In Shakespeare After All, Marjorie Garber professor of English and director of the Humanities Center at Harvard University gives us a magisterial work of criticism, authoritative and engaging, based on her hugely popular lecture courses at Yale and Harvard over the past thirty years. Richly informed by Shakespearean scholarship of the latter half of the twentieth century, this book offers passionate and revealing readings of all thirty-eight of Shakespeare's plays, in chronological sequence, from The Two Gentlemen of Verona to The Two Noble Kinsmen.
Rabbit, now in his 50s and with a heart condition, is living in a condo in Florida. Nelson and his family come to stay and disaster unfolds. Rabbit has a serious heart attack after a boating accident with his granddaughter and Nelson has been embezzling the family firm to feed his cocaine habit.
Who’s Jim Hines? is a story based on real events about Douglas Ford Jr., a twelve-year-old African American boy growing up in Detroit in the 1930s. Doug’s father owns the Douglas Ford Wood Company, and Doug usually helps his dad around the scrap wood yard located in the side lot next to their house. But after Doug loses his school textbooks one day he is faced with the prospect of paying for new books and must join his father in the backbreaking work of delivering wood throughout the city and suburbs.
Simenon lived in a mist of rumour and legend. Of course, this was largely of his own making and he does little to correct matters in the book. Although known as something of a, to put it politely, lover of women's company, he does not go into this Paris Match side of things at all. Instead, he lets us see a bit of the inner man, or what a clever writer may be selling to us as such, and, all the criticism of him after his death notwithstanding, I for one felt that I got somewhat closer to the enigma. It was almost as if he was saying (in about 1963) that he wasn't such a bad fellow after all.
Spanish American Poetry after 1950 - Beyond the Vanguard
Providing a basis for understanding the main lines of development of poetry in Spanish America after Vanguardism, this volume begins with an overview of the situation at the mid-century: the later work of Neruda and Borges, the emergence of Paz. Consideration is then given to the decisive impact of Parra and the rise of colloquial poetry, politico-social poetry [Dalton, Cardenal] and representative figures such as Orozco, Pacheco and Cisneros. The aim is to establish a few paths through the largely unmapped jungle of Spanish American poetry in the time period.
