A Muse And A Maze

With his characteristic genius for finding connections between writing and the stuff of our lives, Peter Turchi ventures into new and even more surprising territory. In A Muse and a Maze, Turchi draws out the similarities between writing and puzzle-making and its flip-side, puzzle-solving. As he teases out how mystery lies at the heart of all storytelling, he uncovers the magic—the creation of credible illusion—that writers share with the likes of Houdini and master magicians. In Turchi’s associative narrative, we learn about the history of puzzles, their obsessive quality, and that Benjamin Franklin was a devotee of an ancient precursor of sudoku called Magic Squares. Applying this rich backdrop to the requirements of writing, Turchi reveals as much about the human psyche as he does about the literary imagination and the creative process.

10th Muse Volume One

Who is the Muse? Why do we need Her? How do we tap into that shining current of inspiration and create something never before seen, something beautiful and terrible, fantastical and infinitely real. The Muse is as vital to our lives today as She was in ancient times. She changes as we change and Her Arts are continually in flux, Arts that we simply cannot live without...or that we wouldn't want to. Among other things, they are tools to make and re-make our world even as we work with Fate to weave the web of life and death, of creation and destruction. Through four faces, four masks of the Muse, this book explores different aspects of inspiration, creativity, and magick. Aphrodite, Cerridwen, Ariadne, and the Lady of the Lake await--each to teach us of the Arts and what we are capable of at our very best. By the poetry, prayer, invocation, and ritual contained within we can come to know the Muse and so know ourselves and the gifts we all have within us that demand recognition and expression. The path of the Muse may not always be an easy or a safe one, but anything worth having is worth paying the price for. Who is the Muse? Who are we? This book is a journey, one that we must dare to take and dare to take hold of what is revealed.. As we must return to the well of memory, the depths of the ocean, and the currents below the earth, there to claim what was ours all along.

Ancient and medieval labyrinths embody paradox, according to Penelope Reed Doob. Their structure allows a double perspective—the baffling, fragmented prospect confronting the maze-treader within, and the comprehensive vision available to those without. Mazes simultaneously assert order and chaos, artistry and confusion, articulated clarity and bewildering complexity, perfected pattern and hesitant process. In this handsomely illustrated book, Doob reconstructs from a variety of literary and visual sources the idea of the labyrinth from the classical period through the Middle Ages. Doob first examines several complementary traditions of the maze topos, showing how ancient historical and geographical writings generate metaphors in which the labyrinth signifies admirable complexity, while poetic texts tend to suggest that the labyrinth is a sign of moral duplicity. She then describes two common models of the labyrinth and explores their formal implications: the unicursal model, with no false turnings, found almost universally in the visual arts; and the multicursal model, with blind alleys and dead ends, characteristic of literary texts. This paradigmatic clash between the labyrinths of art and of literature becomes a key to the metaphorical potential of the maze, as Doob's examination of a vast array of materials from the classical period through the Middle Ages suggests. She concludes with linked readings of four "labyrinths of words": Virgil's Aeneid, Boethius' Consolation of Philosophy, Dante's Divine Comedy, and Chaucer's House of Fame, each of which plays with and transforms received ideas of the labyrinth as well as reflecting and responding to aspects of the texts that influenced it. Doob not only provides fresh theoretical and historical perspectives on the labyrinth tradition, but also portrays a complex medieval aesthetic that helps us to approach structurally elaborate early works. Readers in such fields as Classical literature, Medieval Studies, Renaissance Studies, comparative literature, literary theory, art history, and intellectual history will welcome this wide-ranging and illuminating book.

Selections from Trinity University Press's best books of 2015.