This volume offers a description of early modern habits of writing and reading, of publication and stage performance, and of political and religious writing. An introduction to early modern English literature for students and general readers. Considers the ways in which early modern writers construct the past, recover and adapt classical genres, write about people and places, and tackle religious and secular controversies. Illustrated with a profusion of excerpts from early modern texts. Writers represented include More, Erasmus, Spenser, Marlowe, Shakespeare, Donne, and Milton, as well as less well known authors.

Paul Alkon analyzes several key works that mark the most significant phases in the early evolution of science fiction, including Frankenstein, Twenty Thousand Leagues Under the Sea, A Connecticut Yankee in King arthur's Court and The Time Machine. He places the work in context and discusses the genre and its relation to other kinds of literature.

Existentialism exerts a continuing fascination on students of philosophy and general readers. As a philosophical phenomenon, though, it is often poorly understood, as a form of radical subjectivism that turns its back on reason and argumentation and possesses all the liabilities of philosophical idealism but without any idealistic conceptual clarity.

Long before clinch covers and bodice rippers, romance novels had a bad reputation as the lowbrow lit of desperate housewives and hopeless spinsters. But why were these books—the escape and entertainment of choice for millions of women—singled out for scorn and shame? Dangerous Books for Girls examines the secret history of the genre’s bad reputation—from the “damned mob of scribbling women” in the nineteenth century to the sexy mass-market paperbacks of the twentieth century—and shows how romance novels have inspired and empowered generations of women to dream big, refuse to settle, and believe they’re worth it.

In this book, Lisa Coutras explores the structure and complexity of J.R.R. Tolkien’s narrative theology, synthesizing his Christian worldview with his creative imagination. She illustrates how, within the framework of a theological aesthetics, transcendental beauty is the unifying principle that integrates all aspects of Tolkien’s writing, from pagan despair to Christian joy.