Kidnapped as a teenage girl, Ma has been locked inside a purpose built room in her captor's garden for seven years. Her five year old son, Jack, has no concept of the world outside and happily exists inside Room with the help of Ma's games and his vivid imagination where objects like Rug, Lamp and TV are his only friends. But for Ma the time has come to escape and face their biggest challenge to date: the world outside Room.

The four prose texts discussed in Literary Rooms position themselves in a literary tradition which highlights the manifold purposes the private room may serve: it is a mirror of the inhabitant, a context in which to position the self, a place of and motor for identity quests, a rich metaphor, and a second skin around the inhabitant’s physical body. Even in times of increasing globalization and urbanization, the room continues to root the inhabitant; it serves as a retreat from the world and as a place in which to (re)negotiate questions of belonging, gender, class, and ethnicity. At the same time, the room is inevitably porous and constantly oscillates between inclusion and exclusion. The literary texts examined in this book are each highly fragmented and gesture towards a fragmentation of the contemporary world out of which they have grown as well as towards an abundance of fragmented self-images. Linking the approaches of narratology, globalization, and spatial criticism, Literary Rooms argues that in order to account for the spatial properties of the room, discourses developed during the spatial turn need to be extended and reevaluated.

The four prose texts discussed in Literary Rooms position themselves in a literary tradition which highlights the manifold purposes the private room may serve: it is a mirror of the inhabitant, a context in which to position the self, a place of and motor for identity quests, a rich metaphor, and a second skin around the inhabitant’s physical body. Even in times of increasing globalization and urbanization, the room continues to root the inhabitant; it serves as a retreat from the world and as a place in which to (re)negotiate questions of belonging, gender, class, and ethnicity. At the same time, the room is inevitably porous and constantly oscillates between inclusion and exclusion. The literary texts examined in this book are each highly fragmented and gesture towards a fragmentation of the contemporary world out of which they have grown as well as towards an abundance of fragmented self-images. Linking the approaches of narratology, globalization, and spatial criticism, Literary Rooms argues that in order to account for the spatial properties of the room, discourses developed during the spatial turn need to be extended and reevaluated.

Sylvia Beach was intimately acquainted with the expatriate and visiting writers of the Lost Generation, a label that she never accepted. Like moths of great promise, they were drawn to her well-lighted bookstore and warm hearth on the Left Bank. Shakespeare and Company evokes the zeitgeist of an era through its revealing glimpses of James Joyce, Ernest Hemingway, Scott Fitzgerald, Sherwood Anderson, Andre Gide, Ezra Pound, Gertrude Stein, Alice B. Toklas, D. H. Lawrence, and others already famous or soon to be. In his introduction to this new edition, James Laughlin recalls his friendship with Sylvia Beach. Like her bookstore, his publishing house, New Directions, is considered a cultural touchstone.

'The Germans were over this house last night and the night before that. Here they are again. It is a queer experience, lying in the dark and listening to the zoom of a hornet, which may at any moment sting you to death. It is a sound that interrupts cool and consecutive thinking about peace. Yet it is a sound - far more than prayers and anthems - that should compel one to think about peace. Unless we can think peace into existence we - not this one body in this one bed but millions of bodies yet to be born - will lie in the same darkness and hear the same death rattle overhead.' Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.

Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.

From the widely acclaimed poet, novelist, critic, and scholar, a lucid and edifying exploration of the building blocks of poetry and how they’ve been used over the centuries to assemble the most imperishable poems. We treasure our greatest poetry, Brad Leithauser reminds us in these pages, “not for its what but its how.” In chapters on everything from iambic pentameter to how stanzas are put together to “rhyme and the way we really talk,” Leithauser takes a deep dive into the architecture of poetry. He explains how meter and rhyme work in fruitful opposition; how the weirdnesses of spelling in English are a boon to the poet; why an off rhyme will often succeed where a perfect rhyme would not; why Shakespeare and Frost can sound so similar, despite the centuries separating them. And Leithauser is just as likely to invoke Cole Porter, Stephen Sondheim, or Boz Scaggs as he is Chaucer or Milton, Bishop or Swenson, providing enlightening play-by-plays of their memorable lines. Here is both an indispensable learning tool and a delightful journey into the art of the poem—a chance for new poets and readers of poetry to grasp the fundamentals, and for experienced poets and readers to rediscover excellent works in all their fascinating detail.