Literature Composition

You have spent the past year doing nothing but writing essays, reading the greatest works of literature, and sitting through endless hours of lectures about metaphors, absurdist drama and Freytag's Pyramid. Now, May is approaching, bringing college applications, SATs, numerous final exams and your AP Lit exam. That rising panic you're feeling right now?

October 1832. Kiera is enjoying the slower pace of the English countryside. She, Sebastian, and their infant daughter have accompanied her father-in-law, Lord Gage, home so that he can recuperate from the injuries he sustained in a foiled attempt on his life. But as the chill of autumn sweeps across the land, they receive a summons from an unexpected quarter. Lord Gage's estranged uncle—a member of the notorious Roscarrock family—has been murdered, and his family is desperate for answers. Despite Lord Gage's protests, Kiera and Sebastian press on to Cornwall to assist.

Developed by experienced professors and professionally narrated for easy listening, this course is a valuable tool when preparing for your Advanced Placement English or AP English exam.

The Long Form, Kate Briggs's long-awaited debut fiction, unmakes and remakes the novel to meditate on very real social issues, from housing to care-taking, laying bare the settings and support structures that make durational forms of co-existence first thinkable, then possible. At once acrobatic and deeply attentive, The Long Form insists on the creativity inherent in everyday life, showing how the acts of social composition (living arrangements) are continuous with the acts of artistic composition (page arrangements).

Of all the literary forms, the novel is arguably the most discussed . . . and fretted over. From Miguel de Cervantes’s Don Quixote to the works of Jane Austen, F. Scott Fitzgerald, Ernest Hemingway, and today’s masters, the novel has grown with and adapted to changing societies and technologies, mixing tradition and innovation in every age throughout history. Thomas C. Foster—the sage and scholar who ingeniously led readers through the fascinating symbolic codes of great literature in his first book, How to Read Literature Like a Professor—now examines the grammar of the popular novel.

Seven hundred years ago, Silverhart’s homeeworld was destroyed by the Void Goddess, Ianysis. Now, Silverhart finds himself cast into the Void. He needs to return home to save Tellis from suffering a similar fate. Silverhart’s only hope lies in the Winter Wyvern who can create Rifts to travel through the Void. The only problem is… each Rift’s destination is completely random.

Tom Edison (no, not that Tom Edison) is a hopeful janitor who dreams of becoming a scientist - and Dr. Morice is a shy scientist who dreams of making friends. When an accident at the lab sends them back in time to the stone age, Tom and Dr. Morice must work together to face down cavemen, saber-tooth tigers, and other BC hazards, with only one problem: Tom isn't very good at science, and Dr. Morice isn't very good with people.

For those who love country-fried cozy mysteries filled with action, quirky characters, and a side of romance, you're going to love the trouble-magnet portrait artist and amateur-sleuth Cherry Tucker. From The Wall Street Journal bestselling and international award-winning author Larissa Reinhart and read by the fabulously funny Joan Dukore.

Edgar Allan Poe’s essay, "The Philosophy of Composition", sets forth a theory on good writing. It first appeared in the April 1846 issue of Graham's Magazine, and Poe illustrates his theory on the composition of his poem, "The Raven". The three main elements of his philosophy of composition are length, logical method, and "unity of effect". Poe believed that literary works should be short, claimed that writing is methodical, not spontaneous, and asserted that a work of fiction ought to be written only after the author has decided on the conclusion.

Todos los cuentos de La composición de la sal, relatan situaciones de la vida cotidiana en las que aparentemente no pasa nada, pero que por debajo están a punto de colapsar. Allí se juegan el afecto y la fricción humana, las heridas y las cicatrices, lo que se dice y lo que no se dice.