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Internationally renowned as one of the twentieth century's foremost public intellectuals, Hannah Arendt was also intensely private. Though she often acknowledged that the language of poetry-especially that of Dickinson, Goethe, and Lowell-informed her work, only a few people knew that Arendt herself wrote poems.In fact, between 1923 and 1961, Arendt wrote seventy-four poems, many of them signposts in an otherwise unwritten autobiography. For nearly forty years after her death, these poems remained hidden among the archives of the Library of Congress, until 2011, when they were rediscovered by scholar and translator Samantha Rose Hill. Now, for the first time in English, Hill and Genese Grill present Arendt's poems in chronological order, taking us from the zenith of the Weimar Republic to the Cold War, and from Marburg, Germany, to New York's Upper West Side.Throughout, Arendt uses poetry to mark moments of joy, love, loss, and reflection. In "W. B.," written in 1942, she remembers Walter Benjamin, who died near the French-Spanish border while attempting to flee the Nazis: "Gentle whispering melodies / Sound from the darkness. / We listen so we can let go." So, too, she reflects on mutability and transience in 1946: "I know that the houses have fallen. / We entered the world in them, wonderfully sure, that they / were more durable than ourselves." She tries to understand her place in the world: "Ironically foolish, / I've forgotten nothing, / I know the emptiness, / I know the burden, / I dance, I dance / In ironic splendor." A gift to all readers of Arendt, this stunning, dual-language edition provides an unparalleled view into the inner sanctum of one of our most original thinkers.

There must be in the world many parents who, like the present author, have young children whom they are anxious to educate as well as possible, but reluctant to expose to the evils of most existing educational institutions. Thus from love for our own children we are driven, step by step, into the wider sphere of politics and philosophy. Contents: Postulates of Modern Educational Theory; Aims of Education; Education of Character; Fear; Play and Fancy; Constructiveness; Selfishness and Property; Truthfulness; Punishment; Importance of Other Children; Affection and Sympathy; Sex Education; Nursery School; Intellectual Education; School Curriculum Before Fourteen; Last School Years; Day Schools and Boarding Schools; The University.

A remarkable and delightful variety of poetic languages is displayed throughout the work: songs, hymns, invective, elegy, sermons, polemic, and prose poetry. It is rich in historical and literary associations and is at the same time accessible to all.

On the Nightmare is a searching investigation of this mysterious, often terrifying phenomenon. Curiously enough, no disorder in the history of medical science has evoked such consistent superstition on the part of layfolk--even today, when nearly every one of us is still unconsciously superstitious, as our customs of knocking wood, crossing fingers and Friday the Thirteenth readily prove.In explaining the weird nightmare occurrences, all peoples and faiths have invoked mythological creatures: werewolves, vampires, incubi, and succubi (stealthy ravishers of the night), devils, witches, etc. The modern psychological theory of the nightmare is mainly the product of the researches of Sigmund Freud.Dr. Ernest Jones draws for this definitive study upon psychiatry, history, literature and mythology. As a result of these investigations, he has evolved an important theory concerning the relationship between religion, upon whose unconscious significance these superstitions throw light, and the burden of guilt inherited by everyone "from the deepest stirrings of mental life, the primordial conflict over incest."As President of the International Psychoanalytical Association and author of numerous widely-read books and articles, he is one of the world's leading authorities on psychiatry and related studies.

Almost fifty years since the anthology's first appearance, it is still the only such one ever attempted. By "pure poetry" Moore meant lasting objects of verbal beauty and imagination that serve no purpose other than poetic enjoyment. Thus this delightful book of selections from both familiar and surprising sources-among others, Ben Jonson, Blake, Tennyson, Poe Walter Savage Landor, and Swinburne.

In Problems of Human Pleasure and Behavior he addresses himself to a variety of subjects of interest to both the layman and the practicing clinical psychologist or psychiatrist: among others, sex and society, masturbation, discipline, menstruation, punishment, aging, and parapsychology. His famous essay, "The Doctor, His Patient, and the Illness," is here along with important accounts of Pavlov, Sandor Ferenczi, the Marquis de Sade, and Geza Roheim.

This book is a definitive general selection from all his works, including Appeal to the Young, Law and Authority, The Wage System, and Anarchism. The major works represented include Memoirs of a Revolutionist; Mutual Aid; The Great French Revolution; and Fields, Factories, and Workshops.

Ford's accounts of his literary collaboration with Joseph Conrad, of Stephen Crane's last years in England, and of Henry James at home in Rye are fascinating. A most valuable, long out of print book by the author of The Good Soldier, No More Parades, A Man Could Stand Up, and Last Post.

One of the pioneers of Gestalt psychology, Wolfgang Köhler (1887-1967) broke new ground in numerous areas of human thought. This collection of writings spans Köhler's brilliant and productive career, beginning with his earliest formulations of Gestalt theory through to his last scientific paper--a perceptive overview of the significant advances of Gestalt psychology. Many of these essays have never before been published in English. Together they illustrate the diversified, highly innovative contributions of this great psychologist. But they go beyond that to clarify problems in psychology, philosophy, natural science, biology, and anthropology through the Gestalt approach.

The Art of the Moving Picture is astonishing, as a work of analysis and vision. Over fifty years ago Lindsay saw the hunger that still obsesses the film enthusiast. Sculpture-in-motion, painting-in-motion, architecture-in-motion are nuggets out of which he refines subtle perceptions.Lindsay sees, in 1915, the revolution in human perception involved in the very existence of film. There is a clear prediction of McLuhan in "Edison is the new Gutenberg. He has invented the new printing." Lindsay sees, in 1915, the quintessence of the auteur theory of film criticism, formulated some forty years later: "An artistic photoplay . . . is not a factory-made staple article, but the product of the creative force of one soul, the flowering of a spirit that has the habit of perpetually renewing itself."This book is a considerable marvel. Lindsay had a clear sense that a profound change was taking place, not only in cultural history but in all human histories-the external and also the most secret. And, poet and evangelist that he was, he saw some fundamental ways to understand and use the change. Francis Hackett concluded his review in 1915: "He has initiated photoplay criticism. That is a big thing to have done, and he has done it, to use his own style, with Action, Intimacy, and Friendliness, and Splendor."