A Los Angeles Times Favorite Book and a Washington Post Best of 2008: “A book worthy of Keats—full of feeling and drama and those fleeting moments we call genius.”—Ted Genoways, Washington Post Book World John Keats’s famous epitaph—”Here lies One Whose Name was writ in Water”—helped cement his reputation as the archetype of the genius cut off before his time. In this close narrative study, Stanley Plumly meditates on the chances for poetic immortality, an idea that finds its purest expression in Keats. Incisive in its observations and beautifully written, Posthumous Keats is an ode to an unsuspecting young poet—a man who, against the odds of his culture and critics, managed to achieve the unthinkable: the elevation of the lyric poem to sublime and tragic status.
Introduces the first person to visit Oz from an altogether different world, Princess Planetty of Anuther Planet and Thun her Thundercolt. This book contains the original, twenty-five page, fully illustrated, short story Gludwig and the Red Hair, written by Adam Nicolai and illustrated by Ardian Hoda.
In this classic fantasy adventure set in L. Frank Baum’s world of Oz, a prince embarks on a quest to save his homeland from a fire-breathing monster. In a remote corner of Munchkin Country lies Lake Orizon, home to the Ozure Isles. The five islands were once a peaceful place, but fire-breathing Quiberon, sent by the dreaded witch Mombi, has changed that. For twenty years, the beast has terrorized the islands. Now it’s threatening to wipe them out for good. The heroic Prince Philador embarks on a quest to get help from the Good Witch of the North to defeat Quiberon. Meanwhile, the royal soothsayer has a foolish plan of his own. Along the way, Philador catches a ride from High Boy, the friendly horse with telescopic legs and an umbrella tail. Together, they team up with the Scarecrow, little Trot from California, and Benny the talking statue from Boston, in hopes of vanquishing the terrible Quiberon once and for all . . .
The Royal Book of Oz (1921) is the fifteenth in the series of Oz books, and the first, by Ruth Plumly Thompson, to be written after L. Frank Baum's death. Although Baum was credited as the author, it was written entirely by Thompson. Beginning in the 1980s, some editions have correctly credited Thompson, [1] although the cover of the 2001 edition by Dover Publications credits only Baum. The original introduction claimed that the book was based on notes by Baum, but this has been disproved. Baum's surviving notes, known as "An Oz Book" [2] are known from four typewritten pages found at his publisher's, but their authenticity as Baum's work has been disputed. Even if genuine, they bear no resemblance to Thompson's book.
In which the Scarecrow Goes to Search for His Family Tree and Discovers that He is the Long Lost Emperor of the Silver Island, and how He was Rescued and Brought Back to Oz by Dorothy and the Cowardly Lion
In which the Scarecrow Goes to Search for His Family Tree and Discovers that He is the Long Lost Emperor of the Silver Island, and how He was Rescued and Brought Back to Oz by Dorothy and the Cowardly Lion
Dorothy, the Cowardly Lion, and Sir Hokus discover Scarecrow is in serious danger as he is proclaimed emperor of the subterranean kingdom of Silver Island.
Many of the poems in The Marriage in the Trees, Stanley Plumly's sixth book of poetry, concern the passing of the author's parents. They have the power of the deeply personal, and are clearly, in their wisdom and mastery of form and language, the work of a mature poet, one of our finest. Images of trees and birds dominate these poems. Birds—owls, doves, crows, and cardinals—whether remembered from childhood or spotted in a rain shower at Union Square, frequently inspire Plumly's lyrical meditations. They serve as symbols of the vitality at the abrupt edges of life. Trees—losing their leaves in the autumn, blooming in the spring, providing wood for both a home as well as a casket and cover from exposure—stand watch over these poems as they do over the life around us, symbols of permanence amid the transience of life. "They/link the past, medieval to modern/the leaves still dark in summer, bronze and butter through hundreds of falls and winters./They're what's left of a larger thing." Memory, history, and family are powerful presences here, the past infusing the present with questions and with meaning. The Marriage in the Trees advances Stanley Plumly's standing as one of our strongest and most accomplished lyric poets.
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