If we could only put aside our civil pose and say what we really thought, the world would be a lot like the one alluded to in The Unabridged Devil’s Dictionary. There, a bore is "a person who talks when you wish him to listen," and happiness is "an agreeable sensation arising from contemplating the misery of another." This is the most comprehensive, authoritative edition ever of Ambrose Bierce’s satiric masterpiece. It renders obsolete all other versions that have appeared in the book’s ninety-year history. A virtual onslaught of acerbic, confrontational wordplay, The Unabridged Devil’s Dictionary offers some 1,600 wickedly clever definitions to the vocabulary of everyday life. Little is sacred and few are safe, for Bierce targets just about any pursuit, from matrimony to immortality, that allows our willful failings and excesses to shine forth. This new edition is based on David E. Schultz and S. T. Joshi’s exhaustive investigation into the book’s writing and publishing history. All of Bierce’s known satiric definitions are here, including previously uncollected, unpublished, and alternative entries. Definitions dropped from previous editions have been restored while nearly two hundred wrongly attributed to Bierce have been excised. For dedicated Bierce readers, an introduction and notes are also included. Ambrose Bierce’s Devil’s Dictionary is a classic that stands alongside the best work of satirists such as Twain, Mencken, and Thurber. This unabridged edition will be celebrated by humor fans and word lovers everywhere.

A word book, straight up, with a twist The Devil's Dictionary is an American classic. A Yankee Oscar Wilde with a wicked edge to his tongue, gained from seeing the world early and cynically as it really was, Ambrose Bierce, friend and rival of Mark Twain, was one of America's first great writers and journalists. His razor-sharp wit and underlying rage against hypocrisy is perfectly complemented by Ralph Steadman's equally incisive pen and ink illustrations. Adore, v.t. To venerate expectantly. Bride, n. A woman with a great future behind her Corporation, n. An ingenious device for securing individual profit without individual responsibility. Debauchee, n. One who has so earnestly pursued pleasure that he has had the misfortune to overtake it.

This eBook features the unabridged text of ‘The Devil’s Dictionary’ from the bestselling edition of ‘The Complete Works of Ambrose Bierce’. Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Bierce includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily. eBook features: * The complete unabridged text of ‘The Devil’s Dictionary’ * Beautifully illustrated with images related to Bierce’s works * Individual contents table, allowing easy navigation around the eBook * Excellent formatting of the textPlease visit www.delphiclassics.com to learn more about our wide range of titles

"The Devil's Topographer explores the wider implications of Bierce's contribution to war short fiction and the significance of the war story as a subgenre in American literature. This volume is a significant contribution to the body of literary commentary on Ambrose Bierce and to the study of the development of the American short story."--Jacket.

A new and beautifully illustrated collection of bitter, biting definitions to celebrate the centenary of The Devil’s Dictionary Ambrose Bierce’s classic The Devil’s Dictionary first appeared in its entirety in 1911. Its caustic wit and arch tone have ensured steady popularity and sales to this day. To mark its centennial, Rhoda Koenig gives us a new version of Bierce’s mordant vision. Its myriad definitions, like the original’s, individually expose hypocrisy, pretension, and vanity and collectively paint a mocking portrait of society at its worst. More than just a denunciation of jargon or political correctness, it lambasts old and young, rich and poor, male and female, left and right, and takes them all down a peg—or three. It deals with classic subjects but also defines new ideas and explicates new usages from “academia” to “teamwork” to “women’s magazine.” Among the many definitions inside: accessible, adj. (1) Of a subject, one that can be approached by the most intellectually handicapped, aided by the ramp of banality and the guardrail of diminished vocabulary. (2) Of a woman, a nice way of putting it. collectible, n. Object which many are eager to possess, though it may not be attractive, entertaining, or useful. Not to be confused with “spouse.” If you relish moral criticism of immoral behavior, The New Devil’s Dictionary will leave you howling for more.

A veteran of some of the bloodiest battles of the Civil War, Ambrose Bierce went on to become one of the darkest and most death haunted of American writers, the blackest of black humorists. This volume gathers the most celebrated and significant of Bierce's writings. In the Midst of Life (Tales of Soldiers and Civilians), his collection of short fiction about the Civil War, which includes the masterpieces "An Occurrence at Owl Creek Bridge" and "Chickamauga," is suffused with a fiercely ironic sense of the horror and randomness of war. Can Such Things Be? brings together "The Death of Halpin Frayser," "The Damned Thing," "The Moonlit Road," and other tales of terror that make Bierce the genre's most significant American practitioner between Poe and Lovecraft. The Devil's Dictionary, the brilliant lexicon of subversively cynical definitions on which Bierce worked for decades, displays to the full his corrosive wit. In Bits of Autobiography, the series of memoirs that includes the memorable "What I Saw of Shiloh," he recreates his experiences in the war and its aftermath. The volume is rounded out with a selection of his best uncollected stories. Acclaimed Bierce scholar S. T. Joshi provides detailed notes and a newly researched chronology of Bierce's life and mysterious disappearance. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

These volumes present John Kinsella’s uncollected critical writings and personal reflections from the early 1990s to the present. Included are extended pieces of memoir written in the Western Australian wheatbelt and the Cambridge fens, as well as acute essays and commentaries on the nature and genesis of personal and public poetics. Pivotal are a sense of place and how we write out of it; pastoral’s relevance to contemporary poetry; how we evaluate and critique (post)colonial creativity and intrusion into Indigenous spaces; and engaged analysis of activism and responsibility in poetry and literary discourse. The author is well-known for saying he is preeminently an “anarchist, vegan, pacifist” – not stock epithets, but the raison d’être behind his work. The collection moves from overviews of contemporary Australian poetry to studies of such writers as Randolph Stow, Ouyang Yu, Charmaine Papertalk–Green, Lionel Fogarty, Les Murray, Peter Porter, Dorothy Hewett, Judith Wright, Alamgir Hashmi, Patrick Lane, Robert Sullivan, C.K. Stead, and J.H. Prynne, and on to numerous book reviews of poetry, fiction, and non-fiction, originally published in newspapers and journals from around the world. There are also searching reflections on visual artists (Sidney Nolan, Karl Wiebke, Shaun Atkinson) and wide-ranging opinion pieces and editorials. In counterpoint are conversations with other writers (Rosanna Warren, Rod Mengham, Alvin Pang, and Tracy Ryan) and explorations of schooling, being struck by lightning, ‘international regionalism’, hybridity, and experimental poetry. This two-volume argosy has been brought together by scholar and editor Gordon Collier, who has allowed the original versions to speak with their unique informal–formal ductus. Kinsella’s interest is in the ethics of space and how we use it. His considerations of the wheatbelt through Wagner and Dante (and rewritings of these), and, in Thoreauvian vein, his ‘place’ at Jam Tree Gully on the edge of Western Australia’s Avon Valley form a web of affirmation and anxiety: it is space he feels both part of and outside, em¬braced in its every magnitude but felt to be stolen land, whose restitution needs articulating in literature and in real time. Beneath it all is a celebration of the natural world – every plant, animal, rock, sentinel peak, and grain of sand – and a commitment to an ecological poetics.

Susan Clair Imbarrato, Carol Berkin, Brett Barney, Lisa Paddock, Matthew J. Bruccoli, George Parker Anderson, Judith S.