Who will be the next to die? They've taken the children. And the son of a general. But that isn't enough. More horrors must come...

The most complete and current edition of Dylan Thomas' collected poetry in a beautiful gift edition celebrating the centenary of his birth The reputation of Dylan Thomas (1914-1953) as one of the greatest poets of the twentieth century has not waned in the fifty years since his death. A Welshman with a passion for the English language, Thomas’s singular poetic voice has been admired and imitated, but never matched. This exciting, newly edited annotated edition offers a more complete and representative collection of Dylan Thomas’s poetic works than any previous edition. Edited by leading Dylan Thomas scholar John Goodby from the University of Swansea, The Poems of Dylan Thomas contains all the poems that appeared in Collected Poems 1934-1952, edited by Dylan Thomas himself, as well as poems from the 1930-1934 notebooks and poems from letters, amatory verses, occasional poems, the verse film script for “Our Country,” and poems that appear in his “radio play for voices,” Under Milk Wood. Showing the broad range of Dylan Thomas’s oeuvre as never before, this new edition places Thomas in the twenty-first century, with an up-to-date introduction by Goodby whose notes and annotations take a pluralistic approach.

Sixteen-year-old Miro had instructions to kill the bus driver immediately. They would then take the busload of children to the bridge and begin the standoff. Artkin was Miro’s mentor; the mastermind behind this act of terrorism that would get the world’s attention. But Artkin had told Miro that the bus driver would be an old man. Sixteen-year old Kate sometimes substituted for her uncle and drove his bus when he was ill. She even got a special license to do so, and she’d always liked kids. She wondered what was going on when the van in front of her stopped, but when the man and the boy with guns forced their way onto the bus, she knew her worst nightmare was beginning.

Fifty years after Camus's untimely death, his work still has a tremendous impact on literature. From a twenty-first century vantage point, he offers us coexisting ideas and principles by which we can read and understand the other and ourselves. Yet Camus seems to guide us without directing us strictly; his fictions do not offer clear-cut solutions or doctrines to follow. This complexity is what demands that the oeuvre be read, and reread. The wide-ranging articles in this volume shed light, concentrate on the original aspects of Camus' writings, and explore how and why they are still relevant for us today.

Highly original and theoretically wide-ranging, this book offers new insights into the origins of poetry. Working with much of the significant primary and secondary literature in psychoanalysis, particularly the theories of Julia Kristeva, the book skillfully sketches out a psychoanalytically enhanced theory of poetics through close readings of the works of Dylan Thomas. Through an intense dialogue with pivotal poems, it offers a "subjectivist" theory of poetic language, one that focuses on the interrelation between meaning and subjectivity in the dynamics of the poetic text. In this scheme, the "genesis of the speaking subject" is held to be a reenactment of old and new fantasies of origins, the reality of which is inaccessible to us—buried, as it were, "below time." Among these fantasies, the author also recognizes the psychoanalytic fantasy of origins that guides her own project.

Alex Penn wakes up in a squalid Times Square hotel room. This is what he sees when he finally opens his eyes: "The floor was a sea of blood. A body floated upon this ocean. A girl--black hair, staring blue eyes, bloodless lips. Naked. Dead. Her throat slashed deeply. "It had to be a dream. It had to, had to be a dream. It was not a dream. It was not a dream at all. "I've done it again, I thought. Sweet Jesus, I've done it again." Years before, Alex Penn woke up in similar circumstances, called the police, went to prison. A technicality freed him--and now there's been another drunken blackout, another dead streetwalker. But something nags at his memory, and he begins to suspect some other hand wielded the knife. And if he didn't murder this woman, maybe he didn't kill the other one, either. So he runs, adrift in an urban jungle, hoping to steer clear of the police long enough to solve the crime. AFTER THE FIRST DEATH is sure to appeal to fans of David Goodis and Cornell Woolrich. And, with its gritty New York setting and its undercurrent of alcoholism, it can be considered a precursor to Lawrence Block's iconic Matthew Scudder series. THE CLASSIC CRIME LIBRARY brings together Lawrence Block's early crime novels, reformatted and with new uniform cover art.

Exploring the work of key writers from across the globe, this significant contribution to diaspora theory constitutes a major study of the literature and other cultural texts of the Indian diaspora.

This book investigates the function of topographical names and descriptions in a variety of narratives, poems, and philosophical or theoretical texts, primarily from the 19th and 20th centuries, but including also Plato and the Bible. Topics include the initiating efficacy of speech acts, ethical responsibility, political or legislative power, the translation of theory from one topographical location to another, the way topographical delineations can function as parable or allegory, and the relation of personification to landscape.

Few historical images are more powerful than those of wartime London. Having survived a constant barrage of German bombs, the city is remembered as an island of courage and defiance. These wartime images are still in use today to support a wide variety of political viewpoints. But how well do such descriptions match the memories of those who survived the blitz? Jean Freedman interviewed more than fifty people who remember London during the war, focusing on under-represented groups, including women, Jews, and working-class citizens. In addition she examined original propaganda, secret government documents, wartime diaries, and postwar memoirs. Of particular significance to Freedman were the contemporary music, theater, film, speeches, and radio drama used by the British government to shape public opinion and impart political messages. Such bits of everyday life are mentioned in virtually every civilian's experience of wartime London but their interpretations of them often clashed with their government's intentions. By exploring the differences between wartime documentation and postwar memory, oral and written artifacts, and the voices of the powerful and the obscure, Freedman illuminates the complex interactions between myth and history. She concludes that there are as many interpretations of what really happened during Britain's finest hour as there are people who remember it.

Children's publishing is a huge international industry and there is ever-growing interest from researchers and students in the genre as cultural object of study and tool for education and socialization.