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The writings of Anselm of Canterbury (1033-1109) reveal how the monastic mind, oscillating between hope and despair, was absorbed in technical exercises rather than in religious emotions. Early on monasticism had developed procedures for “ruminating on” the Bible and the works of the Church Fathers. Applying the art of logic to this theme, Anselm offers a denser version of monastic meditation that constitutes a poetics of monastic literature. Before engaging Anselm’s works, this book addresses texts―by Gregory the Great, Bernard of Clairvaux, Rupert of Deutz, and Richard of St. Victor―based on the same principles. In them, the potentially violent nature of an existence in which time has almost come to a halt manifests itself in a vision of the act of reading as a struggle with the text and as violent, amorous passion. The book then traces the decline of the monastic poetical principle in the writings of John of the Cross, Pierre de Bérulle, Calvin, and Ignatius of Loyola. A concluding chapter on Ignatius and James Joyce shows how the poetics of monasticism both survives and is exiled in modernist literature.

The writings of Anselm of Canterbury (1033-1109) reveal how the monastic mind, oscillating between hope and despair, was absorbed in technical exercises rather than in religious emotions. Early on monasticism had developed procedures for “ruminating on” the Bible and the works of the Church Fathers. Applying the art of logic to this theme, Anselm offers a denser version of monastic meditation that constitutes a poetics of monastic literature. Before engaging Anselm’s works, this book addresses texts―by Gregory the Great, Bernard of Clairvaux, Rupert of Deutz, and Richard of St. Victor―based on the same principles. In them, the potentially violent nature of an existence in which time has almost come to a halt manifests itself in a vision of the act of reading as a struggle with the text and as violent, amorous passion. The book then traces the decline of the monastic poetical principle in the writings of John of the Cross, Pierre de Bérulle, Calvin, and Ignatius of Loyola. A concluding chapter on Ignatius and James Joyce shows how the poetics of monasticism both survives and is exiled in modernist literature.

“The Learned Ladies” was the last-but-one of Molière’s plays and the last of his great rhyming-couplet comedies. Its predecessors had used the artificiality of the style to add point and irony to some of Molière’s most trenchant examinations of aspects of the human condition. For lighter-hearted satire, sending up specific behaviour rather than the general human condition, Molière tended to use prose. “The Learned Ladies” has the best of both worlds: it satirises a specific fad (intellectual pretension) but – perhaps because its subject requires an appropriately “high style” – is written in rhyming verse. Targeting cultural snobbery, “The Learned Ladies” mocks the fashion, current among upper-class ladies, for holding “salons” to discuss such “learned” matters as the arts, philosophy and science. The joke, to Molière’s audience, was not merely intellectual snobbery, but that the snobs were women. This was an age when matters of the mind were, in theory, still the province of men; upper-class women were expected to be charming, witty, interested in the world and its doings, but not scholars. The majority of the aristocratic ladies in Molière’s own audience probably took this view and shared the opinion of the men, that “learned ladies” and their gatherings were fools, fit targets for the pedants, charlatans and other confidence-tricksters who preyed on them. “The Learned Ladies” played for a couple of dozen performances (a successful “run” for court plays at the time) and attracted none of the hostility and scandal of Molière’s more contentious works. This French-to-English translation is by A. R. Waller and is scrupulously accurate to Molière’s meaning.

What Thoreau proved a century ago about returning to nature will still work today. There is an inexpressible thrill in the intimate study of primitive country, the workshop of nature, the appreciation of wilderness technique. Unspoiled regions possess a quiet beauty and peace—no artificiality, no crowds, all woods uncut.There is unbounded satisfaction and pleasure in successfully meeting the challenge of the wilderness. The two requirements for man in the North Country are knowledge and equipment. Colonel Townsend Whelen and Bradford Angier have combined their vast experiences camping and bivouacking to produce the perfect guide to peace and utter freedom. If the wilderness calls you, they invite you to join them and talk together about how to live in it.They explain what from their experience they found to be the best ways of entering wild and unspoiled country, of finding their way through it, and living there in comfort and safety. On Your Own in the Wilderness is their explicit direction on how to escape to an earthly Paradise.

By combining the idea of "Karumi" --lightness of touch--and oneness with nature, Basho (1644-1694) rose above the artificiality of previous haiku poets to become the master of the genre in his time. His exquisite compositions reflect the influences of his Zen Buddhism and a life spent traveling, and reveal him to be an inspired perfectionist who sought to express himself in the purest possible form.

Madame Yevonde was an esteemed portrait photographer who, in the mid 1930s, made portraits of society women in the guise of various ancient heroines--principally goddesses. She was a pioneer in color photography, utilizing the Vivex tri-color process which gave a memorable artificiality to the photographs. All 22 portraits are reproduced in our book through the cooperation of The Yevonde Portrait Archives. Lawrence Hole, of the Archive, contributes a preface which sheds new light on the portraits. Welleran Poltarnees, in his foreward, speculates on the power of this remarkable series.

Forward by Helen and Scott Nearing. With 20 illustrations by Heather Wood. Nature's Children describes a way of regarding pregnancy that rejects artificiality.

Written in reaction to what Bentley perceived as the sterility and artificiality of the detective fiction of his day, Trent's Last Case features Philip Trent, an all-too-human detective who not only falls in love with the chief suspect but reaches a brilliant conclusion that is totally wrong. Trent's Last Case begins when millionaire American financier Sigsbee Manderson is murdered while on holiday in England. A London newspaper sends Trent to investigate, and he is soon matching wits with Scotland Yard's Inspector Murth as they probe ever deeper in search of a solution to a mystery filled with odd, mysterious twists and turns. Called by Agatha Christie "one of the best detective stories ever written," Trent's Last Case delights with its flesh-and-blood characters, its naturalness and easy humor, and its style, which, as Dorothy Sayers has noted, "ranges from a vividly coloured rhetoric to a delicate and ironical literary fancy."

2017 Reprint of 1963 Edition.  Full facsimile of the original edition, not reproduced with Optical Recognition software.  “An iconoclastic handbook of theater by the high priestess of improvisational theater in this country...  The exercises are artifices against artificiality, structures designed to almost fool spontaneity into being—or perhaps a frame, carefully built to keep out interferences, in which the student-actor waits... Genius, unguarded, “happens” and stage fright, awkward movements, poor enunciation, phoniness, lack of characterization, in fact nearly every ill ever witnessed on stage, disappears...  Those in theater, film makers included, will find this an important document in practice and theory; it is a bit like Natural Childbirth to obstetrics”—Film Quarterly.