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POETRY TEXTS & ANTHOLOGIES. This is the first anthology of British surrealist writing in the world. Herbert Read's words when he opened the 'Surrealist Poems and Objects' exhibition at the London Gallery at midnight on 24 November 1937 provide the title. The British surrealist movement was, as it were, ploughed under by the Second World War which, as Read spoke, was gathering force. Yet Surrealist output was vibrant and - at its best - durable, and now takes its place in the wider European context of literary Surrealism. Remy's anthology represents one coherent and deeply committed aspect of British poetry between 1930 and 1980. It was the only surrealist movement in Europe to be active, and freely so, during World War II. Here the original texts, most of them unfindable or previously unpublished, emerge from what proved a temporary oblivion. The work is fascinating, stimulating and various. British surrealist writing is at last given a chance to voice its subversion.
Ithell Colquhoun (1906–1988) is remembered today as a surrealist artist, writer, and occultist. Although her paintings hang in a number of public collections and her gothic novel Goose of Hermogenes (1961) remains in print, critical responses to her work have been severely constrained by the limited availability of her art and writings. The publication of her second novel, I Saw Water—presented here for the first time, together with a selection of her other writings and images, many also previously unpublished—marks a significant step in expanding our knowledge of Colquhoun’s work. Composed almost entirely of material assembled from the author’s dreams, I Saw Water challenges such fundamental distinctions as those between sleeping and waking, the two separated genders, and life and death. It is set in a convent on the Island of the Dead, but its spiritual context derives from sources as varied as Roman Catholicism, the teachings of the Theosophical Society, Goddess spirituality, Druidism, the mystical Qabalah, and Neoplatonism. The editors have provided both an introduction and explanatory notes. The introductory essay places the novel in the context of Colquhoun’s other works and the cultural and spiritual environment in which she lived. The extensive notes will help the reader with any concepts that may be unfamiliar.
After a witch-in-training accidentally makes Prince Lucas and Lady Clara switch lives, the three kids must find a way to change Prince Lucas and Lady Clara back before the stroke of midnight.
A History of the Surrealist Novel offers a rich, long, and elastic historiography of the surrealist novel, taking into consideration an abundance of texts previously left out of critical accounts. Its twenty thematically organized chapters examine surrealist prose texts written in French, English, Spanish, German, Greek, and Japanese, from the emergence of the surrealist movement in the 1920s and 1930s, through the post-war and postmodern periods, and up to the contemporary moment. This approach extends received narratives regarding surrealism's geographical locations and considers its transnational movement and modes of circulation. Moreover, it challenges critical biases that have defined surrealism in predominantly masculine terms, and which tie the movement to the interwar or early post-war years. This book will appeal both to scholars and students of surrealism and its legacies, modernist literature, and the history of the novel.
As the new girl at Bixby High School, Jessica Day expected some unwelcome attention. What she didn't expect was to feel an instant connection to a stranger in the corridor . . . Who is this boy dressed in black? And why can she feel his eyes following her wherever she goes? The answers will have to wait until the sun goes down, for here in Bixby, midnight is the time for secrets; secrets that Jessica is going to find out, whether she wants to or not.
Surrealist women’s writing: A critical exploration is the first sustained critical inquiry into the writing of women associated with surrealism. Featuring original essays by leading scholars of surrealism, the volume demonstrates the extent and the historical, linguistic, and culturally contextual breadth of this writing. It also highlights how the specifically surrealist poetics and politics of these writers’ work intersect with and contribute to contemporary debates on, for example, gender, sexuality, subjectivity, otherness, anthropocentrism, and the environment. Drawing on a variety of innovative theoretical approaches, the essays in the volume focus on the writing of numerous women surrealists, many of whom have hitherto mainly been known for their visual rather than their literary production. These include Claude Cahun, Leonora Carrington, Kay Sage, Colette Peignot, Suzanne Césaire, Unica Zürn, Ithell Colquhoun, Leonor Fini, Dorothea Tanning, and Rikki Ducornet.
In the thirteenth fantastical book from The Kingdom of Wrenly series, Prince Lucas and Clara learn about the legend of the Thirteenth Knight. The elite band of knights known as the Spires are searching for a new hero to join their ranks. With only twelve knights on this team, the Spires open a competition to fulfill a mysterious prophecy. The winner of the Spires’ competition must show bravery, valor, wisdom, and heart. But finding the Thirteenth Knight might prove to be the Spires’ greatest challenge ever. With easy-to-read language and illustrations on almost every page, The Kingdom of Wrenly chapter books are perfect for beginning readers.
Thirteen boys were born at midnight on the stroke of the new millennium. Twelve of them are dead. A violent cult called "The People" has executed each one and will stop at nothing to reach its last target: thirteen-year-old Adam. But Adam has no idea he's in danger. Raised by adoptive parents, he doesn't know his real birthday connects him to the other victims. Adam's life goes up in flames when a cult deserter tracks him down with a warning. He has until New Year's Eve to thwart the cult's plans to kill him--and the clock is ticking.
Fairy Tree, tall and grand, open a path to Fairyland. The year is 1826, and the four Belle siblings arrive at their new home in Tambling Village. Acton, the youngest member of the Belle family, immediately befriends a bright, red robin, leading him to discover a hidden key. That night, when the clock strikes thirteen, Acton is called to Fairyland. For in finding the key, Acton has become the Chosen One and must steal the Glimmerglass Crown, for the cruel Fairy Queen. When Cora, Elle and Bram realise their brother has been taken, they set out on a quest to rescue him. But Fairyland is full of dangers...and to overcome the Queen, and her deadly curse, they will need courage, cunning and a great deal of hope. An enthralling tale of magic, riddles, and curses, from the bestselling author of The Cogheart Adventures.
The Language of Surrealism explores the revolutionary experiments in language and mind undertaken by the surrealists across Europe between the wars. Highly influential on the development of art, literary modernism, and current popular culture, surrealist style remains challenging, striking, resonant and thrilling – and the techniques by which surrealist writing achieves this are set out clearly in this book. Stockwell draws on recent work in cognitive poetics and literary linguistics to re-evaluate surrealism in its own historical setting. In the process, the book questions later critical theoretical views of language that have distorted our ideas about both surrealism and language itself. What follows is a piece of literary criticism that is fully contextualised, historically sensitive, and textually driven, and which sets out in rich and readable detail this most intriguing and disturbing literature.