Our language is full of hundreds of quotations that are often cited but seldom confirmed. Ralph Keyes's The Quote Verifier considers not only classic misquotes such as "Nice guys finish last," and "Play it again, Sam," but more surprising ones such as "Ain't I a woman?" and "Golf is a good walk spoiled," as well as the origins of popular sayings such as "The opera ain't over till the fat lady sings," "No one washes a rented car," and "Make my day." Keyes's in-depth research routinely confounds widespread assumptions about who said what, where, and when. Organized in easy-to-access dictionary form, The Quote Verifier also contains special sections highlighting commonly misquoted people and genres, such as Yogi Berra and Oscar Wilde, famous last words, and misremembered movie lines. An invaluable resource for not just those with a professional need to quote accurately, but anyone at all who is interested in the roots of words and phrases, The Quote Verifier is not only a fascinating piece of literary sleuthing, but also a great read.
This unique student resource is specifically designed for those beginning an MA in Literature, providing an introduction to research techniques, methodologies and information sources relevant to the study of literature at postgraduate level.
Treasuring the past, savouring the present, and wanting to do right by the future, Archibald Lampman was a poet keenly focused on the workings of time. He was also a thinker of mystical predisposition. His goal was not to transcend time, but to find redemptive meaning within it. Archibald Lampman: Memory, Nature, Progress explores the ways in which Lampman pursued this goal in relation to the three faces of time. Memory fascinated Lampman. He relished the “alchemy” by which the dross of past experience could be left behind and the gold preserved. Nature compelled his mind and emotions, and his clear-eyed observations of both countryside and wilderness settings gave rise to a self-evolved poetics of inclusiveness. In his celebrations of nature in all its manifestations, mild or bleak, he anticipated the work of iconic Canadian painter Tom Thomson and he forecasted the environmentalism of our own time. Progress for Lampman spelled societal rectification. By forwarding the cause of social betterment, one was part of a movement larger than oneself, and this expansion, too, was redemptive. Archibald Lampman: Memory, Nature, Progress is the first book on this foundational figure in Canadian literature to appear in over twenty-five years and the first thematically focused study. Combining close analysis with biographical context, it shows how Lampman’s oeuvre was shaped by his responses to his physical surroundings and to his social-intellectual milieu, as filtered through his stubbornly independent outlook.
Muskox Land provides a meticulously researched and richly illustrated treatment of Canada's High Arctic as it interweaves insights from historiography, Native studies, ecology, anthropology, and polar exploration.
Between the Civil War and World War I, David Leverenz maintains, the corporate transformation of American work created widespread desire for upward mobility along with widening class divisions. In his view, several significant narrative constructs, notably the daddy s girl and the daddy s boy, emerge at the intersection between paternalist practices and more democratic possibilities for self-advancement. From Mark Twain s Laura Hawkins in The Gilded Age to the protagonist of Theodore Dreiser s Sister Carrie and Willa Cather s Alexandra Bergson in O Pioneers!, Leverenz finds that the image of the daddy s girl constrains the emerging threat of the career woman even as it articulates the lure of upward mobility for women. In surveying the figure of the "daddy s boy," Leverenz examines tensions between young men s desires for upward mobility and older men s desires for paternal control. Paternalism Incorporated also addresses yearnings for individualism and paternalism in various critiques of the emerging corporation. Another chapter links honor and shaming to race in the philanthropic practices of Andrew Carnegie and John D. Rockefeller, framed with narratives by William Dean Howells, Booker T. Washington, and Jane Addams. After showing how a daddy s girl becomes a paternalist in Henry James s The Golden Bowl, Leverenz considers F. Scott Fitzgerald s Tender is the Night as paternalism s elegy, contrasted with the Shirley Temple film The Little Colonel."