The Cruise of the Snark and Dazzler (Masterpiece Collection Omnibus)


Book Description

It began in the swimming pool at Glen Ellen. Between swims it was our wont to come out and lie in the sand and let our skins breathe the warm air and soak in the sunshine. Roscoe was a yachtsman. I had followed the sea a bit. It was inevitable that we should talk about boats. We talked about small boats, and the seaworthiness of small boats. We instanced Captain Slocum and his three years' voyage around the world in the Spray.We asserted that we were not afraid to go around the world in a small boat, say forty feet long. We asserted furthermore that we would like to do it. We asserted finally that there was nothing in this world we'd like better than a chance to do it.“Let us do it,” we said . . . in fun.Then I asked Charmian privily if she'd really care to do it, and she said that it was too good to be true.The next time we breathed our skins in the sand by the swimming pool I said to Roscoe, “Let us do it.”I was in earnest, and so was he, for he said:“When shall we start?”I had a house to build on the ranch, also an orchard, a vineyard, and several hedges to plant, and a number of other things to do. We thought we would start in four or five years. Then the lure of the adventure began to grip us. Why not start at once? We'd never be younger, any of us. Let the orchard, vineyard, and hedges be growing up while we were away. When we came back, they would be ready for us, and we could live in the barn while we built the house.So the trip was decided upon, and the building of the Snark began. We named her the Snark because we could not think of any other name—this information is given for the benefit of those who otherwise might think there is something occult in the name.Our friends cannot understand why we make this voyage. They shudder, and moan, and raise their hands. No amount of explanation can make them comprehend that we are moving along the line of least resistance; that it is easier for us to go down to the sea in a small ship than to remain on dry land, just as it is easier for them to remain on dry land than to go down to the sea in the small ship. This state of mind comes of an undue prominence of the ego. They cannot get away from themselves. They cannot come out of themselves long enough to see that their line of least resistance is not necessarily everybody else's line of least resistance. They make of their own bundle of desires, likes, and dislikes a yardstick wherewith to measure the desires, likes, and dislikes of all creatures. This is unfair. I tell them so. But they cannot get away from their own miserable egos long enough to hear me. They think I am crazy. In return, I am sympathetic. It is a state of mind familiar to me. We are all prone to think there is something wrong with the mental processes of the man who disagrees with us.The ultimate word is I LIKE. It lies beneath philosophy, and is twined about the heart of life. When philosophy has maundered ponderously for a month, telling the individual what he must do, the individual says, in an instant, “I LIKE,” and does something else, and philosophy goes glimmering.




The Cruise of the Snark and Dazzler (Masterpiece Collection Omnibus) Large Print


Book Description

It began in the swimming pool at Glen Ellen. Between swims it was our wont to come out and lie in the sand and let our skins breathe the warm air and soak in the sunshine. Roscoe was a yachtsman. I had followed the sea a bit. It was inevitable that we should talk about boats. We talked about small boats, and the seaworthiness of small boats. We instanced Captain Slocum and his three years' voyage around the world in the Spray.We asserted that we were not afraid to go around the world in a small boat, say forty feet long. We asserted furthermore that we would like to do it. We asserted finally that there was nothing in this world we'd like better than a chance to do it.“Let us do it,” we said . . . in fun.Then I asked Charmian privily if she'd really care to do it, and she said that it was too good to be true.The next time we breathed our skins in the sand by the swimming pool I said to Roscoe, “Let us do it.”I was in earnest, and so was he, for he said:“When shall we start?”I had a house to build on the ranch, also an orchard, a vineyard, and several hedges to plant, and a number of other things to do. We thought we would start in four or five years. Then the lure of the adventure began to grip us. Why not start at once? We'd never be younger, any of us. Let the orchard, vineyard, and hedges be growing up while we were away. When we came back, they would be ready for us, and we could live in the barn while we built the house.So the trip was decided upon, and the building of the Snark began. We named her the Snark because we could not think of any other name—this information is given for the benefit of those who otherwise might think there is something occult in the name.Our friends cannot understand why we make this voyage. They shudder, and moan, and raise their hands. No amount of explanation can make them comprehend that we are moving along the line of least resistance; that it is easier for us to go down to the sea in a small ship than to remain on dry land, just as it is easier for them to remain on dry land than to go down to the sea in the small ship. This state of mind comes of an undue prominence of the ego. They cannot get away from themselves. They cannot come out of themselves long enough to see that their line of least resistance is not necessarily everybody else's line of least resistance. They make of their own bundle of desires, likes, and dislikes a yardstick wherewith to measure the desires, likes, and dislikes of all creatures. This is unfair. I tell them so. But they cannot get away from their own miserable egos long enough to hear me. They think I am crazy. In return, I am sympathetic. It is a state of mind familiar to me. We are all prone to think there is something wrong with the mental processes of the man who disagrees with us.




The Cambridge History of Travel Writing


Book Description

Bringing together original contributions from scholars across the world, this volume traces the history of travel writing from antiquity to the Internet age. It examines travel texts of several national or linguistic traditions, introducing readers to the global contexts of the genre. From wilderness to the urban, from Nigeria to the polar regions, from mountains to rivers and the desert, this book explores some of the key places and physical features represented in travel writing. Chapters also consider the employment in travel writing of the diary, the letter, visual images, maps and poetry, as well as the relationship of travel writing to fiction, science, translation and tourism. Gender-based and ecocritical approaches are among those surveyed. Together, the thirty-seven chapters here underline the richness and complexity of this genre.




A Map of Mexico City Blues


Book Description

In this pioneering critical study of Jack Kerouac’s book-length poem, Mexico City Blues—apoetic parallel to the writer’s fictional saga, the Duluoz Legend—James T. Jones uses a rich and flexible neoformalist approach to argue his case for the importance of Kerouac’s rarely studied poem. After a brief summary of Kerouac’s poetic career, Jones embarks on a thorough reading of Mexico City Blues from several different perspectives: he first focuses on Kerouac’s use of autobiography in the poem and then discusses how Kerouac’s various trips to Mexico, his conversion to Buddhism, his theory of spontaneous poetics, and his attraction to blues and jazz influenced the theme, structure, and sound of Mexico City Blues. Jones’s multidimensional explication suggests the formal and thematic complexity of Kerouac’s long poem and demonstrates the major contribution Mexico City Blues makes to post–World War II American poetry and poetics.




Antifascisms


Book Description

This book is an in-depth analysis of three of the most crucial years in twentieth-century Italian history, the years 1943-46. After more than two decades of a Fascist regime and a disastrous war experience during which Italy changed sides, these years saw the laying of the political and cultural foundations for what has since become known as Italy's First Republic. Drawing on texts from the literature, film, journalism, and political debate of the period, Antifascisms offers a thorough survey of the personalities and positions that informed the decisions taken in this crucial phase of modern Italian history.




Lupin III Volume 1


Book Description

Lupin the Third is the great nephew of Arséne Lupin, the original "gentleman thief," and one of the most famous and most wanted of thieves in the world. A ruthless thief with a sense of humor and a weakness for beautiful women. He is constantly pursued by Inspector Zenigata, and often accompanied by a group of not so faithful accomplices as he attempts some of the most outrageous thefts of all time, or deals with the many, many people that want him dead.--Anime News Network (www.animenewsnetwork.com viewed Oct. 31, 2008).




Handley Cross


Book Description




The First Collection of Criticism by a Living Female Rock Critic


Book Description

Jessica Hopper's music criticism has earned her a reputation as a firebrand, a keen observer and fearless critic not just of music but the culture around it. With this volume spanning from her punk fanzine roots to her landmark piece on R. Kelly's past, The First Collection leaves no doubt why The New York Times has called Hopper's work "influential." Not merely a selection of two decades of Hopper's most engaging, thoughtful, and humorous writing, this book documents the last 20 years of American music making and the shifting landscape of music consumption. The book journeys through the truths of Riot Grrrl's empowering insurgence, decamps to Gary, IN, on the eve of Michael Jackson's death, explodes the grunge-era mythologies of Nirvana and Courtney Love, and examines emo's rise. Through this vast range of album reviews, essays, columns, interviews, and oral histories, Hopper chronicles what it is to be truly obsessed with music. The pieces in The First Collection send us digging deep into our record collections, searching to re-hear what we loved and hated, makes us reconsider the art, trash, and politics Hopper illuminates, helping us to make sense of what matters to us most.