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Or What You Will is an utterly original novel about how stories are brought forth from Hugo, Nebula, and World Fantasy Award-winning author Jo Walton. He has been too many things to count. He has been a dragon with a boy on his back. He has been a scholar, a warrior, a lover, and a thief. He has been dream and dreamer. He has been a god. But “he” is in fact nothing more than a spark of idea, a character in the mind of Sylvia Harrison, 73, award-winning author of thirty novels over forty years. He has played a part in most of those novels, and in the recesses of her mind, Sylvia has conversed with him for years. But Sylvia won't live forever, any more than any human does. And he's trapped inside her cave of bone, her hollow of skull. When she dies, so will he. Now Sylvia is starting a new novel, a fantasy for adult readers, set in Thalia, the Florence-resembling imaginary city that was the setting for a successful YA trilogy she published decades before. Of course he's got a part in it. But he also has a notion. He thinks he knows how he and Sylvia can step off the wheel of mortality altogether. All he has to do is convince her. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
This book argues that Walton's practice, in his Lives, was crucial in shaping modern expectations of biography: how it should be organised, how it should treat evidence, how seriously it should regard narrative coherence, and most particularly in the modern expectation of an intimaterelationship between author, reader, and subject. Dr Martin considers Walton's biographical ethics in relation to the tributary genres influencing him as they emerged from post-Reformation commendatory practice after 1546, most particularly classical funeral oratory and the emergent Protestantfuneral sermon, the Plutarchan parallel, the didactic Character, martyrological narrative, and finally Walton's direct model, the exemplary biographical commemoration of the conformist minister.Dr Martin considers how Walton develops his literary inheritance, arguing that his lay status required him to initiate a different kind of mediation between reader and subject from the straightforwardly imitative. Walton presents himself as a channel for the words and acts of an authoritativesubject, a preference implicitly followed both in his stress on personal connections with his subjects (which spectacularly particularizes his portraits) and in his very extensive use of their own writings. His Lives attempt posthumous autobiography. They are also considered as prominent andaccomplished examples of the many politically intended narratives which exploit a consensual interpretation of private virtue to support, without having to argue for, a sectarian interpretation of public rectitude.
"Using first-hand accounts, including contemporary correspondence, articles and interviews, this account of Walton's life also draws on material newly available relating to his friends and associates. The reception of Facade and Walton's work in both films and radio are fully explored."--BOOK JACKET.
Bill Walton grew up with days full of purpose and a compelling need to harmonize the reality of his current experiences and the people he met, with his youth's Midwestern small town perspective and with a rich family of values that he treasured throughout his life. He was a writer, artist, confidante to key figures of the 20th century, and a major Washington player. Bill counted among his well-known friends: Ernest and Mary Hemingway, John F. Kennedy, Jacqueline Kennedy Onassis, Robert Kennedy, Charles Collingwood, Marie and Averell Harriman, Pamela Churchill Harriman, Martha Gellhorn, Alice Roosevelt Longworth, Babe and William Paley, Marietta and Ronald Tree, Philip and Katharine Graham, Arthur Schlesinger, Jr. and I. M. Pei, and many more. During the bloody World War II Battle of Hurtgen Forest a few months after the Normandy Invasion Bill became friends with America's most celebrated writer, Ernest Hemingway. They had met six months prior at one of photographer Robert Ca
This bio-bibliography of one the most important contemporary British composers begins with a brief biographical sketch. Works and first performances are listed alphabetically by title, and each entry is followed by the relevant bibliographic citation numbers. The discography includes sound recordings in all formats. The major portion of the work, the bibliography, is divided into articles and reviews; books, theses, and dissertations; articles by Walton; and films. The archival section lists collections of Walton's music manuscripts, letters, and miscellanea. Two appendices contain a chronological listing of works and first performances, and a works lists arranged by classification. An index of individuals and performance ensembles completes the work, which will serve as a significant addition to university libraries and departments of music. William Turner Walton (1902-1983) was born in Oldham, England. He showed an early talent for composition and had written several significant works by 1916. Following his failure to graduate from Oxford, Walton took up residence with the Sitwell family in Chelsea and embarked upon one of the most productive phases of his career. Acclaimed as a milestone in British choral music, Belshazzar's Feast premiered in 1931, and its instant success established Walton firmly among the ranks of important contemporary British composers. Subsequently, Walton began work on his Symphony No. 1 and simultaneously wrote his first film score, one of many first-class scores he composed for movies including As You Like It, Henry V, and Chekhov's Three Sisters. Walton traveled to Argentina in 1948, where he met and married his wife Susana. The couple returned to London, but soon relocated to a villa on Ischia, an island off the coast of Naples. Another fruitful period ensued, marked by many important commissions. The composer died in 1983, and a foundation was later established for the purpose of transforming the villa into a performing arts center.
This definitive catalog of the works of William Walton (1902-83) has been completely revised, updated, and extended since the first edition appeared in 1977. Designed to be a comprehensive source of musical and documentary information relevant to Walton's life and work, the book provides full details of dates of composition, people responsible for a work's commission, instrumentation, first performance, publication, the location of autograph manuscripts, critical comment, and significant recordings.
From the author of the poignant and provocative debut Anything Could Happen comes an astonishing novel in verse about love, death, and the poetry we find when we most need it. How do you deal with a hole in your life?Do you turn to poets and pop songs?Do you dream? Do you try on love just to see how it fits? Do you grieve? If you're Avery, you do all of these things. And you write it all down in an attempt to understand what's happened--and is happening--to you. I Felt a Funeral, In My Brain is an astonishing novel about navigating death and navigating life, at a time when the only map you have is the one you can draw for yourself.