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Excerpt from Sentimental Library: Comprising Books Formerly Owned by Famous Writers, Presentation Copies, Manuscripts, and Drawings He ridiculed Wordsworth unmercifully. And my heart was glad, for oh, it is a joyous thing to hear a doctor and a theatrical manager dispute about Wordsworth, especially when both have asked you, Why first editions P The collecting of books is inspired by a sentiment founded on reverence and hero-worship. It would seem to follow that the more interesting the history of a particular copy of a book, the greater the appeal to the collector and the lover of literature. If, as Byron says, a book 's a book although there 's nothing in it, surely a book is more than a book when the extra something in it takes the form of a presentation inscription by its author, or notes in the handwriting of a famous man who once owned and read it. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
I know that to the majority of people who merely regard the theatre as a place for occasional recreation, it is a subject for amazement that others can exist who, not belonging to the theatrical profession, take an absorbing and lasting interest in the stage, and in those actors and actresses who have made its past history glorious, as well as in the artists who adorn and make it a delight in the present. I wonder how many of us truly realise the weight of Charles Dickens's words: "If any man were to tell me that he denied his acknowledgments to the stage, I would simply put to him one question-whether he remembered his first play?" Not only freely, but with gratitude, I acknowledge my indebtedness to the theatre, and it is certain that from that magic night when for the first time I saw the glitter of the footlights and watched the rise of the curtain, I entered upon a new and most fascinating life. Of course I was called "stage struck," and those who controlled me shook their heads, thought it a great pity, and did their best to thwart my inclinations.
This annotated selection of more than five hundred letters by the groundbreaking composer and avant-garde icon covers every phase of his career. This volume reveals the intimate life of John Cage with all the intelligence, wit, and inventiveness that made him such an important composer and performer. The missives range from lengthy reports of his early trips to Europe in the 1930s through his years with the dancer Merce Cunningham. They shed new light on his growing eminence as an iconic performance artist of the American avant-garde. Written in Cage’s singular voice—by turns profound, irreverent, and funny—these letters reveal Cage’s passionate interest in people, ideas, and the arts. They include correspondence with Peter Yates, David Tudor, and Pierre Boulez, among many others. Readers will enjoy Cage's commentary about the people and events of a transformative time in the arts, as well as his meditations on the very nature of art. This volume presents an extraordinary portrait of a complex, brilliant man who challenged and changed the artistic currents of the twentieth century.
By the early ninth century, the responsibility for a series of social, religious and political reforms had become an integral part of running the Carolingian empire. This became especially clear when, in 813/4, Louis the Pious and his court seized the momentum generated by their predecessors and broadened the scope of this correctio ever further. These reformers knew they constituted a movement greater than the sum of its parts; the interdependence of imperial authority and ecclesiastical reformers was driven by comprehensive, yet surprisingly diverse expectations. Taking this diversity as a starting point, this book takes a fresh look at these optimistic decades. Extrapolating from a series of detailed case studies rather than presenting a grand narrative, it offers new interpretations of contemporary theories of correctio, and shows the self-awareness of its main instigators as they pondered what it meant to be a good Christian in a good Christian empire.