Myth criticism flourished in the mid-twentieth century under the powerful influence of Canadian thinker Northrop Frye. It asserted the need to identify common, unifying patterns in literature, arts, and religion. Although it was eclipsed by postmodern theories that asserted difference and conflict, those theories proved incapable of inspiring solidarity or guiding social action. The Productions of Time argues for a return to myth criticism in order to refine and extend its vision. With the aim of rehabilitating myth criticism for our time, Michael Dolzani sketches an anatomy of the imagination as demonstrated in the total body of its productions, including literature, mythology, the arts, popular culture, and religious and political texts. Dolzani situates a vast panoply of images, character types, plot structures, themes, and genres to better understand their purposes, their recurrences across broad spans of history, and their interrelations. Illustrating the relationship between mythology and history, The Productions of Time proposes a symbolic language as a way of enabling dialogue across ideological and individual differences. Arguing for the ethical and intellectual necessity of conceiving a unifying pattern that transcends differences, The Productions of Time demonstrates that imagination is part of the human inheritance, common to all, not just to poets and mystics.

Challenging the idea that a writer’s work reflects his experiences in time and place, Andrew M. Cooper locates the action of William Blake’s major illuminated books in the ahistorical present, an impersonal spirit realm beyond the three-dimensional self. Blake, Cooper shows, was a formalist who exploited eighteenth-century scientific and philosophical research on vision, sense, and mind for spiritual purposes. Through irony, dialogism, two-way syntax, and synesthesia, Blake extended and refined the prophetic method Milton forged in Paradise Lost to bring the performativity of traditional oral song and storytelling into print. Cooper argues that historicist attempts to place Blake’s vision in perspective, as opposed to seeing it for oneself, involve a deeply self-contradictory denial of his performativity as a poet-artist. Rather, Blake’s expansion of linear reading into a space of creative, self-conscious collaboration laid the basis for his lifelong critique of dualism in religion and science, and anticipated the non-Euclidean geometrics of twentieth-century Modernism.

Until he became an alcoholic, Murray Douglas was one of Britain's leading actors. Now, after treatment, he's ready to resume his career, but his first come-back part isn't exactly what he thought it would be. The idea was to create an avant-garde play where the actors made up the script as they rehearsed. Unusual but hardly frightening. What was frightening was the rest of the cast. Like Murray, they all had some kind of craving. And each of them was given access to whatever had addicted them. It was doubtful if the play would ever entertain the public. But it seemed to entertain the director . . . (First published 1967)

NEWBERY MEDAL WINNER • TIME MAGAZINE’S 100 BEST FANTASY BOOKS OF ALL TIME • NOW A MAJOR MOTION PICTURE FROM DISNEY Read the ground-breaking science fiction and fantasy classic that has delighted children for over 60 years! "A Wrinkle in Time is one of my favorite books of all time. I've read it so often, I know it by heart." —Meg Cabot Late one night, three otherworldly creatures appear and sweep Meg Murry, her brother Charles Wallace, and their friend Calvin O'Keefe away on a mission to save Mr. Murray, who has gone missing while doing top-secret work for the government. They travel via tesseract--a wrinkle that transports one across space and time--to the planet Camazotz, where Mr. Murray is being held captive. There they discover a dark force that threatens not only Mr. Murray but the safety of the whole universe. A Wrinkle in Time is the first book in Madeleine L’Engle’s Time Quintet.

`Short copy entry, for Eng Lit 91' This book focuses on the tension in Blake's poetry between a hermeneutics of suspicion and a hermeneutics of belief: it offers a new account of the way in which Blake's major prophecies work and of the stratagems they employ to consolidate error and so open their readers' eyes to `otherness'. Central to Peter Otto's reading is a re-definition of the role of Los and Jesus in Blake's work, emphasising Blake's prophetic intent. In the course of a radically new reading of Milton and Jerusalem, it is argued that in these poems the autonomous, world-forming imagination (that is staple to many accounts of Romanticism) is subject to visionary deconstruction. Rather than subordinating existence to perception, Blake's poems attempt to induce their readers to act. Constructive Vision is the first systematic and comprehensive analysis of Blake's work to draw on a radically new understanding of Blake's view of humanity.

Once upon a time there was a war . . . and a young American who thought of himself as the Quiet American and the Ugly American, and who wished to be neither, who wanted instead to be the Wise American, or the Good American, but who eventually came to witness himself as the Real American and finally as simply the Fucking American. That’s me. This is the story of Skip Sands—spy-in-training, engaged in Psychological Operations against the Vietcong—and the disasters that befall him thanks to his famous uncle, a war hero known in intelligence circles simply as the Colonel. This is also the story of the Houston brothers, Bill and James, young men who drift out of the Arizona desert into a war in which the line between disinformation and delusion has blurred away. In its vision of human folly, and its gritty, sympathetic portraits of men and women desperate for an end to their loneliness, whether in sex or death or by the grace of God, this is a story like nothing in our literature. Tree of Smoke is Denis Johnson’s first full-length novel in nine years, and his most gripping, beautiful, and powerful work to date. Tree of Smoke is the 2007 National Book Award Winner for Fiction.

THE STORY: TIME STANDS STILL focuses on Sarah and James, a photojournalist and a foreign correspondent trying to find happiness in a world that seems to have gone crazy. Theirs is a partnership based on telling the toughest stories, and together, m

When a diphtheria epidemic hits her 1840 village, thirteen-year-old Jessie discovers it is actually a 1996 tourist site under unseen observation by heartless scientists, and it's up to Jessie to escape the village and save the lives of the dying children.

AN INSTANT NEW YORK TIMES BESTSELLER "Provocative and appealing . . . well worth your extremely limited time." —Barbara Spindel, The Wall Street Journal The average human lifespan is absurdly, insultingly brief. Assuming you live to be eighty, you have just over four thousand weeks. Nobody needs telling there isn’t enough time. We’re obsessed with our lengthening to-do lists, our overfilled inboxes, work-life balance, and the ceaseless battle against distraction; and we’re deluged with advice on becoming more productive and efficient, and “life hacks” to optimize our days. But such techniques often end up making things worse. The sense of anxious hurry grows more intense, and still the most meaningful parts of life seem to lie just beyond the horizon. Still, we rarely make the connection between our daily struggles with time and the ultimate time management problem: the challenge of how best to use our four thousand weeks. Drawing on the insights of both ancient and contemporary philosophers, psychologists, and spiritual teachers, Oliver Burkeman delivers an entertaining, humorous, practical, and ultimately profound guide to time and time management. Rejecting the futile modern fixation on “getting everything done,” Four Thousand Weeks introduces readers to tools for constructing a meaningful life by embracing finitude, showing how many of the unhelpful ways we’ve come to think about time aren’t inescapable, unchanging truths, but choices we’ve made as individuals and as a society—and that we could do things differently.

Before establishing himself as the "master of disaster" with the 1970s films The Poseidon Adventure and The Towering Inferno, Irwin Allen created four of television's most exciting and enduring science-fiction series: Voyage to the Bottom of the Sea, Lost in Space, The Time Tunnel and Land of the Giants. These 1960s series were full of Allen's favorite tricks, techniques and characteristic touches, and influenced other productions from the original Star Trek forward. Every science-fiction show owes something to Allen, yet none has equaled his series' pace, excitement, or originality. This detailed examination and documentation of the premise and origin of the four shows offers an objective evaluation of every episode--and demonstrates that when Irwin Allen's television episodes were good, they were great, and when they were bad, they were still terrific fun.