Epstein Secrets

f we understand art as cognitive play with pattern. There, I focused on fiction. In its companion piece, Why Lyrics Last: Evolution, Cognition, and Shakespeare's Sonnets (April 2012), I focus on verse. Together these form the two main, often intertwined, strands of literature. I'd like to build on the diff

one else. How can I show the enormous difference between the love lyricism in his greatest romantic comedy and the love lyrics in his Sonnets? Poet Don Paterson, in his buoyant recent book on the Sonnets, assumes that they "have to be read as a narrative of the progress of love." I will suggest, on the contr

f we understand art as cognitive play with pattern. There, I focused on fiction. In its companion piece, Why Lyrics Last: Evolution, Cognition, and Shakespeare's Sonnets (April 2012), I focus on verse. Together these form the two main, often intertwined, strands of literature. I'd like to build on the diff

one else. How can I show the enormous difference between the love lyricism in his greatest romantic comedy and the love lyrics in his Sonnets? Poet Don Paterson, in his buoyant recent book on the Sonnets, assumes that they "have to be read as a narrative of the progress of love." I will suggest, on the cont

f we understand art as cognitive play with pattern. There, I focused on fiction. In its companion piece, Why Lyrics Last: Evolution, Cognition, and Shakespeare's Sonnets (April 2012), I focus on verse. Together these form the two main, often intertwined, strands of literature. I'd like to build on the diff

one else. How can I show the enormous difference between the love lyricism in his greatest romantic comedy and the love lyrics in his Sonnets? Poet Don Paterson, in his buoyant recent book on the Sonnets, assumes that they "have to be read as a narrative of the progress of love." I will suggest, on the cont

f we understand art as cognitive play with pattern. There, I focused on fiction. In its companion piece, Why Lyrics Last: Evolution, Cognition, and Shakespeare's Sonnets (April 2012), I focus on verse. Together these form the two main, often intertwined, strands of literature. I'd like to build on the diff

one else. How can I show the enormous difference between the love lyricism in his greatest romantic comedy and the love lyrics in his Sonnets? Poet Don Paterson, in his buoyant recent book on the Sonnets, assumes that they "have to be read as a narrative of the progress of love." I will suggest, on the contr

d art as cognitive play with pattern. There, I focused on fiction. In its companion piece, Why EFTA00417490 Lyrics Last: Evolution, Cognition, and Shakespeare's Sonnets (April 2012), I focus on verse. Together these form the two main, often intertwined, strands of literature. I'd like to build on the diff

one else. How can I show the enormous difference between the love lyricism in his greatest romantic comedy and the love lyrics in his Sonnets? Poet Don Paterson, in his buoyant recent book on the Sonnets, assumes that they "have to be read as a narrative of the progress of love." I will suggest, on the contr

if we understand art as =ognitive play with pattern. There, I focused on fiction. In its =ompanion piece, Why Lyrics Last: Evolution, Cognition, and Shakespeare's Sonnets (April 2012), I focus on verse. =ogether these form the two main, often intertwined, strands of =iterature. I'd like to build on the diff

yone else. How can I show the enormous difference =etween the love lyricism in his greatest romantic comedy and the love =yrics in his Sonnets? Poet Don Paterson, in his buoyant recent book on the Sonnets, assumes that they "have to be read as a narrative of the progress of =ove." I will suggest, on the contr

f we understand art as cognitive play with pattern. There, I focused on fiction. In its companion piece, Why Lyrics Last: Evolution, Cognition, and Shakespeare's Sonnets (April 2012), I focus on verse. Together these form the two main, often intertwined, strands of literature. I'd like to build on the diff

one else. How can I show the enormous difference between the love lyricism in his greatest romantic comedy and the love lyrics in his Sonnets? Poet Don Paterson, in his buoyant recent book on the Sonnets, assumes that they "have to be read as a narrative of the progress of love." I will suggest, on the contr

rom 102. all available to watch on our website. Clive James, Don Paterson, Andrew Motion and Wendy Cope read their own works and poems by Tennyson, Shakespeare, Louis MacNeice and Edward Thomas at our poetry evening. American atheist Sam Harris enthrals a sell-out audience at Kensington Town Hall with his

philanthropy and blood diamonds. Watch three of our recent live events Latest events from 102. all available to watch on our website. Clive James, Don Paterson, Andrew Motion and Wendy Cope read their own works and poems by Tennyson, Shakespeare, Louis MacNeice and Edward Thomas at our poetry evening. Amer