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As each chapter echoes a bedtime rumination, Goodnight and God Bless is about books, writers, mice, mothers, airport hotels, and other such unexpectedly thought-provoking subjects. Snugly interwoven with a warmly personal and anecdotal history of the author, this wise and witty book offers an ironic take on nearly everything. Drawing from her experiences as a woman, mother, daughter, wife and writer, Anita Nair marks over a decade of her literary career with deliciously amusing quotes, mostly unnecessary and unabashed trivia, footnotes and other erudite diversions. This is the perfect book to keep by your bedside, to dip and delve into anytime.
A study of how literature of the early eighteenth century represented a newly fashionable life of amusement and diversion. Chapters explore a range of diversionary preoccupations and argue that the devices of digressive wit adopt similar forms and fulfil similar functions in literature as do diversions in eighteenth-century culture.
Alex Award-winning author P. Djèlí Clark, A Dead Djinn in Cairo is a Tor.com original historcal fantasy set in an alternate early twentieth century infused with the otherworldly. Egypt, 1912. In Cairo, the Ministry of Alchemy, Enchantments and Supernatural Entities investigate disturbances between the mortal and the (possibly) divine. What starts off as an odd suicide case for Special Investigator Fatma el-Sha’arawi leads her through the city’s underbelly as she encounters rampaging ghouls, saucy assassins, clockwork angels, and a plot that could unravel time itself. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Brilliant, probing, and provocative reflections from the author of the bestselling "Italian Neighbors" and "An Italian Education".
After a leisurely start to a normal day, American expat Kate Moore finds herself partnered with a French agent to investigate a bombing threat in Paris.
Why did eighteenth-century writers employ digression as a literary form of diversion, and how did their readers come to enjoy linguistic and textual devices that self-consciously disrupt the reading experience? Darryl P. Domingo answers these questions through an examination of the formative period in the commercialization of leisure in England, and the coincidental coming of age of literary self-consciousness in works published between approximately 1690 and 1760. During this period, commercial entertainers tested out new ways of gratifying a public increasingly eager for amusement, while professional writers explored the rhetorical possibilities of intrusion, obstruction, and interruption through their characteristic use of devices like digression. Such devices adopt similar forms and fulfil similar functions in literature as do diversions in culture: they 'unbend the mind' and reveal the complex reciprocity between commercialized leisure and commercial literature in the age of Swift, Pope, and Fielding.
"...a daunting triumph of will pushing its way through imposing roadblocks to a magical country, an absurdist nirvana of humor, pathos, and loss."--Time magazine A Void is a metaphysical whodunit, a story chock-full of plots and subplots, of trails in pursuit of trails, all of which afford Perec occasion to display his virtuosity as a verbal magician. It is also an outrageous verbal stunt: a 300-page novel that never once employs the letter E. The year is 1968, and as France is torn apart by social and political anarchy, the noted eccentric and insomniac Anton Vowl goes missing. Ransacking his Paris flat, his best friends scour his diary for clues to his whereabouts. At first glance these pages reveal nothing but Vowl's penchant for word games, especially for "lipograms," compositions in which the use of a particular letter is suppressed. But as the friends work out Vowl's verbal puzzles, and as they investigate various leads discovered among the entries, they too disappear, one by one by one, and under the most mysterious circumstances . . .