A poignant and inspirational love story set in Burma, The Art of Hearing Heartbeats spans the decades between the 1950s and the present. When a successful New York lawyer suddenly disappears without a trace, neither his wife nor his daughter Julia has any idea where he might be…until they find a love letter he wrote many years ago, to a Burmese woman they have never heard of. Intent on solving the mystery and coming to terms with her father’s past, Julia decides to travel to the village where the woman lived. There she uncovers a tale of unimaginable hardship, resilience, and passion that will reaffirm the reader’s belief in the power of love to move mountains.

Shortlisted for the 2019 Booker Prize Named a Best Book of the Year by Bookpage, NPR, Washington Post, and The Economist A moving novel on the power of friendship in our darkest times, from internationally renowned writer and speaker Elif Shafak. In the pulsating moments after she has been murdered and left in a dumpster outside Istanbul, Tequila Leila enters a state of heightened awareness. Her heart has stopped beating but her brain is still active-for 10 minutes 38 seconds. While the Turkish sun rises and her friends sleep soundly nearby, she remembers her life-and the lives of others, outcasts like her. Tequila Leila's memories bring us back to her childhood in the provinces, a highly oppressive milieu with religion and traditions, shaped by a polygamous family with two mothers and an increasingly authoritarian father. Escaping to Istanbul, Leila makes her way into the sordid industry of sex trafficking, finding a home in the city's historic Street of Brothels. This is a dark, violent world, but Leila is tough and open to beauty, light, and the essential bonds of friendship. In Tequila Leila's death, the secrets and wonders of modern Istanbul come to life, painted vividly by the captivating tales of how Leila came to know and be loved by her friends. As her epic journey to the afterlife comes to an end, it is her chosen family who brings her story to a buoyant and breathtaking conclusion.

Lio Min's Beating Heart Baby is a tender best friends to enemies to lovers story with AAPI leads, celebrating first love, second chances, indie rock, and transitions of all kinds Blistering, deeply emo, and shimmering with the messiness of intimacy, Beating Heart Baby is a dizzying, occasionally infuriating, gleefully sexy, and utterly heartfelt exploration of identity, culture, and finding home within your art and in yourself. --Mary H. K. Choi, author of Yolk Santi has only had his heart broken one time, and it was all his fault. When he accidentally leaked his internet best friend Memo's song, and it became an overnight hit, Memo disappeared--leaving their song's cult fame, and Santi, behind. Three years later, Santi arrives in Los Angeles with a mission: get over the ghost of Memo. Thankfully, his new school and its wildly-talented Sunshower marching band welcome him with open arms. All except for his section leader, the prickly, proud, musical prodigy Suwa. But when Santi realizes Suwa is trans, then Suwa realizes Santi takes his identity in stride, both boys begin to let their guards down. Santi learns Suwa's surliness masks a painful, still raw history of his own, and as they open up to each other, their friendship quickly takes on the red-hot blush of a mutual crush. Just as Santi is feeling settled in this new life, with a growing found family and a head-over-heels relationship with Suwa, he begins to put together the pieces of an impossible truth--that he knows both more and less of Suwa's story than he's been told. Their fragile fresh start threatens to rip apart at the seams again when Suwa is offered the chance to step into the spotlight he's owed but has always denied himself. Now, Santi and Suwa must finally reckon with their dreams, their pasts--and their futures, together or apart.

In all six of its volumes The Broadview Anthology of British Literature presents British literature in a truly distinctive light. Fully grounded in sound literary and historical scholarship, the anthology takes a fresh approach to many canonical authors, and includes a wide selection of work by lesser-known writers. The anthology also provides wide-ranging coverage of the worldwide connections of British literature, and it pays attention throughout to issues of race, gender, class, and sexual orientation. It includes comprehensive introductions to each period, providing in each case an overview of the historical and cultural as well as the literary background. It features accessible and engaging headnotes for all authors, extensive explanatory annotations, and an unparalleled number of illustrations and contextual materials. Innovative, authoritative and comprehensive, The Broadview Anthology of British Literature has established itself as a leader in the field. The full anthology comprises six bound volumes, together with an extensive website component; the latter has been edited, annotated, and designed according to the same high standards as the bound book component of the anthology, and is accessible by using the passcode obtained with the purchase of one or more of the bound volumes. For those seeking an even more streamlined anthology than the two-volume Concise Edition, The Broadview Anthology of British Literature is now available in a compact single-volume version. The edition features the same high quality of introductions, annotations, contextual materials, and illustrations found in the full anthology, and it complements an ample offering of canonical works with a vibrant selection of less-canonical pieces. The compact single-volume edition also includes a substantial website component, providing for much greater flexibility. An increasing number of works from the full six-volume anthology (or from its website component) are also being made available in stand-alone Broadview Anthology of British Literature editions that can be bundled with the anthology.

This Modified eBook version of The Broadview Anthology of British Literature: Concise Volume B, 3rd edition omits in-copyright readings that are found in the print book. This ebook is available for purchase in the UK and select international markets. The two-volume Broadview Anthology of British Literature: Concise Edition provides an attractive alternative to the full six-volume anthology. Though much more compact, the Concise Edition nevertheless provides substantial choice, offering both a strong selection of canonical authors and a sampling of lesser-known works. With an unparalleled selection of illustrations and of contextual materials, accessible and engaging introductions, and full explanatory annotations, these volumes provide concise yet extraordinarily wide-ranging coverage for British Literature survey courses. New to this volume are Samuel Beckett’s Endgame and Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde; new authors include Dorothy Wordsworth, John Clare, Tomson Highway, Derek Walcott, and Chimamanda Ngozi Adichie. The third edition now also offers substantially expanded representation of Irish, Scottish, and Welsh literatures, as well as contextual materials on Gothic literature, Modernism, and World War II. Material that no longer appears in the bound book may in most cases be found on the companion website; many larger works are also available in separate volumes that may at the instructor’s request be bundled together with the anthology at no extra cost to the student.

This fourth in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake. This volume covers all of chapters 1.7, 1.8 and 2.1 with the intent to explore them as art objects. In chapters 1.7 and 1.8 Aesthetics meets Theosophy meets Metaphysics. Together they share a common subject-how one part or whole treats another part. These two chapters move from shun to share, hurt to help, male to female. In aesthetics, from bad art to good art. In theosophy, from TZTZ god to ES god. In metaphysics a la Arthur Schopenhauer, from male to female aspects of Will. Featuring an all male cast, chapter 1.7 is a stinging criticism of Shem by Shaun-brother against brother. Chapter 1.7 is intentionally bad art. In aesthetic terms, the whole of the chapter is at odds with the parts and the parts at odds with other parts. With an all female cast, chapter 1.8 features a young washerwoman and old washerwoman washing clothes and talking together across a river. The main point is that they are working together, and Old shares knowledge of the eternal feminine with Young. Sharing replaces shunning. Part helps part. Chapter 1.8 is intentionally divine art. Chapter 2.1 starts Part II that features the Earwicker children, the human expression of the death defying new. As children, they come with the potential for new possibilities. Initially, however, their realization is limited by youth, when they are more under instinct-based and parental control than under self-control. Chapter 2.1 features a children's game fueled by immature sexual intoxication and loss of self-control. Joyce presents this come-on game in the rhythms and rhymes of children's stories, poems and songs, that is in children's art limited by the purpose to please a young mind. Chapter 2.1 takes the form of a play. The action in the play is the children's game. It is a play about play. With drama in the structure, Joyce weaves Macbeth into the chapter and like Shakespeare's bearded witches, boils the pot with male and female. Hermetic magic supplies the metaphors and concepts for chapter 2.1. Hermetic magic is the art of accessing the celestial force field known as the Astral Light. In order to have strong magic the magus must be in equilibrium and must know him or herself. Magus Joyce notes that these same requirements are necessary for the highest art.

A Great Novelist, A Learned And Wise Critic, And A Charming Short-Story Writer Can These Three Reside In A Single Person? Yes, But, Of Course, In A Very Few, And E.M. Forster Is Certainly One Of Those Very Few, And That He Is Par Excellence. Any Knowledge Of Modern English Novel Without Even An Acquaintance With Forster Is Absurdly Incomplete. All Of Forster S Six Novels, Perhaps Barring Only Maurice, Have Been And Are Being Printed And Re-Printed In Hundreds Of Thousands Of Copies, And All The Six But Perhaps The Longest Journey Have Been Filmed By Worthy Directors, Such As Lean And Merchant, And The Films Have Received And Are Receiving High And Spontaneous Acclamations. As Said, Forster Is Also An Outstanding Critic And Will Go A Long Way Down The History Of Criticism As Much As He Will Be Remembered As A Highly Fantastic But Excellent Short-Story Writer For A Long Time To Come As He Is Today.This Compendium-Like Book, Split Into Three Volumes, Contains Discussions On All The Six Novels Of Forster Where Angles Fear To Tread, The Longest Journey, A Room With A View, Howards End, Maurice And A Passage To India. Besides, The Study Includes His Twelve Prime Short Stories, And His Critical Acumen And Theories. It Does Not Harbour No, It Carefully Avoids Any Pretension Or Pedantry, But It Comprises Almost All The Matters Relevant To Forsteriana, Plainly But Rather Expatiatingly Treated, So That It Is Expected To Help, Yeoman-Like, Certainly Not The Avant-Garde But The Sophomores. An In-Depth Study Of Forster As A Novelist And As A Critic Provided Herein Adds To The Value Of The Book. Furthermore, Quotations Included In The Appendix, Bibliography And Index Would Serve As Useful Study-Aids For The Readers.

Much current theorizing about literature involves efforts to renew our sense of aesthetic values in reading. Such is the case with new formalism as well as recent appeals to the notion of “surface reading.” While sympathetic to these efforts, Charles Altieri believes they ultimately fall short because too often they fail to account for the values that engage literary texts in the social world. In Reckoning with the Imagination, Altieri argues for a reconsideration of the Kantian tradition of Idealist ethics, which he believes can restore much of the power of the arguments for the role of aesthetics in art. Altieri finds a perspective for that restoration in a reading of Wittgenstein’s later work that stresses Wittgenstein’s parallel criticisms of the spirit of empiricism. Altieri begins by offering a phenomenology of imagination, because we cannot fully honor art if we do not link it to a distinctive, socially productive force. That force emerges in two quite different but equally powerful realizations in his reading of John Ashbery’s “Instruction Manual,” which explicitly establishes a model for a postromantic view of imagination, and William Butler Yeats’s “Leda and the Swan.” He then turns to Wittgenstein with chapters on the role of display as critique of Enlightenment thinking, the honoring of qualities like sensitivity and the ability to attune to the actions of others, the role of expression in the building of models, and the contrast between ethical and confessional modes of judgment. Finally, Altieri produces his own model of aesthetic experience as participatory valuation and makes an extended argument for the social significance of appreciation as a way to escape the patterns of resentment fundamental to our current mode of politics. A masterful work by one of our foremost literary and philosophical theorists, Reckoning with the Imagination will breathe new life into ongoing debates over the value of aesthetic experience.

The only form of monumental artistic expression practiced from antiquity to the Enlightenment, allegory evolved to its fullest complexity in Dante's Commedia and Spenser's Faerie Queene. Drawing on a wide range of literary, visual, and critical works in the European tradition, Gordon Teskey provides both a literary history of allegory and a theoretical account of the genre which confronts fundamental questions about the violence inherent in cultural forms. Approaching allegory as the site of intense ideological struggle, Teskey argues that the desire to raise temporal experience to ever higher levels of abstraction cannot be realized fully but rather creates a "rift" that allegory attempts to conceal. After examining the emergence of allegorical violence from the gendered metaphors of classical idealism, Teskey describes its amplification when an essentially theological form of expression was politicized in the Renaissance by the introduction of the classical gods, a process leading to the replacement of allegory by political satire and cartoons. He explores the relationship between rhetorical voice and forms of indirect speech (such as irony) and investigates the corporeal emblematics of violence in authors as different as Machiavelli and Yeats. He considers the large organizing theories of culture, particularly those of Eliot and Frye, which take the place in the modern world of earlier allegorical visions. Concluding with a discussion of the Mutabilitie Cantos, Teskey describes Spenser's metaphysical allegory, which is deconstructed by its own invocation of genealogical struggle, as a prophetic vision and a form of warning.