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Packed with fascinating facts, Literary Miscellany is sure to please both professor and pleasure reader alike. Wouldn’t it be great to be a fly on the wall as the great writers took pen to paper (or fingers to keyboard)? While reading this work, you’ll be just that. Here are behind-the-book stories and facts about authors, publishing and everything literary that will entertain both casual and serious readers. Among the questions asked and answered: • When Did Literature Finally Get Sexy? • Is Coffee or Opium Better for Literary Creativity? • Why Are the Best Autobiographies so Embarrassing? • Why Do Some Detectives Use Their Minds and Others Their Fists? Who knew that bestseller lists and children’s books could be the source of intense controversy? Or that even the biggest writers had to scrape by, with odd jobs and inventions like the Mark Twain Self-Pasting Scrapbook? In Literary Miscellany, examine the trend of “fake memoirs,” with a list of who lied about what, and a rogues’ gallery of hoaxers dating back centuries. From epic poetry and Homer to pulp fiction and Harry Potter, Literary Miscellany, now available for the first time in paperback, is a breezy tour through the literature of today and yesterday, packed with enough interesting facts to entertain both the erudite professor and pleasure reader.
Introducing the all-new, indispensable collection of necessary trivia, uncommon knowledge, and vital irrelevance from Schott--the inventor of the Miscellany genre.
Includes works in French language with parallel English text.
A Miscellany, confined to a private edition for decades, sheds further light on the prodigious vision and imagination of the most inventive poet of the twentieth century: E.E. Cummings. Formally fractured and yet gleefully alive and whole, E. E. Cummings’s groundbreaking modernist poetry expanded the boundaries of language. In A Miscellany, originally released in a limited run in 1958, Cummings lent his delightfully original voice to “a cluster of epigrams,” a poem, three speeches from an unfinished play, and forty-nine essays—most of them previously written for or published in magazines, anthologies, or art gallery catalogues. Seven years later, George J. Firmage—editor of much of Cummings’s work, including Complete Poems—broadened the scope of this delightfully eclectic collection, adding seven more poems and essays, and many of Cummings’s unpublished line drawings. Together, these pieces paint a distinctive portrait of Cummings’s eccentric, yet precise, genius. Like his poetry, Cummings’s prose is lively; often witty, biting, and offbeat, he is an intelligent observer and critic of the modern. His essays explore everything from Cubism to the circus, equally quick to analyze his poetic contemporaries and satirize New York society. As Cummings wrote in his original foreword, A Miscellany contains “a great deal of liveliness and nothing dead.” This remains true today, more than fifty years after its original publication.
A lavishly illustrated companion to The Bedside Book of Birds explores the relationships between predators and prey, drawing on mythology, nature writings, and other sources to provide coverage of both real and fictional creatures.
The Armchair Book of Gardens is a collection of indiviual essays focused on understanding gardens in a different light/perspective. The book concentrates on the emotional, social, spiritual, and politicial aspects of the garden.