When Blasted was first produced at the Royal Court in 1995 it was hailed jointly as a masterpiece and a 'disgusting piece of filth'.--Daily Mail Subsequently that play, and the others that followed, have been produced all over the world.

4.48 Psychosis was written throughout the autumn and winter of 1998-99 as Kane battled with one of her recurrent bouts of depression. On February 20, 1999, aged 28, the playwright committed suicide. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

In John Updike’s second collection of assorted prose he comes into his own as a book reviewer; most of the pieces picked up here were first published in The New Yorker in the 1960s and early ’70s. If one word could sum up the young critic’s approach to books and their authors it would be “generosity”: “Better to praise and share,” he says in his Foreword, “than to blame and ban.” And so he follows his enthusiasms, which prove both deserving and infectious: Kierkegaard, Proust, Joyce, Dostoevsky, and Hamsun among the classics; Borges, Nabokov, Grass, Bellow, Cheever, and Jong among the contemporaries. Here too are meditations on Satan and cemeteries, travel essays on London and Anguilla, three very early “golf dreams,” and one big interview. Picked-Up Pieces is a glittering treasury for every reader who likes life, books, wit—and John Updike.

What is temperature, and how can we measure it correctly? These may seem like simple questions, but the most renowned scientists struggled with them throughout the 18th and 19th centuries. In Inventing Temperature, Chang examines how scientists first created thermometers; how they measured temperature beyond the reach of standard thermometers; and how they managed to assess the reliability and accuracy of these instruments without a circular reliance on the instruments themselves. In a discussion that brings together the history of science with the philosophy of science, Chang presents the simple eet challenging epistemic and technical questions about these instruments, and the complex web of abstract philosophical issues surrounding them. Chang's book shows that many items of knowledge that we take for granted now are in fact spectacular achievements, obtained only after a great deal of innovative thinking, painstaking experiments, bold conjectures, and controversy. Lurking behind these achievements are some very important philosophical questions about how and when people accept the authority of science.

This book exhibits deep philosophical quandaries and intricacies of the historical development of science lying behind a simple and fundamental item of common sense in modern science, namely the composition of water as H2O. Three main phases of development are critically re-examined, covering the historical period from the 1760s to the 1860s: the Chemical Revolution (through which water first became recognized as a compound, not an element), early electrochemistry (by which water's compound nature was confirmed), and early atomic chemistry (in which water started out as HO and became H2O). In each case, the author concludes that the empirical evidence available at the time was not decisive in settling the central debates, and therefore the consensus that was reached was unjustified, or at least premature. This leads to a significant re-examination of the realism question in the philosophy of science, and a unique new advocacy for pluralism in science. Each chapter contains three layers, allowing readers to follow various parts of the book at their chosen level of depth and detail. The second major study in "complementary science", this book offers a rare combination of philosophy, history and science in a bid to improve scientific knowledge through history and philosophy of science.

Every English-language writer knows Strunk and White's famous little writing manual, The Elements of Style. Many people between the ages of seventeen and seventy can recite the book's mantra--make every word tell--and still refer to their tattered grade school copy when in need of a hint on how to make a turn of phrase clearer, or a reminder on how to enliven prose with the active voice. Considering that millions of copies have been sold to millions of devotees, you might not think to ask what could enhance this (almost) perfect classic. In fact, the addition of illustrations allows readers to experience the book's contents in a completely new way, making the whole learning experience more colorful and clear, as well as adding a whimsical element that compliments the subtly humorous tone of the prose. The Elements of Style Illustrated will come to be known as the definitive, must-have edition.
Maira Kalman is the offbeat and wildly talented illustrator of twelve children's books, numerous covers for The New Yorker magazine, fabrics for the fashion designers Isaac Mizrahi and Kate Spade, watches and accessories for the Museum of Modern Art, and a mural at the elegant Wavehill estate in Riverdale, among other projects. Her sophisticated and witty images that are yet bright and fanciful have won her a devoted following, especially among young urbanites. Maira Kalman is acknowledged by the E. B. White estate as the single artist trusted to illustrate the revered The Elements of Style.
The Elements of Style Illustrated brings a fresh immediacy to the well-loved, much-valued, and still on-point work that has become an institution. While giving the classic work a jolt of new energy to appeal to contemporary readers, Kalman's illustrations are hemselves timeless, designed to sit alongside the ever-enduring manual for another fifty years and more.
William Strunk and E. B. White's classic writing manual, The Elements of Style, has been enriched to include the vibrant, witty, and instantly recognizable images of Maira Kalman in a beautiful illustrated edition
In her own words: "born. bucolic childhood. culture-stuffed adolescence. played piano. stopped. danced. stopped. wrote. discarded writing. drew. reinstated writing. married Tibor Kalman and collaborated at iconoclastic yet successful design studio. wrote and painted children's books. worried. took up Ping-Pong. relaxed. wrote and painted for many magazines. cofounded the Rubber Band Society. amused. children: two. dog: one."

For a quarter century, more than a million readers—scribes and scribblers of all ages and abilities—have been inspired by Anne Lamott’s hilarious, big-hearted, homespun advice. Advice that begins with the simple words of wisdom passed down from Anne’s father—also a writer—in the iconic passage that gives the book its title:
“Thirty years ago my older brother, who was ten years old at the time, was trying to get a report on birds written that he’d had three months to write. It was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother’s shoulder, and said, ‘Bird by bird, buddy. Just take it bird by bird.’”
An essential volume for generations of writers young and old, Bird by Bird is a modern classic. This twenty-fifth anniversary edition will continue to spark creative minds for years to come.

Some appreciate fine art; others appreciate fine wines. Stanley Fish appreciates fine sentences. The New York Times columnist and world-class professor has long been an aficionado of language. Like a seasoned sportscaster, Fish marvels at the adeptness of finely crafted sentences and breaks them down into digestible morsels, giving readers an instant play-by-play. In this entertaining and erudite gem, Fish offers both sentence craft and sentence pleasure, skills invaluable to any writer (or reader). How to Write a Sentence is both a spirited love letter to the written word and a key to understanding how great writing works; it is a book that will stand the test of time.

Lost in the Funhouse is a collection of loosely connected short stories that was originally published by John Barth in 1968. These postmodern stories examine the art of fiction writing, among other things, and seem to undermine the conventional and predictable nature of fiction. In the fourteen stories, Barth presents a literary "funhouse," a dense maze that weaves in and out of plot, narration, and a self-conscious attention to the process of writing itself.

Wyatt Gwyon's desire to forge is not driven by larceny but from love. Exactingly faithful to the spirit and letter fo the Flemish masters, he produces uncannily accurate "originals"--pictures the painters themeselves might have envied. In an age of counterfeit emotion and taste, the real and fake have become indestinguishable; yet Gwyon's forgeries reflect a truth that others cannot touch--cannot even recognize. Contemporary life collapses the distinction between the "real" and the "virtual" world, and Gaddis' novel pre-empts our common obsessions by almost half a century. This novel tackles the blurring of perceptual boundaries.

William Makepeace Thackeray's Vanity Fair depicts the anarchic anti-heroine Beky Sharpe cutting a swathe through the eligible young men of Europe, set against a lucid backdrop of war and international chaos. This Penguin Classics edition is edited with an introduction and notes by John Carey.
No one is better equipped in the struggle for wealth and worldly success than the alluring and ruthless Becky Sharp, who defies her impoverished background to clamber up the class ladder. Her sentimental companion Amelia Sedley, however, longs only for the caddish soldier George. As the two heroines make their way through the tawdry glamour of Regency society, battles - military and domestic - are fought, fortunes made and lost. The one steadfast and honourable figure in this corrupt world is William Dobbin, devoted to Amelia, bringing pathos and depth to Thackeray's gloriously satirical epic of love and social adventure. Set against the background of the Napoleonic wars, Thackeray's 'novel without a hero' is a lively satirical journey through English society, exposing greed, snobbery and pretension.
This edition follows the text of Thackeray's revised edition of 1853. John Carey's introduction identifies Vanity Fair as a landmark in the development of European Realism, and as a reflection of Thackeray's passionate love for another man's wife.

At once a fiendishly devious mystery, a beguiling love story, and a brilliant symposium on the power of art, My Name Is Red is a transporting tale set amid the splendor and religious intrigue of sixteenth-century Istanbul, from one of the most prominent contemporary Turkish writers.
The Sultan has commissioned a cadre of the most acclaimed artists in the land to create a great book celebrating the glories of his realm. Their task: to illuminate the work in the European style. But because figurative art can be deemed an affront to Islam, this commission is a dangerous proposition indeed. The ruling elite therefore mustn’t know the full scope or nature of the project, and panic erupts when one of the chosen miniaturists disappears. The only clue to the mystery–or crime? –lies in the half-finished illuminations themselves. Part fantasy and part philosophical puzzle, My Name is Red is a kaleidoscopic journey to the intersection of art, religion, love, sex and power.

Emily Dickinson proved that brevity can be beautiful. Only now is her complete oeuvre--all 1,775 poems--available in its original form, uncorrupted by editorial revision, in one volume. Thomas H. Johnson, a longtime Dickinson scholar, arranged the poems in chronological order as far as could be ascertained (the dates for more than 100 are unknown). This organization allows a wide-angle view of Dickinson's poetic development, from the sometimes-clunky rhyme schemes of her juvenilia, including valentines she wrote in the early 1850s, to the gloomy, hell-obsessed writings from her last years. Quite a difference from requisite Dickinson entries in literary anthologies: "There's a certain Slant of light," "Wild Nights--Wild Nights!" and "I taste a liquor never brewed." The book was compiled from Thomas H. Johnson's hard-to-find variorum from 1955. While some explanatory notes would have been helpful, it's a prodigious collection, showcasing Dickinson's intractable obsession with nature, including death. Poem 1732, which alludes to the deaths of her father and a onetime suitor, illustrates her talent: My life closed twice before its close; It yet remains to see If Immortality unveil A third event to me, So huge, so hopeless to conceive As these that twice befell. Parting is all we know of heaven, And all we need of hell. The musicality of her punctuation and the outright elegance of her style--akin to Christina Rossetti's hymns, although not nearly so religious--rescue the poems from their occasional abstruseness. The Complete Poems is especially refreshing because Dickinson didn't write for publication; only 11 of her verses appeared in magazines during her lifetime, and she had long-resigned herself to anonymity, or a "Barefoot-Rank," as she phrased it. This is the perfect volume for readers wishing to explore the works of one of America's first poets.

"The Collected Poems of Emily Dickinson," by Emily Dickinson, is part of the ""Barnes and Noble Classics" "series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of "Barnes and Noble Classics": New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices and Glossaries, when appropriateAll editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. "Barnes and Noble Classics "pulls together a constellation of influences-biographical, historical, and literary-to enrich each reader's understanding of these enduring works. Born in Amherst, Massachusetts in 1830, Dickinson began life as an energetic, outgoing young woman who excelled as a student. However, in her mid-twenties she began to grow reclusive, and eventually she rarely descended from her room in her father's house. She spent most of her time working on her poetry, largely without encouragement or real interest from her family and peers, and died at age fifty-five. Only a handful of her 1,775 poems had been published during her lifetime. When her poems finally appeared after her death, readers immediatelyrecognized an artist whose immense depth and stylistic complexities would one day make her the most widely recognized female poet to write in the English language. Dickinson's poetry is remarkable for its tightly controlled emotional and intellectual energy. The longest poem covers less than two pages. Yet in theme and tone her writing reaches for the sublime as it charts the landscape of the human soul. A true innovator, Dickinson experimented freely with conventional rhythm and meter, and often used dashes, off rhymes, and unusual metaphors-techniques that strongly influenced modern poetry. Dickinson's idiosyncratic style, along with her deep resonance of thought and her observations about life and death, love and nature, and solitude and society, have firmly established her as one of America's true poetic geniuses. Includes an index of first lines. Rachel Wetzsteon is Assistant Professor of English at William Paterson University. She has published two books of poems, "The Other Stars" and "Home and Away,"

Of the nine books of lyrics the ancient Greek poet Sappho is said to have composed, only one poem has survived complete. The rest are fragments. In this miraculous new translation, acclaimed poet and classicist Anne Carson presents all of Sappho’s fragments, in Greek and in English, as if on the ragged scraps of papyrus that preserve them, inviting a thrill of discovery and conjecture that can be described only as electric—or, to use Sappho’s words, as “thin fire . . . racing under skin.” By combining the ancient mysteries of Sappho with the contemporary wizardry of one of our most fearless and original poets, If Not, Winter provides a tantalizing window onto the genius of a woman whose lyric power spans millennia.

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Fariña evokes the Sixties as precisely, wittily, and poignantly as F. Scott Fitzgerald captured the Jazz Age. The hero, Gnossus Pappadopoulis, weaves his way through the psychedelic landscape, encounteringamong other thingsmescaline, women, art, gluttony, falsehood, science, prayer, and, occasionally, truth.

In this outrageously farcical adventure, heroGeorge Giles sets out to conquer the terrible Wescac computer system that threatens todestroy his community in this brilliant"fantasy of theology, sociology, and sex" ( Time ).

From Publishers Weekly
The pre-eminent scholar of Polish history, Davies (God's Playground and Heart of Europe) expands his focus to all of Europe. While the book is bulky, its size is hardly adequate to a complete history of the continent from pre-history to the dismantling of the Soviet Union. In addition, as one might expect, Davies has taken great pains to treat countries other than England, France and Germany as legitimate parts of Europe?not just as the thresholds over which barbarians crossed. ("For some reason it has been the fashion among some historians to minimize the impact of the Magyars," Davies writes when discussing what would become central Europe. "All this means is that the Magyars did not reach Cambridge.") The book works because his subject is not the constituent countries but the continent as a whole. Thus, while Elizabeth I gets one brief mention in passing, Aristide Briand, the French foreign minister who tried to effect a Franco-German reconciliation until the Nazis won power, gets several paragraphs. Aside from defining what Europe is and giving all countries their due, Davies also tries to show the joys of an inclusive reading of historical subjects (he disparages excessive specialization and writes admiringly of the Annales school). A master of broad-brushstroke synthesis, Davies navigates through the larger historical currents with the detail necessary to a well-written engaging narrative.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

"Porter's [book] has been long in the making and has been worth waiting for."—Peter Gay, Times Literary Supplement From the author of The Greatest Benefit to Mankind (winner of the Los Angeles Times Book Award) comes a "sumptuous and spicy volume" ( Washington Post Book World ) that highlights Britain's long-underestimated and pivotal role in disseminating the ideas and culture of the Enlightenment. In response to numerous histories centered on France and Germany, Roy Porter explains how the monumental transformation of thinking in Britain influenced worldwide developments. This "splendidly imaginative" work "propels the debate forward...and makes a valuable point" ( New York Times Book Review ). 16 pages of black and white illustrations

From our twentieth-century perspective, we tend to think of the Europe of the past as a colonizer, a series of empires that conquered lands beyond their borders and forced European cultural values on other peoples. This provocative book shows that Europe in the Middle Ages was as much a product of a process of conquest and colonization as it was later a colonizer.