This delightful little book pays homage to the cat through artfully curated Japanese poetry and prints. No one captures the graces and idiosyncrasies of cats quite like the painters, printmakers, and haiku masters of Japan. From the Edo to the Showa period, many artists turned their gaze toward an unlikely subject: their small feline companions. Closely observed portraits in words ad ink elevate the everyday adventures of cats: taking a nap on a Buddha statue's lap, daintily eating a rice ball, courting the neighbor's cat. This curated collection of poems, prints, and paintings will leave you inspired to cultivate the serenity and wonder embodied by these creators—and by the cats themselves. Presented as a sweet, jacketed paperback with thoughtful design touches, this volume includes each poem in both English and Japanese. THE ORIGINAL CAT LOVERS: Centuries before the emergence of cat memes and cat cafes, Japanese artists and writers perfected the practice of feline reverence. Cats played pivotal roles in folklore; they were the protectors of scriptures and symbols of good luck and wealth. They also proved to be a wonderful source of creative inspiration. This little compendium showcases Japan's rich cultural heritage. UNIQUE GIFT: Surprise your cat-loving friends and family with this unusual twist on the cat-themed gift. PERFECT FOR POETRY LOVERS: Whether they came to poetry through the works of Instagram poets, or have been reading the classics for decades, any lover of verse will enjoy this thoughtfully curated collection. The writers featured include Bashō, Chiyo-ni, Issa, Shiki, and more—all icons of the haiku form. ENCHANTING ART: Hokusai, Hiroshige, Yoshitoshi, and more: These artists masterfully captured the personalities of cats and their humans. These images, with their delicate lines and soothing colors, have endured through time to bring us quiet joy. Perfect for: • Cat lovers • Poets and poetry readers • Artists and art lovers • Anyone who appreciates Japan's arts and culture

A Study Guide for Ernest Hemingway's "Cat in the Rain," excerpted from Gale's acclaimed Short Stories for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Short Stories for Students for all of your research needs.

With an Overview by Paul Smith and a Checklist to Hemingway Criticism, 1975–1990 New Critical Approaches to the Short Stories of Ernest Hemingway is an all-new sequel to Benson’s highly acclaimed 1975 book, which provided the first comprehensive anthology of criticism of Ernest Hemingway’s masterful short stories. Since that time the availability of Hemingway’s papers, coupled with new critical and theoretical approaches, has enlivened and enlarged the field of American literary studies. This companion volume reflects current scholarship and draws together essays that were either published during the past decade or written for this collection. The contributors interpret a variety of individual stories from a number of different critical points of view—from a Lacanian reading of Hemingway’s “After the Storm” to a semiotic analysis of “A Very Short Story” to an historical-biographical analysis of “Old Man at the Bridge.” In identifying the short story as one of Hemingway’s principal thematic and technical tools, this volume reaffirms a focus on the short story as Hemingway’s best work. An overview essay covers Hemingway criticism published since the last volume, and the bibliographical checklist to Hemingway short fiction criticism, which covers 1975 to mid-1989, has doubled in size. Contributors. Debra A. Moddelmog, Ben Stotzfus, Robert Scholes, Hubert Zapf, Susan F. Beegel, Nina Baym, William Braasch Watson, Kenneth Lynn, Gerry Brenner, Steven K. Hoffman, E. R. Hagemann, Robert W. Lewis, Wayne Kvam, George Monteiro, Scott Donaldson, Bernard Oldsey, Warren Bennett, Kenneth G. Johnston, Richard McCann, Robert P. Weeks, Amberys R. Whittle, Pamela Smiley, Jeffrey Meyers, Robert E. Fleming, David R. Johnson, Howard L. Hannum, Larry Edgerton, William Adair, Alice Hall Petry, Lawrence H. Martin Jr., Paul Smith

In 2000, the Nobel Prize-winning chemist Paul J. Crutzen and marine-science specialist Eugene Stoermer coined the term “Anthropocene” based on the assumption that the global impacts of human activities during the last 300 years are so significant and far-reaching in scale that they lead to a new geological epoch. The Anthropocene is adopted to signify the epoch subsequent to the Holocene in which human actions are shaping the planet so profoundly that they are now acting as a geological force. In this era, human activity is the dominant influence on the environment, and all lives on earth. This is the age we are currently living in, though debates about precisely when it began continue to rage. The term has not as yet officially accepted within the field of geology; however as a frame for understanding a period of geological time marked by the significant impact of human activity on the planet, the Anthropocene has “extraordinary potential”, and it is a “unique term simultaneously oriented to the past, present and future” (Human Animal viii). As Morten T∅nnessen, Kristin Armstrong Oma argued, “no matter what one thinks about the Anthropocene, the notion radically changes how we look at nature, and mankind” (viii).

In Hemingway’s Art of Revision, John Beall analyzes more than a dozen pieces of the author’s celebrated short fiction, with a focus on manuscripts and typescripts, as part of a broader examination of how Ernest Hemingway crafted his distinctive prose through a rigorous process of revision. Ranging from two vignettes in the first version of In Our Time through early touchstones such as “Indian Camp” and “The Killers” to later masterpieces including “Fathers and Sons,” Beall’s study considers the modernist influences, aesthetic choices, and experimental effects that characterized Hemingway’s approach to the short story. Revisions to “Big Two-Hearted River,” for example, were not simply cuts and omissions, but involved adding paragraphs to slow down the narrative and represent Nick Adams’s careful observations of fish as he watched their shadows on the river. For “A Way You’ll Never Be,” Hemingway’s revisions developed Nick’s interior monologues, manic lecture about grasshoppers, and wacky sense of humor to show the character restoring a sense of emotional balance despite his traumatic memories of being wounded. By drawing attention to the meticulous omissions, additions, and replacements that shaped these texts, Beall reveals how extensively and richly Hemingway revised his drafts. Hemingway’s Art of Revision gives a detailed view of a great prose stylist at work.

Demonstrates in painstaking detail and with reference to stunning new archival evidence how fetishism was crucial to the construction and negotiation of identity and gender in Hemingway's life and fiction.

The Cat in the Hat takes Sally and Dick for an “umbrella-vator” ride through the understory, canopy, and emergent layers of a tropical rain forest, encountering a host of plants, animals, and native peoples along the way.