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The Wind in the Willows is a childrens novel by Kenneth Grahame, first published in 1908. Alternately slow moving and fast paced, it focuses on four anthropomorphised animals in a pastoral version of England. The novel is notable for its mixture of mysticism, adventure, morality, and camaraderie and celebrated for its evocation of the nature of the Thames valley. In 1908, Grahame retired from his position as secretary of the Bank of England. He moved back to Cookham, Berkshire, where he had been brought up and spent his time by the River Thames doing much as the animal characters in his book donamely, as one of the phrases from the book says, "simply messing about in boats"and wrote down the bed-time stories he had been telling his son Alistair. In 1909, Theodore Roosevelt, then President of the United States, wrote to Grahame to tell him that he had "read it and reread it, and have come to accept the characters as old friends". The novel was in its thirty-first printing when playwright A. A. Milne adapted a part of it for the stage as Toad of Toad Hall in 1929. In 2003, The Wind in the Willows was listed at number 16 on the BBCs survey The Big Read (font: Wikipedia)

Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environment - river, sun, wind - and imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible."

Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environment - river, sun, wind - and imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible."

The will to power is a prominent concept in the philosophy of Friedrich Nietzsche. The will to power describes what Nietzsche may have believed to be the main driving force in humans - achievement, ambition, and the striving to reach the highest possible position in life. These are all manifestations of the will to power; however, the concept was never systematically defined in Nietzsches work, leaving its interpretation open to debate.

The first four essays are largely concerned with defending the legitimacy of religious faith. To some rationalizing readers such advocacy will seem a sad misuse of ones professional position. Mankind, they will say, is only too prone to follow faith unreasoningly, and needs no preaching nor encouragement in that direction. I quite agree that what mankind at large most lacks is criticism and caution, not faith. Its cardinal weakness is to let belief follow recklessly upon lively conception, especially when the conception has instinctive liking at its back. I admit, then, that were I addressing the Salvation Army or a miscellaneous popular crowd it would be a misuse of opportunity to preach the liberty of believing as I have in these pages preached it. What such audiences most need is that their faiths should be broken up and ventilated, that the northwest wind of science should get into them and blow their sickliness and barbarism away. But academic audiences, fed already on science, have a very different need.

Originally titled Vildanden in Norwegian, "The Wild Duck" is an 1884 play by Norwegian author Henrik Ibsen. This work is by many considered Ibsens finest work, and it is certainly the most complex. "The Wild Duck" had its debut in Norway in 1885, and its first production in English opened on Broadway at New York Citys Plymouth Theatre in 1918."The Wild Duck" tells the story of Gregers Werle, a young man who has a compulsion to tell the truth at all costs and reveals to the Ekdal family certain unasked-for information about each family members past. The knowledge destroys their illusions and their family life...Ibsen is considered to be the father of realism and was a major force in bringing modernism to the theatre. His most famous play, "A Dolls House", was the most performed play worldwide by the start of the twentieth century.

Anton Pavlovich Chekhov (1860-1904) was a Russian short story writer and a playwright. His playwriting career produced four classics, while his best short stories are held in high esteem by writers and critics. Chekhov practiced as a doctor throughout most of his literary career: "Medicine is my lawful wife, " he once said, "and literature is my mistress." Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896; but the play was revived to acclaim by Constantin Stanislavskis Moscow Art Theatre, which subsequently also produced Uncle Vanya and premiered Chekhovs last two plays, Three Sisters and The Cherry Orchard. These four works present a special challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a "theatre of mood" and a "submerged life in the text." His originality consists in an early use of the stream-of-consciousness technique combined with a disavowal of the moral finality of traditional story structure.

MRS HOLROYD (aloud, to herself): You know theyre not dry even now, though its been as fine as it has. (She spreads the shirt on the back of her rocking-chair, which she turns to the fire.)VOICE (calling from outside): Well, have you got them dry?MRS HOLROYD starts up, turns and flings her hand in the direction of the open door, where appears a man in blue overalls, swarfed and greased. He carries a dinner-basket.MRS HOLROYD: You--you--I dont know what to call you! The idea of shouting at me like that--like the Evil One out of the darkness!

Its just another song to me. Ive written 1,000 of them and its really just another one. Jimmy Webb When I heard it I cried. It made me cry because I was homesick. Its just a masterfully written song. Glen CampbellThe sound of Wichita Lineman was the sound of ecstatic solitude, but then its hero was the quintessential loner. What a great metaphor he was: a man who needed a woman more than he actually wanted her. Written in 1968 by Jimmy Webb, Wichita Lineman is the first philosophical country song: a heartbreaking torch ballad still celebrated for its mercurial songwriting genius fifty years later. It was recorded by Glen Campbell in LA with a legendary group of musicians known as the Wrecking Crew, and something about the songs enigmatic mood seemed to capture the tensions in America at a moment of crisis. Fusing a dribble of bass, searing strings, tremolo guitar and Campbells plaintive vocals, Webbs paean to the American West describes a telephone linemans longing for an absent lover, who he hears singing in the wire - and like all good love songs, its an SOS from the heart. Mixing close-listening, interviews and travelogue, Dylan Jones explores the legacy of a record that has entertained and haunted millions for over half a century. What is it about this song that continues to seduce listeners, and how did the parallel stories of Campbell and Webb - songwriters and recording artists from different ends of the spectrum - unfold in the decades following? Part biography, part work of musicological archaeology, TheWichita Lineman opens a window on to America in the late-twentieth century through the prism of a song that has been covered by myriad artists in the intervening decades.Americana in the truest sense: evocative and real. Bob Stanley

Frances Eliza Hodgson Burnett (24 November 1849 29 October 1924) was a British-American novelist and playwright. She is best known for the three childrens novels Little Lord Fauntleroy (published in 18851886), A Little Princess (1905), and The Secret Garden (1911).Frances Eliza Hodgson was born in Cheetham, Manchester, England. After her father died in 1852, the family fell on straitened circumstances and in 1865 immigrated to the United States, settling near Knoxville, Tennessee. There Frances began writing to help earn money for the family, publishing stories in magazines from the age of 19. In 1870, her mother died, and in 1872 Frances married Swan Burnett, who became a medical doctor. The Burnetts lived for two years in Paris, where their two sons were born, before returning to the United States to live in Washington, D.C., Burnett then began to write novels, the first of which (That Lass o Lowries), was published to good reviews. Little Lord Fauntleroy was published in 1886 and made her a popular writer of childrens fiction, although her romantic adult novels written in the 1890s were also popular. She wrote and helped to produce stage versions of Little Lord Fauntleroy and A Little Princess.Burnett enjoyed socializing and lived a lavish lifestyle. Beginning in the 1880s, she began to travel to England frequently and in the 1890s bought a home there, where she wrote The Secret Garden. Her oldest son, Lionel, died of tuberculosis in 1890, which caused a relapse of the depression she had struggled with for much of her life. She divorced Swan Burnett in 1898, married Stephen Townsend in 1900, and divorced him in 1902. A few years later she settled in Nassau County, Long Island, where she died in 1924 and is buried in Roslyn Cemetery.In 1936 a memorial sculpture by Bessie Potter Vonnoh was erected in her honour in Central Parks Conservatory Garden. The statue depicts her two famous Secret Garden characters, Mary and Dickon.

In publishing this tragedy, I do but challenge myself that liberty, which other men have taken before me; not that I affect praise by it, for, nos hc novimus esse nihil, only since it was acted in so dull a time of winter, presented in so open and black a theatre, that it wanted (that which is the only grace and setting-out of a tragedy) a full and understanding auditory; and that since that time I have noted, most of the people that come to that playhouse resemble those ignorant asses (who, visiting stationers shops, their use is not to inquire for good books, but new books), I present it to the general view with this confidence:Nec rhoncos metues maligniorum,Nec scombris tunicas dabis molestas.

From the very beginnings of cinema in America the Western has been a central genre. The hazardous lives of the settlers, their conflict with Native Americans (the Indians), the lawless frontier towns, outlaws and cattle rustlers, all found their way into the new medium of film. Folk heroes and heroines, such as Jesse and Frank James, Wild Bill Hickok, Wyatt Earp, Calamity Jane and Annie Oakley, were all eagerly seized on by filmmakers. Writers, from the very popular to the very literary, from Zane Grey to Owen Wister and James Fennimore Cooper, were plundered for storylines. The Western became popular worldwide too because it offered escape, adventure, stunning landscapes and romance; also themes that concerned people everywhere including survival, law and order, defence of family, and dreams of a new and better world.David Carters book, The Western, starts with an introduction to the real American West and its famous historical figures, and traces the development of the genre from popular literature, through the early silent films, the sound era, the Golden Age of classic Westerns, TV and spaghetti westerns, to the self-reflexive and revisionist Westerns of recent decades. This book provides a basic work of reference for all the major directors and noteworthy films of the genre. The great Hollywood directors are all here, such as John Ford, Howard Hawks, Raoul Walsh, Michael Curtiz, Sam Peckinpah and Henry Hathaway, and great stars including John Wayne, James Stewart, Gary Cooper, Barbara Stanwyck, Jane Russell and Clint Eastwood.

A rare duet, in which father and son rediscover a whole world through the redeeming power of art. Declan KiberdIn The Wellspring acclaimed novelist and dramatist Barney Norris conducts a conversation with father, the pianist and composer David Owen Norris quite possibly the most interesting pianist in the world (Toronto Globe and Mail) and a famous thinker/philosopher of the keyboard (Seattle Times). Norris senior is also a television and radio broadcaster who has worked with a huge range of musicians, conductors and composers in the concert hall and the studio.Divided into three parts Listening, Playing and Writing The Wellspring is the first book to explore Norriss fifty-year career and discover how his background (non-metropolitan, C of E, literary) influenced his choices and his music. The book becomes a study of the relationship between his Englishness and his work, of his inheritance and how it is projected forward into new compositions and new performance. In the process the reader encounters a fascinating world of concerts, prizes, collaborations, and inspirations, in which Norris, always open to the different, has lived. This variety includes Norriss devotion to Parry and Elgar, his musical discoveries made playing the square piano of the nineteenth century, and the opportunities resulting from the pressurized world of competitions.In addition to exploring the career of this renowned musician, the father-son conversation also reveals Barney Norriss experience of working in English theatre over the last ten years and of his practice as a novelist with a growing reputation. Their combined experience, in two fields, in two different generations, provides a thought-provoking discussion of how a place and a culture inform artistic work, and how England and Englishness have evolved during the past half century.Informative, entertaining, at times provocative, The Wellspring will become a classic investigation of creativity, of Englishness, and of the changing world.

"The Well-Tempered Festschrift" is a reading of "Music Preferred: Essays in Musicology, Cultural History and Analysis in Honour of Harry White", edited by Lorraine Byrne Bodley and published by Hollitzer Verlag in 2018. "The Well-Tempered Festschrift" reflects on each of the essays in "Music Preferred" in turn, and it also accounts for the circumstances in which Harry White met the contributors to "Music Preferred" throughout the course of his working life. "The Well-Tempered Festschrift" is thus a musicological memoir as well as a detailed review of the contents of "Music Preferred", dedicated to the friends whose work is pictured within. It responds to the liber amicorum of "Music Preferred" with an answering echo that may well be unique in the annals of scholarly Festschriften.

Anyone mad enough (1) to land on that crazy world (2) in order to rescue that screwball explorer should (3) have his head examined! A fantastic futuristic science fiction tale woven by a master of th

Since the release of her debut album Whatevers For Us in 1972, Joan Armatrading has, across a fifty-year career, traversed styles and genres to create a monumental body of work. Acknowledged as the first British female singer-songwriter to gain international success, her writing is alive with intelligence and empathy and paints the human experience with insight and emotion.Selected and arranged by the author, and featuring a foreword by revered record producer Glyn Johns, The Weakness In Me presents the lyrics of Armatrading for the first time in one unique volume. It also contains an introduction by Armatrading alongside annotations to a number of songs, giving a rare, personal glimpse into the creative process of a true pioneer.

A Chocolate-house.Mirabell and Fainall rising from cards. Betty waiting.MIRA. You are a fortunate man, Mr. Fainall.FAIN. Have we done?MIRA. What you please. Ill play on to entertain you.FAIN. No, Ill give you your revenge another time, when you are not so indifferent; you are thinking of something else now, and play too negligently: the coldness of a losing gamester lessens the pleasure of the winner. Id no more play with a man that slighted his ill fortune than Id make love to a woman who undervalued the loss of her reputation.MIRA. You have a taste extremely delicate, and are for refining on your pleasures.FAIN. Prithee, why so reserved? Something has put you out of humour.MIRA. Not at all: I happen to be grave to-day, and you are gay; thats all.

The Waves, first published in 1931, is Virginia Woolfs most experimental novel. It consists of soliloquies spoken by the books six characters: Bernard, Susan, Rhoda, Neville, Jinny, and Louis. Also important is Percival, the seventh character, though readers never hear him speak in his own voice. The soliloquies that span the characters lives are broken up by nine brief third-person interludes detailing a coastal scene at varying stages in a day from sunrise to sunset. As the six characters or "voices" speak Woolf explores concepts of individuality, self and community. Each character is distinct, yet together they compose (as Ida Klitgrd has put it) a gestalt about a silent central consciousness.

A collection of stories from John Buchan, author of The Thirty-nine Steps. The pagan themes and classic adventures are set in Scottish countryside. John Buchan continues to stake his claim to being o