The Seleukid kingdom was one of the greatest states of the ancient world, stretching from Greece to India; it is also one of the least known. This reference work lists all the people whose names are known who lived in that kingdom, classifying them into rulers, officials and subjects, and in each case noting their activity. In addition all the foreigners whose lives affected the Seleukid state are listed. The Gazetteer lists the places which were included in the kingdom, classified as regions, including provinces and peoples, or settlements, whether cities or villages, with a description of their place in its history. In addition the institutions of the kingdom, the social and political glue which made it work, are noted and briefly described.
No previous author has attempted a book such as this: a complete history of novels written in the English language, from the genre's seventeenth-century origins to the present day. In the spirit of Dr. Johnson’s Lives of the Poets, acclaimed critic and scholar John Sutherland selects 294 writers whose works illustrate the best of every kind of fiction—from gothic, penny dreadful, and pornography to fantasy, romance, and high literature. Each author was chosen, Professor Sutherland explains, because his or her books are well worth reading and are likely to remain so for at least another century. Sutherland presents these authors in chronological order, in each case deftly combining a lively and informative biographical sketch with an opinionated assessment of the writer's work. Taken together, these novelists provide both a history of the novel and a guide to its rich variety. Always entertaining, and sometimes shocking, Sutherland considers writers as diverse as Daniel Defoe, Henry James, James Joyce, Edgar Allan Poe, Virginia Woolf, Michael Crichton, Jeffrey Archer, and Jacqueline Susann. Written for all lovers of fiction, Lives of the Novelists succeeds both as introduction and re-introduction, as Sutherland presents favorite and familiar novelists in new ways and transforms the less favored and less familiar through his relentlessly fascinating readings.
A spirited and far-ranging meditation on boxing that's also a thoughtful inquiry into the relationship between the writer's craft and the fighter's. --Carlo Rotella, author of Cut Time: An Education at the Fights
Ogyû Sorai (1666–1728) was one of the greatest philosophers of early modern Japan. This volume, a monumental work of scholarship, offers for the first time in any Western language unabridged and fully annotated translations of Sorai’s masterpieces. The Bendô (Distinguishing the Way) and Benmei (Distinguishing Names) are works of political philosophy that define the theoretical foundation for a leadership exercising total power, the best remedy, in Sorai’s view, for a regime in crisis. The translations are based on the 1740 (Genbun 5) woodblock edition, the first major edition of these seminal texts published during the Tokugawa period. In his commentary, John Tucker situates the Bendô and Benmei in relation to Neo-Confucianism via what is known as "philosophical lexicography." This genre, which links Sorai’s thinking with Neo-Confucianism, is traced to the early-thirteenth-century Song dynasty text the Xingli ziyi (The Meanings of Neo-Confucian Terms) by Chen Beixi (1159–1223). Although Sorai was an unrelenting critic the Neo-Confucian formulations of the great Song synthesizer Zhu Xi (1130–1200), his thinking remained, due to its genre, methodology, and conceptual repertory, essentially a radical revision of Neo-Confucian discourse. Tucker’s introduction also examines the reception of Sorai’s two Ben during the remainder of the Tokugawa, calling attention to radical tendencies in later developments of Sorai’s thought as well as to the increasingly scathing critiques of his "Chinese" approach to philosophy, language, and politics. Finally, it traces the vicissitudes of the two Ben in modern Japanese intellectual history and their role in the formation of the ideas of Meiji intellectuals such as Nishi Amane (1829–1897) and Kato Hiroyuki (1836–1916). As before, however, Sorai came under attack—this time for his supposed irreverence toward the throne, the Japanese people, and the imperial nation-state. Though an unpopular philosophy in early twentieth-century Japan, in the postwar years Sorai’s thought was interpreted (by Maruyama Masao and others) as an important modernizing force. While it critiques such ideologically grounded attempts to cast Sorai’s Bendô and Benmei as theoretical contributions to political modernization, Tucker’s study nevertheless acknowledges that Sorai’s masterworks, in their concern for language analysis as the way to solve philosophical problems, share significant common ground with the analytic approach to philosophy pioneered by various twentieth-century Anglo-American philosophers.
The novel is alive and well, thank you very much For the last fifteen years, whenever a novel was published, John Freeman was there to greet it. As a critic for more than two hundred newspapers worldwide, the onetime president of the National Book Critics Circle, and the former editor of Granta, he has reviewed thousands of books and interviewed scores of writers. In How to Read a Novelist, which pulls together his very best profiles (many of them new or completely rewritten for this volume) of the very best novelists of our time, he shares with us what he's learned. From such international stars as Doris Lessing, Haruki Murakami, Salman Rushdie, and Mo Yan, to established American lions such as Don DeLillo, Norman Mailer, Toni Morrison, Marilynne Robinson, Philip Roth, John Updike, and David Foster Wallace, to the new guard of Edwidge Danticat, Dave Eggers, Jonathan Franzen, and more, Freeman has talked to everyone. What emerges is an instructive and illuminating, definitive yet still idiosyncratic guide to a diverse and lively literary culture: a vision of the novel as a varied yet vital contemporary form, a portrait of the novelist as a unique and profound figure in our fragmenting global culture, and a book that will be essential reading for every aspiring writer and engaged reader—a perfect companion (or gift!) for anyone who's ever curled up with a novel and wanted to know a bit more about the person who made it possible.
God and Self in the Confessional Novel explores the question: what happened to the theological practice of confession when it entered the modern novel? Beginning with the premise that guilt remains a universal human concern, this book considers confession via the classic confessional texts of Augustine and Rousseau. Employing this framework, John D. Sykes, Jr. examines Goethe’s The Sorrows of Young Werther, Dostoevsky’s Notes from Underground, Percy’s Lancelot, and McEwan’s Atonement to investigate the evolution of confession and guilt in literature from the eighteenth century to the early twenty-first century.
What is Nigel Farage’s favorite novel? Why do Brexiteers love Sherlock Holmes? Is Philip Larkin the best Brexit poet ever? Through the politically relevant sideroad of English Literature, writ large, John Sutherland quarries the great literary minds of English history to assemble the ultimate reading list for Brexiteers. Brexit shook Britain to its roots and sent shockwaves across the world. But despite the referendum victory, Brexit is peculiarly hollow. It is an idea without political apparatus, without sustaining history, without field-tested ideology. As Sutherland argues: it is without thinkers—like Frankenstein waiting for the lightning bolt. In this irreverent, entertaining, and utterly tongue-in-cheek new guide, Sutherland suggests some stuffing for the ideological vacuity at the heart of the Brexit cause. He looks for meaning in the works of William Shakespeare, Jane Austen, and Thomas Hardy; in modern classics like The Queen and I and London Fields; and in the British national anthem, school songs, and poetry. Exploring what Britain meant, means, and will mean, Sutherland subtly shows how great literary works have a shaping influence on the world. Witty and insightful, and with a preface by Guardian columnist and critic John Crace, this book belongs on the shelves of anyone seeking to understand the bragging Brexiteers (and the many diehard Remoaners, too).
Something extraordinary happened to the UK literary scene in the 1980s. In the space of eight years, a generation of young British writers took the literary novel into new realms of setting, subject matter and style, challenging - and almost eclipsing - the Establishment writers of the 1950s. It began with two names - Martin Amis and Ian McEwan - and became a flood: Julian Barnes, William Boyd, Graham Swift, Salman Rushdie, Jeanette Winterson and Pat Barker among them. The rise of the newcomers coincided with astonishing changes in the way books were published - and the ways in which readers bought them and interacted with their authors. Suddenly, authors of serious fiction were like rock stars, fashionable, sexy creatures, shrewdly marketed and feted in public. The yearly bunfight of the Booker Prize became a matter of keen public interest. Tim Waterstone established the first of a chain of revolutionary bookshops. London publishing houses became the playground of exciting, visionary entrepreneurs who introduced new forms of fiction - magical realist, feminist, post-colonial, gay - to modern readers. Independent houses began to spend ostentatious sums on author advances and glamorous book launches. It was nothing short of a watershed in literary culture. And its climax was the issuing of a death sentence by a fundamentalist leader whose hostility to Western ideas of free speech made him, literally, the world's most lethal critic. Through this exciting, hectic period, the journalist and author John Walsh played many parts: literary editor, reviewer, interviewer, prize judge and TV pundit. He met and interviewed numerous literary stars, attended the best launch parties and digested all the gossip and scandal of the time. In Circus of Dreams he reports on what he found, first with wide-eyed delight and then with a keen eye on what drove this glorious era. The result is a unique hybrid of personal memoir, oral history, literary investigation and elegy for a golden age.
Named one of Entertainment Weekly’s 12 biggest music memoirs this fall. “An artful and wildly enthralling path for Bowie fans in particular and book lovers in general.” —Publishers Weekly (starred review) “The only art I’ll ever study is stuff that I can steal from.” ―David Bowie Three years before David Bowie died, he shared a list of 100 books that changed his life. His choices span fiction and nonfiction, literary and irreverent, and include timeless classics alongside eyebrow-raising obscurities. In 100 short essays, music journalist John O’Connell studies each book on Bowie’s list and contextualizes it in the artist’s life and work. How did the power imbued in a single suit of armor in The Iliad impact a man who loved costumes, shifting identity, and the siren song of the alter-ego? How did The Gnostic Gospels inform Bowie’s own hazy personal cosmology? How did the poems of T.S. Eliot and Frank O’Hara, the fiction of Vladimir Nabokov and Anthony Burgess, the comics of The Beano and The Viz, and the groundbreaking politics of James Baldwin influence Bowie’s lyrics, his sound, his artistic outlook? How did the 100 books on this list influence one of the most influential artists of a generation? Heartfelt, analytical, and totally original, Bowie’s Bookshelf is one part epic reading guide and one part biography of a music legend.
On March 31, 1943, the musical Oklahoma! premiered and the modern era of the Broadway musical was born. Since that time, the theatres of Broadway have staged hundreds of musicals--some more noteworthy than others, but all in their own way a part of American theatre history. With more than 750 entries, this comprehensive reference work provides information on every musical produced on Broadway since Oklahoma's 1943 debut. Each entry begins with a brief synopsis of the show, followed by a three-part history: first, the pre-Broadway story of the show, including out-of-town try-outs and Broadway previews; next, the Broadway run itself, with dates, theatres, and cast and crew, including replacements, chorus and understudies, songs, gossip, and notes on reviews and awards; and finally, post-Broadway information with a detailed list of later notable productions, along with important reviews and awards.
Originally published in 1985, fourteen foremost writers of fiction give detailed accounts of their writings in this absorbing collection by John Haffenden, whom The Sunday Times has applauded for having ‘perfected’ the art of the literary interview. Bringing together discussions with a wide range of authors in Britain at the time, the volume contains interviews with Martin Amis, Malcolm Bradbury, Anita Brookner, Angela Carter, William Golding, Russell Hoban, David Lodge, Ian McEwan, Iris Murdoch, V.S. Pritchett, Salman Rushdie, David Storey, Emma Tennant and Fay Weldon. John Haffenden questions them about the creative process, about specific works – including Golding’s Rites of Passage, Hoban’s Riddley Walker, Murdoch’s The Philosopher’s Pupil and Rushdie’s Midnight’s Children and Shame – and about the ideas and visions which inform those works. The writers provide lively, fascinating and often definitive responses which offer many insights into the value and function of fiction. The volume also includes discussions of cultural context and of narrative techniques and kinds – realist, postmodernist, fabulous – offering immediate material for critical debate. For all who are interested in twentieth century fiction it is essential reading.
This richly illustrated history explores every aspect of life in Edinburgh. This book covers the history of the city of Edinburgh from the first Mesolithic explorers who camped on the shores of the Forth some 10,000 years ago to the controversies of modern times. Taking a wider perspective it explores the ever-changing world resulting from industrialisation, which brought immigrants, wealth and poverty. Following that, new methods of transport opened up Edinburgh to the wider world. Now, with its historic architecture the city can become a battleground between developers and motorists who want more space in the central areas and conservationists who wish to protect the city's landscape.
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