Bøger udgivet af Crescent Moon Publishing

URSULA LE GUIN - WALKING IN CORNWALL This is a new, colour edition of a poetry book by the American author Ursula Le Guin published in the mid-1970s, Walking In Cornwall. The poems are about a visit to Cornwall in the West of England that Le Guin made with her family. Walking In Cornwall is illustrated in full colour with paintings by contemporary Cornish artists Paul Lewin and Paul Evans, and includes images of some of the places described in Ursula Le Guin's poems. Born in 1929 in Berkeley, California, Ursula Le Guin is the daughter of the writer Theodora Kroeber and anthropologist Alfred Kroeber. She studied at Radcliffe College and Columbia University. Since 1958, Le Guin has lived in Portland, Oregon, with her husband Charles Le Guin, whom she married in Paris in 1953. She has three children, and three grandchildren. Ursula Le Guin has written novels, poetry, children's books, essays and translations. Le Guin's most well-known works are her Earthsea fantasies, and her science ¿ction novels, such as The Left Hand of Darkness, The Dispossessed and Always Coming Home. She also has eleven collections of short stories, six poetry books, and eleven books for children (including the Catwings books). Le Guin's books have received the National Book Award, ¿ve Hugo Awards, ¿ve Nebula Awards and the Kafka Award, among many others, and have been ¿nalists for the Pulitzer Prize and American Book Award. Illustrations and bibliography. This edition is in full colour. ISBN 9781861714459. www.crmoon.com

BEAUTIES, BEASTS AND ENCHANTMENT: CLASSIC FRENCH FAIRY TALES Edited and translated by Jack Zipes A beautiful new collection of 36 French fairy tales translated into English by renowned writer and authority on fairy tales, Jack Zipes. Cinderella, Beauty and the Beast, Sleepy Beauty, Puss In Boots, Bluebeard, and Little Red Riding Hood are some of the classic fairy tales in this amazing book. There are many stories here by Charles Perrault, the most famous author of French conte de fées. Features a new introduction by editor Jack Zipes. Includes a generous number of exquisite illustrations from fairy tale collections. This is a clothbound edition, with gold letters embossed on a blue cloth cover, and a colour flyleaf. 'Terrific... a succulent array of 17th and 18th century 'salon' fairy tales' - The New York Times Book Review 'These tales are adventurous, thrilling in a way fairy tales are meant to be... The translation from the French is modern, happily free of archaic and hyperbolic language... a fine and sophisticated collection' - New York Tribune 'Enjoyable to read... a unique collection of French regional folklore' - Library Journal 'Charming stories accompanied by attractive pen-and-ink drawings' - Chattanooga Times 'An excellent collection' - Booklist. REVIEW FROM AMAZON: If you love fairy tales and felt some were lacking you will love this book. With two versions of Beauty and the Beast, one covering the true details of the prince's curse and fairy politics, and several classic style french stories, it will quickly become a family favorite. JACK ZIPES is professor emeritus of German and comparative literature at the University of Minnesota. In addition to his scholarly work, he is an active storyteller in public schools and has worked with children's theaters in Europe and the United States. Some of Jack Zipes' major publications include Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales (1979), Fairy Tales and the Art of Subversion (1983, rev. ed. 2006), Don't Bet On the Prince: Contemporary Feminist Fairy Tales in North America and England (1986), The Brothers Grimm: From Enchanted Forests to the Modern World (1988), Sticks and Stones: The Troublesome Success of Children's Literature from Slovenly Peter to Harry Potter (2000), Speaking Out: Storytelling and Creative Drama For Children (2004), Hans Christian Andersen: The Misunderstood Storyteller (2005), and Why Fairy Tales Stick: The Evolution and Relevance of a Genre (2006). Jack Zipes has also translated The Complete Fairy Tales of the Brothers Grimm (1987) and edited The Oxford Companion to Fairy Tales (2000), and The Great Fairy Tale Tradition (2001). Most recently he has translated and edited The Folk and Fairy Tales of Giuseppe Pitre (2008) and Lucky Hans and Other Merz Fairy Tales (2008) by Kurt Schwitters. Includes illustrations and a new introduction. ISBN 97818617145498. 612 pages. www.crmoon.com

TWILIGHT IN ITALY by D.H. LAWRENCE A new edition of the travel book that D.H. Lawrence wrote about his travels in Germany, Italy and the Alps. Twilight In Italy is one of Lawrence's most lyrical and upbeat books, an enchanting account of travelling around Europe. Illustrated with paintings by J.M.W. Turner. EXTRACT FROM THE PASSAGE WHERE D.H. LAWRENCE IS AT LAKE GARDA I went into the church. It was very dark, and impregnated with centuries of incense. It affected me like the lair of some creature. My senses were roused, they sprang awake in the spiced darkness. My skin was expectant, as if it expected some contact, some embrace, as if it were aware of the contiguity of the physical world, the physical contact with the darkness and the heavy, suggestive substance of the enclosure. It was a thick, fierce darkness of the senses. But my soul shrank. I went out again. The pavemented threshold was clear as a jewel, the marvellous clarity of sunshine that becomes blue in the height seemed to distil me into Across, the heavy mountain crouched along the side of the lake, the upper half brilliantly white, belonging to the sky, the lower half dark and grim. So, then, that is where heaven and earth are divided. From behind me, on the left, the headland swept down out of a great, pale-grey, arid height, through a rush of russet and crimson, to the olive smoke and the water of the level earth. And between, like a blade of the sky cleaving the earth asunder, went the pale-blue lake, cleaving mountain from mountain with the triumph of the sky. www.crmoon.com

THREE ROMANTIC POETS: EMILY BRONTE, JOHN KEATS, PERCY BYSSHE SHELLEYSELECTED POEMSEdited and introduced by L.M. Poole Three great Romantics poets are featured in this anthology - Percy Bysshe Shelley, John Keats and Emily Bronte. The book includes all of their famous poems. Emily Bronte as a poet is still neglected today. Her novel Wuthering Heights, however, remains one of the great English novels. It continues to sell, continues to be adapted for radio, theatre, film and television, continues to inspire readers and be cited by critics. The wind whistling through the heather in Winter is indeed the atmosphere of Wuthering Heights, and also of Bronte's poetry. In poem after poem we find loving evocations of the moors: we hear of 'the breezy moor' (in "The starry night shall tidings bring"), the 'flowerless moors' (in "How still, how happy! Those are words"), and of 'the moors where the linnet was trilling/ Its song on the old granite stone' (in "Loud without the wind was roaring", the most powerful of Bronte's moor-poems). John Keats is one of the few British poets who is truly ecstatic and wild. Despite the overly-ornate language, the often awkward phrases ('made sweet moan' in 'La Belle Dame Sans Merci'), despite the Romantic indulgences and the sometimes chauvinist views, the often over-simplification of natural and human processes and experiences, and despite the tendency to gush and exaggerate, Keats is one of the few poets who write in English who is truly furious and shamanic. This book gathers the most potent passages from John Keats together, including the famous 'Odes', the sonnets, the luxuriously sensuous 'Eve of St Agnes', the mysterious and atmospheric 'La Belle Dame Sans Merci', and extracts from 'Lamia', Endymion and Hyperion. Percy Shelley is one of the major British poets, seen by many people as the breathless, hyper-lyrical, angelic yet anarchic poet of the Romantic era, out-doing Lord Byron and John Keats in terms of sheer brilliance. His personality, as with Keats and Byron, is a crucial component in the Shelley legend. Shelley has a cult built up around him. The book includes a selection of Shelley's odes, hymns and paeans of England's breathless, angelic, anarchic poet. Famous poems, such as 'Ode to the West Wind' and 'The Cloud', are set beside extracts from Prometheus Unbound and Epipsychidion. With an introduction and bibliography for each poet. Plus a portrait gallery for each poet. www.crmoon.com.

DANTE ALIGHIERI: THE VITA NUOVA Translated by Thomas OkeyEdited and introduced by Joanna Finn-Kelcey Dante Alighieri's Vita Nuova is his 'Book of Memory', the poetic account of his love for Beatrice Portinari. It is one of the great poetry books of love in world literature. The Vita Nuova or New Life draws on (and is part of) the dolce stil novo, the 'sweet style' of Italian poets such as Guido Cavalcanti, Guido Guinicelli, Cino da Pistoia and other stilnovisti. Dante was an admirer of love poetry (he praised Arnaut Daniel in the Divina Commedia). Among the influences on the Vita Nuova are, of course, the Bible (in particular the Psalms, the Song of Songs, Jeremiah's Lamentations and Christ's Passion). Other influences, apart from Classical thinkers, are Aelred of Rievaulx's De spirituali amicitia, and Peter of Blois's Deamicitia christiana. Classical and earlier writers whom Dante read included Cicero (De amicitia) and Boethius (De consolatione). The Vita Nouva, though, stands on its own in mediaeval literature. There is nothing else quite like it. Whereas Peter Abelard produced 'passionate self-exculpation' and Boethius was facing death, Dante wrote a creative autobiography, a record of his love and creative life up until the year 1294. Dante first met Beatrice at a party given by her father Folco Portinari, the Florentine banker, on Mayday, 1274. He was nearly nine; she was nearly eight. She was wearing a red dress, and was known as Bice, a shortened form of Beatrice. The Vita Nuova relates the Dante-poet's experience of Beatrice in 25 sonnets, ballata, three canzoni and two incomplete canzoni consisting of one stanza and two stanzas in length. The Vita Nuova was the first book to link together poems and a prose commentary of an autobiographical and critical nature. The mixture of prose and poetry was known in mediaeval times as a prosimetrum narrative. Includes the Italian text and an English translation, plus a new gallery of art featuring Dante Alighieri, an introduction and bibliography. Also available as an E- book. www.crmoon.com

WILLIAM SHAKESPEARE: COMPLETE POEMS This book features all of William Shakespeare's poetry, including the Sonnets, Venus and Adonis, The Rape of Lucrece and The Passionate Pilgrim. Each poem is printed on its own on the page, without footnotes and annotations. Includes a new gallery of many illustrations of Shakespeare and his art, and a bibliography of references. 356 pages. Includes a bibliography of references. This is from 'The Passionate Pilgrim': Two loves I have, of comfort and despair, That like two spirits do suggest me still; My better angel is a man right fair, My worser spirit a woman colour'd ill. To win me soon to hell, my female evil Tempteth my better angel from my side, And would corrupt my saint to be a devil, Wooing his purity with her fair pride. And whether that my angel be turn'd fiend, Suspect I may, yet not directly tell: For being both to me, both to each friend, I guess one angel in another's hell; The truth I shall not know, but live in doubt, Till my bad angel fire my good one out.

WILLIAM SHAKESPEARE: THE SONNETS The Sonnets represent the highpoint of love poetry in English: they continue to astonish and delight with the abundance of their word play and the intensity of the erotic feelings they depict. This book prints all of Shakespeare's 154 sonnets and provides a commentary on this narrative of rivalry in love. ¿  The Sonnets are central to William Shakespeare's art. They display Shakespeare's poetic talent at its height. The Sonnets are the great love poem sequence in British poetry, as well as being the longest single group of English Renaissance sonnets. They rival in grandeur, skill and cleverness the poetic sequence from which they ultimately derive (via Sir Thomas Wyatt): Francesco Petrarch's Rime Sparse. In Shakespeare's Sonnets, introspection and self-analysis is as rigorous as in Petrarch's Canzoniere, but Shakespeare's bitterness and sense of irony is more deeply ingrained than in Petrarch's poems. Shakespeare's Sonnets came late in the development of the Petrarchan sonnet sequence. They are decadent, late efforts of an already (by the 1590s) old-fashioned poetic form. Yet Shakespeare manages to infuse the sonnet sequence with an extraordinary power and magic. The Sonnets, indeed, contain some of the most marvellous moments in any (English) poetry. The magnificence of the opening lines of the Sonnets, for instance, is undeniable: Shall I compare thee to a summer's day? (18.1) Full many a glorious morning have I seen Flatter the mountain tops with sovereign eye, Kissing with golden face the meadows green, Gilding pale streams with heavenly alchemy (33.1-4) Take all my loves, my love, yea, take them all (40.1) Sweet love, renew thy force (56.1) Let me not to the marriage of true minds Admit impediments: love is not love Which alters when it alteration finds, Or bends with the remover to remove. (116.1-4) My love is as a fever, longing still (147.1) Each poem is printed on its own on the page, without footnotes and annotations. Includes new illustrations of Shakespeare and his art, an introduction, notes on certain sonnets, and a bibliography of references. www.crmoon.com

JOHN KEATS: POEMS OF 1820 Edited with an introduction by Miriam Chalk. Includes notes by M. Robertson, and a new gallery of images, including many paintings illustrating Keats' poetry. This is the book published in 1820 by John Keats (1795-1821). It includes some famous 'Odes', the luxuriously sensuous 'Eve of St Agnes', and the longer poems 'Lamia' and 'Hyperion'. John Keats is one of the few British poets who is truly ecstatic and wild. Keats is known for his ornate language, memorable phrases ('made sweet moan' in 'La Belle Dame Sans Merci'), Romantic indulgences, and a tendency to gush and exaggerate. Keats is one of a few poets who write in English in a shamanic manner. John Keats reaches the pinnacle of British poetry, as W. Jackson Bate, typical among critics, says: 'the language of his greatest poetry has always held an attraction; for there we reach, if only for a brief while, a high plateau where in mastery of phrase he has few equals in English poetry, and only one obvious superior.' Like Arthur Rimbaud, and like the poet he is most compared with, Percy Bysshe Shelley, John Keats burnt fiercely and died young. He is a poet as martyr and hero, a Vincent van Gogh of poesie. He is famous for his sensual odes - 'Ode to a Grecian Urn', 'Ode to Melancholy', 'To Autumn', 'Ode to Psyche' and 'Ode to a Nightingale' - the poems 'Lamia', 'Endymion' and 'Hyperion', the luxuriant 'The Eve of St Agnes', a group of sonnets, and the strange, haunting fairy tale poem 'La Belle Dame Sans Merci'. John Keats is a typical Romantic poet: he used pagan imagery; he employs much ancient Greek mythology; he  is a shamanic poet, who writes in feverish bouts; he is a 'poet's poet'; he wrote searing short poems, and attempted long, epic sequences; he revered the right authors (John Milton, William Shakespeare, the ancient Greeks); he died young; and he travelled to Italy, the key destination for the authentic Grand Tour experience.    British Poets Series. Illustrated, with new images for this edition. Bibliography and notes. 224 pages. www.crmoon.com

EDMUND SPENSER: HEAVENLY LOVE: SELECTED POEMSA selection of the great poems by Edmund Spenser. Edmund Spenser created a drama of England in his poetry. The 'dream' occurs throughout his poetry, but finds its most concentrated expression in The Faerie Queene, with its epic treatment of the 'dream of Albion', a myth-making vision of Blighty as the expression of Elizabeth I's magnificence, and vice versa. The Faerie Queene is an astonishing work, by any standards, and it dwarfs, at times, even those other creations of the Renaissance that are so revered by readers and critics - Christopher Marlowe's Doctor Faustus, William Shakespeare's plays and Sir Philip Sidney's Astrophel and Stella. Technically, Edmund Spenser knew everything about poetry. He wrote many sonnets, and in his The Faerie Queene he composed hundreds of nine-line stanzas. There is a stately progress to Spenser's poesie: he did not rush things. He took his time. William Wordsworth spoke of the 'Sweet Spenser, moving through his clouded heaven with the moon's beauty and the moon's soft pace'. In the Amoretti, is cycle of love sonnets, Spenser tackled his target, his beloved, from many directions. Spenser is unsurpassed in the art of poetic exaltation - no other poet of the era - and of subsequent or previous eras - Spenser's sense of the superlative and the exalted. Spenser's poetry is a litany of paeans: 'Epithalamion', 'A Hymn in Honour of Love', 'A Hymn in Honour of Beauty', 'A Hymn of Heavenly Beauty', 'A Hymn of Heavenly Love', 'Prothalamion', 'The Calendar' and of course The Faerie Queene all contain passages of lyrical praise. As with William Shakespeare, Edmund Spenser's view of the world was crystallized in his poetry is an expansive, dramatic, encyclopaedic vision. The sheer amount of work by Spenser - the copious letters, 'Complaints', 'Hymns', sonnets, and stanzas in The Faerie Queene - attest to his love of writing. The length of The Faerie Queene is not the least astonishing thing about it. Spenser clearly had a lot to say, and would not stop until he had said it. Illustrated, with a revised text, and introduction and notes. This edition contains a new gallery of pictures of Spenser and his art. British Poets Series. www.crmoon.com