Characterizing the mind as a maze with multiple pathways, Jean Millay explores the realms of sensory perception, resonance, trance, memory, logic, and belief.
Recently retired and hoping for a few adventures, before age snatches away the opportunity, Augusta Millay Carrigan climbs Mt. Battie during a vacation in Camden, Maine. She wishes to visit the location where her famous relative, Edna St. Vincent Millay, was inspired to write Renascence, a poem about her spiritual transformation. The next morning, she awakened to discover that she had been transformed as well. Incredibly, she appears to be twenty-one again, more than forty years younger than her husband and a good fifteen years younger than her own son. When Augusta decides to keep a journal about the challenges of her odd new life, she has no idea that one day, another Millay will appear with her future journals in hand, using them to warn her of an event that will soon devastate her family and their world, if they do not unite to take action against this threat. Augusta thought her biggest challenges would be navigating her second youth. She soon learns that she is not the only Millay to experience this incredible transformation, nor is this their only capability. She discovers that some of her relatives, with their unique genetic anomaly, have lives spanning generations, both into the past and also the future. Her journals have united them in the quest to save her son, a presidential candidate whose life is threatened during one of the most toxic political environments her country has ever experienced. Armed with their special prescience in the race to save her son, the Millays are also on a journey to save themselves and those whom they love. This book, and those that will follow, explore what it means to be human in a world where the boundaries of time and place can be breached, and second chances are possible. What would you do with your second chance if you were suddenly transformed into your twenty-one-year-old self?
Characterizing the mind as a maze with multiple pathways, Jean Millay explores the realms of sensory perception, resonance, trance, memory, logic, and belief.
Feeling for the natural world, and especially for animals, runs equally deep. Her later work moves outward to wider perspectives on travel, politics, art, and literature itself, while exploring the philosophical questions of permanence and change, the role of the artist in an indifferent world, and the struggle of the spirit with the fact of death. Garrigue's lyrical vein broadens into a long, meditative lyric, often fused with a richly detailed evocation of place, that.
Mark Whalen's compilation offers a vital document for understanding the contexts, intellectual debates, and tensions undergirding Toomer's work, including his simultaneous feelings of attraction to and estrangement from rural southern life, the influence of technology on race and urban existence in America and the contradictory pulls of folk culture and modernist experimentation. The collection also charts the motives underlying Toomer's abandonment of the style that distinguished Cane, and his growing fascination with the teachings of the mystic G. I. Gurdjieff in 1924."--BOOK JACKET.
The writer and poet Robert Graves suppressed virtually all of the poems he had published during and just after the First World War. Until his son, William Graves, reprinted almost all the Poems About War in 1988, Graves's status as a 'war poet' seems to have depended mainly on his prose memoir (and bestseller), Good-bye to All That. None of the previous biographies written on Graves, however excellent, attempt to deal with this paradox in any depth. Robert Graves the war poet and the suppressed poems themselves have been largely neglected – until now. Jean Moorcroft Wilson, celebrated biographer of poets Siegfried Sassoon, Isaac Rosenberg and Edward Thomas, relates Graves's fascinating life during this period, his experiences in the war, his being left for dead at the Battle of the Somme, his leap from a third-storey window after his lover Laura Riding's even more dramatic jump from the fourth storey, his move to Spain and his final 'goodbye' to 'all that'. In this deeply-researched new book, containing startling material never before brought to light, Dr Moorcroft Wilson traces not only Graves's compelling life, but also the development of his poetry during the First World War, his thinking about the conflict and his shifting attitude towards it. Robert Graves: From Great War Poet to Good-bye to All That casts new light on the life, prose and poetry of Graves, without which the story of Great War poetry is incomplete.
The selection in this one-volume anthology are representative of Nathan's entire oeuvre and include informal essays; criticism of famous plays of the nineteenth and twentieth centuries; discussions of dramaturgy and aesthetics; profiles of noted producers, players, playwrights, and other writers; and letters that illuminate his writings.
The Literature Workbook is a practical introductory textbook for literary studies, which can be used either for independent study or as part of a taught class. Laying the ground for further study, The Literature Workbook introduces the beginning student to the essential analytic and interpretative skills that are needed for literary appreciation and evaluation. It also equips the teacher with practical tools and materials for use in seminars or when setting written assessments and projects. Arranged according to genre and chronology, the chapters acquaint the reader with a range of key figures in English literaure and encourage the reader to think about them in their historical and cultural contexts. Adopting a user-friendly case-study approach, each chapter contains * exercises and activities * discussion hints * project work * suggestions for further reading The Workbook also includes: * a glossary * a subject and name index.
Commissioned by the General Board of Higher Education and Ministry for use in United Methodist doctrine/polity/history courses. From a Sunday school teacher's account of a typical Sunday morning to letters from presidents, from architects' opinions for and against the Akron Plan to impassioned speeches demanding full rights for African Americans, women, homosexuals, and laity in the Church, this riveting collection of documents will interest scholars, clergy, and laity alike. This Sourcebook, part of the two-volume set The Methodist Experience in America, contains documents from between 1760 and 1998 pertaining to the movements constitutive of American United Methodism. The editors identify over two hundred documents by date, primary agent, and central theme or important action. The documents are organized on a strictly chronological basis, by the date of the significant action in the excerpt. Charts, graphs, timelines, and graphics are also included. The Sourcebook has been constructed to be used with the Narrative volume in which the interpretation of individual documents, discussions of context, details about events and individuals, and treatment of the larger developments can be found.
THE STORY: Katy and Jeff Cooper have three sons (one a Harvard senior), a comfortable suburban home, and the prospect of a full professorship (English) for Jeff. But somehow the bloom has worn off their marriage: Jeff is at that dangerous age where
History is replete with pronouncements on war. Some reflect on man’s warlike nature (“We are quick to flare up, we races of men on the earth”—Homer); others deal with the practical strategies of the combatants (“If Hitler invaded hell I would make at least a favorable reference to the devil in the House of Commons”—Winston Churchill); and still others offer advice for avoiding conflict (“The most disadvantageous peace is better than the most just war”—Desiderius Erasmus). More than 2,700 quotations on war and conflict are presented in this reference work. The quotations are arranged by more than 100 broad categories, from action to winning. For each, the quotation is first given, followed by its author, the work in which it appeared (when appropriate), and the date. The book includes numerous cross-references, and keyword-in-context and author indexes are provided for further utility.
Marian Kahn, a forty-eight-year-old married professor of history at Columbia University, ought to be content with her life -- marriage, wealth, her famed discovery of the eighteenth century adventuress, Lady Charlotte. Instead she finds herself in love with Oliver, the son of her oldest friend. As their dangerous affair becomes more and more complicated, Marian and Oliver learn that love is seldom straightforward, but always a gift.
Fifty years after her death in 1963, Jean Stewart McLean's poems, short stories, and one-act plays are published for the first time, in a definitive collection, edited and with extensive photos and commentary by her son, Don McLean. The author was born in 1917 in Rahway, N.J., growing up in the rectory of the church where her father was minister. Two of the plays in this book are set in small-town parishes. She wrote poetry as a girl, and at New Jersey College for Women studied literature and edited the literary magazine. Upon graduation, she was secretary to the editor of the Book of the Month Club in New York City, reveling in the literary atmosphere. She chose domestic life after marriage, settling in Princeton, N.J., and continued writing, primarily short stories and one-act plays. One of her stories was co-authored with her mentor, Dorothy Thomas. Her work was unpublished during her short lifetime, making the appearance of this collection particularly meaningful.
A compelling collection of 366 stories about women's lives, told from the perspective of three generations. The authors (a grandmother, mother, and daughter team) listened to women from all walks of life telling the truth of their lives. Sometimes poignant, sometimes humorous, stories may be read as daily reflections or as very short stories.
In this treasury of daily devotions, twelve Christian women writers share their faith and experiences by reflecting on the Bible, giving prayers of thanks, and telling inspirational stories.
Arts & Letters & Love works magic: these poems add new dimensions of lyricism and wit to existing works of art, with figurative language that stops you in your tracks. Jean Kreiling brings the visual arts to life, noting that Van Gogh's shoes "reek of years, kilometers, and clues to climate." Her affection for literature percolates through poems like her brilliant sonnet about-and worthy of-Edna St. Vincent Millay. In her observations on music, notes become kites, or "strands precisely stitched," or marriage partners "on tangled paths." One sonnet makes an assertion that is true of these poems themselves: "This music plays the ear." -Deborah Warren Whether they address paintings, music, or literature, Jean Kreiling's ekphrastic poems read as absorbing colloquies with works of art. She beautifully shapes her language to her subjects: spare precision for a Hopper, gentle charm for a Cassatt, something more darkly portentous for Delacroix, a nice bit of bathos for Satie, and forthright passion for César Frank's Symphony. Whatever her subject, the frisson of aesthetic pleasure is palpably conveyed. The book's tour de force is the series of poems on Stravinsky's Pulcinella, which is, like the piece it evokes, both cleverly delightful and delightfully clever throughout. -Dick Davis Jean Kreiling's Arts & Letters & Love focuses cohesively on the ways high art can touch our middle-to-lowbrow lives. The collection is packed with Kreiling's effortlessly musical sonnets-my favorite is "A Thousand Clerks"-but shows off her facility with forms of every kind. That skill allows meter and rhyme to produce their happiest effect: making our senses "reverberate like living bells." -Maryann Corbett
The “refreshing . . . laugh-out-loud” #1 New York Times bestseller about life in the suburbs that was adapted into a classic film comedy (Kirkus Reviews). One day, Tony Award–winning playwright Jean Kerr packed up her four kids (and husband, Walter, one of Broadway’s sharpest critics), and left New York City. They moved to a faraway part of the world that promised a grassy utopia where daisies grew wild and homes were described as neo-gingerbread. In this collection of “wryly observant” essays, Kerr chronicles her new life in this strange land called Larchmont (TheWashington Post). It sounds like bliss—no more cramped apartments and nightmarish after-theater cocktail parties where the martinis were never dry enough. Now she has her very own washer/dryer, a garden, choice seats at the hottest new third-grade school plays (low overhead but they’ll never recoup their losses), and a fresh new kind of lunacy. In Please Don’t Eat the Daisies “Jean Kerr cooks with laughing gas” as she explores the everyday absurdities, anxieties, and joys of marriage, family, friends, home decorating, and maintaining a career—but this time with a garage! (Time).
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