New York:: The Viking Press,, 1961.. Ex-library with the usual markings, but overall tight and clean in a near fine unmarked dust jacket.. First US printing. Contains 3 short novels, translated and with an introduction by Donald Keene: The Songs of Oak Mountain by Shichiro Fukasawa, Ohan by Chiyo Uno, and Asters by Jun Ishikawa. Although the title refers to these as three modern novels, the themes "stem from the days before the Westernization of Japan when men with swords roamed the city streets and poverty made infanticide a normal practice in the countryside." 172 pp. Jacket design by Kazue Mizumura. 172 pp.

Delmore Schwartz (1913-1966) was one of the finest writers of his generation. Winner of the prestigious Bollingen Prize and the Poetry Society of America's Shelley Memorial Award, he was hailed by John Ashbery as "one of the major twentieth-century poets." Schwartz's stories were also widely read and loved, admired by James Atlas for their "unique style that enabled Schwartz to depict his characters with a sort of childlike verisimilitude." Graced with an introduction by Cynthia Ozick, this New Directions Bibelot, Screeno: Stories & Poems, gathers many of Schwartz's most popular works, including: "In Dreams Begin Responsibilities," "America, America!" "The Heavy Bear who Goes with Me," and "Screeno." Also included is a newly discovered story, "The Heights of Joy," which appeared in the magazine Boulevard in 2002. Delmore Schwartz's life is legendary. The brightest star of the Partisan Review's post-war intellectual circle, a lecturer at Harvard and Princeton, and perhaps the greatest poet of his generation, he was stricken by a cruel mental illness and died after living in solitude in a Manhattan hotel. Yet it is his work that endures: "What complicates and enriches Schwartz's comedy," says Irving Howe, "is, I think, a reaching out toward nobility, a shy aspiring spirituality, a moment or two of achieved purity of feeling."

Based on the screenplay to the terrifying 1998 horror film StrangeLand The Internet was supposed to connect people. For Captain Howdy, it's the perfect hunting ground. Behind the screen waits a sadist who lures teenagers into his world of ritual piercing, body suspension, and unrelenting torment. To him, pain is truth. Flesh is canvas. And his victims are masterpieces. When Detective Mike Gage's daughter disappears, the hunt leads the police into a nightmare of needles, hooks, and cages. A carnival of body modification ruled by a madman who believes he's a prophet. But Howdy isn't just another predator; he's a believer, and his gospel is written in pain. StrangeLand drags you screaming through the shadows of suburbia into a world where torture is transcendence, horror wears a human face, and salvation may come too late. Welcome to Captain Howdy's playground. Once you enter, you don't come back the same.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"We all know eloquence when we hear it. But what exactly is it? And how might we gain more of it for ourselves? This entertaining and, yes, eloquent book illuminates the power of language from a linguistic point of view and provides fascinating insights into the way we use words. David Crystal, a world-renowned expert on the history and usage of the English language, probes the intricate workings of eloquence. His lively analysis encompasses everyday situations (wedding speeches, business presentations, storytelling) as well as the oratory of great public gatherings. Crystal focuses on the here and now of eloquent speaking--from pitch, pace, and prosody to jokes, appropriateness, and how to wield a microphone. He explains what is going on moment by moment and examines each facet of eloquence. He also investigates topics such as the way current technologies help or hinder our verbal powers, the psychological effects of verbal excellence, and why certain places or peoples are thought to be more eloquent than others. In the core analysis of the book, Crystal offers an extended and close dissection of Barack Obama's electrifying "Yes we can" speech of 2008, in which the president demonstrated full mastery of virtually every element of eloquence--from the simple use of parallelism and an awareness of what not to say, to his brilliant conclusion constructed around two powerful words: dreams and answers"--

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Cyril M. Kornbluth's "Takeoff" is a masterful exploration of the interplay between technology and society, set against a backdrop of technological optimism and skepticism typical of mid-20th century speculative fiction. The narrative is punctuated by Kornbluth's characteristic wit and sharp social commentary, as he delves into the implications of a space-age future. Through a compelling storyline that examines human ambition, ethical dilemmas, and the consequences of technological advancement, Kornbluth captures the anxiety of an era teetering between hope and disillusionment, displaying a profound understanding of the zeitgeist of his time. Cyril M. Kornbluth (1923-1958) was a prominent figure in the science fiction realm, recognized for co-writing notable works with Fredric Brown and for his solo efforts that often critiqued contemporary society. His experiences during World War II and his keen insights into political and social issues deeply informed his writing. "Takeoff" reflects his fascination with the space race and the dynamics of progress, underscoring his ability to weave personal and historical narratives into universally resonant themes. I highly recommend "Takeoff" to readers who appreciate thought-provoking science fiction that challenges perceptions of technological advancement. Kornbluth's astute observations, combined with his engaging narrative style, ensure this work remains relevant today, prompting readers to contemplate the balance between innovation and ethical responsibility.

Cancelled Confessions reveals Claude Cahun to be a major surrealist writer and pioneering queer theorist almost a century ahead of her time. In 1930, Claude Cahun (born Lucy Schwob) and her partner, artist Marcel Moore (born Suzanne Malherbe) published their surrealist masterpiece, Aveux non Avenus, translated here as Cancelled Confessions and available in English for the first time in twenty years. Susan de Muth's revised translation of Cancelled Confessions has a new introduction by art historian Amelia Groom which contextualizes it within contemporary queer discourse. The book's nine sections are prefaced by dreamlike photomontages (reproduced in high definition here) which reflect, illuminate and converse with the verbal content. Upon publication, Aveux non Avenus simply baffled all but a few of Cahun's friends and admirers, leading Cahun to describe herself as, 'An unwanted Cassandra'. Now, however, is the time of the remarkably prescient Cahun and Moore. 'Cahun was a pioneer of gender-bending role-playing...eerily ahead of her time she has attracted an almost cult-like following.' The late David Bowie Cahun and Moore's appeal is wide and universal. They were adventurers in life as in art. Cahun famously terrified Andre Breton in the 1920s when she appeared in a Paris café with her head shaved and painted gold. Having moved to Jersey in 1938, Cahun and Moore waged a mischievous two-person resistance campaign against the occupying Nazi forces from 1940. Finally caught and imprisoned in 1944, they were sentenced to death in 1945, saved at the very last moment by the armistice.

In ancient Jewish culture the ideas of purity and impurity defined the socio-cultural boundaries between Jews and Gentiles. Hayes argues that different views of the possibility of conversion, based on varying ideas about Gentile impurity, were the key factor in the formation of Jewish sects in the second temple period, and in the separation of the early Christian Church from what later became rabbinic Judaism.

Poems deal with loneliness, the past, animals, dreams, war, art, writers, letters, history, welfare, aging, workers, and the imagination

A few years ago, Christopher Buckley wrote of Bruce Jay Friedman in the New York Times Book Review that he "has been likened to everyone from J. D. Salinger to Woody Allen," but that "he is: Bruce Jay Friedman, sui generis, and no mean thing. No further comparisons are necessary." We are happy to report that he remains the same Bruce Jay Friedman in his unique, unblinking, and slightly tilted essays—collected here for the first time—in Even the Rhinos Were Nymphos . A butler school in Houston, a livestock auction in Little Rock, a home for "frozen guys" in California, JFK's humidor in Manhattan—all are jumping off points for Friedman's baleful and sharply satirical scrutiny of American life and behavior in the second half of the twentieth century. Travel with Friedman from Harlem to Hollywood, from Port-au-Prince to Etta's Eat Shop in Chicago. In these pieces, which were published in literary and mass-circulation magazines from the 1960s to the 1990s, you'll meet such luminaries as Castro and Clinton, Natalie Wood and Clint Eastwood, and even Friedman's friends Irwin Shaw, Nelson Algren, and Mario Puzo. Friedman is a master of the essay, whether the subject is crime reporting ("Lessons of the Street"), Hollywood shenanigans ("My Life among the Stars"), or his outrageous adventures as the editor of pulp magazines (the classic "Even the Rhinos Were Nymphos"). We could sing his praises as a journalist, humorist, and social critic. But, as Buckley tells us, being Bruce Jay Friedman is enough. Bruce Jay Friedman is the author of seven novels (including The Dick , Stern , and A Mother's Kisses ), four collections of short stories, four full-length plays (including Scuba Duba and Steambath ), and the screenplays for the movies Splash and Stir Crazy .

Ferenc Molnár's "Liliom: A Legend in Seven Scenes and a Prologue" is a classic Hungarian drama exploring themes of love, loss, and redemption beyond the earthly realm. This timeless tale blends fantasy and romance, venturing into the afterlife as it contemplates the possibilities of purgatory. A cornerstone of European drama, "Liliom" has captivated audiences and inspired numerous adaptations across various artistic mediums. Molnár's poignant exploration of human nature continues to resonate, inviting reflection on the choices we make and their consequences, even after death. This meticulously prepared print edition preserves the integrity of the original work, offering a new opportunity to experience this enduring story. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.