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"Spear and Fang" is a short story by Robert Ervin Howard. Robert Ervin Howard (January 22, 1906 - June 11, 1936) was an American author who wrote pulp fiction in a diverse range of genres. He is well known for his character Conan the Barbarian and is regarded as the father of the sword and sorcery subgenre. Howard was born and raised in the state of Texas. He spent most of his life in the town of Cross Plains with some time spent in nearby Brownwood. A bookish and intellectual child, he was also a fan of boxing and spent some time in his late teens bodybuilding, eventually taking up amateur boxing. From the age of nine he dreamed of becoming a writer of adventure fiction but did not have real success until he was 23. Thereafter, until his death at the age of 30 by suicide, Howard's writings were published in a wide selection of magazines, journals, and newspapers, and he had become successful in several genres. Although a Conan novel was nearly published into a book in 1934, his stories never appeared in book form during his lifetime. The main outlet for his stories was in the pulp magazine Weird Tales. Howard's suicide and the circumstances surrounding it have led to varied speculation about his mental health. His mother had been ill with tuberculosis his entire life, and upon learning that she had entered a coma from which she was not expected to wake, he walked out to his car and shot himself in the head. In the pages of the Depression-era pulp magazine Weird Tales, Howard created Conan the Barbarian, a character whose cultural impact has been compared to such icons as Tarzan, Count Dracula, Sherlock Holmes, Batman, and James Bond. With Conan and his other heroes, Howard created the genre now known as sword and sorcery, spawning many imitators and giving him a large influence in the fantasy field. Howard remains a highly read author, with his best works still reprinted. Howard spent his late teens working odd jobs around Cross Plains; all of which he hated. In 1924, Howard returned to Brownwood to take a stenography course at Howard Payne College, this time boarding with his friend Lindsey Tyson instead of his mother. Howard would have preferred a literary course but was not allowed to take one for some reason. Biographer Mark Finn suggests that his father refused to pay for such a non-vocational education. In the week of Thanksgiving that year, and after years of rejection slips and near acceptances, he finally sold a short caveman tale titled "Spear and Fang", which netted him the sum of $16 and introduced him to the readers of a struggling pulp called Weird Tales. Now that his career in fiction had begun, Howard dropped out of Howard Payne College at the end of the semester and returned to Cross Plains. Shortly afterwards, he received notice that another story, "The Hyena," had been accepted by Weird Tales. During the same period, Howard made his first attempt to write a novel, a loosely autobiographical book modeled on Jack London's Martin Eden and titled Post Oaks & Sand Roughs. The book was otherwise of middling quality and was never published in the author's lifetime but it is of interest to Howard scholars for the personal information it contains. Howard's alter ego in this novel is Steve Costigan, a name he would use more than once in the future. The novel was finished in 1928 but not published until long after his death.
From the New York Times columnist and bestselling author of Bad Religion, a “clever and stimulating” (The New York Times Book Review) portrait of how our turbulent age is defined by dark forces seemingly beyond our control. The era of the coronavirus has tested America, and our leaders and institutions have conspicuously failed. That failure shouldn’t be surprising: Beneath social-media frenzy and reality-television politics, our era’s deep truths are elite incompetence, cultural exhaustion, and the flight from reality into fantasy. Casting a cold eye on these trends, The Decadent Society explains what happens when a powerful society ceases advancing—how the combination of wealth and technological proficiency with economic stagnation, political stalemate, and demographic decline creates a unique civilizational crisis. Ranging from the futility of our ideological debates to the repetitions of our pop culture, from the decline of sex and childbearing to the escapism of drug use, Ross Douthat argues that our age is defined by disappointment—by the feeling that all the frontiers are closed, that the paths forward lead only to the grave. Correcting both optimism and despair, Douthat provides an enlightening explanation of how we got here, how long our frustrations might last, and how, in renaissance or catastrophe, our decadence might ultimately end.
The Aesthetic and Decadent Movement of the late 19th century spawned the idea of "Art for Art's Sake," challenged aesthetic standards and shocked the bourgeosie. From Walter Pater's study, "The Renaissance to Salome, the truly decadent collaboration between Oscar Wilde and Aubrey Beardsley, Karl Beckson has chosen a full spectrum of works that chronicle the British artistic achievement of the 1890s. In this revised edition of a classic anthology, "The Ballad of Reading Gaol" has been included in its entirety; the bibliography has been completely updated; Professor Beckson's notes and commentary have been expanded from the first edition published in 1966. The so-called Decadent or Aesthetic period remains one of the most interesting in the history of the arts. The poetry and prose of such writers as Yeats, Wilde, Symons, Johnson, Dowson, Barlas, Pater and others are included in this collection, along with sixteen of Aubrey Beardsley's drawings.
From the New York Times columnist and bestselling author of Bad Religion, a powerful portrait of how our wealthy, successful society has passed into an age of gridlock, stalemate, public failure and private despair. Today the Western world seems to be in crisis. But beneath our social media frenzy and reality television politics, the deeper reality is one of drift, repetition, and dead ends. The Decadent Society explains what happens when a rich and powerful society ceases advancing—how the combination of wealth and technological proficiency with economic stagnation, political stalemates, cultural exhaustion, and demographic decline creates a strange kind of “sustainable decadence,” a civilizational languor that could endure for longer than we think. Ranging from our grounded space shuttles to our Silicon Valley villains, from our blandly recycled film and television—a new Star Wars saga, another Star Trek series, the fifth Terminator sequel—to the escapism we’re furiously chasing through drug use and virtual reality, Ross Douthat argues that many of today’s discontents and derangements reflect a sense of futility and disappointment—a feeling that the future was not what was promised, that the frontiers have all been closed, and that the paths forward lead only to the grave. In this environment we fear catastrophe, but in a certain way we also pine for it—because the alternative is to accept that we are permanently decadent: aging, comfortable and stuck, cut off from the past and no longer confident in the future, spurning both memory and ambition while we wait for some saving innovation or revelations, growing old unhappily together in the glowing light of tiny screens. Correcting both optimists who insist that we’re just growing richer and happier with every passing year and pessimists who expect collapse any moment, Douthat provides an enlightening diagnosis of the modern condition—how we got here, how long our age of frustration might last, and how, whether in renaissance or catastrophe, our decadence might ultimately end.
This work presents an imaginary discussion about socialism and monarchy in reaction to the decadence of Gilded Age society. Excerpt "THE 3.20 train from Boston slowed up as it drew into a way station, and Malcolm McCann, grim and sullen from his weary ride in the dirt and cinders, the coal-smoke and the fœtid air, the fretting babies and hot, worrying men, that characterise a railway journey in August, hurried out with a grunt of relief."
In Literature and the Politics of Post-Victorian Decadence, Kristin Mahoney argues that the early twentieth century was a period in which the specters of the fin de siècle exercised a remarkable draw on the modern cultural imagination and troubled emergent avant-gardistes. These authors and artists refused to assimilate to the aesthetic and political ethos of the era, representing themselves instead as time travelers from the previous century for whom twentieth-century modernity was both baffling and disappointing. However, they did not turn entirely from the modern moment, but rather relied on decadent strategies to participate in conversations concerning the most highly-vexed issues of the period including war, the rise of the Labour Party, the question of women's sexual freedom, and changing conceptions of sexual and gender identities.
This volume is both an essential resource for undergraduates and graduates studying Victorian and Decadent literature and an instructive work for enthusiastic readers of verse. The wide span of the 1872–1900 epoch enables readers to appreciate in great depth the literary developments that led to the fin de siècle, unlike most studies of this period, which focus solely on the 1890s, with no relation to cultural and historical developments in the previous two important decades.