Henry Miller and Modernism: The Years in Paris, 1930–1939 represents a major reevaluation of Henry Miller, focusing on the Paris texts from 1930 to 1939. Finn Jensen analyzes Miller in the light of European modernism, in particular considering the many impulses Miller received in Paris. Jensen draws on theories of urban modernity to connect Miller’s narratives of a male protagonist alone in a modern metropolis with his time in Paris where he experienced a self-discovery as a writer. The book highlights several sources of inspiration for Miller including Nietzsche, Rimbaud, Hamsun, Strindberg and the American Transcendentalists. Jensen considers the key movements of modernity and analyzes their importance for Miller, studying Eschatology, the Avant-Garde, Dada, Surrealism, Expressionism, and Anarchism.

In this assessment of Henry Miller's life and work since his death in 1980, Brown relates how Miller embraced the native transcendentalism of Emerson, Thoreau, and especially Whitman. He shows how Miller went on to reshape the transcendental vision in daring new ways, becoming America's foremost surrealistic writer. Banned for writing against the moral grain of the 1930s, Miller became an international sensation with the publication of such works as Tropic of Cancer and Black Spring. Until his death, Miller remained a vital force in American literature: a master of bawdy humor and dark satire. Henry Miller also left behind an autobiographical record more complete, powerful, and innovative than any of his contemporaries. ISBN 0-8044-2077-7: $14.95.

Eliot is called upon to become the completely public man. He gives talks, lectures, readings and broadcasts, and even school prize-day addresses. As editor and publisher, his work is unrelenting, commissioning works ranging from Michael Roberts's The Modern Mind to Elizabeth Bowen's anthology The Faber Book of Modern Stories. Other letters reveal Eliot's delight in close friends such as John Hayward, Virginia Woolf and Polly Tandy, and his colleagues Geoffrey Faber and Frank Morley, as well as his growing troupe of godchildren - to whom he despatches many of the verses that will ultimately be gathered up in Old Possum's Book of Practical Cats (1939). The volume covers his separation from first wife Vivien, and tells the full story of the decision taken by her brother, following the best available medical advice, to commit her to an asylum - after she had been found wandering in the streets of London. All the while these numerous strands of correspondence are being played out, Eliot struggles to find the time to compose his second play, The Family Reunion (1939), which is finally completed in 1938.

In this bold study James M. Decker argues against the commonly held opinion that Henry Miller’s narratives suffer from ‘formlessness’. He instead positions Miller as a stylistic pioneer, whose place must be assured in the American literary canon. From Moloch to Nexus through such widely-read texts as Tropic of Cancer and Tropic of Capricorn, Decker examines what Miller calls his ‘spiral form’, a radically digressive style that shifts wildly between realism and the fantastic. Drawing on a variety of narratological and critical sources, as well as Miller’s own aesthetic theories, he highlights that this fragmented narrative style formed part of a sustained critique of modern spiritual decay. A deliberate move rather than a compositional weakness, then, Miller’s style finds a wide variety of antecedents in the work of such figures as Nietzsche, Rabelais, Joyce, Bergson and Whitman, and is viewed by Decker as an attempt to chart the journey of the self through the modern city. Henry Miller and Narrative Form affords readers new insights into some of the most challenging writings of the twentieth century and provides a template for understanding the significance of an extraordinary and inventive narrative form.

The twelve edited volumes of Orwell's non-fiction, collected for the first time in one invaluable ebook. A rich treasure trove of material, this unique collection includes Orwell's reviews, broadcasts, notebooks, wartime diaries, articles on socialism and censorship, correspondence with luminaries such as Arthur Koestler, Anthony Powell and Evelyn Waugh, and famous essays such as 'Politics and the English Language', 'Why I Write' and 'Some Thoughts on the Common Toad'. Edited by Professor Peter Davison, the collection encompasses twelve annotated volumes and ranges across the whole of Orwell's writing life, from 1903 to 1950. As well as providing an unparalleled insight into Orwell's life and works, the volume offers a wonderful overview of the social, literary and political events of the thirties and forties. It will be an invaluable resource for fans, students and scholars alike. Contents: A Kind of Compulsion (1903-36) Facing Unpleasant Facts (1937-39) A Patriot After All (1940-41) All Propaganda is Lies (1941-42) Keeping Our Little Corner Clean (1942-43) Two Wasted Years (1943) I Have Tried to Tell the Truth (1943-44) I Belong to the Left (1945) Smothered Under Journalism (1946) It is What I Think (1947-48) Our Job is to Make Life Worth Living (1949-50) The Lost Orwell

Scholarly responses to Henry Miller's works have never been numerous and for many years Miller was not a fashionable writer for literary studies. In fact, there exist only three collections of essays concerning Henry Miller's oeuvre. Since these books appeared, a new generation of international Miller scholars has emerged, one that is re-energizing critical readings of this important American Modernist. Henry Miller: New Perspectives presents new essays on carefully chosen themes within Miller and his intellectual heritage to form the most authoritative collection ever published on this author.

It is not possible for any thinking person to live in such a society as our own without wanting to change it. George Orwell was one of the most celebrated essayists in the English language, and there are quite a few of his essays which are probably better known than any of his other writings apart from Animal Farm and Nineteen Eighty-Four. Stefan Collini presents a collection of Orwell's longer, major essays as well as a selection of shorter pieces, arranged into three categories: Personal/Descriptive, Literary, and Political.