The Bookworm's Alphabet Game.

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Frank Herbert

G. K. Chesterton
author of "The Man who was Thursday"

Holbein, Wolfgang. German fantasy author

I Am America (And So Can You!) by Stephen Colbert

Jennifer Government by Max Barry (awesome book!)

Kurt Vonnegut

Le Guin, Ursula Kroeber

Margaret Atwood: The Handmaid's Tale

Nathaniel Hawthorne

Oscar Wilde

Pausewang, Gudrun. Another German author (I am becoming a bit .de-centric here, I guess). Her best book was maybe The Last children of Schewenborn, which is a book about the aftermath of a nuclear war .

Q-TEXT: (Also Known As: The Q Document) The term for a hypothetical ur-text or source manuscript that served as the source for the synoptic gospels (i.e., Matthew, Mark, and Luke), but which did not influence John. The abbreviation "Q" comes from German Quelle (source).

Rowling, J.K.

That's interesting, richie.

SAGA: The word comes from the Old Norse term for a "saw" or a "saying." Sagas are Scandinavian and Icelandic prose narratives about famous historical heroes, notable families, or the exploits of kings and warriors. Until the 12th century, most sagas were folklore, and they passed from person to person by oral transmission. Thereafter, scribes wrote them down. The Icelandic sagas take place when Iceland was first settled by Vikings (930-1030 AD). Examples include Grettir's Saga, Njál's Saga, Egil's Saga, and the Saga of Eric the Red. The saga is marked by literary and social conventions including warriors who stop in the midst of combat to recite extemporaneous poetry, individuals wearing dark blue cloaks when they are about to kill someone, elaborate genealogies and "back-story" before the main plot, casual violence, and recitations of the names and features of magical swords and weapons. Later sagas show signs of being influenced by continental literature--particularly French tales of chivalry and knighthood. For modern readers, the appearance of these traits often seems to sit uneasily with the surrounding material. In common usage, the term saga has been erroneously applied to any exciting, long narrative. See cycle and epic.

Truman Capote

UNITIES, THREE (also known as the "three dramatic unities"): In the 1500s and 1600s, critics of drama expanded Aristotle's ideas in the Poetics to create the rule of the "three unities." A good play, according to this doctrine, must have three traits. The first is unity of action (realistic events following a single plotline and a limited number of characters encompassed by a sense of verisimilitude). The second is unity of time, meaning that the events should be limited to the two or three hours it takes to view the play, or at most to a single day of twelve or twenty-four hours compressed into those two or three hours. Skipping ahead in time over the course of several days or years was considered undesirable, because the audience was thought to be incapable of suspending disbelief regarding the passage of time. The third is unity of space, meaning the play must take place in a single setting or location. It is notable that Shakespeare often broke the three unities in his plays, which may explain why these rules later were never as dominant in England as they were in French and Italian Neoclassical drama. French playwrights like Moliére conformed to the model much more strictly in Love is the Doctor and Tartuffe.