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Year Of Classics
"Bartleby" (also known as "Bartleby the Scrivener") is an intriguing moral allegory set in the business world of mid-19th-century New York. A strange, enigmatic man employed as a clerk in a legal office, Bartleby forces his employer to come to grips with the most basic questions of human responsibility, and haunts the latter's conscience, even after Bartleby's dismissal.
"Benito Cereno," considered one of Melville's best short stories, deals with a bloody slave revolt on a Spanish vessel. A splendid parable of man's struggle against the forces of evil, the carefully developed and mysteriously guarded plot builds to a dramatic climax while revealing the horror and depravity of which man is capable.
Reprinted here from standard texts in a finely made, yet inexpensive new edition, these stories offer the general reader and students of Melville and American literature sterling examples of a literary giant at his story-telling best.
This edition contains Donald Cress's completely revised translation of the Meditations (from the corrected Latin edition) and recent corrections to Discourse on Method, bringing this version even closer to Descartes's original, while maintaining the clear and accessible style of a classic teaching edition.
People like to find affluence and a ready smile. Compassion and honesty,
Not so much. So why not make friends with music and nature instead:
The moon; the flowers? ******** I know my needs,
And I know the world. I want for nothing,
And do not labor to acquire things. Quietude is all I desire:
To be free from worry is happiness enough. This new translation by Matthew Stavros, presented alongside the original Classical Japanese, perfectly captures the profound serenity of Chomei's writings. His poignant verses serve as timely reminders that amidst the uncertainty of this world, true contentment can often be found in the simple life, in embracing fleeting moments, and in seeking solace in nature's beauty.
Hannah Arendt's definitive work on totalitarianism--an essential component of any study of twentieth-century political history--now with a new introduction by Anne Applebaum.
A cornerstone of modern political philosophy, The Origins of Totalitarianism has become essential reading as we grapple with the rise of autocrats and tyrannical thought across the globe.
The book begins with the rise of anti-Semitism in central and western Europe in the 1800s and continues with an examination of European colonial imperialism from 1884 to the outbreak of World War I.
Hannah Arendt then explores the institutions and operations of totalitarian movements, focusing on the two genuine forms of totalitarian government in our time, Nazi Germany and Stalinist Russia, which she adroitly recognizes were two sides of the same coin, rather than opposing philosophies of Right and Left. From this vantage point, this work of European history discusses the evolution of classes into masses, the role of propaganda in dealing with the nontotalitarian world, the use of terror, and the nature of isolation and loneliness as preconditions for total domination.
This edition includes an introduction by Anne Applebaum--a leading voice on authoritarianism and Russian history--who fears that "once again, we are living in a world that Arendt would recognize."
First published in Peter Meineck and Paul Woodruff's Sophocles: Four Tragedies, this riveting translation by Peter Meineck of Sophocles' Philoctetes features a new Introduction by Paul Woodruff.
"Peter Meineck has given us a superbly vivid rendering of the play, informed throughout by his practical experience in the theater. His is a Philoctetes that is supremely alive, from start to finish. . . . [I]deal for classroom use . . . accompanied by a new and thoughtful introduction from philosopher and classicist Paul Woodruff. Woodruff anchors the play in the complex web of fears and anxieties of 409 BCE, as both Sophocles' life and Athens' imperial heyday drew to a close. . . . [A]n exceptionally fine work of translation and scholarship that will go far toward demolishing dismissals of the play as inaccessible or unengaging for the modern reader. Sophocles, Meineck and Woodruff eloquently remind us, speaks to every age, not least our own."--Thomas R. Keith, Loyola University Chicago in CJ-Online
Emily Dickinson, poet of the interior life, imagined words/swords, hurling barbed syllables/piercing. Nothing about her adult appearance or habitation revealed such a militant soul. Only poems, written quietly in a room of her own, often hand-stitched in small volumes, then hidden in a drawer, revealed her true self. She did not live in time but in universals--an acute, sensitive nature reaching out boldly from self-referral to a wider, imagined world.
Dickinson died without fame; only a few poems were published in her lifetime. Her legacy was later rescued from her desk--an astonishing body of work, much of which has since appeared in piecemeal editions, sometimes with words altered by editors or publishers according to the fashion of the day. Now Ralph Franklin, the foremost scholar of Dickinson's manuscripts, has prepared an authoritative one-volume edition of all extant poems by Emily Dickinson--1,789 poems in all, the largest number ever assembled. This reading edition derives from his three-volume work, The Poems of Emily Dickinson: Variorum Edition (1998), which contains approximately 2,500 sources for the poems. In this one-volume edition, Franklin offers a single reading of each poem--usually the latest version of the entire poem--rendered with Dickinson's spelling, punctuation, and capitalization intact. The Poems of Emily Dickinson: Reading Edition is a milestone in American literary scholarship and an indispensable addition to the personal library of poetry lovers everywhere.
The two books of the Poems of Exile, the Lamentations (Tristia) and the Black Sea Letters (Epistulae ex Ponto), chronicle Ovid's impressions of Tomis-its appalling winters, bleak terrain, and sporadic raids by barbarous nomads-as well as his aching memories and ongoing appeals to his friends and his patient wife to intercede on his behalf. While pretending to have lost his old literary skills and even to be forgetting his Latin, in the Poems of Exile Ovid in fact displays all his virtuoso poetic talent, now concentrated on one objective: ending the exile. But his rhetorical message falls on obdurately deaf ears, and his appeals slowly lose hope. A superb literary artist to the end, Ovid offers an authentic, unforgettable panorama of the death-in-life he endured at Tomis.
