Written in the midst of World War II after its author emigrated to America, "The Sea and the Mirror" is not merely a great poem but ranks as one of the most profound interpretations of Shakespeare's final play in the twentieth century. As W. H. Auden told friends, it is "really about the Christian conception of art" and it is "my Ars Poetica, in the same way I believe The Tempest to be Shakespeare's." This is the first critical edition. Arthur Kirsch's introduction and notes make the poem newly accessible to readers of Auden, readers of Shakespeare, and all those interested in the relation of life and literature--those two classic themes alluded to in its title. The poem begins in a theater after a performance of The Tempest has ended. It includes a moving speech in verse by Prospero bidding farewell to Ariel, a section in which the supporting characters speak in a dazzling variety of verse forms about their experiences on the island, and an extravagantly inventive section in prose that sees the uncivilized Caliban address the audience on art--an unalloyed example of what Auden's friend Oliver Sachs has called his "wild, extraordinary and demonic imagination." Besides annotating Auden's allusions and sources (in notes after the text), Kirsch provides extensive quotations from his manuscript drafts, permitting the reader to follow the poem's genesis in Auden's imagination. This book, which incorporates for the first time previously ignored corrections that Auden made on the galleys of the first edition, also provides an unusual opportunity to see the effect of one literary genius upon another.

The Sea as Mirror traces the pressing and repressed material and symbolic presence of the Mediterranean Sea and the Atlantic Ocean from Plato to Heidegger. To do so, Wu Yi employs the maritime as a lens to understand the drive of philosophy as both a response to and moment within the impetus of Western colonization. Yi examines how philosophy has again and again constructed itself as a genre in opposition to the movement of deterritorialization and fluidity of mimesis. She does so via the method (meta, "after" + hodos, "way, journey") of a series of essayings (in the original sense of trial, measure, attempt) across a geopolitical topography of discourses. These include philosophical texts drawn from a constellation of historical topoi at the critical moments of their encounter with the maritime: Plato and Euripedes's work from fifth-century Athens; Augustus and Plautus's writings from republican and early imperial Rome; Shakespeare's creations from Elizabethan England; Kant and Rousseau's texts from enlightenment continental Europe; and the thinking of Husserl and Heidegger from interwar Germany of the twentieth century. For each historical topos, Yi juxtaposes different representations of and responses to the maritime through the reading of a philosophical text vis-à-vis the reading of a literary text. In so doing, she lays bare the deep political and moral ambiguity attributed to the ocean in Western philosophical and literary imaginaries.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

Derek Jarman was the most important independent filmmaker in England during the 1980s. Using emblems and symbols in associative contexts, rather than conventional, cause-and-effect narrative, he created films noteworthy for their lyricism and poetic feeling and for their exploration of the gay experience. His style of filmmaking also links Jarman with other prominent directors of lyric film, including Pier Paolo Pasolini, Andrei Tarkovsky, Jean Cocteau, and Jean Genet. This pathfinding book places Derek Jarman in the tradition of lyric film and offers incisive readings of all eleven of his feature-length films, from Sebastiane to Blue. Steven Dillon looks at Jarman and other directors working in a similar vein to establish how lyric films are composed through the use of visual imagery and actual poetry. He then traces Jarman's use of imagery (notably mirrors and the sea) in his films and discusses in detail the relationship between cinematic representations and sexual identity. This insightful reading of Jarman's work helps us better understand how films such as The Last of England and The Garden can be said to cohere and mean without being reduced to clear messages. Above all, Dillon's book reveals how truly beautiful and brilliant Jarman's movies are.

From one of the great modern writers, the acclaimed lectures in which he draws on a lifetime of experience to take the measure of Shakespeare's plays and sonnets "W. H. Auden, poet and critic, will conduct a course on Shakespeare at the New School for Social Research beginning Wednesday. Mr. Auden . . . proposes to read all Shakespeare's plays in chronological order." So the New York Times reported on September 27, 1946, giving notice of a rare opportunity to hear one of the century's great poets discuss at length one of the greatest writers of all time. Reconstructed by Arthur Kirsch, these lectures offer remarkable insights into Shakespeare's plays and sonnets while also adding immeasurably to our understanding of Auden.

Instant #1 International Bestseller “Cue greed, lust, secrets, and serious suspense. Count us in.”—theSkimm "An insanely plotted book...riveting."—The New York Times Book Review Written with the chilling, twisty suspense of The Wife Between Us and Something in the Water, a seductive thriller about identical twins, greed, lust, secrets, and deadly lies. Twin sisters Iris and Summer are startlingly alike, but beyond what the eye can see lies a darkness that sets them apart. Cynical and insecure, Iris has long been envious of Summer’s seemingly never-ending good fortune. When Summer calls Iris to Thailand to help her sail the family yacht to the Seychelles, Iris has secret hopes for what might happen on the journey. But after a disturbing incident in the middle of the Indian Ocean, everything changes. Now Iris has the chance to step into the golden life she’s always envied–and get one step closer to the hundred-million-dollar inheritance left by her manipulative father. All Iris would need to do is ensure she’s the first of his seven children to fulfill the strange conditions of his will. But Iris soon discovers that her twin was keeping more than one secret, and Iris’s life lurches between glamorous dream and paranoid nightmare. In a family in which the winner takes all, whom can she trust? And how far will she go to get the life she’s always dreamed about? "Ferociously entertaining. A novel like a triathlon: part evil-twin thriller, part howdunit (or did-she-do-it?), part juicy family drama. Drop Knives Out and Double Indemnity into the blender, shake some Dead Calm over the froth, power it on, and you’ve got a cocktail like The Girl in the Mirror—fresh, flavorful, and utterly intoxicating." —AJ Finn, #1 New York Times bestselling author of The Woman in the Window

Twenty years past, the governors plotted murder. Ruled by avarice, they imprisoned the winged dragons of Taran Leigh in the black cells of a stone lair. Tormented by spine and spur the once peaceful creatures howl, immense webbed wings beating beneath iron bars. Those who raised their voices in protest were banished--skyriders, the men who rode the dragons--vanished to the distant mountains of the Mirror.Now, Treasa, the daughter of exiles, seeker of secrets, dreams with the lair's dragons, her heart torn by her love for the winged creatures and a man who masters them. She must choose her path with care. The lair's black -garbed riders sense the dragon's growing savagery. Yet one, Conall, longs to grasp their power, subdue them and soar, unaware that winged flight, merged in harmony, is his for the asking. Then, a curved talon rends Conall's flesh and dragon scale, rattling against white ribs and the world shifts. As hearts once parted bind, Terasa and Conall join forces to fight for the dragon's freedom. Alliances form, old myths are revealed and new myths are born.