Like its triumphant predecessor, the first volume in David Copperfield's ongoing collection of tales by his favorite writers, this is far more than just a book. It is a dazzling miracle show in which some of today's most celebrated authors have been summoned onstage and asked to perform their own special wizardry for a legendary performer's millions of dedicated fans. This second "invitation-only" volume includes such masters as Neil Gaiman, Peter S. Beagle, Anne McCaffrey, Tad Williams, Greg Bear, Katherine Dunn, and the Grand Illusionist himself.
David Copperfield, the world's foremost illusionist, gathers together in this anthology a stunning collection of stories about the world of magic. Contributing writers include Harlan Ellison, Larry Bond, Dtephen Donaldson, John Jakes, and many more. This unique volume includes Copperfield's own introduction to each story and discussions of the magic involved in each plot.
A collection of original fantasy tales includes contributions by such popular authors as Neil Gaiman, Peter S. Beagle, Anne McCaffrey, Tad Williams, Greg Bear, Eric Lustbader, Kevin J. Anderson, Robert Silverberg, and Katherine Dunn, among others.
Emphasizing the vast changes in literary criticism that have occurred during the last thirty years, H. M. Daleski reexamines Thomas Hardy's novels in the novelist's own terms, presenting a revisionary account of his treatment of gender. He also shows that Hardy was not as sexist as is asserted in much feminist criticism and that his female characters are sympathetically portrayed as the centers of his fictional worlds. By carefully analyzing the novels, Daleski refutes the generally accepted reason for Hardy's abandonment of fiction at the height of his powers, claiming that he drove himself to a dead end in Jude the Obscure. The typical Hardy plot places a female protagonist in a love triangle with two male protagonists who are portrayed as polar opposites. The woman contradicting a general view of her as victim is always granted the freedom of choice of a marriage partner. She invariably makes the wrong choice, which leads to a bad marriage and disastrous sexual relationships. As this scenario is played out in most of Hardy's novels, the men are presented as distinct types, the types being depicted with rich diversity and with steadily greater psychological depth. Hardy's rendering of sexuality in both his male and his female characters is marked by its originality and profundity. In his intuitions about sexual relations, Daleski maintains Hardy was not outdone by writers such as Lawrence and Joyce. Daleski studies Hardy within his Victorian context, but he also shows that Hardy, both in his depiction of sexuality and in his technical innovations, was in advance of his time. In these respects Hardy deserves to be regarded as a forerunner of the great modernists. In Thomas Hardy and Paradoxes of Love, Daleski offers acute and thoughtful analyses of Hardy's major novels. Avoiding critical jargon, the author has made his book accessible to all readers with an interest in Hardy and his novels, as well as in the study of gender in English literature.
In this personal journey through a unique performing art, David Copperfield profiles some of the world's most groundbreaking magicians. From the sixteenth-century magistrate who wrote an early book on conjuring, to the roaring twenties and the man who fooled Houdini, to the woman who levitated, vanished, and caught bullets in her bare hands, David Copperfield's History of Magic takes you on a wild journey through the remarkable feats of some of the greatest magicians in history. The result is a sweeping tale that reveals how these astonishing performers were outsiders who used magic to escape class, challenge conventions, transform popular culture, explore the innermost workings of the human mind, and inspire scientific discovery. Their incredible stories are complemented by more than 100 never-before-seen photographs of artifacts from Copperfield's exclusive Museum of Magic, including a sixteenth-century manual on sleight-of-hand; Houdini's straitjackets, handcuffs, and water torture chamber; Dante's famous sawing-in-half apparatus; Alexander's high-tech turban that allowed him to read people's minds; and even some coins that may have magically passed through the hands of Abraham Lincoln. By the end of the book, you'll be sure to share Copperfield's passion for the power of magic. --
An extraordinary memoir about finding wonder in everyday life, from magician Nate Staniforth. Nate Staniforth has spent most of his life and all of his professional career trying to understand wonder--what it is, where to find it, and how to share it with others. He became a magician because he learned at a young age that magic tricks don't have to be frivolous. Magic doesn't have to be about sequins and smoke machines--rather, it can create a moment of genuine astonishment. But after years on the road as a professional magician, crisscrossing the country and performing four or five nights a week, every week, Nate was disillusioned, burned out, and ready to quit. Instead, he went to India in search of magic. Here Is Real Magic follows Nate Staniforth's evolution from an obsessed young magician to a broken wanderer and back again. It tells the story of his rediscovery of astonishment--and the importance of wonder in everyday life--during his trip to the slums of India, where he infiltrated a three-thousand-year-old clan of street magicians. Here Is Real Magic is a call to all of us--to welcome awe back into our lives, to marvel in the everyday, and to seek magic all around us.
"The Victorian freak show was at once mainstream and subversive. Spectacles of strange, exotic, and titillating bodies drew large middle-class audiences in England throughout much of the nineteenth century, and souvenir portraits of performing freaks even found their way into Victorian family albums. At the same time, the imagery and practices of the freak show shocked Victorian sensibilities and sparked controversy about both the boundaries of physical normalcy and morality in entertainment. Marketing tactics for the freak show often made use of common ideological assumptions - compulsory female domesticity and British imperial authority, for instance - but reflected these ideas with the surreal distortion of a fun-house mirror. Not surprisingly, the popular fiction written for middle-class Victorian readers also calls upon imagery of extreme physical difference, and the odd-bodied characters that people nineteenth-century fiction raise meaningful questions about the relationships between physical difference and the social expectations that shaped Victorian life." "This book is primarily an aesthetic analysis of freak show imagery as it appears in Victorian popular fiction, including the works of Charles Dickens, Wilkie Collins, Guy de Maupassant, Florence Marryat, and Lewis Carroll. It argues that, in spite of a strong nineteenth-century impulse to define and defend normalcy, images of radical physical difference are often framed in surprisingly positive ways in Victorian fiction. The dwarves, fat people, and bearded ladies who intrude on the more conventional imagery of Victorian novels serve to shift the meaning of those works' main plots and characters, sometimes sharpening satires of the nineteenth-century treatment of the poor or disabled, sometimes offering new traits and behaviors as supplements for restrictive social norms." --Book Jacket.
