Child's picture book of the ballet.

What is meant by "romantic irony"? What is specifically romantic about this kind of irony? How does it relate to--and differ from--ordinary, traditional irony? Is it a variant of traditional irony, or an independent phenomenon? Are its lines of demarcation primarily historical or modal? How does it become manifest in a text? What is its impact on the art of narration? These are the questions that Fictions of Romantic Irony addresses. It makes a new approach to romantic irony by envisaging it in a broad European context in relation both to earlier concepts of irony and to traditional uses of irony in narration. Fictions of Romantic Irony shows how irony was transformed in the hands of Friedrich Schlegel, Hegel and Kierkegaard. Through an analysis of six major European narratives of the mid-eighteenth to the mid-nineteenth century it illustrates the reciprocal interplay of theory and practice, and the complex and central role that irony assumes as a shaping aesthetic factor. Using a wide perspective and an original synchronic disposition of texts within its historical framework, it identifies the distinctive philosophical and literary features of romantic irony. Fictions of Romantic Irony presents an important theory of romantic irony, distinguishing it from traditional irony in the handling of fictional illusion and in the dynamics of the tripartite relationship between narrator, narrative and reader. It dispels many common, limiting fictions about romantic irony, and offers a robust understanding of its workings in narrative and its significance for modern fiction.

"Frieden draws heavily on works of intellectual history to survey the concepts of daimon and genius in ancient religious and mythological thought. He then outlines the complex transformation in the 18th century that leaves genius midway between a transcendental and a psychological agency. This line age serves to orient four analyses of literary monologue (in Shakespeare, Coleridge, Poe, and Joyce). The issue highlighted by Frieden has come to the forefront through certain writings of Husserl, Heidegger, and Derrida: namely, the determination of the individual subject in terms of the expressive spontaneity of an inner voice. This book has the merit of combining a philosophical and a formalist approach in exploring a topic of high priority in current theoretical discussions." - Library Journal

Recently discovered and never before published, these two short novels were written in the early 1970s, at the beginning of Kathy Acker's writing career. Rip-off Red reads as a kind of Raymond Chandler for bad girls, as Acker's typical literary playfulness transforms the genre conventions of detective fiction into a book that is simultaneously a mystery and a personal, raunchy, and politically astute account of life in New York City. The Burning Bombing of America is a dystopian vision of the destruction of America, combining crypto-Socialist class critique with the visceral surreality of the Book of Revelation.

When a girl is murdered in a Mayfair Mews, Superintendent Manners is convinced that the secret of the crime lies in the affluent suburban housing estate called The Dell. Dell-dwellers, like architect Dick and wine and food expert Jack Jellifer, think of themselves as living a civilised life, but there is one explosive element: red-headed roughneck Solomon Grundy. Could Grundy have killed the girl?

The new and daring book on the Philosophy of Atheism, written with the fire and enthusiasm of conviction, it is literally a dramatic moving picture subject. If you enjoy reading Voltaire, David Hume, Thomas Paine and Ingersoll, do not fail to read this exposition of that ever fascinating theme by the most daring writer of them all

Nine Chicago-based short stories combine wit and precision to probe the meaning of ambition by creating insightful characters with realistic struggles

"After narrowly escaping with his life at the hands of a murderous Hollywood pimp, detective Happy Doll, bullet-ridden but healing, has landed on a remote Mexican beach. In a humble shack and with his dog for company, Doll settles into a peaceful idyll of Buddhist study. But then trouble, as it always does, comes to paradise. Doll is the witness to a murder for which he is framed, and now, with an expired passport and the Mexican authorities on his tail, he must sneak across the border back to L.A. by any means necessary, with the goal of bringing the true murderer to justice. But it's not just trouble that expels Doll from paradise! His dark past reaches for him, like a hand from the grave, old enemies want him dead, including the Jalisco Cartel, and Doll, a reluctant instrument of mayhem, yearns to end this cycle of violence and tip the karmic scales in his favor. But how can he do this without getting blood on his hands? Karma Doll marks the third installment in a madcap, bloody, and impossibly fun series, bringing us back in the good company of Happy Doll: a beloved, introverted anti-hero who has taken more hits to the head than a linebacker, yet still always manages to come out on top." -- Amazon.

When Anna and Sadie discover the diaries of their mother, Rebecca, in the days following her death, they learn that her life was far more complex than either of them knew: a garment worker in early-1900s New York; the reluctant wife in an arranged marriage to an ailing and abusive husband; the improbable friend of a pregnant prostitute.But the diaries reveal more than just surprising details about Rebecca's life: they also point to a family secret - and questions about Sadie's true parentage.The Featherbed is a gripping family saga that moves between the tenements of New York's Lower East Side and the stately homes of Toronto's Annex. Strong in plot, character, setting, and style, it is a fully-realised debut from an assured writer.

Once upon a time, a young girl ventured into a dark forest, looking for a cure for her much-loved elder sister ... A touching, tender and lyrical fable about what we do for the ones we love, and the beauty and mystery of being alive in a world in which we are part of everything, and everything is part of us. As a terrible pandemic rages through the country, a young girl, Teo, leaves her small village and sets off into the forest, in search of a cure for her sister who is infected with the pox. Her father Merdocai has surrendered himself to the evil Marquis to be experimented upon for the Greater Good; and with her mother long-dead, all Teo has to keep her going is the love of her sister, her father and her friend Rodrigo, a stuttering poet. As Teo ventures deeper into the forest, she encounters creatures and teachers who hold the answers to all the questions she has about who she is, and where she has come from. Meanwhile, out in the depths of the ocean, a whale is returning to the place he was born, to exhale his last breath. While Teo does not know this, he too holds secrets that belong to Teo's story. The Whale's Last Song is a tender, sweet and wise fable, on what we are prepared to do for those we love; a celebration of the beauty and mystery of being alive in a world in which we are part of everything, and everything is part of us; and a love song to the natural world. It is The Alchemist meets The Princess Bride meets The Little Prince. It is a little gem. 'A bright ode to all that is good and beautiful in the world. The Whale's Last Song is a timeless tale, an allegory of the heart.' Maggie Hamilton 'Fresh, exquisite, a creative tour de force ... Both challenging and reassuring, the story weaves a sense of belonging through the fallibility of being human and the mysteries of being alive.' Suzie Miller, Prima Facie

Near Fine Hardcover New York: Random House, 1970. Book. Near Fine. Cloth. Signed by Author(s). First Edition. 8vo - over 7¾" - 9¾" tall. Brown and tan cloth, lettered in blind on front cover and in gold foil on spine panel. Text block edges slghtly toned by age, front cover a bit warped and thus mildly lifting toward fore-edge. 241 pp. Illus. dust jacket lightly rubbed at corners and spine extremities, spine panel slightly toned by age, now in archival mylar. Signed by author (no inscription) on front flyleaf. First editoin, as per Random House designation at the time (explicit statement, "2" in number line). This is a signed copy of the trade edition, not the signed/limited edition..

Learn About the Magic of Light from a Master Step into the captivating world of Jean Rosenthal, a trailblazing figure in the realm of lighting design for modern theater. The Magic of Light, a professional memoir crafted with the assistance of friend and novelist Lael Wertenbaker, unveils the artistry behind Rosenthal's technical mastery. Renowned for transforming stage illumination from a mere necessity to a mesmerizing art form, Rosenthal shares her insights, experiences, and the evolution of her craft. Part one of the memoir delves into Rosenthal's profound thoughts on light, exploring its role in theatrical history, dissecting its impact on plays, musicals, operas, and dance. Part two, "Tools of the Trade," serves as a comprehensive guide, detailing the mechanics of lighting instruments, with diagrams, charts, and photographs illustrating Rosenthal's creative process. Included are light plots, cue sheets, and scene designer's elevations for the famous Broadway productions of Hello, Dolly and Plaza Suite. In a heartfelt preface, Wertenbaker offers a glimpse into the life of Rosenthal, a woman of immense talent, professionalism, and profound humanity. From her early collaborations with Martha Graham to her work with Broadway stage greats, Rosenthal's journey unfolds with anecdotes, humor, and the unwavering dedication that endeared her to colleagues and theater crews alike. The Magic of Light is not only a technical guide; it's a celebration of Rosenthal's legacy and her impact on the theatrical world. With contributions from luminaries like Martha Graham, John Houseman, Oliver Smith, Mary Martin, and Garson Kanin, this memoir is a tribute to a pioneering artist whose work continues to shape the essence of stage illumination. This book is also available from Echo Point Books as a hardcover (ISBN 1648374298).

Argues that the rabbis of late antiquity, in the normative law set forth in the Mishnah-Tosefta-Yerushalmi-Bavli, liberated Israelite women by according them what Scripture had denied: the standing and powers of sentient beings; a role in critical transactions of their existence that, if not entirely equal to that of men, at least corresponded to it; and agency and intentionality. Few bibliographic references. No index. Annotation c. by Book News, Inc., Portland, Or.

The narrator of Ivan Klima's novel has temporarily abandoned his work-in-progress -an essay on Kafka -and exchanged his writer's pen for the orange vest of a Prague road-sweeper. As he works, he meditates on Czechoslovakia, on Kafka, on life, on art and, obsessively, on his passionate and adulterous love affair with the sculptress Daria. Gradually he admits the impossibility of being at once an honest writer and an honest lover, and with that agonizing discovery comes a moment of choice.

In Sentences, contemporary poet Howard Nemerov adds to his distinguished work a collection of gnomic verses, declarative poems, sonnets after other poets, and sustained lyrics. "In [Sentences], not only has Nemerov continued to accommodate himself to the literary tradition without falling back on parody; he has also . . . extended the resources of blank verse beyond what any modern practitioner, himself included, has managed to. This extension comprises more than a mere prosodic advance; it is a rhetorical and imaginative advance. 'By Al Lebowitz's Pool,' 'The Makers,' 'Monet,' and 'A Christmas Storm,' for example, are dazzling in their very naturalness. . . . No one since Frost has done as much to move blank verse from where Wordsworth and Coleridge had left it."—Mary Kinzie, Poetry