The White Rose tells the story of Hans Scholl and Sophie Scholl, who in 1942 led a small underground organization of German students and professors to oppose the atrocities committed by Hitler and the Nazi Party. They named their group the White Rose, and they distributed leaflets denouncing the Nazi regime. Sophie, Hans, and a third student were caught and executed. Written by Inge Scholl (Han's and Sophie's sister), The White Rose features letters, diary excerpts, photographs of Hans and Sophie, transcriptions of the leaflets, and accounts of the trial and execution. This is a gripping account of courage and morality.CONTRIBUTORS: Dorthe Solle.

Although Pedro Calderón de la Barca was one of the greatest and most prolific playwrights of Spain's Golden Age, most of his nonallegorical comedias -- 118 in all -- have remained unknown. Robert ter Horst presents here the first full-length study of these works, a sustained, meditative analysis dealing with more than 80 plays, conveying a sense of the whole of Calderón's secular theater.To approach so vast a body of literature, Mr. ter Horst examines the meaning and function in Calderón of three broad subjects -- myth, honor, and history -- the warp threads across which the playwright weaves a subtle tapestry of contrasts, dualities, and conflicts: the private person versus the public person, the inner realm versus the outer, masculine against feminine, poet against prince.The Calderón who emerges is a consciously consummate artist whose lifelong study was the passions of the human mind and body. In addition, he is seen as a synthesizer of his Spanish literary heritage and especially as a brilliant adapter of Cervantes' insights to the stage. Robert ter Horst's profound and far-ranging analysis sheds light on many fine works previously neglected and finds new depths in such supreme achievements as No hay cosa como callar, El segundo Escipión, and La vida es suefio.

A leading critic of contemporary Spanish poetry examines here the work of ten important poets who came to maturity in the immediate post-Civil War period and whose major works appeared between 1956 and 1971: Francisco Brines; Eladio Cabañero; Angel Crespo; Gloria Fuertes; Jaime Gil de Biedma; Angel González; Manuel Mantero; Claudio Rodríguez; Carlos Sahagún; and José Angel Valente.Although each of these poets has developed an individual style, their work has certain common characteristics: use of the everyday language and images of contemporary Spain, development of language codes and intertextual references, and, most strikingly, metaphoric transformations and surprising reversals of the reader's expectations. Through such means these poets clearly invite their readers to join them in journeys of poetic discovery. Andrew P. Debicki's is the first detailed stylistic analysis of this generation of poets, and the first to approach their work through the particularly appropriate methods developed in "reader-response" criticism.

Shelton assembles the best of his previous work together with a selection of new poems.

McCaffery interprets the works of three major writers of radically experimental fiction: Robert Coover; Donald Barthelme; and Willam H. Gass. The term \u201cmetafiction\u201d here refers to a strain in American writing where the self-concious approach to the art of fiction-making is a commentary on the nature of meaning itself.

A beautiful and moving collection of poetry by a new author.

A compelling second collection of poetry.

Emplumada is Lorna Dee Cervantes’s first book, a collection of poems remarkable for their surface clarity, precision of image, and emotional urgency. Rooted in her Chicana heritage, these poems illuminate the American experience of the last quarter century and, at a time when much of what is merely fashionable in American poetry is recondite and exclusive, Cervantes has the ability to speak to and for a large audience.

The poetry of Herbert, Vaughan, and Traherne represents "an attempt to shape their lives and verse around the fact of divine presence and influence," writes Sharon Seelig. The relationship between belief and expression in these three metaphysical poets is the subject of this deeply perceptive study.Each of these poets held to some extent the notion of dual reality, of the world as indicative of a higher reality, but their responses to this tradition vary greatly -- from the ongoing struggle between God and the poet of The Temple, which finally transforms the materials of everyday life and worship; to the more difficult unity of Silex Scintillans, with its tension between illumination and resignation; to the ecstatic proclamations of Thomas Traherne, whose sense of divine reality at first seems so strong as to destroy the characteristic metaphysical tension between this world and the next. Seelig's study proceeds from individual poems to the whole work, exploring the relation of cosmology and religious experience to poetic form.

For Black writers, what is tradition? What does it mean to them that Western humanism has excluded Black culture? Seven noted Black writers and critics take up these and other questions in this collection of original essays, attempting to redefine humanism from a Black perspective, to free it from ethnocentrism, and to enlarge its cultural base. Contributors: Richard K. Barksdale, Alice Childress, Chester J. Fontenot, Michael S. Harper, Trudier Harris, George E. Kent, R. Baxter Miller

The work of Michael Burkard has a rich interior quality different from that of any other voice in American poetry. He captures a sense of the mind revising and revealing itself, altering its perceptions.

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.”