The essays in this book, first published in 1975, suggest how best to approach Beckett, how to read him, how to get closer to the concrete experience offered by this most concrete of writers. It aims to bring out the full diversity of Beckett’s art as dramatist and story-teller. His astonishing flexibility and inventiveness is stressed throughout, either in studies of single novels, or from the whole range of the fiction and stage drama, or from the experiments in other media: the solitary film, the radio plays. Beckett’s bilingualism, one of the strangest aspects of his Proteanism, is examined through a comparison of the French and English texts of some of his stage plays. The emphasis of the essays is literary rather than philosophical: they explore narrative and dramatic processes, the strange partial transitions between them, the fine relations of form and feeling which Beckett aims at through whatever medium he is using, and his humaneness, expressed through the many nuances of his humour. The shorter fiction and the later writings also receive close attention.

From the national bestselling author of The Samaria Trilogy...this is the novel that launched Sharon Shinn's career and inspired Peter S. Beagle to call her "the most original writer of fantasy since Robin McKinley." Aubrey was a student of the fine art of wizardry. But the more knowledge he acquired, the more he wanted to learn. He traveled in search of the greatest master of all, the gifted shape-changer Glyrenden. From him, Aubrey expected to discover the secret of long-lost spells and the mysteries of arcane magic. But there was one discovery he never expected, a mystery he risked every thing to solve. Her name was Lilith...

In The Shape of Change, Anne L. Birberick and Russell Ganim bring together essays by fourteen established scholars who dedicate their studies to David Rubin as they explore the ways in which artistic endeavor shapes and is shaped by literary memory. The volume is divided into two sections. The first section, "Continuity and Discontinuity," offers essays by Jody Enders, Timothy Reiss, Twyla Meding, Marie-Odile Sweetser, Robert Corum, Jr., and the editors themselves and considers the ways in which seventeenth-century authors draw upon generic conventions or diverse artistic media to create works that reflect the aesthetic and moral values of their time. The second section, entitled "La Fontaine," focuses primarily on Jean de La Fontaine's masterpiece, Les Fables. Here the problem of imitation and innovation as it relates to genre, influence, and literary reputation is examined in essays by Jules Brody, Richard Danner, Judd Hubert, Catherine Grisé, Michael Vincent, Nicholas Cronk, and Ralph Albanese, Jr. The Shape of Change serves as a fine scholarly contribution to the studies of French seventeenth-century literature and La Fontaine. The essays are thoughtful as well as thought provoking and the volume's critical diversity is nicely balanced by its thematic coherence. In its ability to stimulate new thinking, this collection of essays will be of interest to both students and scholars of early modern France.

This study re-examines Morgan le Fay in early medieval and contemporary Arthurian sources, arguing that she embodies the concerns of each era even as she defies social and gender expectations. Hebert uses leFay as a lens to explore traditional ideas of femininity, monstrousness, resistance, identity, and social expectations for women and men alike.

Abigail Frayler is unaware of why people are acting strange around her, be it her adopted father or her friends. She is unaware that evil shapeshifters on a reconnaissance mission want to cause the destruction of mankind. Her planet is better known as Mars, which was destroyed in World War Two and is now a red, barren planet. Abigail fails to realise that her adopted father’s new girlfriend, Rachel Miller, is a shapeshifter of a lizard race of beings known as dracons.

Honey loves running her bar and grill, catering to humans and shifters alike. But there are two things that dim her love of the place: cocky assholes who think they own the world, and cocky assholes who think they can flex their muscles and wreck her bar when throwing a temper tantrum. Unfortunately, the drop-dead gorgeous, hotter than hot, shifter man she secretly loves is both. Blake wants the curvaceous, gorgeous Honey in his bed. Now. He’s lusted (but not loved, let’s get that straight) after the luscious woman for months. True, he looks like a bad-boy biker mixed with a player and, yeah, he’s broken a few things in her bar… But only because the guys were hitting on his girl. With no hope of winning her over in sight, he does what any red-blooded werehedgehog would do in his position. He lies.