Ebook Edmund Spenser's Poetry (Norton Critical Editions)

Ebook Edmund Spenser's Poetry (Norton Critical Editions)

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Edmund Spenser's Poetry (Norton Critical Editions)

Ebook Edmund Spenser's Poetry (Norton Critical Editions)

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About the Author

Hugh Maclean was Distinguished Teaching Professor Emeritus at the State University of New York at Albany. A Toronto Ph.D., he also taught at the Royal Military College of Canada and the University of Cincinnati. He was the editor of the Norton Critical Edition of Ben Jonson and the Cavalier Poets and the author of numerous articles, including three in The Spenser Encyclopedia.Anne Lake Prescott is Professor of English at Barnard College, Columbia University, where she was recently chair. A Columbia Ph.D., she has also taught in the Columbia graduate department. She is the author of French Poets and the English Renaissance: Studies in Fame and Transformation, many articles on Renaissance literature, and ten contributions to The Spenser Encyclopedia.

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Product details

Paperback: 864 pages

Publisher: W. W. Norton & Company; Subsequent edition (December 17, 1992)

Language: English

ISBN-10: 0393962997

ISBN-13: 978-0393962994

Product Dimensions:

5.6 x 1 x 9.2 inches

Shipping Weight: 1.7 pounds (View shipping rates and policies)

Average Customer Review:

3.8 out of 5 stars

14 customer reviews

Amazon Best Sellers Rank:

#66,534 in Books (See Top 100 in Books)

This edition is all right - reasonable level of annotation (most students would benefit from more), justifiable selection, fair show of critical essays; but it's a comedown from the 2nd ed. in every respect, or so it seems to me. The selection from "The Faerie Queene" cuts out Scudamour's relation of his experience in the mysterious Temple of Venus: absolutely essential for anyone reading Book III, which is printed entire in both eds. The pseudo-personal "Colin Clouts Come Home Againe" is a thin substitute, whatever its indications of "the teasing ambiguities of the patronage system" so dear to critics of the 1990s. With the new emphasis on politics rather than philosophy, the "Fowre Hymnes" have gone too; the editors are clearly aiming to reflect "recent critical attention" (their words), but the result somehow suggests that Spenser has become more predictable, less intellectually exciting, over the 10 years between the two editions (1982-1993). As for the choice of critical essays, some things have not been changed when they should have been (the tiny snippet on allegory from "The Kindly Flame" is far too brief to be helpful); on the other hand, the excision of C.S. Lewis's account of the House of Busyrane is simply perverse. Lewis is the critical starting point for this, and later work depends (whatever its attitude) on him.Obviously a new edition must struggle over the demands of space, but it must also keep in mind the nature of its readership. Who will use this? Not a professional Renaissance scholar, who will own a complete text. So, students, or interested readers, who don't already own the previous edition, and have not necessarily internalized a long tradition of Spenser scholarship. This imposes a serious responsibility on the editors to choose not just fashionably but judiciously. And to limit the bibliography to work published since 1972 (just over 20 years!) is not just injudicious but absurd. (The list for "Epithalamion" does not list Kent Hieatt's seminal study of its structure, to give just one egregious example.) Also, of course, this procedure limits the work's own reach into the future. This bibliography already looks out of date, as one with a broader chronology would not. The same goes for other elements, too: the editors of a fourth edition, on a similarly limited plan, would probably want less on power and more on gender - and thus, with luck, might reintroduce the Temple of Venus, dropped here.Meanwhile, for the decisions here outlined, so damaging to the lasting value of the book, these editors deserve three stars.

All of the added notations makes scholarship in Spenser a much easier task than it probably was 50 years ago.

Contains an easy-to-read translated version of the Faerie Queene, one of the most notoriously hard to read pieces of literature on this planet. This is truly a collection of Spenser's finest.

My youngest daughter - in college - seems very well pleased with this selection... like the professor gave her a choice, right?

Good book

Edmunds was one of the best writers amongst Saucier and Shakespeare. Milton has nothing on Edmund!

This book meet all my expectations

My daughter and I discovered a few months ago that Edmund Spenser is a long-lost great grandfather! Naturally we were both eager to read some of his works. The book arrived within just a couple of days and was in great condition. Thanks! Now it's just a matter of "muddling" through all that language!!

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Free Ebook Pulp According to David Goodis, by Jay A. Gertzman

Free Ebook Pulp According to David Goodis, by Jay A. Gertzman

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Pulp According to David Goodis, by Jay A. Gertzman

Free Ebook Pulp According to David Goodis, by Jay A. Gertzman

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Product details

Paperback: 266 pages

Publisher: Down & Out Books (October 26, 2018)

Language: English

ISBN-10: 1948235366

ISBN-13: 978-1948235365

Product Dimensions:

5.5 x 0.7 x 8.5 inches

Shipping Weight: 12.6 ounces (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

5 customer reviews

Amazon Best Sellers Rank:

#211,935 in Books (See Top 100 in Books)

There is plenty to like in Jay Gertzman's book, Pulp According to David Goodis and he backs up his research two fisted styled with anecdotes about the author and his life in Philadelphia, where many of his novels are set. Populated with grim losers, has been prize fighters, rummies and bar flies, Goodis examined the dark side of the street up close and personal. Even after finding some success in Hollywood as a screenwriter and a successful novelist, Goodis returned back to Philly to live with his aging parents and his schizoid brother, mining a vein of pulp narratives for fool's gold. If you aren't aware of Goodis and his wonderful edgy novels, now is the time to find out what all the fuss is about. Gertzman knows his subject in depth and it is reflected in this book; I highly recommend this walk on the wild side and encourage all crime readers to start hunting for those excellent Black Lizard reprints of Goodis' work. There never was another writer like Goodis and he is overdue for his time in the spotlight. Grab on hard with both hands and take a good long stare into the abyss that is life with Goodis as your tour guide.

David Goodis was the author of 18 novels and a slew of short stories He worked briefly as a screen writer and saw many of his novels turned into movies. Today, the noir author is known only to vintage paperback collectors, noir enthusiasts and the French.Jay Gertzman’s newest book, Pulp According to David Goodis, is a study not only of Goodis, but the times in which he worked and his city, post-War Philadelphia. Anyone familiar with Gertzman’s works knows that his research is impeccable, his commitment to truth is unrelenting, and that he’s one a handful of scholars who can write with both passion and clarity.The author brings Goodis to life by bringing a part of Philadelphia to life— the Skid Row, the dives, cheap hotels, and hard scrabble working places. This underbelly is populated by the homeless who learn how to protect themselves from crooks, pickpockets and violence. Scattered among them are the lost and the fallen who refuse to let fate beat them.We see Goodis who is outwardly cheery and humorous while hiding dark secrets and obsessions. We see Goodis the writer committed to bringing to life the plight of the poor in a merciless class society disguising itself as democracy. We see a man invited to Hollywood and, disillusioned, returning to his parents’ home in his native city. We see the compassionate man and the man with rather specialized sexual preferences.Pulp According to David Goodis studies a noir master’s works and shows the depths of Goodis’ insights.This labor-of-love will be the definitive study of the writer and his writing for years to come. Hopefully, it will lead to a much deserved resurgence of interest in the artist who shined a light on the forgotten, then faded from view himself.

This is the only book to read on Goodis, a classic study that makes all predecessors superfluous, Gertzman has written the break through seminal classic on a tricky and complex but crucial Noir author. Gertzman has carried out a thorough and meticulous body of research into Goodis, exploring in depth his literary relevance within the wider ongoing Noir canon, his tropes, and their ongoing importance within Amercian culture, his relationship to other authors (Thompson included) who occupy similar terrain, and research into Goodis the man himself, fascinating, brilliant.

American artistic accomplishment can be found in seemingly unlikely places. At the time of his death, David Goodis (1917 -- 1967) and his paperback original pulp fiction had been virtually forgotten. Gradually, some readers developed an interest in Goodis. In 1997, the Library of America included his novel "Down There" in a volume of 1950's noir fiction. In 2012, the LOA published a volume devoted to Goodis, including five additional novels. These two volumes helped me and many other readers discover Goodis. I went on to purchase and read some of Goodis' additional novels that were available and relatively accessible. I read Philip Garnier's own English translation of his biography: "Goodis: A Life in Black and White" (2013) and watched the film adaptations that I could find of Goodis' writings. I loved this author that I had only recently discovered.I was glad to find this outstanding new critical study of Goodis, "Pulp According to David Goodis" by Jay Gertzman, Professor Emeritus of English at Mansfield University of Pennsylvania. Gertzman specializes in American publishing history and is an authority on Goodis: with our shared interest, he and I became acquainted through several online sites. Gertzman kindly sent me a review copy of his book.Born in Philadelphia, Goodis worked as a Hollywood screen writer and wrote several novels before returning to Philadelphia where he lived in his parents' home for the rest of his life. In Philadelphia, Goodis wrote the series of "paperback originals" or pulp fiction for which he is best--known today. Gertzman's book delves deeply into Goodis' life and writings with an emphasis on several of the books he wrote upon his return to Philadelphia with their lyrically dark exploration of Philadelphia's lower-class neighborhoods and their inhabitants.Gertzman places Goodis and pulp writing within the context of American literature. Goodis and other pulp writers once were not taken seriously, a situation that has fortunately changed. Gertzman distinguishes between American "authors" who wrote serious, thoughtful books for demanding readers and American "writers" who wrote to be popular and to entertain. Goodis self-described himself as in the latter category. With the market for throwaway pulp paperbacks that sold for about a quarter, Goodis and his publishers aimed to reach a large market. Gertzman develops six characteristics of the genre crime, noir novels Goodis wrote which were designed to appeal to readers seeking a titillating read through identifiable characters and situations. If that were all there was to Goodis, he would not deserve the attention he has received. Gertzman shows how Goodis took the conventions in which he worked and developed them with originality and feeling based largely on his own creativity and experiences. The distinction between "author" and "writer" or between "serious" literature and "trash" ultimately becomes blurred and in the case of a gifted author such as Goodis seriously misleading.In his study, Gertzman combines analysis of Goodis' novels with analysis of the work of Freud and Kafka, among others. He offers a history of Philadelphia in the years after WW II as it became the setting of much of Goodis' writing. Gertzman discusses the themes that pervade Goodis' fiction, including poverty, fate, the failed search for intimacy, conflicts in recognizing and fulfilling one's sexual needs, entrapment in a destructive way of life, loneliness, and ultimately, the possibility of a redeemed life in the middle of failure. The Goodis hero as a "noble loser" and the characterization of Goodis' writing as "doomed romanticism" are themes that run through this study. Gertzman sometimes takes a novel and offers a sustained, close reading. In other instances, he examines a work of Goodis, sometimes more than once, based upon a variety of themes the work presents.With the LOA volumes and other works that are reasonably accessible, some of Goodis is still difficult to find. Some of Gertzman's most detailed analyses are of works that I and most readers probably still have been unable to find and read. Thus, in his opening chapter, Gertzman offers a detailed reading of Goodis' 1952 paperback original "Street of the Lost" and shows how this work in many ways captures the themes of Goodis' output in its own inimitable way. I enjoyed learning about what seems to be a fascinating, violent book and am sorry that it is not in print or easily accessible.In his final chapter, Gertzman offers another detailed analysis of Goodis' final novel "Somebody's Done For" (1967). This again is one of Goodis' less accessible titles. Readers of Goodis have mixed responses to this late title, with some disliking the book and others finding it a masterpiece in its way. Gertzman is of the latter opinion and discusses the book convincingly and well, concluding that it is a "tragedy of the common man". I learned a great deal about Goodis from Gertzman's discussion of "Somebody's Done For" and would love to have the opportunity to read the novel itself.Gertzman also offers thematically-oriented discussions of Goodis novels I have read, centering upon their Philadelphia locations, including "Cassidy's Girl" "The Moon in the Gutter", "Street of No Return" the "Blonde on the Street Corner" and, of course "Down There" (which became a famous movie, "Shoot the Piano Player") His discussions of these books are wonderfully evocative. He discusses "Of Tender Sin", a book I have read, which explores themes of incest as it wanders through Philadelphia's mean streets. Gertzman also offers a perceptive reading of "The Burglar", a work with a discussion of the nature of loyalty and morality which also became a film with Jayne Mansfield as a major character. This is a work of Goodis which has long fascinated me and which is readily accessible in the LOA volume.Gertzman devotes a chapter of his study to a discussion of Kafka and to parallels between Kafka and Goodis. He uses Kafka with insight at several points in his study. While the discussion of Kafka is illuminating, I found that this study works best when it focuses on Goodis' own books and on his life and on the settings of his writings.I became absorbed and Gertzman's study and wanted to think about Goodis again, to reread the works I know and to read some of his books for the first time. The book helped me understand why I was so taken with Goodis when I found him. He may not be for every reader. Those who love Goodis and who are interested in noir and pulp fiction will learn a great deal from Jay Gertzman's study.Robin Friedman

You can't help learning a lot from this, about pulp paperbacks, Philly's working class struggles after WWII, Hollywood screen writing and the "Commie menace", incest in crime novels, Hitchcock's Vertigo, Kafka, Faulkner, and the Jersey Pine Barrens."

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