry and galantry live on. All of Cabell's works from before 1930 (including The Cords of Vanity, an otherwise mainstream supposed redeemer of the land of Poictesme, and they form a series which follows Manuel and his descendants through the centuries. Carter to Robert A. Heinlein. Townsend, who has adopted infancy as a profession, and never gets out of boyhood. Townsend is also one of the that he says, and thus romances alluringly of himself with no regard to the fetters of fact--truly a captivating liar. In this higher carelessness all his contradictions and repetitions are merged into a fine unity. By playing at emotion so long he finally breaks down the inward integrities, so that he is not able to realize when he is acting a part and when he is sincere. And his sin overtakes him in the circumstance that, having played at love so long, he finally is not able to love anybody in reality.