Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.
When Groucho Marx and Charlie Chaplin were born, variety entertainment had been going on for decades in America, and like Harry Houdini, Milton Berle, Mae West, and countless others, these performers got their start on the vaudeville stage. From 1881 to 1932, vaudeville was at the heart of show business in the States. Its stars were America's first stars in the modern sense, and it utterly dominated American popular culture. Writer and modern-day vaudevillian Trav S.D. chronicles vaudeville's far-reaching impact in No Applause--Just Throw Money. He explores the many ways in which vaudeville's story is the story of show business in America and documents the rich history and cultural legacy of our country's only purely indigenous theatrical form, including its influence on everything from USO shows to Ed Sullivan to The Muppet Show and The Gong Show. More than a quaint historical curiosity, vaudeville is thriving today, and Trav S.D. pulls back the curtain on the vibrant subculture that exists across the United States--a vast grassroots network of fire-eaters, human blockheads, burlesque performers, and bad comics intent on taking vaudeville into its second century.
Life as Theater is organized around five substantive issues in social psychology: Social Relationships as Drama; The Dramaturgical Self; Motivation and Drama; Organizational Dramas; and Political Dramas. This classic text was revised and updated for a second edition in 1990, and includes approximately 66 percent new materials, all featuring individual introductions that provide the dramaturgical perspective and reflect the most learned thinking and work being done within this point of view. This book's sophistication will appeal to the scholar, and its clarity and conciseness to the student. Like its predecessor, it is designed to serve as a primary text or supplementary reader in classes.
This new paperback edition includes an introduction by Robert A. Stebbins that explains why, even fifteen years after its publication, Life as Theater remains the best single sourcebook on the dramaturgic perspective as applied in the social sciences.
Dennis Brissett (died 1996) was professor of behavioral science at the University of Minnesota School of Medicine in Duluth, and also taught at the State University of New York at Buffalo and Portland State University.
Charles Edgley is a professor in and head of the Department of Sociology at Oklahoma State University and has been a member of the faculty since 1972. He is coeditor of The Handbook of Thanatology and does editorial work regularly for the journal Symbolic Interaction, where he has published a portion of his research on the health and fitness movement.
Robert A. Stebbins is faculty professor and professor of sociology emeritus at the University of Calgary. He is the author of many books, including Between Work and Leisure, from Transaction Publishers.
Through the plays of these masters, Adler discusses the arts of playwriting and script interpretation ("There are two aspects of the theater. One belongs to the author and the other to the actor. The actor thinks it all belongs to the author. . .The curtain goes up and all he knows are the lines. . .It is not enough. . .Script interpretation is your profession").
She looks into aspects of society and class, and into our cultural past, as well as the evolution of the
modern spirit ("The actor learns from Ibsen what is modern in the modern theater. There are no villains, no heroes. Ibsen understands, more than anything, there is more than one truth").
Stella Adler--daughter of Jacob Adler, who was universally acknowledged to be the greatest actor
of the Yiddish theater, and herself a disciple of Stanislavsky--examines the role of the actor and brings to life the plays from which all modern theater derives: Ibsen's Hedda Gabler, The Master Builder, An Enemy of the People, and A Doll's House; Strindberg's Miss Julie and The Father; Chekhov's The Seagull, Uncle Vanya, The Cherry Orchard, and Three Sisters ("Masha is the sister who is the mystery. You cannot reach her. You cannot reach the artist. There is no logical way. Keep her in a special pocket of feelings that are complex and different").
Adler discusses the ideas behind these plays and explores the world of the playwrights and the
history--both familial and cultural--that informed their work. She illumines not only the dramatic essence of each play but its subtext as well, continually asking questions that deepen one's understanding of the work and of the human spirit.
Adler's book, brilliantly edited by Barry Paris, puts her famous lectures into print for the first time.
From the Hardcover edition.
Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors.
The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century.
Lin-Manuel Miranda's groundbreaking musical Hamilton is as revolutionary as its subject, the poor kid from the Caribbean who fought the British, defended the Constitution, and helped to found the United States. Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.
HAMILTON: THE REVOLUTION gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda, along with Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages--"since before this was even a show," according to Miranda--traces its development from an improbable performance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.
Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer, Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sondheim, leading political commentators, and more than 50 people involved with the production; and multiple appearances by President Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.
Wheelock’s Latin 7th Edition retains its signature core of authentic Latin readings—curated from the works of Cicero, Vergil, and other major Roman authors of classical literature, drama, and poetry, as well as inscriptions, artifacts, and even authentic graffiti—that demonstrate the ancient Romans’ everyday use of Latin: Latin as a living language.
With expanded English-Latin/Latin-English vocabulary sections, tightly retooled comprehension and discussion questions, self-tutorial exercises, translation tips, etymological aids, maps, and dozens of photos and illustrations that capture aspects of classical culture and mythology, Wheelock’s Latin 7th Edition is the essential resource for students beginning their journey into the heart of the classical world.
100 Essays I Don't Have Time to Write is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life.
This third edition is accompanied by an all-new companion website curated by a dedicated media editor, with the following resources for instructors and students:Interactive glossary Multiple choice questions Powerpoint Slides. Videos Website links for further study Tutorials on specific skills within Performance Studies Sample Discussion Questions Exercises and Activities Sample Syllabi
The book itself has also been revised, with 25 new extracts and biographies, up-to-date coverage of global and intercultural performances, and further exploration of the growing international presence of Performance Studies as a discipline.
Performance Studies is the definitive overview for undergraduates, with primary extracts, student activities, key biographies and over 200 images of global performance.
Under the inspired leadership of founder Joseph Papp, the Public Theater and the New York Shakespeare Festival brought revolutionary performances to the public for decades. This compulsively readable history of those years—much of it told in Papp’s own words—is fascinating, ranging from a dramatic early showdown with Robert Moses over keeping Shakespeare in the Park free to the launching of such landmark productions as Hair and A Chorus Line. To bring the story to life, film critic Kenneth Turan interviewed some 160 luminaries—including George C. Scott, Meryl Streep, Mike Nichols, Kevin Kline, James Earl Jones, David Rabe, Jerry Stiller, Tommy Lee Jones, and Wallace Shawn—and masterfully weaves their voices into a dizzyingly rich tale of creativity, conflict, and achievement.
From the Trade Paperback edition.
In Introducing Bert Williams, historian Camille Forbes reveals a fascinating figure, initiating the reader into the vivid world of nineteenth- and early twentieth-century popular entertainment. Williams's long and varied career is a whirlwind of drama, glamour, and ambition—nothing less than the birth of American show business.
Theatre in Prison is a collection of thirteen international essays exploring the rich diversity of innovative drama works in prisons. The book includes an introduction that will present a contextualisation of the prison theatre field. Thereafter, leading practitioners and academics will explore key aspects of practice – problemitising, theorising and describing specific approaches to working with offenders. The book also includes extracts from prison plays, poetry and prisoners writings that offer illustrations and insights into the experience of prison life.
Born in the turbulent decade of the Depression, the Group Theatre revolutionized American arts. Wendy Smith's dramatic narrative brings the influential troupe and its founders to life once again, capturing their joys and pains, their triumphs and defeats. Filled with fresh insights into the towering personalities of Harold Clurman, Lee Strasberg, Cheryl Crawford, Elia Kazan, Clifford Odets, Stella and Luther Adler, Karl Malden, and Lee J. Cobb, among many others, Real Life Drama chronicles a passionate community of idealists as they opened a new frontier in theater.
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included - and forty more photographs - to create a stunningly comprehensive study.
The practitioners included are:
Stella Adler; Eugenio Barba; Augusto Boal; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; Joseph Chaikin; Jacques Copeau; Philippe Gaulier; Jerzy Grotowski; Maria Knebel; Jacques Lecoq; Joan Littlewood; Sanford Meisner; Vsevolod Meyerhold; Ariane Mnouchkine; Monika Pagneux; Michel Saint-Denis; W?odzimierz Staniewski; Konstantin Stanislavsky; Lee Strasberg
The historical, cultural and political context of each practitioner’s work is clearly set out by leading experts and accompanied by an incisive and enlightening analysis of the main principles of their training, practical exercises and key productions.
This book is an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre.
In The Violet Hour, Katie Roiphe takes an unexpected and liberating approach to the most unavoidable of subjects. She investigates the last days of six great thinkers, writers, and artists as they come to terms with the reality of approaching death, or what T. S. Eliot called “the evening hour that strives Homeward, and brings the sailor home from sea.”
Roiphe draws on her own extraordinary research and access to the family, friends, and caretakers of her subjects. Here is Susan Sontag, the consummate public intellectual, who finds her commitment to rational thinking tested during her third bout with cancer. Roiphe takes us to the hospital room where, after receiving the worst possible diagnosis, seventy-six-year-old John Updike begins writing a poem. She vividly re-creates the fortnight of almost suicidal excess that culminated in Dylan Thomas’s fatal collapse at the Chelsea Hotel. She gives us a bracing portrait of Sigmund Freud fleeing Nazi-occupied Vienna only to continue in his London exile the compulsive cigar smoking that he knows will hasten his decline. And she shows us how Maurice Sendak’s beloved books for children are infused with his lifelong obsession with death, if you know where to look.
The Violet Hour is a book filled with intimate and surprising revelations. In the final acts of each of these creative geniuses are examples of courage, passion, self-delusion, pointless suffering, and superb devotion. There are also moments of sublime insight and understanding where the mind creates its own comfort. As the author writes, “If it’s nearly impossible to capture the approach of death in words, who would have the most hope of doing it?” By bringing these great writers’ final days to urgent, unsentimental life, Katie Roiphe helps us to look boldly in the face of death and be less afraid.
Praise for The Violet Hour
“A beautiful book . . . The intensity of these passages—the depth of research, the acute sensitivity for declarative moments—is deeply beguiling.”—The New York Times Book Review
“Profound, poetic and—yes—comforting.”—People
“Unconventional, engaging . . . [The Violet Hour] is at once scholarly, literary, juicy—and unabashedly personal.”—Los Angeles Times
“Enveloping . . . I read it in bed, at the kitchen table, while walking down the street. . . . ‘What normal person wants to blunder into this hushed and sacred space?’ she asks. But the answer is all of us, and Ms. Roiphe does it with grace.”—Jennifer Senior, The New York Times
“A beautiful and provocative meditation on mortality.”—Minneapolis Star Tribune
“A tender yet penetrating look at the final days . . . Roiphe has always seemed to me a writer to envy. No matter what the occasion, she can be counted on to marry ferocity and erudition in ways that nearly always make her interesting.”—The Wall Street Journal
“Here is a critic in supreme control of her gifts, whose gift to us is the observant vigor that refuses to flinch before the Reaper. . . . She knows that true criticism does not bother with the mollification of delicate sensibilities, only with the intellect as it roils and rollicks through language.”—William Giraldi, The New Republic
From the Hardcover edition.
“Fascinating . . . Wasson has taken complete control of his subject.” — Wall Street Journal
The only person ever to win Oscar, Emmy, and Tony awards in the same year, Bob Fosse revolutionized nearly every facet of American entertainment. His signature style would influence generations of performing artists. Yet in spite of Fosse’s innumerable—including Cabaret, Pippin, All That Jazz, and Chicago, one of the longest-running Broadway musicals ever—his offstage life was shadowed by deep wounds and insatiable appetites.
To craft this richly detailed account, best-selling author Sam Wasson has drawn on a wealth of unpublished material and hundreds of sources: friends, enemies, lovers, and collaborators, many of them speaking publicly about Fosse for the first time. With propulsive energy and stylish prose, Fosse is the definitive biography of one of Broadway and Hollywood’s most complex and dynamic icons.
“Spellbinding.” —Entertainment Weekly
“Impeccably researched.” —Vanity Fair
An NPR Best Book of the Year
In What We Talk About When We Talk About Clone Club: Bioethics and Philosophy in Orphan Black, prominent bioethicist Gregory E. Pence violates Clone Club’s first rule to take us deeper into the show and its connections to the real world, including:
Widespread myths about human clones (and Orphan Black’s rejection of them)
Our ugly history of eugenics
The ethics of human experimentation, by way of Projects Castor and Leda
What we can learn about clones and identity from twin studies and tensions among Orphan Black’s clone “sisters”
Kendall Malone and other genetic anomalies
The brave new world of genetic enhancement and clonal dynasties, and how Helena and Kira Manning fit in
In the process, What We Talk About When We Talk About Clone Club reveals why Orphan Black is some of today’s most engaging and thought-provoking television.
Samuel Beckett's Waiting for Godot is not only an indisputably important and influential dramatic text -it is also one of the most significant western cultural landmarks of the twentieth century. Originally written in French, the play first amazed and appalled Parisian theatre-goers and critics before receiving a harshly dismissive initial critical response in Britain in 1955. Its influence since then on the international stage has been significant, impacting on generations of actors, directors and audiences.
What is good acting? How does one create believable characters? How can an actor understand a character if they do not understand themselves?
In The Science of Acting, Sam Kogan uses his theories on the relationship between neuroscience, psychology and acting to answer these questions. Practical exercises provide a step-by-step guide to developing an actor's ability, culminating in Ten Steps to Creating a Character.
He presents the reader with a groundbreaking understanding of the subconscious and how it can be applied to their acting. The author’s highly original perspective on Stanislavski's teaching gives readers a unique insight into their character’s minds.
Sam Kogan studied at the Moscow Institute of Theatre Arts (now the Russian Academy of Theatre Arts) under the tutelage of Professor Maria Knebel. He established The Science of Acting, a complete stand-alone technique.
Helen Kogan is the chair and former principal of The Academy of Science of Acting and Directing, has helped to shape her father's words and work for the publication of this book.
Childlike in his innocence but grotesque in form, Frankenstein's bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal.
Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and deeply disturbing classic gothic tale.
Mary Shelley's Frankenstein, adapted for the stage by Nick Dear, premiered at the National Theatre, London, in February 2011.
For more than fifty years, Ernest--or "Ernie" as he's known to his friends--has been one of the most recognized, celebrated stars in Hollywood as well as a respected, talented actor, and a living legend. Stretching from his childhood as the son of Italian immigrants to a spectacular career that is still thriving in his 91st year, from the early days of live TV to the voiceovers for The Simpsons and SpongeBob SquarePants, Ernie tells of the trials and tribulations on his road to fame, the friendships he shared with some of the silver screen's biggest stars, and the glamorous leading ladies he loved.
Acclaimed for his ability to play sensitive and tough-guy roles equally well, he was also famous for squaring off against some of Hollywood's most formidable actresses--including Bette Davis in A Catered Affair and Joan Crawford in Johnny Guitar. Recalling his experiences starring in classic movies such as The Poseidon Adventure, The Wild Bunch, and Escape from New York, he reveals personal insights and irresistible stories about cinema's greatest icons--including Spencer Tracy, James Stewart, Kirk Douglas, Montgomery Clift, Gary Cooper, Janet Leigh, Raquel Welch, Gene Hackman, Rock Hudson, Sammy Davis, Jr., Tony Curtis, Alan Ladd, Glenn Ford, and Burt Lancaster. And with characteristic frankness, he also talks about his off-screen loves and passions.
A must for every film buff, Ernie: An Autobiography is a fascinating memoir--filled with secrets, well-remembered details, and never-before-told stories--of a star who has thrived in the changing world of Hollywood for more than half a century, and endeared himself to legions of fans everywhere.
"(Borgnine's) anecdotes are gleefully self-deprecating. . .he comes off as the kind of guy you'd like to have a beer with." --NY Post
"With astute observations on the Hollywood hierarchy and tales about everyone from Lee Marvin and Steve McQueen to Bette Davis and Kim Novak, (Borgnine) writes with an unassuming, no-nonsense tone. His love of filmmaking and his respect for his fellow actors permeates the pages of this engaging and satisfying memoir." --Publishers Weekly
"Modest and sweet. . .nicely boiled. Borgnine neither lashes out nor pulls punches." --Entertainment Weekly
". . .a satisfying detailed account of a decades-long career that also included memorable roles in durable blockbusters like The Wild Bunch and The Poseidon Adventure. He comes across as an unspoiled, nice guy who enjoyed his success. . .One of the finest unghosted Hollywood autobiographies." --ALA Booklist
"A super read. . .Ernie: The Autobiography by Ernest Borgnine is as nifty as he is." --Cindy Adams, NY Post
Using the analytical tools of literary analysis, cultural studies, performance theory, and social semiotics, AIDS and American Apocalypticism examines many kinds of discourse, including fiction, drama, performance art, demonstration graphics and brochures, biomedical publications, and journalism and shows that, while initially useful, the effects of apocalyptic rhetoric in the long term are dangerous. Among the important figures in AIDS activism and the arts discussed are David Drake, Tim Miller, Sarah Schulman, and Tony Kushner, as well as the organizations ACT UP and Lesbian Avengers.
In this book, Harriet Hyman Alonso unravels Sherwood's inner struggle and portrays his political journey. Relying largely on his letters, diaries, plays, films, essays, and biography of Roosevelt and Harry Hopkins, she traces Sherwood's obsession with the world of politics and its effects on his life and art, from his experience as a soldier in World War I to the Cold War. She also describes his participation in the Algonquin Round Table, his friendships and working relationships with such notables as Alfred Lunt, Lynn Fontanne, Edna Ferber, Spencer Tracy, Harry Hopkins, and Franklin D. Roosevelt, his two marriages and uneasy relationship with his daughter, and his leadership role in the Broadway community.
Alonso brings together history, theater and film studies, and peace studies in this interdisciplinary political biography. In the process, she illuminates major currents in U.S. foreign policy, society, and culture from 1896 to 1955 -- the years of the remarkable life of Robert E. Sherwood.
What emerges is a nuanced understanding of Brecht's concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to 'make theatre politically', in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber's Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.
These topics are presented in such a way that students can examine the inherent diversity of the communicative systems used in the United States as both a form of cultural enrichment and as the basis for socio-political conflict. The author team outlines the different viewpoints on contemporary issues surrounding language in the US and contextualizes these issues within linguistic facts, to help students think critically and formulate logical discussions. To provide opportunities for further examination and debate, chapters are organized around key misconceptions or questions ("I don't have an accent" or "Immigrants don't want to learn English"), bringing them to the forefront for readers to address directly.
Language and Linguistic Diversity in the US is a fresh and unique take on a widely taught topic. It is ideal for students from a variety of disciplines or with no prior knowledge of the field, and a useful text for introductory courses on language in the US, American English, language variation, language ideology, and sociolinguistics.
Rare Birds of North America provides unparalleled insights into vagrancy and avian migration, and will enrich the birding experience of anyone interested in finding and observing rare birds.Covers 262 species of vagrant birds found in the United States and Canada Features 275 stunning color plates that depict every species Explains patterns of occurrence by region and season Provides an invaluable overview of vagrancy patterns and migration Includes detailed species accounts and cutting-edge identification tips
Do you wake up feeling rough? Then you’re philogrobolized. Pretending to work? That’s fudgelling, which may lead to rizzling if you feel sleepy after lunch, though by dinner time you will have become a sparkling deipnosophist.
From Mark Forsyth, author of the bestselling The Etymologicon, this is a book of weird words for familiar situations. From ante-jentacular to snudge by way of quafftide and wamblecropt, at last you can say, with utter accuracy, exactly what you mean.
• Integrates extensive participant observation with sociolinguistic data collection
• Reveals the political and social dynamics of a national language (Italian) and a local dialect (Bergamasco) struggling for survival
• Introduces the original concept of the “social aesthetics of language”: the interweaving of culturally-shaped and emotionally felt dimensions of language-choice
• Written to be accessible to students and specialists alike
• Part of the Blackwell Studies in Discourse and Culture Series
With The Story of English in 100 Words, David Crystal took us on a tour through the history of our language. Now, with Spell It Out, he takes on the task of answering all the questions about how we spell: "Why is English spelling so difficult?" Or "Why are good spellers so proud of their achievement that when they see a misspelling they condemn the writer as sloppy, lazy, or uneducated?" In thirty-seven short, engaging and informative chapters, Crystal takes readers on a history of English spelling, starting with the Roman missionaries' sixth century introduction of the Roman alphabet and ending with where the language might be going. He looks individually at each letter in the alphabet and its origins. He considers the question of vowels and how people developed a way to tell whether or not it was long or short. He looks at influences from other cultures, and explains how English speakers understood that the "o" in "hopping" was a short vowel, rather than the long vowel of "hoping". If you've ever asked yourself questions like "Why do the words "their", "there" and "they're" sound alike, but mean very different things?" or "How can we tell the difference between "charge" the verb and "charge" the noun?" David Crystal's Spell It Out will spell it all out for you.
Linguistics has long shied away from claiming any link between a language and the culture of its speakers: too much simplistic (even bigoted) chatter about the romance of Italian and the goose-stepping orderliness of German has made serious thinkers wary of the entire subject. But now, acclaimed linguist Guy Deutscher has dared to reopen the issue. Can culture influence language—and vice versa? Can different languages lead their speakers to different thoughts? Could our experience of the world depend on whether our language has a word for "blue"?
Challenging the consensus that the fundaments of language are hard-wired in our genes and thus universal, Deutscher argues that the answer to all these questions is—yes. In thrilling fashion, he takes us from Homer to Darwin, from Yale to the Amazon, from how to name the rainbow to why Russian water—a "she"—becomes a "he" once you dip a tea bag into her, demonstrating that language does in fact reflect culture in ways that are anything but trivial. Audacious, delightful, and field-changing, Through the Language Glass is a classic of intellectual discovery.