Robertson Davies (1913–1995), one of Canada’s most distinguished authors of the twentieth century, was known for his work as a novelist, playwright, critic, journalist, and professor. This descriptive bibliography is dedicated to his writing career, covering all publications from his first venture into print at the age of nine to works published posthumously to 2011. Entries include each of Davies’ signed publications and those pseudonymous or anonymous writings he acknowledged having written. Included are his plays, novels, journalism, academic writing, translations, interviews, speeches, lectures, unsigned articles and editorials, films, audio recordings, and multimedia editions. Also listed is a generous sampling of unsigned articles and editorials. Using Davies’ archives and the archives of other authors, organizations, and publishers, Carl Spadoni and Judith Skelton Grant present A Bibliography of Robertson Davies to serve the research demands of Canadian literature and book history scholars.

The fruits of an eighteen-year tradition of Massey College’s annual Gaudy Nights, Robertson Davies’ High Spirits still delights and amuses to this day. Published as an eBook for the first time. In the Introduction to this collection of charming stories, Robertson Davies notes we all need “ghosts as a dietary supplement . . . to stave off that most dreadful of modern ailments, the Rational Rickets.” In one tale, Mr. Davies introduces the ghost of Henrik Ibsen; in another, he brings us face to face with a bust of Charles Dickens, whose “scarlet lips . . . parted in a terrible smile” and whose “beard stirred in a hiccup of repletion.” Sixteen other apparitions manifest themselves, each rendered with Robertson Davies’ special touch–a bit of parody, a touch of true scariness–and all emanating from high spirits.

In this book, Susan Stone-Blackburn studies how the tastes and concerns of one of Canada's leading writers have been given dramatic expression, beginning with The King Who Could Not Dream and Benoni and ending with Question Time and Pontiac and the Green Man. She also examines how Davies' playwriting has been influenced by the dominant tastes of his time and by the conditions under which his plays have been performed. Dealing with the plays chronologically, Stone-Blackburn reveals Davies' fondness for theatricality as opposed to realism, for mythic flavour and archetypal character, his romanticism, and his irrepressible humour.

In this entertaining and enlightening collection David Lodge considers the art of fiction under a wide range of headings, drawing on writers as diverse as Henry James, Martin Amis, Jane Austen and James Joyce. Looking at ideas such as the Intrusive Author, Suspense, the Epistolary Novel, Magic Realism and Symbolism, and illustrating each topic with a passage taken from a classic or modern novel, David Lodge makes the richness and variety of British and American fiction accessible to the general reader. He provides essential reading for students, aspiring writers and anyone who wants to understand how fiction works.

In 1878, two young stage magicians clash in a darkened salon during the course of a fraudulent séance, and from this moment they try to expose and outwit each other at every turn.

Born in Thamesville, Ontario, a student at Queen’s University in Kingston in the 1930s, and editor and later publisher of the Peterborough Examiner from the 1940s to the mid-1960s, playwright, essayist, critic, professor, and novelist Robertson Davies (1913–1995) was one of Canada’s pre-eminent literary voices for more than a half-century. Davies, with his generous beard and donnish manner, was the very epitome of the “man of letters,” a term he abhorred. Best known for his Deptford Trilogy of novels (Fifth Business, The Manticore, World of Wonders), he also wrote two other trilogies (Salterton and Cornish) and was at work on the third volume of another trilogy (Toronto) when he died. With a life as rich in character and colour as that found in his fiction and essays, Davies had a great fondness for magic and myth, both of which are found in abundance in his work, along with a prodigious streak of wry humour.

This groundbreaking new source of international scope defines the essay as nonfictional prose texts of between one and 50 pages in length. The more than 500 entries by 275 contributors include entries on nationalities, various categories of essays such as generic (such as sermons, aphorisms), individual major works, notable writers, and periodicals that created a market for essays, and particularly famous or significant essays. The preface details the historical development of the essay, and the alphabetically arranged entries usually include biographical sketch, nationality, era, selected writings list, additional readings, and anthologies