What did W. H. Auden mean when he said that poetry makes nothing happen? He wasnt announcingin poetry, mind youthat poetry has no purpose and serves no function whatsoever. His memorial to William Butler Yeats, where this line is to be found, tells us a different story. Certainly, poetry doesnt make everything happen, but those things that can be said to be goodto be a part of that complex abstraction Plato and Aristotle called the highest goodinvolve poetry at its most fundamental level of meaning. Perhaps Shelley said it best when he wrote in his Defence of Poetry that poets are the unacknowledged legislators of the world. They speak truth to fact, or as Shelley put it simply, a poem is the image of life expressed in its eternal truth. That somewhat paradoxical line of Audens is a strategic call to the reader, a gage thrown at his feet, and a challenge to find, recognize, and celebrate all the things that poetry is and what the poet does. No, we gently chide the poet, poetry makes so much happen. And Mr. Auden, your poem thats such a moving paean to the power of imagination wedded to wordspoetry, you knowhas the power to move our souls, to touch the deepest part of us. That, Mr. Auden, is something, something pretty amazing and well worth celebrating.

"In the murky London gloom, a knife-wielding gentleman prowls the midnight streets with his faithful watchdog Snuff - gathering together the grisly ingredients they will need for an upcoming ancient and unearthly rite. And all manner of players, both human and undead, are preparing to participate."--Publisher.

In a realm beset by natural disasters, only the magical abilities of the bonded Pairs—Source and Shield—make the land habitable and keep the citizenry safe. The ties that bind them are far beyond the relationships between lovers or kin—and last their entire lives… Whether they like it or not. Since she was a child, Dunleavy Mallorough has been nurturing her talents as a Shield, preparing for her day of bonding. Unfortunately, fate decrees Lee’s partner to be the legendary, handsome, and unbearably self-assured Lord Shintaro Karish. Sure, he cuts a fine figure with his aristocratic airs and undeniable courage. But Karish’s popularity and notoriety—in bed and out—make him the last Source Lee ever wanted to be stuck with. The duo is assigned to High Scape, a city so besieged by disaster that seven bonded pairs are needed to combat it. But when an inexplicable force strikes down every other Source and Shield, Lee and Karish must put aside their differences in order to defeat something even more unnatural than their reluctant affections for each other…

Clarity, grammar, punctuation and mechanics, research sources, MLA, APA, Chicago, and usage/grammatical terms.

No more Hereos is not a thriller, not a big adventure of fiction, only a recital of experiences- thoughts between people while he learned to enjoy the fleeting moment, LIFE!

The study of medieval literature has experienced a revolution in the last two decades, which has reinvigorated many parts of the discipline and changed the shape of the subject in relation to the scholarship of the previous generation. 'New' texts (laws and penitentials, women's writing, drama records), innovative fields and objects of study (the history of the book, the study of space and the body, medieval masculinities), and original ways of studying them (the Sociology of the Text, performance studies) have emerged. This has brought fresh vigour and impetus to medieval studies, and impacted significantly on cognate periods and areas. The Oxford Handbook of Medieval Literature in English brings together the insights of these new fields and approaches with those of more familiar texts and methods of study, to provide a comprehensive overview of the state of medieval literature today. It also returns to first principles in posing fundamental questions about the nature, scope, and significance of the discipline, and the directions that it might take in the next decade. The Handbook contains 44 newly commissioned essays from both world-leading scholars and exciting new scholarly voices. Topics covered range from the canonical genres of Saints' lives, sermons, romance, lyric poetry, and heroic poetry; major themes including monstrosity and marginality, patronage and literary politics, manuscript studies and vernacularity are investigated; and there are close readings of key texts, such as Beowulf, Wulf and Eadwacer, and Ancrene Wisse and key authors from Ælfric to Geoffrey Chaucer, Langland, and the Gawain Poet.

This Companion surveys over four thousand years of epic poetry in a series of accessible essays.

Knitted by verses indulged with tempo, Mohul Bhowmick's latest offering- They Were My Heroes- is a pre-eminent contribution to the domain of Indian poetry in English. Sporadically merged with manoeuvres that carry the enterprise past the realm of common comprehension, it is laced with both joy and pain. The course of a vigorous dalliance, now ended, rears its head and in mitigation, Bhowmick probes into the anguish that he suffers. Like the majority of his work in poetry, this book too is semi-autobiographical; the obsessions, evasions and fixations that it unveils are a sight to behold. Coming a year after his highly acclaimed debut in travel writing, Bhowmick is back to doing what he does best- asking questions of himself with subtle nudges. Arriving a long time after it was first conceived, this collection consists of a hundred poems. It is divided into four sections: Travel Capers, Demons, Romantic Leftovers and Residues of the Heart. Each resists its own intricacies with sophistication, touching the reader with every note and chord. In the process, national-level cricketer Bhowmick finds himself facing a wall that no sunrise can erase or obliterate.