LEADER 00778nam0-2200289---450- 001 990003315060403321 005 20070507170815.0 035 $a000331506 035 $aFED01000331506 035 $a(Aleph)000331506FED01 035 $a000331506 100 $a20030910d1963----km-y0itay50------ba 101 0 $aeng 102 $aGB 105 $ay-------001yy 200 1 $aBalthazar$ea novel$fby Lawrence Durrell 210 $aLondon$cFaber and Faber$d1963 215 $a214 p.$d19 cm 225 1 $aFaber paper covered editions 700 1$aDurrell,$bLawrence$f<1912-1990>$0160676 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990003315060403321 952 $a045 DUR$bLINGUE 1023$fDECLI 959 $aDECLI 996 $aBalthazar$971196 997 $aUNINA LEADER 00917nam a2200289 i 4500 001 991000805799707536 005 20020506124239.0 008 950601s1976 fr ||| | fre 035 $ab10132089-39ule_inst 035 $aLE00637146$9ExL 040 $aDip.to Fisica$bita 084 $a03 084 $a53.7 084 $a53.8 084 $a53.9.1 100 1 $aEudier, Michel$0461030 245 14$aLes alliages métalliques /$cMichel Eudier 250 $a2ème éd. 260 $aParis :$bPresses Universitaires de France,$c1976 300 $a125 p. ;$c18 cm. 490 0 $aQue sais-je? ;$v173 907 $a.b10132089$b17-02-17$c27-06-02 912 $a991000805799707536 945 $aLE006 53(023) QUE$g1$i2006000030717$lle006$o-$pE0.00$q-$rl$s- $t0$u0$v0$w0$x0$y.i10154954$z27-06-02 996 $aAlliages métalliques$9186063 997 $aUNISALENTO 998 $ale006$b01-01-95$cm$da $e-$ffre$gfr $h4$i1 LEADER 05267oam 22006374a 450 001 9910793910803321 005 20230731184944.0 010 $a1-68003-130-9 035 $a(CKB)4100000010465562 035 $a(MiAaPQ)EBC6119269 035 $a(OCoLC)973733613 035 $a(MdBmJHUP)muse83614 035 $a(EXLCZ)994100000010465562 100 $a20170110d2017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aLiterary Writing in the 21st Century$eConversations /$fAnis Shivani 205 $aFirst edition. 210 1$aHuntsville, Texas :$cTexas Review Press,$d[2017] 210 3$aBaltimore, Md. :$cProject MUSE,$d2021 210 4$d©[2017] 215 $a1 online resource (285 pages) 311 $a1-68003-129-5 327 $aSymposium: what is good or bad about southern writing today? -- How can indie bookstores succeed in the new economy? San Antonio's Twig Book Shop as a case study -- A fabled indie press reaches maturity: what can we learn from the experience of Coffee House Press? -- How does a successful university press work? Behind the scenes with Princeton University Press director Peter Dougherty -- Symposium: have online literary journals come of age? -- How can poetry become eclectic, global, and diverse? Interview with New York Quarterly editor Raymond Hammond -- The three best books of 2013 -- Symposium: what goes into the making of an outstanding book cover? -- A manifesto against authors writing for free. 327 $aOrhan Pamuk's original contribution to the theory of the novel: the naive and the sentimental novelist -- Symposium response: how do religious or spiritual beliefs affect my writing? -- What is the appeal of detective fiction? Dashiell Hammett's The continental op as a test case -- Symposium: who is the most important contemporary poet? -- Creative writing finally gets the satire it deserves: interview with John McNally -- Thoughts for AWP week: the glut in creative writing is the reverse side of the drought in the humanities -- The writer as confidence man: the heart versus the mind in James Magnuson's wily novel of creative writing -- New rules for writers -- Symposium: how are America's little magazines coping with technological and economic change? -- How to put together a successful poetry anthology: Ryan G. van Cleave on the challenges of summing up contemporary Chicago -- What must indie presses do today to survive and thrive? Wings Press of San Antonio shows the way -- Paul Ruffin on the role of Texas Review Press in the southern literary scene. 327 $aThe ten best books of the last decade -- Symposium: how can reviewing be made relevant for the new generation? -- Favorite poems -- Symposium: what is the present state of American poetry? -- Have feminist poets kept up with the legacy of Sylvia Plath? A reassessment fifty years later -- White House poetry reading leaked! Billy Collins, Elizabeth Alexander, and the secret rejection letter -- Symposium: short stories vs. novels-which is the more rewarding form and why? -- Is there a short story renaissance in America? Interview with Harper Perennial editor Calvert Morgan -- The last good 9/11 novel: interview with Teddy Wayne -- Should writing try to humanize particular groups of people? -- Symposium: what is distinctive about Arab-American writing today? -- Cormac McCarthy's The road: doing apocalypse the Southern way -- Why Salman Rushdie so richly deserves the Nobel Prize in literature -- Symposium response: is American literature too insular? -- Symposium: who is the most important contemporary fiction writer? -- We are all neoliberals now: the new genre of plastic realism in contemporary American fiction -- The Pakistani novel of class comes of age: Mohsin Hamid's How to get filthy rich in rising Asia -- The millennial generation's literary escapism toward the end of empire: Dave Eggers's A hologram for the king. 606 $aLiterature publishing$2fast$3(OCoLC)fst01000111 606 $aContemporary, The, in literature$2fast$3(OCoLC)fst00876630 606 $aAuthors and publishers$2fast$3(OCoLC)fst00821733 606 $aAmerican literature$2fast$3(OCoLC)fst00807113 606 $aAuthors and publishers$zUnited States$xHistory$y21st century 606 $aLiterature publishing$zUnited States$xHistory$y21st century 606 $aContemporary, The, in literature 606 $aAmerican literature$y21st century$xHistory and criticism 607 $aUnited States$2fast 608 $aHistory. 608 $aCriticism, interpretation, etc. 615 7$aLiterature publishing. 615 7$aContemporary, The, in literature. 615 7$aAuthors and publishers. 615 7$aAmerican literature. 615 0$aAuthors and publishers$xHistory 615 0$aLiterature publishing$xHistory 615 0$aContemporary, The, in literature. 615 0$aAmerican literature$xHistory and criticism. 676 $a810.9006 700 $aShivani$b Anis$01498903 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910793910803321 996 $aLiterary Writing in the 21st Century$93724606 997 $aUNINA