From Pulitzer-Prize-nominated author Susan Griffin comes an unprecedented, provocative look at the dazzling world of the West’s first independent women, whose lively liaisons brought them unspoken influence, wealth, and freedom. While they charmed some of Europe’s most illustrious men honing their social skills as well as their sexual ones, the great courtesans gained riches, power, education, and sexual freedom in a time when other women were denied all of these. From Imperia of sixteenth-century Rome, who personified the Renaissance ideal of beauty; Mme. de Pompadour, the arbiter of all things fashionable in eighteenth-century Paris and Versailles; Liane de Pougy, known in France during the Belle Epoque as “Our National Courtesan”; to Sarah Bernhardt, who, following in her mother’s footsteps, supported herself in her early career with a second profession, The Book of the Courtesans tells the life stories and intricacies of the lavish lifestyles of these women. Unlike their geisha counterparts, courtesans neither lived in brothels nor bent their wills to suit their suitors. They were strong- willed, autonomous, and plucky. An open secret, their presence can be felt throughout our culture. The muses who enflamed the hearts and imaginations of our most celebrated artists, they were also artists in their own right. They wrote poetry and novels, invented the cancan at the Moulin Rouge, and presented celebrated acts at the Folies Bergères. They helped to influence and shape the sensibility of modern literature, painting, and fashion. When Greek sculptor Praxiteles wanted to depict Venus he used a famous courtesan as a model, as in later centuries Titian, Veronese, Raphael, Giorgione, and Boucher did when they painted goddesses. When Marcel Proust was a young man it was the courtesan Laure Hayman who took him under her wing, introducing him to the right people, and providing inspiration for one of literature’s greatest masterpieces. And they often had considerable political influence too. When King Louis XV needed advice on foreign affairs or appointments of state he turned to Jeanne du Barry as well as Pompadour. In her witty and insightful prose, as Griffin celebrates these alluring and fascinating women, she restores a lost legacy of women’s history. She gives us the stories of these amazing women who, starting from impoverished or unimpressive beginnings, garnered chateaux, fine coaches, fabulous collections of jewelry, and even aristocratic titles along the way. And through a brilliant exploration of their extraordinary abilities, skills, and talents which Griffin playfully categorizes as their virtues "Timing, Beauty, Cheek, Brilliance, Gaiety, Grace, and Charm" her book explains how, while helping themselves, through their often outrageous, always entertaining examples, the great courtesans not only enriched our cultural heritage but helped to liberate women from the social, sexual, and economic strictures that confined them. Intensively researched and beautifully crafted, The Book of the Courtesans delves into scintillating but often hidden worlds, telling stories gleaned from many sources, including courtesans’ memoirs, presented along with stunning rare photographs to create memorable portraits of some of the most pivotal figures in women’s history.

"We think we know Emily Dickinson: the Belle of Amherst, virginal, reclusive, and possibly mad. But in A Loaded Gun, Jerome Charyn introduces us to a different Emily Dickinson: the fierce, brilliant, and sexually charged. Through interviews with contemporary scholars, close readings of Dickinson's correspondence and handwritten manuscripts, and a suggestive, newly discovered photograph that is purported to show Dickinson with her lover, Charyn's literary sleuthing reveals the great poet in ways that have only been hinted at previously: as a woman who was deeply philosophical, intensely engaged with the world, attracted to members of both sexes, and able to write poetry that disturbs and delights us today" -- Publisher's description

At the age of 27, alone in Jerusalem in the wake of a painful divorce, Ilana Kurshan joined the world s largest book club, learning daf yomi, Hebrew for daily page" of the Talmud, a book of rabbinic teachings spanning about 600 years and the basis for all codes of Jewish law. A runner, a reader and a romantic, Kurshan adapted to its pace, attuned her ear to its poetry, and discovered her passions in its pages. She brought the Talmud with her wherever she went, studying in airplanes, supermarket lines, and over a plate of pasta at home, careful not to drip tomato sauce upon discussions about the sprinkling of blood on the Temple altar. By the time she completed the Talmud after seven and a half years, Kurshan was remarried with three young children. With each pregnancy, her Talmud sat perched atop her growing belly. This memoir is a tale of heartache and humor, of love and loss, of marriage and motherhood, and of learning to put one foot in front of the other by turning page after page. Kurshan takes us on a deeply accessible and personal guided tour of the Talmud, shedding new light on its stories and offering insights into its arguments both for those already familiar with the text and for those who have never encountered it. For people of the book both Jewish and non-Jewish If All the Seas Were Ink is a celebration of learning through literature how to fall in love once again.

An inspiring memoir about love, race, identity, and contested narratives told with unflinching mettle. Through her childhood spent in 1940s New York being raised by two mothers, her work with the Student Nonviolent Coordinating Committee during the Civil Rights Movement, and raising her own children in the coalfields of West Virginia, Faith S. Holsaert has been defined by the intertwined forces of race, activism, and family. As a young woman on the front line of the Civil Rights Movement, she learned the power of contested narratives and came to understand her whiteness, her queer identity, and her stakes in overturning racism. Later in life, she confronted sexual abuse and mental illness across three generations of women in her family to find that these painful histories have played a significant role in the development of her identity as a woman, activist, and mother. Through a lifetime laid bare in prose and poetry, Holsaert beautifully quilts memoir, social history, and historic events into a gripping and inspirational narrative. This powerful and structurally innovative work lends new categories of meaning to those who would strive to find their place, hope, and sense of belonging in efforts to fight against systemic racism and lead lives characterized by openness and love.

A Revealing Profile of the Father of the Atomic Bomb Highly praised by New York Review of Books, The Spectator, Los Angeles Times, Booklist, & More J. Robert Oppenheimer was a puzzle to everyone. The nuclear physicist most responsible for the creation of the atomic bomb, he was a genius both scientifically and otherwise. His standards were impossibly high. He read widely in many languages, wrote poetry, and did superb science. Yet in Jeremy Bernstein's intensely interesting biographical memoir, Oppenheimer emerges as a man unsure of his identity and captive to an element of self-destructiveness in his makeup. Oppenheimer is the long-awaited book that many people feel Mr. Bernstein was almost born to write. As a former colleague of Oppenheimer's, he has composed a book that is both personal and historical, bringing the reader close to the life and workings of an extraordinary and controversial man. Oppenheimer once told the author that during the now-famous hearing in which he lost his security clearance—one of the most spectacular attacks of the McCarthy era—he felt it was happening to someone else. His lawyer at the hearing, after being with Oppenheimer day in and day out for several months, said he did not know him in any real sense at all. Yet everyone in the scientific community and in government agreed that without Oppenheimer's totally remarkable leadership at Los Alamos, the atomic bomb would not have happened, and the Second World War would have ended very differently. Filled with revealing insights and details that set the historical record straight, Oppenheimer is that rare quantity: a vastly entertaining study of one of the most important and enigmatic scientists of the atomic age. Illustrated with black-and-white photographs.

"Essays, speeches, and journal entries from one of our most admired and best-loved poets that illuminate how he came to understand himself as a poet, the events and people that he wrote about, and the older poets who influenced him. In prose both as superbly rendered as his poetry and as down-to-earth and easy as speaking, Levine reveals the things that made him the poet he became. In the title essay, originally the final speech of his poet laureate year, he recounts how as a boy he composed little speeches walking in the night woods near his house and how he later realized these were his first poems. He wittily takes on the poets he studied with in the Iowa Writing Program: John Berryman, who was his great teacher and lifelong friend, and Robert Lowell, who was neither. His deepest influences--jazz, Spain, the working people of Detroit--are reflected in many of the pieces. There are essays on Spanish poets he admires, William Carlos Williams, Wordsworth, Keats, and others. A wonderful, moving collection of writings that add to our knowledge and appreciation of Philip Levine--both the man and the poet"--

This book is a major reappraisal of Byron's poetry, which grapples firmly with the paradox of his work - that in spite of his enormous influence, the magnetic power of his personality, and the fascination of his life, the poetry is often of inferior quality and so inconsistent in its attitudes that Byron's poetic seriousness is inevitably called into question. The focus of the book is the nature of Byron's relationship with his public and its effect on his poetry; a subject that has remained largely unexplored. Dr Martin considers Byron's anomalous position as an aristocrat in a literary market governed by commercial interests and middle class tastes and reading habits. He suggests that the whole of Byron's poetry can be seen as a performance determined by a number of factors: Byron's anxieties about his modernity, his contemporaries, and the image his readers were ready to fashion for him.

"Timely and beautifully written, New England Beyond Criticism provides a passionate defense of the importance of the literature of New England to the American literary canon, and its impact on the development of spirituality, community, and culture in America. An exploration and defense of the prominence of New England's literary tradition within the canon of American literature. Traces the impact of the literature of New England on the development of spirituality, community, and culture in America. Includes in-depth studies of work from authors and poets such as William Bradford, Emily Dickinson, Robert Frost, Henry David Thoreau, Susan Howe, and Marilynne Robinson. Examines the place and impression of New England literature in the nation's intellectual history and the lives of its readers"--

In 1906, Harriet Levy was talked into moving to Paris by her friend Alice B. Toklas and suddenly found herself immersed in a strange world peopled by artists who spoke a language she could not understand--a colorful world that she could only remotely observe in black and white. Paris Portraits is a short masterpiece. This sparkling manuscript, long hidden in the archives of the University of California's Bancroft Library, brings to life a vibrant and mythic time and place. Through Harriet's eyes, we circulate among the artists and patrons in the salons of Gertrude and Sarah Stein, overhear conversations between the up-and-coming Matisse and his students, and see Gertrude Stein's reaction when she learns of Picasso putting his hand on Toklas's knee. We're present when, while reading the poetry of Tagore, Harriet looks up and for the first time, sees--really sees and understands with the heart--what Matisse is doing.

Many books in Japanese have been devoted to the poet and critic Ishikawa Takuboku (1886-1912). Although he died at the age of twenty-six and wrote many of his best-known poems in the space of a few years, his name is familiar to every literate Japanese. Takuboku's early death added to the sad romance of the unhappy poet, but there has been no satisfactory biography of his life or career, even in Japanese, and only a small part of his writings have been translated. His mature poetry was based on the work of no predecessor, and he left no disciples. Takuboku stands unique. Takuboku's most popular poems, especially those with a humorous overlay, are often read and memorized, but his diaries and letters, though less familiar, contain rich and vivid glimpses of the poet's thoughts and experiences. They reflect the outlook of an unconstrained man who at times behaved in a startling or even shocking manner. Despite his misdemeanors, Takuboku is regarded as a national poet, all but a saint to his admirers, especially in the regions of Japan where he lived. His refusal to conform to the Japan of the time drove him in striking directions and ranked him as the first poet of the new Japan.

What sort of society could bind together Jacques Roubaud, Italo Calvino, Marcel Duchamp, and Raymond Queneau—and Daniel Levin Becker, a young American obsessed with language play? Only the Oulipo, the Paris-based experimental collective founded in 1960 and fated to become one of literature’s quirkiest movements. An international organization of writers, artists, and scientists who embrace formal and procedural constraints to achieve literature’s possibilities, the Oulipo (the French acronym stands for “workshop for potential literature”) is perhaps best known as the cradle of Georges Perec’s novel A Void, which does not contain the letter e. Drawn to the Oulipo’s mystique, Levin Becker secured a Fulbright grant to study the organization and traveled to Paris. He was eventually offered membership, becoming only the second American to be admitted to the group. From the perspective of a young initiate, the Oulipians and their projects are at once bizarre and utterly compelling. Levin Becker’s love for games, puzzles, and language play is infectious, calling to mind Elif Batuman’s delight in Russian literature in The Possessed. In recent years, the Oulipo has inspired the creation of numerous other collectives: the OuMuPo (a collective of DJs), the OuMaPo (marionette players), the OuBaPo (comic strip artists), the OuFlarfPo (poets who generate poetry with the aid of search engines), and a menagerie of other Ou-X-Pos (workshops for potential something ). Levin Becker discusses these and other intriguing developments in this history and personal appreciation of an iconic—and iconoclastic—group.

A Strong Dose of Myself

Book by Dannie Abse

Dual language - German original with English translations on facing pages. For much of her lifetime, and for decades after her death, Mascha Kaleko was a forgotten poet. With his publications, Andreas Nolte has played a role in changing this. To him, she personifies an all-too-typical example of a German-Jewish artist who was marginalized, intimidated, expelled into exile, and then forgotten. What adds to her obscurity is that her life's intriguing story is not well known, unless one speaks German and can read her poems, or what little has been written about her. This book provides a significant number of translated poems and biographical information from every stage of Kaleko's remarkable life in Berlin, New York, and Jerusalem to an English-speaking audience. Her story and her powerful poetry need to be heard: they shine a light on the darkest of times in the last century and remind us of the lessons that history teaches us.

"Black Bart was not the Old West's only stagecoach robber, but he was the most famous. To many people, he was a folk hero: a robber who didn't threaten or harm passengers. He was a bandit with a sense of humor who wrote poetry. In robbing at least 28 Wells Fargo stagecoaches across northern California between 1875 and 1883, he never fired a shot or injured anyone. His gun, it turned out, was never loaded. Newspaper stories about the poet robber's exploits and about Jim Hume, the unyielding chief detective of Wells Fargo, became popular reading throughout the West. Black Bart seemed to enjoy the chase. During one robbery the driver told him "They'll catch you one of these days." Bart answered, "Perhaps, but in the meantime give my regards to J. B. Hume, will you?" For eight years, each new robbery--and each new story--made Hume even more determined to track him down. Resources include a list of all Bart's robberies, notes, and bibliography, making this a rich resource for all Wild West readers."--Provided by publisher.

First Edition AND Firts Printing-full number line:10 9 8 7 6 5 4 3 2 1 Paperback - Slightly used Like New condition for it's age. Illustrated with photos. No marks 220 pages. Slight signs of age and storagewear. From a non-smoking environment. FAST SHIPPING (with delivery confirmation.) Extra attention to the packaging for the protection. INTERNATIONAL Orders will be shipped via AIRMAIL. Thank You so much! Shelf .))

Drawing extensively upon the poet's unpublished manuscripts--poems, journals, essays, and letters--as well as all his published works, Marjorie Perloff presents Frank O'Hara as one of the central poets of the postwar period and an important critic of the visual arts. Perloff traces the poet's development through his early years at Harvard and his interest in French Dadaism and Surrealism to his later poems that fuse literary influence with elements from Abstract Expressionist painting, atonal music, and contemporary film. This edition contains a new Introduction addressing O'Hara's homosexuality, his attitudes toward racism, and changes in poetic climate cover the past few decades. "A groundbreaking study. [This book] is a genuine work of criticism. . . . Through Marjorie Perloff's book we see an O'Hara perhaps only his closer associates saw before: a poet fully aware of the traditions and techniques of his craft who, in a life tragically foreshortened, produced an adventurous if somewhat erratic body of American verse."--David Lenson, Chronicle of Higher Education "Perloff is a reliable, well-informed, discreet, sensitive . . . guide. . . . She is impressive in the way she deals with O'Hara's relationship to painters and paintings, and she does give first-rate readings of four major poems."--Jonathan Cott, New York Times Book Review