L'Inghilterra del XVIII secolo vide non solo la nascita e gli sviluppi del più fortunato tra i generi letterari, il romanzo, ma anche profondissimi sconvolgimenti di costume che portarono alla formazione di un diverso e inedito pubblico di lettori. Quest'opera ormai classica di Ian Watt, nello stilare un'analisi attenta a metà tra letteratura, sociologia e storia del costume, spiega come il nuovo pubblico influenzò l'evoluzione e la fortuna delle tecniche romanzesche. Il libro, efficacissimo ritratto della cultura e della società inglesi del Settecento, esplora la nascita del romanzo quale tipico prodotto della società borghese. Prendendo in considerazione tre dei principali esponenti e artefici della nuova forma narrativa (Daniel Defoe, Samuel Richardson e Henry Fielding), Watt ne segue da vicino gli albori, i fasti e la decadenza.

THE RISE OF THE NOVEL - WATT IAN - Random UK

Lyn Hejinian and Barrett Watten are internationally recognized poet/critics. Together they edited the highly influential Poetics Journal, whose ten issues, published between 1982 and 1998, contributed to the surge of interest in the practice of poetics. A Guide to Poetics Journal presents the major conversations and debates from the journal, and invites readers to expand on the critical and creative engagements they represent.

In making their selections for the guide, the editors have sought to showcase a range of innovative poetics and to indicate the diversity of fields and activities with which they might be engaged. The introduction and headnotes by the editors provide historical and thematic context for the articles. The Guide is intended to be of sustained creative and classroom use, while the companion Archive of all ten issues of Poetics Journal allows users to remix, remaster, and extend its practices and debates.

At the age of 47, Christian Watt began to write down recollections of her life, continuing until her death at the age of 90 in 1923. Vividly told, this narrative follows the Scotland native from her birth into a Fraserburgh fishing family through her years working in domestic service—including as a table maid to Winston Churchill’s grandmother—to her life as a mental patient in the Cornhill Infirmary. These writings illustrate how the sea brought her family a precarious living and often violent death as four of her seven brothers, her husband, and her favorite son all died at sea, which led to anxiety and grief that eventually caused a mental breakdown. Offering a fascinating insight into Scottish life during the 19th and 20th centuries, this is the memoir of a woman of beauty, character, and intelligence.

"To work with Al Huang is to learn to move with wind and water...in the course of everyday life. ...a truly superior and gifted teacher who works upon others as the sun and rain upon plants."---From the Foreword by Alan Watts, one of the great writers of comparative philosophy and religion and Taoist and Zen literature

First published in 1973, this all-time classic of Tai Ji literature remains as fresh and illuminating today as when it was first published. Written with true passion and eloquence, the book richly conveys the subtle yet profound principles underlying Tai Ji. Movement, stillness, joyfulness, and the ability to live in the moment are the threads running through the text, as well as the humor and compassion to acknowledge the impossibility of human perfection. Containing the original Foreword by Alan Watts, the book is illustrated with beautiful calligraphy by the author, and photographs by Si Chi Ko, one of China's "national treasures."

This timeless masterpiece is essential reading for anybody interested in Taoism, Tai Ji, or the Tao philosophy of "Living Our Own Tao," and the author is a wonderful, dramatic, and inspiring presence throughout the book.

Papa loves little Orsa -- but sometimes it's hard to tell.

It seems to Orsa Bear that Papa is angry all the time -- especially after he's had a lot of jack-berry wine. If Papa's not yelling at Mama about the weeds in their garden, he's roaring at Orsa for being clumsy at his chores.

Orsa is scared and doesn't understand why his father acts this way. After a long winter's sleep things get worse, but with the help of Dr. Owl, Mama and Orsa bravely take steps to break the cycle of violence.

Told in an easy-to-read graphic narrative format, Hear My Roar provides a gentle, non-threatening approach to talking with children about family violence. The foreword and afterword help parents, teachers and caregivers use the story with young readers.

This edition of Hear My Roar was adapted from the first edition by Dr. Ty Hochban, who has conducted extensive research in child developmental psychology and the effects of family violence.

Papa loves little Orsa -- but sometimes it's hard to tell.

It seems to Orsa Bear that Papa is angry all the time -- especially after he's had a lot of jack-berry wine. If Papa's not yelling at Mama about the weeds in their garden, he's roaring at Orsa for being clumsy at his chores.

Orsa is scared and doesn't understand why his father acts this way. After a long winter's sleep things get worse, but with the help of Dr. Owl, Mama and Orsa bravely take steps to break the cycle of violence.

Told in an easy-to-read graphic narrative format, Hear My Roar provides a gentle, non-threatening approach to talking with children about family violence. The foreword and afterword help parents, teachers and caregivers use the story with young readers.

This edition of Hear My Roar was adapted from the first edition by Dr. Ty Hochban, who has conducted extensive research in child developmental psychology and the effects of family violence.

Literary Nonfiction. Biography and Memoir. Part Eight in the ongoing series of collective autobiography, THE GRAND PIANO: PART 8 continues to mark the events, movements and intersections among ten contributing 1970s Language poets. "THE GRAND PIANO is itself a veering off and an investigation and a playing or experimenting with the materials of language, history, textuality, and temporality, the personal and political, poetry and community....There is an abundance to linger over in THE GRAND PIANO even as and perhaps because of the large gaps and contradictions"--Robin Tremblay-McGaw.

Medieval Women's Writing is a major new contribution to our understanding of women's writing in England, 1100-1500. The most comprehensive account to date, it includes writings in Latin and French as well as English, and works for as well as by women. Marie de France, Clemence of Barking, Julian of Norwich, Margery Kempe, and the Paston women are discussed alongside the Old English lives of women saints, The Life of Christina of Markyate, the St Albans Psalter, and the legends of women saints by Osbern Bokenham.

Medieval Women's Writing addresses these key questions:

• Who were the first women authors in the English canon?


• What do we mean by women's writing in the Middle Ages?


• What do we mean by authorship?


• How can studying medieval writing contribute to our understanding of women's literary history?

Diane Watt argues that female patrons, audiences, readers, and even subjects contributed to the production of texts and their meanings, whether written by men or women. Only an understanding of textual production as collaborative enables us to grasp fully women's engagement with literary culture. This radical rethinking of early womens literary history has major implications for all scholars working on medieval literature, on ideas of authorship, and on women's writing in later periods. The book will become standard reading for all students of these debates.