Benny Cooperman's favourite lunch counter and diner have closed down and the fittings have been sold to Americans. The nation mourns the accidental death of its greatest artist, cellist Dermot Keogh. It's April and there's already a heat wave. Things are just not the way they used to be. Alas, not just the plots and settings have changed in Howard Engel's 10th Benny Cooperman mystery. While Canada's favourite fictional detective is still his smart-alecky but unsophisticated self ("Dim Sum may be unknown in Grantham, Mr. Cooperman, but we in Toronto have had it for nearly forty years"), his talents seem washed out, if not washed up, in this nasty little mystery set in the high-tech, high-pressure world of a Toronto TV station far up the road from his native Grantham. All the stock figures are the former high school love goddess who calls at the detective's office wondering if she's in the path of a killer, the small-town lawyer, the slobbish cops, the heavies in dark glasses. What's missing are the gritty small-town ambience and naked class antagonisms that drive best hard-boiled detective fiction, including Engel's early novels. Burdened with the bland homogeneity of the contemporary city and with convoluted literary references, the tale becomes progressively less gripping. In fact Cooperman hasn't been himself since 1990's Dead and Buried , when his creator first fell for the suits and the happy ending. The warning of his first sentence--"I should have seen the writing on the wall"--should have been a message to readers as well. --Robyn Gillam

A thrilling tale of danger, friendship and loyalty from Roman Mysteries bestseller Caroline Lawrence, set against the backdrop of the ancient world. Gorgeous and evocative, this captivating new teen novel imagines the life of a heroine of early Rome. Particularly suitable for struggling, reluctant and dyslexic readers aged 12+ Few have ever seen her, but all of Laurentum knows the story of Camilla - tied to a spear and thrown across a river by her father as he fled for his life. The Goddess Diana saved the baby, and now it is Camilla's turn to save Laurentum as the Trojans march on the town. But Camilla is a wild girl from the forest, not the Amazon they imagine, and so Acca must step in to help her new friend adjust to the great destiny before her. Particularly suitable for struggling, reluctant and dyslexic readers aged 12+

Robert Silverberg needs little introduction to anyone at all familiar with the history of the science fiction field. Fan. Author. Editor. Creative force. He has been an integral part of the field for longer than most of his readers have been alive. Earlier this year, he kindly agreed to put together a MEGAPACK(R) of his short stories, so here, then, is a selection of early works by one of the all-time greats. Included are: ALAREE BIRDS OF A FEATHER BLAZE OF GLORY DELIVERY GUARANTEED THE DESSICATOR THE HAPPY UNFORTUNATE THE HUNTED HEROES THE IRON STAR THE ISOLATIONISTS THE LONELY ONE THE MAN WHO CAME BACK NEUTRAL PLANET OZYMANDIAS THE PAIN PEDDLERS THE PLEASURE OF THEIR COMPANY POINT OF FOCUS POSTMARK GANYMEDE PRIME COMMANDMENT THE SONGS OF SUMMER SPACEROGUE THERE WAS AN OLD WOMAN THE WOMAN YOU WANTED VALLEY BEYOND TIME WE KNOW WHO WE ARE

Note to readers: The New Testament Code Companion only contains the newly revised endnotes; original pictures, genealogical charts, and maps from Robert Eisenman's classic work. This text is designed for those who wish a side-by-side comparative experience with the end materials as they read the original text. The New Testament Code Companion is only available in print. The material in this text is contained within the eBook edition of The New Testament Code. In The New Testament Code: The Cup of the Lord, the Damascus Covenant, and the Blood of Christ world-renowned scholar and bestselling author Robert Eisenman uncovers the Truth and unravels the real code behind New Testament allusions like "this is the Cup of the New Covenant in my blood" and connects them to "the New Covenant in the Land of Damascus" and "drinking the Cup of the Wrath of God" in the Dead Sea Scrolls. In doing so, Eisenman demonstrates the integral relationship of James the Brother of Jesus to the Righteous Teacher of the Dead Sea Scrolls, deciphers the way the picture of "Jesus" was put together in the Gospels, and clarifies the real history of Palestine in the first century and, as a consequence, what can be known about the real "Jesus." In paring away the traces of Greco-Roman anti-Semitism-which were deliberately introduced into "this picture" thereby tainting Western history ever since-The New Testament Code shows what happened in Palestine in that time, not what the enemies of those making war against Rome wanted people to think happened. In making these arguments and exposing these revisions, overwrites, and falsifications that were introduced into the New Testament, Eisenman also explains the esoteric meaning of many of the usages with which we are all so familiar in the Western World. In doing so, he identifies the Scrolls as the literature of 'the Messianic Movement in Palestine' and 'decodes' many well-known and beloved sayings in the Gospels such as, "Every Plant which My Heavenly Father has not planted shall be uprooted," "Do not throw Holy Things to dogs," "A man shall not be known by what goes into his mouth but, rather, by what comes out of it," and "These are the signs that the Lord did in Cana of Galilee." Offering a thorough and in-depth, point-by-point analysis of James' relationship to the Dead Sea Scrolls, he illumines such subjects as the "Pella Flight," "the Wilderness Camps," and Paul as an "Herodian," exposing Peter's true historical role as "a prototypical Essene," who was used in the Gospels and the Book of Acts as a mouthpiece for Anti-Semitism, and demonstrating how, once we have found the Historical James, we have found the Historical Jesus. He covers new archaeological discoveries along the Dead Sea, AMS radiocarbon dating of the Dead Sea Scrolls, and the controversial almost miraculous appearance of the "James Ossuary" (which he considers having been based on his book on James) and the reasons for its being considered a fraud. A crucial new point that emerges in The New Testament Code is the identification of the document known as the MMT as a Letter from James to someone early Church Fathers call the "Great King of the Peoples beyond the Euphrates." Readers will not be disappointed.

In a timely, passionate survey of Balkan history since the early 29th century Glenny provides essential background to recent events in this war-torn area. No other book covers the entire region & offers such profound insights into the roots of Balkan violence, or explains so vividly the origins of modern Serbia, Croatia, Bosnia, Greece, Bulgaria, Romania & Albania. Many readers will welcome the author's insights into the final century of Ottoman rule, a complex & colorful period affecting today's conflicts. If you ever wondered why Lord Byron died in a remote place called Missolonghi, or exactly what a Young Turk is, or why bullett fired by a Serbian nationalist in the provincial backwater Sarajevo started WWI--it's all from the 1st Serbian uprising in 1804 to the latest Serbian shenanigans in Kosovo earlier this year. Glenny's account of each national group in the Balkans & its struggle for statehood is lucid & fair-minded. He brings the culture of different nationalisms to life. The narrative is studded with sharply observed set pieces & portraits of kings, guerillas, bandits, generals & politicians. He interweaves a narrative of key events with the story of international affairs--the relations between states in the Balkans, & between them & the great powers. It's the latter relationship that lies at the heart of this compulsively-readable book. Glenny shows how great-power influence in the region has been catastrophic for the people of the Balkans, & how so-called "ancient hatreds" & "tribal rivalries" have often been intensified by ignorant diplomats in far-away capitals, creating states, allocating populations & redrawing borders with deadly results. It remains to be seen, Glenny argues in a terse epilogue, whether the most recent western intervention will have a more benign outcome.

"A few years ago," Stewart O'Nan, editor of The Vietnam Reader, writes in his introduction, "when I began teaching the American literature of the Vietnam War, I tried to find an anthology my students could use.... But as I searched through libraries and catalogues, new- and used-book shops, I discovered there wasn't one." So O'Nan set out to create one himself. What began as course material has grown into a remarkable collection of writing that will appeal to a broad audience of readers interested in the Vietnam experience. O'Nan includes a little bit of everything--fiction and nonfiction from acclaimed writers such as Tim O'Brien, Louise Erdrich, Michael Herr, and David Halberstam; poetry and drama by Michael Casey and David Rabe; even songs such as Barry Sadler's "The Ballad of the Green Berets" and Credence Clearwater Revival's "Fortunate Son." There are also essays on the major Vietnam films, from The Deer Hunter to Full Metal Jacket, and a smattering of famous photographs from the war. What makes this collection extraordinary is not just the quality of the writing it contains but also the breadth of attitudes O'Nan represents. For instance, he juxtaposes an excerpt from Ron Kovic's antiwar memoir, Born of the Fourth of July with James Webb's gung-ho paean to fighting the good fight in Fields of Fire. Chapters of Tim O'Brien's hallucinatory fiction Going After Cacciato resonate with excerpts from his earlier memoir If I D ie in a Combat Zone as well the journalism of Michael Herr (Dispatches) and Philip Caputo (A Rumor of War). Creating sections such as "Early Work," "The Oral History Boom," "Memoirs," "Homecoming," and more, O'Nan seeks to convey as much of the war experience from as many different perspectives as possible. Anyone interested in history and in fine writing will find The Vietnam Reader worthy reading. --Alix Wilber

"Cochinchine" is a vivid and penetrating account of the author's travels through French Indochina in the early 20th century. Written by the acclaimed journalist and critic Léon Werth, this work stands as a landmark of anti-colonial literature, offering a stark contrast to the romanticized depictions of the East common during the era. Werth's observations are both sharp and empathetic, providing a detailed look at the social, political, and economic realities of Southern Vietnam under colonial rule. The narrative delves into the complexities of the relationship between the French administration and the local population, highlighting the tensions and inequalities inherent in the colonial system. Through a series of sketches and reflections, Werth captures the essence of the landscape, the bustle of the cities, and the quiet dignity of the people he encounters. "Cochinchine" is not merely a travelogue but a profound social commentary that questions the ethics of imperialism and the impact of cultural displacement. This book remains a vital resource for readers interested in the history of Southeast Asia, French colonial studies, and the development of political consciousness in modern literature. 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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you may see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. 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. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. 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.

"Scruples, Judith Krantz's electrifying, world wide bestseller appeared fifteen years ago and made book publishing history. Now that unforgettable story, a story that marks an era, a story that millions of readers wish had never ended . . . continues. Only a single night's sleep seperates the lives of the characters in "Scruples from this mesmerizing sequel. Billy Ikehorn is a contemporary woman living on a grand scale. A self-made beauty and the exquisite owner of a fabled Beverley Hills boutique called Scruples and married to the Oscar-winning producer Vito Orsini. To those who only know her from afar, she seems to lead a dream existence, wrapped in all the power of glamout, riches, and success. Then a stranger arrives in Billy's life--Gigi Orsini, Vito's sixteen-year-old daughter by an early marriage. Independent, deeply interesting, street-smart, and enchantingly humorous, Gigi captures Billy's heart and sets in motion a train of utterly unexpected events. Life with Gigi hold both joy and pain for Spider Elliot and Valentine O'Neill, Billy's partners in Scruples. The many new freinds Gigi makes during the next five years will grow important to Billy in ways she could never have forseen. "Scruples Two moves swiflty and unexpectadly, filled with breathtaking change, from California to New York to Paris, following two of the most fascinating and touching females in modern fiction, Billy Ikehorn and Gigi Orsini. "From the Paperback edition.

This anthology presents an ambitious cross-section of Jewish American short fiction. It covers a full century of extraordinary writings, from turn-of-the-century immigrant fiction to stories by some of the finest young contemporary American writers. To read through its pages is to encounter a remarkable?and remarkably diverse?literary tradition. The volume opens with stories by two important immigrant writers from the early twentieth century, Abraham Cahan and Anzia Yezierska. There follows a generous selection of modern Jewish American stories by such celebrated authors as Isaac Bashevis Singer, Saul Bellow, Grace Paley, Tillie Olsen, Bernard Malamud, and Philip Roth. The collection concludes with a rich sampling of stories by contemporary writers whose works illustrate the impressive variety and vitality of recent Jewish American fiction. Equally suited to scholars, students, and general readers, American Jewish Fiction provides an invaluable survey of literary works that have enriched and transformed American?and world?literature.

The Goffman Reader aims to bring the most complete collection of Erving Goffman's (1922-1982) writing and thinking as a sociologist. Among the most inventive, unique and individualistic of thinkers in American sociology, his works first appeared in the early 1950's at a time when a more formal, traditional sociology dominated the scene. In this collection, Goffman's work is arranged into four categories: the production of self, the confined self, the nature of social life, and the framing of experience. Through this arrangement, readers will not only be presented with Goffman's thinking in chronological order, but also with a framework of analysis that clearly introduces the social theoretical ideas by which Goffman shaped the direction of sociological thought through the late twentieth century.

In 1968, the New Yorker hired Ellen Willis as its first popular music critic. Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country's most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel. Because Willis stopped writing about music in the early 1980s—when, she felt, rock 'n' roll had lost its political edge—her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. Out of the Vinyl Deeps collects for the first time Willis's Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism. More than simply setting the record straight, Out of the Vinyl Deeps reintroduces Willis's singular approach and style—her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective—to a new generation of readers. Featuring essays by the New Yorker 's current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.

In Nitty Gritty one of America's most fascinating journalists details his place in the tough world of black publishing and documents the role of black publications in shaping racial pride, in protesting against discrimination, and in giving uplift to a huge segment of America's population. But is a white editor able to direct a black magazine or newspaper? Can a white editor penetrate the black experience and transmit it to America? For more than thirty years Ben Burns faced these challenges. As the first editor of Ebony and the first white editor of the Chicago Daily Defender he played an anomalous role. As editor of America's foremost publications targeted for black readership, which also included Jet, Sepia, and Duke, he struggled to bridge what seemed an impenetrable gulf between black and white thinking. His long association with the African-American press had its origins in his early days as a leftist reporter for the Daily Worker. It took shape during the war years while he was working simultaneously as national editor of the Defender and as editor of Negro Digest, which was to become the first commercially successful black monthly. In recounting his editorial experiences, he details his sometimes uneasy association with his boss, John H. Johnson, the entrepreneur who with legendary success created Ebony from an initial investment of $500 and launched the corporate empire that became Johnson Publishing Company.

Jesus in the Jewish Wold represents some of the seminal aspects of the lifelong research of Geza Vermes focused on the Dead Sea Scrolls, Jewish Bible interpretation and the historical study of Jesus and the New Testament. Taken together the fifteen essays, the oldest of which dates from 1970 and the most recent from 2010, constitute an evocative cross section of the contribution to scholarship by Vermes who is equally celebrated as a pioneering Jesus In The Jewish World represents a synopsis of the most significant and Scrolls expert and, according to the Sunday Telegraph, the greatest Jesus scholar of his generation. Readers of the present volume are offered lively and often humorous accounts of the impact of Jesus the Jew on Christian and Jewish readers; of the value of Josephus as a historical source regarding John the Baptist, James the brother of the Lord, and Jesus; the historical implications of ancient Jewish biblical exegesis; of the inside story of the monumental recasting by Vermes and his friends of Emil Schurer's History of the Jewish People; and of the sacrifice of Isaac and the story of the first-century Galilean rabbi, Hanina ben Dosa. The final two essays, written in 2007 and 2010, are particularly noteworthy, the first propounding a fresh and revolutionary approach to methodology in the study of the historical Jesus and the second restating and reinforcing Vermes's stance in the half -a-century long Son of Man debate. Geza Vermes is Professor Emeritus of Jewish Studies and Emeritus Fellow of Wolfson College, Oxford but continues to teach at the Oriental Institute in Oxford.

In "One Basket" by Edna Ferber, readers are treated to a collection of short stories that provide a delightful glimpse into the lives of various characters. Through Ferber's skillful storytelling, these tales explore the intricacies of human relationships, dreams, and the intricacies of daily existence. The book's narrative diversity spans from the bustling streets of New York City to the quiet rural settings, making each story a unique experience. Themes of love, ambition, and personal growth are woven throughout, painting a vivid picture of American life in the early 20th century. Edna Ferber's masterful prose captures the essence of the human spirit, offering a rich and emotional reading experience for all.

A sharp and witty expose of show business and notorious characters Barry Avrich is a Montreal - born, self - made film producer/director, flamboyant advertising executive, and legendary biographer and connector of moguls and stars. For over three decades he has relentlessly produced films on some of the most notorious show - business titans and also found the time to market and promote feature films, concerts, and the biggest shows on Broadway. In his memoir, Moguls, Monsters and Madmen, Barry takes readers from his early days, shaping his brand as a creative adman with the infamous Garth Drabinsky and witnessing the genius of legendary Rolling Stones promoter Michael Cohl, to his acclaimed documentaries on Harvey Weinstein, Lew Wasserman, Bob Guccione, and many others. Go behind the scenes on his most provocative films - like The Last Mogul, Unauthorized, and Filthy Gorgeous - and follow Barry as he moves from the power rooms of Hollywood to the launches of incredible brands while hanging around with royalty, rogues, clients, and confidants. An extraordinary raconteur, Barry spares no one, least of all himself, as he details his extraordinary relationships and encounters with everyone from Frank Sinatra, Quincy Jones, and Vanity Fair columnist Dominick Dunne to Mick Jagger and Keith Richards."

When animals and their symbolic representations—in the Royal Menagerie, in art, in medicine, in philosophy—helped transform the French state and culture. Peter Sahlins's brilliant new book reveals the remarkable and understudied “animal moment” in and around 1668 in which authors (including La Fontaine, whose Fables appeared in that year), anatomists, painters, sculptors, and especially the young Louis XIV turned their attention to nonhuman beings. At the center of the Year of the Animal was the Royal Menagerie in the gardens of Versailles, dominated by exotic and graceful birds. In the unfolding of his original and sophisticated argument, Sahlins shows how the animal bodies of the menagerie and others were critical to a dramatic rethinking of governance, nature, and the human. The animals of 1668 helped to shift an entire worldview in France—what Sahlins calls Renaissance humanimalism toward more modern expressions of classical naturalism and mechanism. In the wake of 1668 came the debasement of animals and the strengthening of human animality, including in Descartes's animal-machine, highly contested during the Year of the Animal. At the same time, Louis XIV and his intellectual servants used the animals of Versailles to develop and then to transform the symbolic language of French absolutism. Louis XIV came to adopt a model of sovereignty after 1668 in which his absolute authority is represented in manifold ways with the bodies of animals and justified by the bestial nature of his human subjects. 1668 explores and reproduces the king's animal collections—in printed text, weaving, poetry, and engraving, all seen from a unique interdisciplinary perspective. Sahlins brings the animals of 1668 together and to life as he observes them critically in their native habitats—within the animal palace itself by Louis Le Vau, the paintings and tapestries of Charles Le Brun, the garden installations of André Le Nôtre, the literary work of Charles Perrault and the natural history of his brother Claude, the poetry of Madeleine de Scudéry, the philosophy of René Descartes, the engravings of Sébastien Leclerc, the transfusion experiments of Jean Denis, and others. The author joins the nonhuman and human agents of 1668—panthers and painters, swans and scientists, weasels and weavers—in a learned and sophisticated treatment that will engage scholars and students of early modern France and Europe and readers broadly interested in the subject of animals in human history.

""Impromptu Man captures the remarkable impact of a singular genius, J.L. Moreno, whose creations-the best-known being psychodrama-have shaped our culture in myriad ways, many unrecognized. The record will be set straight for all time by this can't-put-down biography, a tribute by Jonathan D. Moreno to his father's masterly legacy." -DANIEL GOLEMAN, author of Emotional Intelligence: Why It Can Matter More Than IQ J.L. Moreno (1889-1974), the father of psychodrama, was an early critic of Sigmund Freud, wrote landmark works of Viennese expressionism, founded an experimental theater where he discovered Peter Lorre, influenced Martin Buber, and became one of the most important psychiatrists and social scientists of his time. ?? A mystic, theater impresario and inventor in his youth, Moreno immigrated to America in 1926, where he trained famous actors, introduced group therapy, and was a forerunner of humanistic psychology. As a social reformer, he reorganized schools and prisons, and designed New Deal planned communities for workers and farmers. Moreno's methods have been adopted by improvisational theater groups, military organizations, educators, business leaders, and trial lawyers. His studies of social networks laid the groundwork for social media like Twitter and Facebook. ?? Featuring interviews with Clay Shirky, Gloria Steinem, and Werner Erhard, among others, original documentary research, and the author's own perspective growing up as the son of an innovative genius, Impromptu Man is both the study of a great and largely unsung figure of the last century and an epic history, taking readers from the creative chaos of early twentieth-century Vienna to the wired world of Silicon Valley. Jonathan D. Moreno, called the "most interesting bioethicist of our time" by the American Journal of Bioethics, is a professor at the University of Pennsylvania and a Senior Fellow at the Center for American Progress. "--

A beautifully translated selection of poems by one of the greatest Italian poets of the twentieth century Umberto Saba's reputation in Italy and Europe has steadily grown since his death in 1957, and today he is positioned alongside Eugenio Montale and Giuseppe Ungaretti as one of the three most important Italian poets of the first half of the twentieth century. Until now, however, English-language readers have had access to only a few examples of this poet's work. This bilingual volume at last brings an extensive and exquisitely translated collection of Saba's poems to English-speaking readers. Both faithful and lyrical, George Hochfield's and Leonard Nathan's translations do justice to Saba's rigorous personal honesty and his profound awareness of the suffering that was for him coincident with life. An introductory essay, a translation of Saba's early manifesto, "What Remains for Poets to Do," and a chronology of his life situate his poetics within the larger context of twentieth-century letters. With its publication, this volume provides the English-speaking world with a momentous occasion to rethink not just Italian poetry but also the larger European modernist project.

Jewish women writers of the late nineteenth and early twentieth centuries lived with a sense of painful connection to a culture that rejected their aspirations. Raised in a Jewish environment wary of female aspirations and in a wider world that was only marginally more sympathetic to their ambitions, this diverse group often found that a life devoted to literary expression required sacrifices and painful choices. Writing, however, enabled them to reclaim and explore their Jewish heritage. Responding to a variety of Jewish women's voices in Hebrew, Yiddish, English, and Spanish, this collection of seventeen essays surveys the achievements of Jewish women writers from the Middle Ages to the present. Scholars of Jewish literature chronicle the Jewish encounter with modernity and document female strategies for constructing intellectual and emotional identities amidst the competing demands of traditional norms, familial obligations, and economic survival. The themes of repression and equivocal liberation resonate throughout, as the authors reflect on the silencing of the female voice in a traditional Jewish culture that most often denied women the education and the empowerment requisite for recording their thoughts and feelings. While individual essays reveal literary discoveries of self and forgings of identity by women rising to the opportunities and challenges of drastically altered Jewish social realities, a significant number also show the sad decline of women writers upon whom silence was reimposed. Several chapters consider how Jewish women were depicted by male writers from the Middle Ages through the mid-nineteenth century. A final essay documents the ways in which memory, testimony, and survival affect the writing of women who survived the Holocaust, a perspective frequently marginalized in studies of Holocaust literature. Women of the Word is part of an emerging effort to listen to the voices of Jewish women both past and present. Written in a period when Jewish women writers internationally are creating a wealth of diverse literary works, these essays take note of the short time during which Jewish women's writing has flourished and inspire readers with the richness of the literature that such writers have already produced.

During the early, struggling years of her storied literary career, Dorothy Parker wrote more than three hundred poems and verses for a variety of popular magazines and newspapers. Most of these have been collected in Parker's three volumes of poetry, Enough Rope, Sunset Gun, and Death and Taxes. It is the remaining poems, whose very existence was all but unknown for more than half a century, that make up this volume. Eclectic and exuberant, the 122 poems and verses gathered in Not Much Fun display all the raw talent and verbal acuity of America's most celebrated wit. Some are rare examples of Parker's experimentation with structured poetic form; others are more personal, evoking the spirit of the times or scrutinizing the perils of passion. But each is a brilliant showcase of the legendary humor, irony, and precision that continue to attract generations of readers to Parker's work. Editor Stuart Y. Silverstein provides an authoritative and immensely entertaining introduction that highlights some of Parker's most-loved acerbic quips, unearths a few long-forgotten scandals, and fully reveals her to be a pioneer of modern colloquial English. Not Much Fun is an essential addition to the Dorothy Parker library and an unexpected gift to her many admirers and devoted fans.