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If asked to list the greatest innovators of modern American poetry, few of us would think to include Jay-Z or Eminem in their number. And yet hip hop is the source of some of the most exciting developments in verse today. The media uproar in response to its controversial lyrical content has obscured hip hop's revolution of poetic craft and experience: Only in rap music can the beat of a song render poetic meter audible, allowing an MC's wordplay to move a club-full of eager listeners. Examining rap history's most memorable lyricists and their inimitable techniques, literary scholar Adam Bradley argues that we must understand rap as poetry or miss the vanguard of poetry today. Book of Rhymes explores America's least understood poets, unpacking their surprisingly complex craft, and according rap poetry the respect it deserves.
Since its original publication in 1985, Tomie dePaola’s Mother Goose has become a staple on children’s bookshelves everywhere, and features over two hundred Mother Goose rhymes charmingly illustrated by one of today’s most beloved artists. This special anniversary edition includes a framable print with brand-new art and an author’s note from Tomie, and is sure to continue as a family favorite for generations to come.
Presents more than sixty traditional nursery rhymes, including "Old Mother Hubbard, " "I'm a Little Teapot, " and "One, Two, Buckle My Shoe, " accompanied by illustrations of various animals.
Mother Goose Refigured presents annotated translations of Charles Perrault’s 1697 fairy tales that attend to the irony and ambiguity in the original French and provide a fresh take on heroines and heroes that have become household names in North America. Charles Perrault published Histoires ou Contes du temps passé ("Stories or Tales of the Past") in France in 1697 during what scholars call the first "vogue" of tales produced by learned French writers. The genre that we now know so well was new and an uncommon kind of literature in the epic world of Louis XIV's court. This inaugural collection of French fairy tales features characters like Sleeping Beauty, Cinderella, and Puss in Boots that over the course of the eighteenth century became icons of social history in France and abroad. Translating the original Histoires ou Contes means grappling not only with the strangeness of seventeenth-century French but also with the ubiquity and familiarity of plots and heroines in their famous English personae. From its very first translation in 1729, Histoires ou Contes has depended heavily on its English translations for the genesis of character names and enduring recognition. This dependability makes new, innovative translation challenging. For example, can Perrault's invented name "Cendrillon" be retranslated into anything other than "Cinderella"? And what would happen to our understanding of the tale if it were? Is it possible to sidestep the Anglophone tradition and view the seventeenth-century French anew? Why not leave Cinderella alone, as she is deeply ingrained in cultural lore and beloved the way she is? Such questions inspired the translations of these tales in Mother Goose Refigured, which aim to generate new critical interest in heroines and heroes that seem frozen in time. The book offers introductory essays on the history of interpretation and translation, before retranslating each of the Histoires ou Conteswith the aim to prove that if Perrault's is a classical frame of reference, these tales nonetheless exhibit strikingly modern strategies. Designed for scholars, their classrooms, and other adult readers of fairy tales, Mother Goose Refigured promises to inspire new academic interpretations of the Mother Goose tales, particularly among readers who do not have access to the original French and have relied for their critical inquiries on traditional renderings of the tales.
Tens of thousands of people were persecuted and put to death as witches between 1400 and 1700 – the great age of witch hunts. Why did the witch hunts arise, flourish and decline during this period? What purpose did the persecutions serve? Who was accused, and what was the role of magic in the hunts? This important reassessment of witch panics and persecutions in Europeand colonial America both challenges and enhances existing interpretations of the phenomenon. Locating its origins 400 years earlier in the growing perception of threats to Western Christendom, Robert Thurston outlines the development of a ‘persecuting society’ in which campaigns against scapegoats such as heretics, Jews, lepers and homosexuals set the scene for the later witch hunts. He examines the creation of the witch stereotype and looks at how the early trials and hunts evolved, with the shift from accusatory to inquisitorial court procedures and reliance upon confessions leading to the increasing use of torture.
Celebrated picture book creators Chris Raschka and Vladimir Radunsky offer one possible answer to the age-old question: Who was Mother Goose? We all love to hear Mother Goose rhymes and riddles. But did you know that there was a real Mother Goose who lived in Boston more than three hundred years ago? In 1692, Elizabeth Foster married a widower with ten children. His name was Isaac Goose, and after they married, Elizabeth became Mother Goose. She and Isaac had four more children together, and to help her care for such a big and boisterous family, Mother Goose sang songs and lullabies and made up rhymes and poems. Her nursery rhymes and stories were published at a print shop on Pudding Lane in Boston, though no copies of her book exist today. In a book featuring some of Mother Goose’s best-loved works, Vladimir Radunsky’s bright and humorous illustrations and Chris Raschka’s rhyming poems tell the little-known story of the Goose children, Isaac, and Elizabeth herself — the Mother Goose of Pudding Lane.
A collection of twenty-two nursery rhymes, including "Old King Cole" and "Little Bo-Peep," fashioned into full-length stories by the author of "The Wizard of Oz."
