Anthony Hecht (1923-2004) was one of America’s greatest poets, winner of the Pulitzer Prize, and widely recognized as a master of formal verse that drew on wide-ranging cultural and literary sources, as well as Hecht’s experiences as a soldier during World War II, during which he fought in Germany and Czechoslovakia and helped to liberate the Flossenburg concentration camp. In Late Romance, David Yezzi—himself a renowned poet and critic—reveals the depths that informed the meticulous surfaces of Hecht’s poems. Born to a wealthy German-Jewish family in Manhattan, Hecht saw his father lose nearly everything during the stock market crash of 1929. He grew into an accomplished athlete, actor, writer, and eventually a soldier in the crucible that consumed the world. Returning from the war, Hecht struggled to reconcile what he had witnessed and experienced, suffering from mental illness that required hospitalization. But he found the means to channel his emotions into poetry of lasting meaning, control, and depth; along with Robert Lowell, James Merrill, Theodore Roethke, and Elizabeth Bishop, Hecht remains a vital presence in letters. Published to celebrate the 100th year of his birth, and to coincide with an edition of his collected poems (to be published by Knopf), Late Romance is the definitive, dramatic biography of a uniquely-gifted writer.

Pericles The first of Shakespeare’s late romances moves spectacularly from one dramatic period to another as the hero, Pericles, sails off to adventure and love, and experiences what for him is a miracle. Cymbeline A favorite romantic drama, this play of a wife unjustly accused of faithlessness moves from a world of intrigue and slander to one of reconciliation and forgiveness, and contains two of Shakespeare’s most poignantly beautiful songs. The Winter's Tale From a darkly melodramatic beginning to a joyous pastoral ending, this romance of a jealous king and his long-suffering queen is superb entertainment, with revelations, plot twists, and a final compelling theatrical moment of discovery. The Tempest This tale of the exiled Duke of Milan, marooned on an enchanted island, is so richly filled with music and magic, romance and comedy, that its theme of love and reconciliation offers a splendid feast for the senses and the heart.

The corpus of Palaiologan romances consists of about a dozen works of imaginative fiction from the thirteenth to the fifteenth centuries which narrate the trials and tribulations of aristocratic young lovers. This volume brings together leading scholars of Byzantine literature to examine the corpus afresh and aims to be the definitive work on the subject, suitable for scholars and students of all levels. It offers interdisciplinary and transnational approaches which demonstrate the aesthetic and cultural value of these works in their own right and their centrality to the medieval and early modern Greek, European and Mediterranean literary traditions. From a historical perspective, the volume also emphasizes how the romances represent a turning point in the history of Greek letters: they are a repository of both ancient and medieval oral poetic and novelistic traditions and yet are often considered the earliest works of Modern Greek literature.

Grace wants out. Out of her house, where her stepfather wields fear like a weapon and her mother makes her scrub imaginary dirt off the floors. Out of her California town, too small to contain her big city dreams. Out of her life, and into the role of Parisian artist, New York director—anything but scared and alone. Enter Gavin: charming, talented, adored. Controlling. Dangerous. When Grace and Gavin fall in love, Grace is sure it's too good to be true. She has no idea their relationship will become a prison she's unable to escape. Deeply affecting and unflinchingly honest, this is a story about spiraling into darkness—and emerging into the light again.

Dax: My life ended six years ago. No, really. I was dead on the side of the road following a gruesome motorcycle accident. From what I've been told, it's only because of one stubborn man that I have another chance to make something of my life. I no longer hate him for screwing up what I thought I wanted. I want to thank him. NEED to tell him what his actions mean to me. Now, I'm headed back to the town I've never set foot in even though it's a huge part of my life. I'm not thrilled about that, but the job offers haven't exactly been flowing in. They'll probably think I'm crazy, because there's no way I won't be able to look at every guy I walk past, wondering if he's the one who saved me. Michael: My entire life, I wanted to save lives. I'd earned a full-ride scholarship and had been accepted to med schools across the country. I was so close to making those dreams a reality until the night I held a dying man in my arms. I've never been able to get the images of his lifeless body, caked in mud, out of my head. Even when the paramedics tried to take over saving him, I couldn't let go. I never let go. Eventually, my guilt over not doing more cost me everything but my son. And now, I worry I'll lose him if I don't get it together. I've often thought that if I could find him, maybe I could get some closure and finally get my life back on track. Now he's here and I'm more of a mess than ever. Once the truth comes out, will he keep trying to save me or will he realize that it's too late?

Late Latin and Early Romance presents a theory of the relationship between Latin and Romance during the period 400-1250. The central hypothesis is that what we now call 'Medieval Latin' was invented around 800 AD when Carolingian scholars standardised the pronunciation of liturgical texts, and that otherwise what was spoken was simply the local variety of Old French, Old Spanish, etc. Thus, the view generally held before the publication of this work, that 'Latin' and 'Romance' existed alongside each other in earlier centuries, is anachronistic. Before 800, Late Latin was Early Romance. This hypothesis is examined first from the viewpoint of historical linguistics, with particular attention paid to the idea of lexical diffusion (ch. 1), and then (ch. 2) through detailed study of pre-Carolingian texts. Chapter 3 deals with the impact in France of the introduction of standardised Latin by Carolingian scholars, and shows how the earliest texts written in the vernacular resulted from it. The final two chapters turn to the situation in Spain from the eighth to the thirteenth centuries. Ch. 4 suggests, on the evidence of a large variety of texts, that before 1080 the new Latin pronunciation (i.e. Medieval Latin) was not used; Ch. 5 charts the slow spread, as a result of Europeanising reforms, of a distinction between Latin and vernacular Romance between 1080 and 1250. There is an extensive bibliography and full indexes. Wright's controversial book presents a wide range of detailed evidence, with extensive quotation of relevant texts and documents. When it was published in 1982 it challenged established ideas in the fields of Romance linguistics and Medieval Latin. The collectively established facts are however explained better by his theory that Medieval Latin was a revolutionary innovation consequent upon liturgical reform, than by the view that it was a miraculous conservative survival that lasted unchanged for a millennium. Late Latin and Early Romance draws on philological, historical and literary evidence from the medieval period, and on historical linguistics, and is a seminal work in these areas of scholarship.

For fans of Girl in Pieces, All the Bright Places, and Girl, Interrupted comes a haunting and breathtaking YA contemporary debut novel that packs a powerful message: hope can be found in the darkness. "Raw, heartbreaking, and poignant." —New York Times-bestselling author Kathleen Glasgow A Chicago Public Library and Kirkus Best Book of the Year! Seventeen-year-old Ellie had no hope left. Yet the day after she dies by suicide, she finds herself in the midst of an out-of-body experience. She is a spectator, swaying between past and present, retracing the events that unfolded prior to her death. But there are gaps in her memory, fractured pieces Ellie is desperate to re-assemble. There's her mother, a songbird who wanted to break free from her oppressive cage. The boy made of brushstrokes and goofy smiles who brought color into a gray world. Her brooding father, with his sad puppy eyes and clenched fists. And Ellie's determined to find out why a piece of her was left behind. Told in epistolary-like style, Rocky Callen's deeply moving A Breath Too Late sensitively examines the beautiful and terrible moments that make up a life and the possibilities that live in even the darkest of places. Perfect for fans of the critically-acclaimed Speak, I’ll Give You the Sun, and If I Stay. "An exquisitely played love song to life, in all of its hurts, wonders, memories, and loves." –Jeff Zentner, Morris Award winning author of The Serpent King and Goodbye Days "A haunting story, punctuated with brilliant points of hope and light. This is an important story. A necessary story . . . Callen’s writing radiates with passion, honesty and love." —National Book Award finalist and Printz Award–winning author An Na