Download Free Cautionary Verses And Ruthless Rhymes Book in PDF and EPUB Free Download. You can read online Cautionary Verses And Ruthless Rhymes and write the review.

In Monsters of Our Own Making, Marina Warner explores the dark realm where ogres devour children and bogeymen haunt the night. She considers the enduring presence and popularity of male figures of terror, establishing their origins in mythology and their current relation to ideas about sexuality and power, youth and age.
W. H. Auden disapproved of literary biography. Or did he? The truth is far more equivocal than at first seems apparent. There is no denying he delivered himself of such unambiguous pronouncements as 'Biographies of writers are always superfluous and usually in bad taste.'; and that he asked for his friends to burn his letters at his death, but, against that, Auden himself often reviewed literary biographies and normally with enthusiasm. Moreover he argued for biographies of writers such as Dryden, Trollope, Wagner and Gerard Manley Hopkins as their lives would tell us something about their art. Humphrey Carpenter himself nicely summarizes Auden's ambiguity on this question. 'Here (referring to literary biography), as so often in his life, Auden adopted a dogmatic attitude which did not reflect the full range of his opinions, and which he sometimes flatly contradicted.' Although the biography was not authorized it did receive the co-operation of the Auden Estate which gave permission for letters and unpublished works to be quoted. The result is a biography that was widely praised on first publication in 1981 and which continues to hold its own. Now is the obvious time to reissue it with the character of Humphrey Carpenter playing an important role in Alan Bennett's The Habit of Art. In his introduction Alan Bennett writes 'When I started writing the play I made much use of the biographies of both Auden and Britten written by Humphrey Carpenter and both are models of their kind. Indeed I was consulting his books so much that eventually Carpenter found his way into the play.' 'Carpenter is a model biographer - diligent, unspeculative, sympathetic, and extremely good at finding out what happened when and with whom . . . admirably detailed and researched study.' John Bayley, The Listener 'an illuminating book; full of information, unobtrusively affectionate, it describes with unpretentious elegance the curve of a great poet's life and work' Frank Kermode, Guardian 'sharpens and usually lights up even the most canvassed parts of the Auden life and myth . . . a deeply interesting book about a deeply interesting life' Roy Fuller, Sunday Times ' . . . the story of a remarkable man told by one of the best living biographers' David Cecil, Book Choice
This volume argues that aphorism represents a tool for the social management of emotion. Rhetorically corralled into a slick, collectable shape, the aphorism promises arresting and instantaneous epiphany. However, the accomplished elegance which positions the aphorism's message as self-evidently true in fact works to repel further enquiry, and ultimately ensures that it will be forgotten or bypassed in favour of another aphorism: no less eagerly embraced for the earlier disappointment. Aphorism, therefore, is a form in which dangerous ideas and emotions can be safely displayed and, simultaneously, effaced. Because aphorism's style defuses the imperative to act on what is clearly known, writers like Stevie Smith can use the form to stage a withdrawal from the burden of making an impact on the world. This book finds that Smith's use of aphorism and its related forms (proverb, epitaph, caption, and fragment) offers a route into her texts. With her disconcerting pen-and-ink drawings, dark comedy, and social ventriloquism which stops short of satire, the rhetorical force of Smith's poetry fascinates and arrests its readers, but nevertheless leaves them unable to react coherently or identify the use-value which her writing appears to promise. Drawing on hitherto unpublished archival material, this project argues that Smith's texts resist analysis because, like the aphorisms embedded throughout them, they offer and exemplify a mode of clearly-declared revelation which, at the same time, makes itself unusable.
From John Bunyan's 'country rhimes' to rude chants about Manchester United, from Ted Hughes to Edward Lear, and from William Blake to the Taylor sisters, Morag Styles covers three hundred years of poetry with infectious enthusiasm and a keen critical eye. In this scholarly and fascinating book, she provides an informative account of the history of poetry written for children in Britain and America in the last three centuries. She analyses the major poets, genres and developments over this period, and traces the continuities between the past and the present. Styles asks fundamental questions which have often been left unanswered: What do we mean by children's poetry? Why did such a seemingly small number of women write poetry for children until recently? The author subscribes to the widest possible definition of poetry, and so the reader will find in this book hymns, songs, playground rhymes, raps and verse - whether trivial or profound. From the Garden to the Street will provoke, inform and entertain academics of children's literature, those who teach it in the classroom, and all of us who still take pleasure in the poetry of childhood.
'In Solitude, for Company' contains two hitherto unpublished lectures. The first of these, introduced by Nicholas Jenkins, is on the theme of vocation. It was delivered during the war years, when Auden, newly arrived in the United States, was redefining his sense of his own vocation. The second lecture, given near the end of his life, discusses the work of Sigmund Freud. Katherine Bucknell sets this lecture in context with a full examination of Auden's intensely ambivalent attitude to Freud. The classicist G.W. Bowersock introduces the text of Auden's unpublished 1966 essay on 'The Fall of Rome' in which Auden draws a powerful series of parallels between the end of Roman civilization and the decline of our own society. Also included is a generous and fully-annotated selection of Auden's correspondence with his close friends James and Tania Stern which reveals much new and important biographical information.
This study considers the appeal of popular children's books from both a psychological and a literary viewpoint. It covers a range of reading matter including: picture books; fairy stories; myths and legends; comics and books for teenagers and adolescents.
Rudyard Kipling was a Victorian and an early modernist, a disciplinarian imperialist who sympathized with children and outlaws, a globe-trotter who mythologized 'Old England', and a world-famous author whom intellectuals despised. The central theme of this book is the way his work and its reception are both fissured and energized by these contradictions. This thorough study initially discusses Kipling's ambivalent knowing attitude to unknowable otherness, his rhetorical imitations of Indian and demotic vernaculars, his work ethic and ideal of imperialist masculinity, thus contextualizing the central discussion of his masterpiece Kim which, almost uniquely, takes Indian otherness as a source of pleasure, not anxiety. Jan Montefiore describes Kipling as a writer on the cusp of modernity, examining how his fiction and poetry engaged with radio, cinema and air travel, how his poetry anticipated and influenced the subversive uncertainties of modernism, and how his post-war contributions to the literature of mourning undermined their own overt traditionalism.
Contributions by Rebecca A. Brown, Justine Gieni, Holly Harper, Emily L. Hiltz, A. Robin Hoffman, Kirsten Kowalewski, Peter C. Kunze, Jorie Lagerwey, Nick Levey, Jessica R. McCort, and Janani Subramanian Dark novels, shows, and films targeted toward children and young adults are proliferating wildly. It is even more crucial now to understand the methods by which such texts have traditionally operated and how those methods have been challenged, abandoned, and appropriated. Reading in the Dark fills a gap in criticism devoted to children's popular culture by concentrating on horror, an often-neglected genre. These scholars explore the intersection between horror, popular culture, and children's cultural productions, including picture books, fairy tales, young adult literature, television, and monster movies. Reading in the Dark looks at horror texts for children with deserved respect, weighing the multitude of benefits they can provide for young readers and viewers. Refusing to write off the horror genre as campy, trite, or deforming, these essays instead recognize many of the texts and films categorized as "scary" as among those most widely consumed by children and young adults. In addition, scholars consider how adult horror has been domesticated by children's literature and culture, with authors and screenwriters turning that which was once horrifying into safe, funny, and delightful books and films. Scholars likewise examine the impetus behind such re-envisioning of the adult horror novel or film as something appropriate for the young. The collection investigates both the constructive and the troublesome aspects of scary books, movies, and television shows targeted toward children and young adults. It considers the complex mechanisms by which these texts communicate overt messages and hidden agendas, and it treats as well the readers' experiences of such mechanisms.