In 1853, when he was forty-nine and at the height of his literary career, Nathaniel Hawthorne accepted the post of U.S. consul at Liverpool, England, as a reward for writing the campaign biography of his college friend President Franklin Pierce. HawthorneÆs departure for Europe marked a turning point in his life. While Our Old Home, shrewd essays on his observations in England, The Marble Faun, a romance set in Italy, and the English Notebooks and French and Italian Notebooks were all results of his European residence, he returned to Concord in 1860 frustrated, depressed, and sick. He died in 1864.

In language both spare and colorful, sure in its command of Appalachian dialect and poetic in its evocation of mountain settings, James Still's stories reveal the lives of his people -- lives of privation and struggle, lived with honesty as well as humor. With a foreword by Cleanth Brooks and an afterword by the author, The Run for the Elbertas features thirteen stories from one of America's masters of the short story. Enjoyable and enriching, Still's stories sparkle with wisdom and joy.

Didi, Gogo, Pozzo, Lucky -- the bizarre names stand out strangely against the bare-bones landscape of Waiting for Godot. In an intriguing new study of one of the most haunting plays of this century, Frederick Busi shows that these names serve important dramatic functions, reinforcing the changing roles assumed by the mysterious characters in their tortuous search for -- and avoidance of -- self.Busi also explores Beckett's convoluted literary relationship with James Joyce, especially as revealed in the plays-within-the-play and verbal jigh jinks of Finnegan's Wake, where, as in Godot, the same characters keep dreamily encountering themselves in different disguises, under shifting names. Beckett's strong affinities with Cervantes and the common debt of these two authors to the traditions of commedia dell'arte lead Busi to important insights into the shifting master-slave relationship so prominent in Godot, as in Don Quixote.The religious implications of Godot -- the subject of so much critical debate -- are placed in a new perspective by Busi's provocative observation that certain early Christian heretical works and certain books of the Apocrypha contain not only the idea of the Devil/God, Judas/Jesus identifications implied in Godot but also a number of names that Beckett seems to have had in mind when he wrote his play.Rich in linguistic, historical, and psychological learning, Busi's examination of the names in Godot leads the reader to a fuller awareness of Beckett's extraordinarily complex imagination. As Wylie Sypher writes in the foreword, the book is "an invitation to expand our reading of Beckett in many directions."

Originally published in 1940, Stuart's first novel introduced his reader to one of the most unforgettable characters of American literature--Boliver Tussie, the hard-drinking, happy-go-lucky squatter who works just enough to get by.

First published in 1980, the classic poetry of Sharon Olds’ Satan Says was introduced into college courses twenty years ago, and still maintains a wide usage today. Few first books have the power or vigor of design of Satan Says. Marilyn Hacker described it as “a daring and elegant first book. This is a poetry which affirms and redeems the art.”

Named U.S. Poet Laureate for 2004-2006, Ted Kooser is one of America's masters of the short metaphorical poem. Dana Gioia has remarked that Kooser has written more perfect poems than any poet of his generation. Long admired and praised by other poets, Kooser is also accesible to the reader not familiar with contemporary poetry.

Stuart's first book of short stories remains haunting, powerful, and humorous.

Written by a beloved American author who grew up in the foothills of the Appalachians, these twenty-one short stories explore the daily lives and activities of Kentucky mountaineers. Life, animate existence, absorbs Jesse Stuart. Never is it more vital than when juxtaposed with death, hence the contrasting motifs of life and death permeating his work. In this book, Stuart tells the stories of the hills and the men who live there. They "curse the mountains," but love them too, he says. Existing in dimensions of real geography and elaborate imagination, Stuart moves easily between autobiography and fiction and often does not bother to distinguish one from the other. Greenup County, Kentucky blends into Greenwood County, and W-Hollow in both fiction and fact is subject to the proprietorship of the bard of Appalachia.

The half-blood -- half Indian, half white -- is a frequent figure in the popular fiction of nineteenth-century America, for he (or sometimes she) served to symbolize many of the conflicting cultural values with which American society was then wrestling. In literature, as in real life the half-blood was a product of the frontier, embodying the conflict between wilderness and civilization that haunted and stirred the American imagination. What was his identity? Was he indeed "half Indian, half white, and half devil" -- or a bright link between the races from which would emerge a new American prototype?In this important first study of the fictional half-blood, William J. Scheick examines works ranging from the enormously popular "dime novels" and the short fiction of such writers as Bret Harte to the more sophisticated works of Irving, Cooper, Poe, Hawthorne, and others. He discovers that ambivalence characterized nearly all who wrote of the half-blood. Some writers found racial mixing abhorrent, while others saw more benign possibilities. The use of a "half-blood in spirit" -- a character of untainted blood who joined the virtues of the two races in his manner of life -- was one ingenious literary strategy adopted by a number of writers, Scheick also compares the literary portrayal of the half-blood with the nineteenth-century view of the mulatto.This pioneering examination of an important symbol in popular literature of the last century opens up a previously unexplored repository of attitudes toward American civilization. An important book for all those concerned with the course of American culture and literature.

Rationality, objectivity, symmetry: were these really principles urged and exemplified by eighteenth-century English prose? In this persuasive study, Robert W. Uphaus argues that, on the contrary, many of the most important works of the period do not actually lead the reader into a new awareness of just how problematical, how unsusceptible to reason, both the world and our easy assumptions about it are. Uphaus discusses a broad range of writers -- Swift, Defoe, Mandeyville, Richardson, Fielding, Sterne, Johnson, and Godwin -- showing that beneath their variety lies a fundamentally similar challenge, addressed to the critical procedure which assumes that the exercise of reason is a sufficient tool for an understanding the appeal of imaginative literature.

The first book devoted to the literary relationship between Henry James and his American predecessor, Nathaniel Hwthorne. Robert Emmet Long demonstrates JamesÆ transformation of HawthorneÆs romantic forms into realism, as one of the significant features of JamesÆ early career. Long shows that Hawthorne provided James ith a native tradition having its own conceptions of American psychological experience.

Cage voices his concerns on the nature and future of music, they ways of dancers, the West's interpretation of Eastern ideas in this thought provoking collection of anecdotes and epigrams.

First published in 1940, James Still's masterful novel has become a classic. It is the story, seen through the eyes of a boy, of three years in the life of his family and their kin. He sees his parents pulled between the meager farm with its sense of independence and the mining camp with its uncertain promise of material prosperity. In his world privation, violence, and death are part of everyday life, accepted and endured. Yet it is a world of dignity, love, and humor, of natural beauty which Still evokes in sharp, poetic images. No writer has caught more effectively the vividness of mountain speech or shown more honestly the trials and joys of mountain life.

In Shelton’s fourth collection of poems, he writes of the desert Southwest, and through it gives his unique view of the world. The poems speak of landscape, marriage, freedom, and death.

Mysterious vanishing hitchhikers, travelers beset by headless dogs, and long-dead moonshiners come alive in this collection of ninety-six Appalachian folktales. Set in coal mines and remote farm cabins, in hidden hollows and on mountain tops, some of these stories look back to the days when West Virginia was first settled; others reflect the rancor and brutality of the Civil War. But most of these tales guide us through the recent past of the uncommonly rich folk heritage of West Virginia. This ghostly collection, with source information and bold illustrations, will thrill longtime lovers of supernatural lore.

John Ashbery writes like no one else among contemporary American poets. In the construction of his intricate patterns, he uses words much as the contemporary painter uses form and color- words painstakingly chosen as conveyors of precise meaning, not as representations of sound. These linked in unexpected juxtapositions, at first glance unrelated and even anarchic, in the end create by their clashing interplay a structure of dazzling brilliance and strong emotional impact. From this preoccupation arises a poetry that passes beyond conventional limits into a highly individual realm of effectiveness, one that may be roughly likened to the visual world of Surrealist painting. Some will find Mr. Ashbery's work difficult, even forbidding; but those who are sensitive to new directions in ideas and the arts will discover here much to quicken and delight them.A 35th anniversary edition of classic work from a celebrated American poet who has received the Pulitzer Prize, the national Book Award, and the national Book Critics Circle Award. John Ashbery's second book, The Tennis Court Oaths, first published by Wesleyan in 1962, remains a touchstone of contemporary avant-garde poetry.