The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Using the innovative concept of slow violence to describe these threats, Rob Nixon focuses on the inattention we have paid to the attritional lethality of many environmental crises, in contrast with the sensational, spectacle-driven messaging that impels public activism today. Slow violence, because it is so readily ignored by a hard-charging capitalism, exacerbates the vulnerability of ecosystems and of people who are poor, disempowered, and often involuntarily displaced, while fueling social conflicts that arise from desperation as life-sustaining conditions erode.In a book of extraordinary scope, Nixon examines a cluster of writer-activists affiliated with the environmentalism of the poor in the global South. By approaching environmental justice literature from this transnational perspective, he exposes the limitations of the national and local frames that dominate environmental writing. And by skillfully illuminating the strategies these writer-activists deploy to give dramatic visibility to environmental emergencies, Nixon invites his readers to engage with some of the most pressing challenges of our time.

    The Hall of Uselessness forms the most complete collection yet of Leys’ fascinating essays, from Quixotism to China, from the sea to literature.Leys feuds with Christopher Hitchens, ponders the popularity of Victor Hugo and analyses the posthumous publication of Nabokov’s unfinished novel. He offers valuable insights into Mao’s Cultural Revolution and the Khmer Rouge, and discusses Orwell, Waugh and Confucius. He considers the intertwined nature of Chinese art, culture and history alongside the joys and difficulties of literary translation. The Hall of Uselessness is an illuminating compendium from a brilliant and highly acclaimed writer – a long-time resident of Australia who is truly a global citizen.

    Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Novels by Anne Rice.

     In Believing Is Seeing Academy Award-winning director Errol Morris turns his eye to the nature of truth in photography. In his inimitable style, Morris untangles the mysteries behind an eclectic range of documentary photographs, from the ambrotype of three children found clasped in the hands of an unknown soldier at Gettysburg to the indelible portraits of the WPA photography project. Each essay in the book presents the reader with a conundrum and investigates the relationship between photographs and the real world they supposedly record. During the Crimean War, Roger Fenton took two nearly identical photographs of the Valley of the Shadow of Death-one of a road covered with cannonballs, the other of the same road without cannonballs. Susan Sontag later claimed that Fenton posed the first photograph, prompting Morris to return to Crimea to investigate. Can we recover the truth behind Fenton's intentions in a photograph taken 150 years ago? In the midst of the Great Depression and one of the worst droughts on record, FDR's Farm Service Administration sent several photographers, including Arthur Rothstein, Dorothea Lange, and Walker Evans, to document rural poverty. When Rothstein was discovered to have moved the cow skull in his now-iconic photograph, fiscal conservatives-furious over taxpayer money funding an artistic project-claimed the photographs were liberal propaganda. What is the difference between journalistic evidence, fine art, and staged propaganda? During the Israeli-Lebanese war in 2006, no fewer than four different photojournalists took photographs in Beirut of toys lying in the rubble of bombings, provoking accusations of posing and anti-Israeli bias at the news organizations. Why were there so many similar photographs? And were the accusers objecting to the photos themselves or to the conclusions readers drew from them? With his keen sense of irony, skepticism, and humor, Morris reveals in these and many other investigations how photographs can obscure as much as they reveal and how what we see is often determined by our beliefs. Part detective story, part philosophical meditation, Believing Is Seeing is a highly original exploration of photography and perception from one of America's most provocative observers.

    Kael called movies "the most total and encompassing art form we have," and she made her reviews a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. To read The Age of Movies, the first new selection in more than a generation, is to be swept up into an endlessly revealing and entertaining dialogue with Kael at her witty, exhilarating, and opinionated best. Her ability to evoke the essence of a great artist-an Orson Welles or a Robert Altman-or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here in this career spanning collection are her appraisals of the films that defined an era-among them Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville-along with many others, some awaiting rediscovery, all providing the occasion for masterpieces of observation and insight, alive on every page.

    Today's artists, illustrators, and designers are increasingly drawn to this artistic technique by the challenges of seamlessly melding traditional craftsmanship with skilled computer montage. They are not only composing a wide variety of visual elements, but are also deliberately omitting, deleting, and destroying them. This book is an inspiring collection of these unique examples of contemporary collage.

    Poet Laureate’s Pulitzer Prize and National Book Award-winning poetry collection, Time and Materials, as well as his earlier book of essays, the NBCC Award-winner Twentieth Century Pleasures. Haas brilliantly discourses on many of his favorite topics—on writers ranging from Jack London to Wallace Stevens to Allen Ginsberg to Cormac McCarthy; on California; and on the art of photography in several memorable pieces—in What Light Can Do, a remarkable literary treasure that might best be described as “luminous.”

    It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University'I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider's book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of ManchesterPerforming Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears.Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic� and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original."

    Magic is not simply a matter of the occult arts, but a whole way of thinking, of dreaming the impossible. As such it has tremendous force in opening the mind to new realms of achievement: imagination precedes the fact. It used to be associated with wisdom, understanding the powers of nature, and with technical ingenuity that could let men do things they had never dreamed of before. The supreme fiction of this magical thinking is The Arabian Nights, with its flying carpets, hidden treasure and sudden revelations. Translated into French and English in the early days of the Enlightenment, this became a best-seller among intellectuals, when it was still thought of in the Arab world as a mere collection of folk tales. For thinkers of the West the book's strangeness opened visions of transformation: dreams of flight, speaking objects, virtual money, and the power of the word to bring about change. Its tales create a poetic image of the impossible, a parable of secret knowledge and power. Above all they have the fascination of the strange -- the belief that true knowledge lies elsewhere, in a mysterious realm of wonder.As part of her exploration into the prophetic enchantments of the Nights, Marina Warner retells some of the most wonderful and lesser known stories. She explores the figure of the dark magician or magus, from Solomon to the wicked uncle in Aladdin; the complex vitality of the jinn, or genies; animal metamorphoses and flying carpets. Her narrative reveals that magical thinking, as conveyed by these stories, governs many aspects of experience, even now. In this respect, the east and west have been in fruitful dialogue. Writers and artists in every medium have found themselves by adopting Oriental disguise.With startling originality and impeccable research, this ground-breaking book shows how magic, in the deepest sense, helped to create the modern world, and how profoundly it is still inscribed in the way we think today.

    Each issue addresses some of the most passionate political and cultural controversies of the day, and reviews the most engrossing new books and the ideas that illuminate them.

    1953) has a reputation for equal parts brilliance and eccentricity. Living hermit-like in the same Midlands town for his entire life, he supposedly refuses contact with the outside world while creating his strange, dense comics, fiction, and performance art. While Moore did declare himself a wizard on his fortieth birthday and claims to have communed with extradimensional beings, reticence and seclusion have never been among his eccentricities. On the contrary, for long stretches of his career Moore seemed to be willing to chat with all comers: fanzines, industry magazines, other artists, newspapers, magazines, and personal websites. Well over one hundred interviews in the past thirty years serve as testimony to Moore's willingness to be engaged in productive conversation. Alan Moore: Conversations includes ten substantial interviews, beginning with Moore's first published conversation, conducted by V for Vendetta cocreator David Lloyd in 1981. The remainder cover nearly all of his major works, including Watchmen, V for Vendetta, Swamp Thing, Marvelman, The League of Extraordinary Gentlemen, Promethea, From Hell, Lost Girls, and the unfinished Big Numbers. While Moore's personal life and fraught business relations are discussed occasionally, the interviews chosen are principally devoted to Moore's creative practices and techniques, along with his shifting social, political, and philosophical beliefs. As such, Alan Moore: Conversations should add to any reader's enjoyment and understanding of Moore's work.

    If you love movies—and the writers who engage them—and just happen to have followed two of the highest circulating daily papers in the country, then you probably recognize the name of the intellectually dazzling writer who has been penning pieces on American and foreign films for over thirty years. And if you called the City of the Big Shoulders home in the 1970s or 1980s and relied on those trenchant, incisive reviews from the Chicago Reader and the Chicago Tribune to guide your moviegoing delight, then you know Dave Kehr. When Movies Mattered presents a wide-ranging and illuminating selection of Kehr’s criticism from the Reader—most of which is reprinted here for the first time—including insightful discussions of film history and his controversial Top Ten lists. Long heralded by his peers for both his deep knowledge and incisive style, Kehr developed his approach to writing about film from the auteur criticism popular in the ’70s. Though Kehr’s criticism has never lost its intellectual edge, it’s still easily accessible to anyone who truly cares about movies. Never watered down and always razor sharp, it goes beyond wry observations to an acute examination of the particular stylistic qualities that define the work of individual directors and determine the meaning of individual films. From current releases to important revivals, from classical Hollywood to foreign fare, Kehr has kept us spellbound with his insightful critical commentaries. When Movies Mattered will secure his place among our very best writers about all things cinematic.

    From 1933 until her death in 1979, Bishop published the vast majority of her poems in the magazine's pages. During those forty years, hundreds of letters passed between Bishop and her editors, Charles Pearce, Katharine White, and Howard Moss. In these letters Bishop discussed the ideas and inspiration for her poems and shared news about her travels, while her editors offered support, commentary, and friendship. Their correspondence provides an unparalleled look into Bishop's writing process, the relationship between a poet and her editors, the internal workings of The New Yorker, and the process of publishing a poem, giving us a rare glimpse into the artistic development of one of the twentieth century's greatest poets.

    His Cairo Trilogy achieved the status of a world classic, and the Swedish Academy of Letters in awarding him the 1988 Nobel prize for literature noted that Mahfouz “through works rich in nuance—now clear-sightedly realistic, now evocatively ambiguous—has formed an Arabic narrative art that applies to all mankind.”Here Denys Johnson-Davies, described by Edward Said as “the leading Arabic–English translator of our time,” makes an essential selection of short stories and extracts from novels and other writings, to present a cross-section through time of the very best of the work of Egypt’s Nobel literature laureate.

    A compelling take on Pop art from esteemed critic Hal FosterWho branded painting in the Pop age more brazenly than Richard Hamilton, Roy Lichtenstein, Andy Warhol, Gerhard Richter, and Ed Ruscha? And who probed the Pop revolution in image and identity more intensely than they? In The First Pop Age, leading critic and historian Hal Foster presents an exciting new interpretation of Pop art through the work of these Pop Five.Beautifully illustrated in color throughout, the book reveals how these seminal artists hold on to old forms of art while drawing on new subjects of media; how they strike an ambiguous attitude toward both high art and mass culture; and how they suggest that a heightened confusion between images and people is definitive of Pop culture at large.As The First Pop Age looks back to the early years of Pop art, it also raises important questions about the present: What has changed in the look of screened and scanned images today? Is our media environment qualitatively different from that described by Warhol and company? Have we moved beyond the Pop age, or do we live in its aftermath?A masterful account of one of the most important periods of twentieth-century art, this is a book that also sheds new light on our complex relationship to images today.

    The study reminds us, first, that even among the radicalized young poets and theorists who associated themselves with the Black Arts Movement that began in the mid-1960s, the contours of black aesthetics were deeply contested and, second, that debates about the relationship between aesthetics and politics for African American artists continue into the twenty-first century. Shockley argues that a rigid notion of black aesthetics commonly circulates that is little more than a caricature of the concept. She sees the Black Aesthetic as influencing not only African American poets and their poetic production, but also, through its shaping of criteria and values, the reception of their work. Taking as its starting point the young BAM artists’ and activists’ insistence upon the interconnectedness of culture and politics, this study delineates how African American poets—in particular, Gwendolyn Brooks, Sonia Sanchez, Harryette Mullen, Anne Spencer, Ed Roberson, and Will Alexander—generate formally innovative responses to their various historical and cultural contexts.   Out of her readings, Shockley eloquently builds a case for redefining black aesthetics descriptively, to account for nearly a century of efforts by African American poets and critics to name and tackle issues of racial identity and self-determination. In the process, she resituates innovative poetry that has been dismissed, marginalized, or misread because its experiments were not “recognizably black”—or, in relation to the avant-garde tradition, because they were.

    Each of the musicians who performed with Davis--saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer TonyWilliams--went on to a successful career as a top player. The studio recordings released by this group made profound contributions to improvisational strategies, jazz composition, and mediation between mainstream and avant-garde jazz, yet most critical attention has focused instead on liveperformances or the socio-cultural context of the work. Keith Waters' The Studio Recordings of the Miles Davis Quintet, 1965-68 concentrates instead on the music itself, as written, performed, and recorded.Treating six different studio recordings in depth--ESP, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro--Waters has tracked down a host of references to and explications of Davis' work. His analysis takes into account contemporary reviews of the recordings, interviewswith the five musicians, and relevant larger-scale cultural studies of the era, as well as two previously unexplored sources: the studio outtakes and Wayne Shorter's Library of Congress composition deposits. Only recently made available, the outtakes throw the master takes into relief, revealinghow the musicians and producer organized and edited the material to craft a unified artistic statement for each of these albums. The author's research into the Shorter archives proves to be of even broader significance and interest, as Waters is able now to demonstrate the composer's originalconception of a given piece. Waters also points out errors in the notated versions of the canonical songs as they often appear in the main sources available to musicians and scholars. An indispensible resource, The Miles Davis Quintet Studio Recordings: 1965-1968 is suited for the jazz scholar aswell as for jazz musicians and aficionados of all levels.

    Viewing the Bible as "essentially, relentlessly story," Mobley provides an easy-to-understand seven-part thematic overview of the Bible that guides readers through the drama of the Hebrew Bible, highlighting the interconnectedness of biblical stories. Each story is a variation on a single theme -- the dynamic interplay between order and chaos. Intriguing Ancient Near Eastern myths, personal anecdotes, and popular cultural references from movies, musical theater, and writers ranging from Dr. Seuss to William Blake pepper the book throughout. Arresting chapter and section titles such as "It's Love That Makes the World Go 'Round" and "Lord Bezek's Big Toes" capture the imagination, and Mobley's own lyrical, energetic writing style -- exercised on vibrant biblical material -- propels the reader forward. Readers will find his enthusiasm contagious!

    Moreover, with its emphasis on soldiers returning from war with post-traumatic stress syndrome, facing an uncertain economic climate, and strained domestic lives, the film speaks with emotional power directly to contemporary issues, including the devastating injuries and insecurites faced by soldiers returning home from combat in Afghanistan and Iraq today. Among the topics discussed are American neorealism, aesthetics, war and homecoming, and more.

    Politics. Literary Criticism THE MODERN PREDICAMENT is George Scialabba's second essay collection, following his acclaimed WHAT ARE INTELLECTUALS GOOD FOR? (Pressed Wafer, 2009). In 23 compact, lucid essays ranging across philosophy (Kierkegaard, Nietzsche), literature (D. H. Lawrence, T. S. Eliot), history (Michael Foucault, Christopher Lasch) and politics (Michael Harrington), Scialabba poses a number of searching questions, directly and eloquently, continually returning to one: Is moral progress possible, and at what price? In her introduction Barbara Ehrenreich writes, "As long as we exist as a species, we'll be debating what constitutes morality and virtue, and we could hardly have a better guide than George Scialabba." James Woods hails THE MODERN PREDICAMENT as a stimulating encounter with "one of America's best all-round intellects."

    This inventory of lacks becomes an incantation: if only for an instant, it transmits a presence to these "units" that had previously been lost to the history of human creativity and thought.- A boarder for two years following a national funeral, Mirabeau is removed from the Pantheon and transferred to the cemetery of Clamart when his pornographic novels are discovered - A photograph taken by Hessling on Christmas night, 1943, of a young woman nailed alive to the village gate of Novimgorod; Hessling asks his friend Wolfgang Borchert to develop the film, look at the photograph, and destroy it - The Beautiful Gardener, a picture by Max Ernst, burned by the Nazis -- from "The Missing PiecesThe Missing Pieces" is an incantatory text, a catalog of what has been lost over time and what in some cases never existed. Through a lengthy chain of brief, laconic citations, Henri Lefebvre evokes the history of what is no more and what never was: the artworks, films, screenplays, negatives, poems, symphonies, buildings, letters, concepts, and lives that cannot be seen, heard, read, inhabited, or known about. It is a literary vanitas of sorts, but one that confers an almost mythical quality on the enigmatic creations it recounts -- rather than reminding us of the death that inhabits everything humans create.Lefebvre's list includes Marcel Duchamp's (accdidentally destroyed) film of Man Ray shaving off the Baroness Elsa von Freytag-Loringhoven's pubic hair; the page written by Balzac on his deathbed (lost); "Spinoza's Treatise on the Rainbow" (thrown into a fire); the final seven meters of Kerouac's original typescript for "On the Road" (eaten by a dog); the chalk drawings of Francis Picabia (erased before an audience); and the one moment in Andre Malraux's life in which he exclaimed "I believe, for a minute, I was thinking nothing." "The Missing Pieces" offers a treasure trove of cultural and artistic detail and will entertain even those readers not enamored of the void."

    Touching on the works of Emerson, Thoreau, Proust, and Plato, among others, Beachy-Quick outlines the problem of duality in modern thought—the separation of the mind and body, word and referent, intelligence and mystery, human and natural—and makes the case for a fuller kind of nature poetry, one that strives to overcome this false separation, and to celebrate the notion that “wonder is the fact that the world has never ceased to be real.”

    Yet a formally educated man like Ben Jonson was unable to make these ornaments come to life in his two classical Roman plays. Garry Wills, focusing his attention on Julius Caesar, here demonstrates how Shakespeare so wonderfully made these ancient devices vivid, giving his characters their own personal styles of Roman speech.In four chapters, devoted to four of the play’s main characters, Wills shows how Caesar, Brutus, Antony, and Cassius each has his own take on the rhetorical ornaments that Elizabethans learned in school. Shakespeare also makes Rome present and animate by casting his troupe of experienced players to make their strengths shine through the historical facts that Plutarch supplied him with. The result is that the Rome English-speaking people carry about in their minds is the Rome that Shakespeare created for them. And that is even true, Wills affirms, for today’s classical scholars with access to the original Roman sources.

    Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Novels by John Steinbeck.

    Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Novels by Robert Ludlum.

    In Passing Strange, Ayanna Thompson explores the myriad ways U.S. culture draws on the works and the mythology of the Bard to redefine theboundaries of the color line.Drawing on an extensive--frequently unconventional--range of examples, Thompson examines the contact zones between constructions of Shakespeare and constructions of race. Among the questions she addresses are: Do Shakespeare's plays need to be edited, appropriated, updated, or rewritten to affirmracial equality and retain relevance? Can discussions of Shakespeare's universalism tell us anything beneficial about race? What advantages, if any, can a knowledge of Shakespeare provide to disadvantaged people of color, including those in prison? Do the answers to these questions impact ourunderstandings of authorship, authority, and authenticity? In investigating this under-explored territory, Passing Strange examines a wide variety of contemporary texts, including films, novels, theatrical productions, YouTube videos, performances, and arts education programs.Scholars, teachers, and performers will find a wealth of insights into the staging and performance of familiar plays, but they will also encounter new ways of viewing Shakespeare and American racial identity, enriching their understanding of each.

    

    Feminist Studies. Poetics. A MEGAPHONE collects a number of enactments that Juliana Spahr and Stephanie Young did between the years of 2005-2007. In these enactments, they attempted to think with the playful dogmatism of a feminist tradition that they call "crotchless pants and a machine gun" (obviously referencing Valie Export) in order to locate what might still be useful today about the somewhat beleaguered "second wave" feminist traditions. To that end, Spahr and Young lectured in Oulipian slenderized baby talk about figures such as Carolee Schneemann and Marina Abramovic; they counted the numbers of women and men and tansgendered people in various poetry anthologies; and they invited writers from outside the US to talk about being a writer where they live (over seventy-five writers from Puerto Rico to Morocco to Croatia to South Africa to Syria to Micronesia to Korea responded). Also included in A MEGAPHONE are discussions of that always contested relationship between feminism and "experimental" poetry by Julian T. Brolaski, E. Tracy Grinnell, Paul Foster Johnson, Christian Peet, Barbara Jane Reyes, Dale Smith, and A. E. Stallings. The book ends with a (soma)tic writing exercise from CAConrad, one designed to encourage readers and writers to create open, yet still meaningful, feminist alliances.

    Pat's mother, who stood by her through her darkest years as a drug addict, was a small-town icon as a composer, pianist, organist, and musical director. She is suddenly unable to be the accomplished, independent person she once was. Now Pat has two goals: to help her daughter avoid the mistakes that derailed her own life, and to see her mother's masterpiece, "An American Requiem," find a new life and a new audience in her mother's lifetime. Along the way, Pat rediscovers her own strength, humor, and rebelliousness at the most unlikely moments.Pat MacEnulty is the author of four novels, including Sweet Fire, and a collection of short stories. She is also a teacher, workshop leader, writing coach, and freelance editor. She lives in Charlotte, North Carolina.

    In this astute book, Denys Turner offers a new interpretation of Julian and the significance of her work. Turner argues that this fourteenth-century thinker's sophisticated approach to theological questions places her legitimately within the pantheon of other great medieval theologians, including Thomas Aquinas, Bernard of Clairvaux, and Bonaventure.Julian wrote but one work in two versions, a Short Text recording the series of visions of Jesus Christ she experienced while suffering a near-fatal illness, and a much expanded Long Text exploring the theological meaning of the "showings" some twenty years later. Turner addresses the apparent conflict between the two sources of Julian's theology: on the one hand, her personal revelation of God's omnipotent love, and on the other, the Church's teachings on and her own witnessing of evil in the world that deserves punishment, even eternal punishment. Offering a fresh and elegant account of Julian's response to this conflict—one that reveals its nuances, systematic character, and originality—this book marks a new stage in the century-long rediscovery of one of the English language's greatest theological thinkers.

    In that extraordinary body of work, Brat Pack remains a landmark, and Teen Angels & New Mutants is the first book-length, in-depth study of a creator and graphic novel worthy of the autopsy. En route, Teen Angels offers a crash-course on teen pop culture and superhero sidekick history, fresh analysis of Dr. Fredric Wertham's seminal books, ponders real-world "new mutants" like Michael Jackson, The Olsen Twins, and Justin Bieber, and charts the 1980s comicbook explosion and 1990s implosion--and more.

    Martin A. Berger’s provocative and groundbreaking study shows how the very pictures credited with arousing white sympathy, and thereby paving the way for civil rights legislation, actually limited the scope of racial reform in the 1960s. Berger analyzes many of these famous images—dogs and fire hoses turned against peaceful black marchers in Birmingham, tear gas and clubs wielded against voting-rights marchers in Selma—and argues that because white sympathy was dependent on photographs of powerless blacks, these unforgettable pictures undermined efforts to enact—or even imagine—reforms that threatened to upend the racial balance of power.

    The ten essays in this collection offer reflections and insights, practical advice for craft matters, and provocative points of departure for those who read and write poetry. This series seeks to further the discussion of poetics in America and beyond, and to showcase the ideas of writers and critics with varied sensibilities. The first volume in the Akron Series in Contemporary Poetics, The Monkey & the Wrench explores the debate over hybrid aesthetics, confronts the topic of contemporary rhyme, and ventures into the realm of persona and the mystical poem. This volume is ideal for both the classroom and the nightstand, for the poet's desk and the critic's bookshelf. Series editors Mary Biddinger and John Gallaher have assembled an eclectic collection that welcomes the reader into the conversation, while documenting the seismic activity in today's poetry world.

    Novels of youth by Oscar Wilde, Olive Schreiner, Rudyard Kipling, Joseph Conrad, H.G. Wells, James Joyce, Virginia Woolf, Jean Rhys, and Elizabeth Bowen disrupt the inherited conventions of the bildungsroman in order to criticize bourgeois values and to reinvent the biographical plot, but also to explore the contradictions inherent in mainstream developmental discourses of self, nation, and empire. The intertwined tropes offrozen youth and uneven development, as motifs of failed progress, play a crucial role in the emergence of dilatory modernist style and in the reimagination of colonial space at the fin-de-si�cle. The genre-bending logic of uneven development - never wholly absent from the coming-of-age novel --takes on a new and more intense form in modernism as it fixes its broken allegory to the problem of colonial development. In novels of unseasonable youth, the nineteenth-century idea of world progress comes up against stubborn signs of underdevelopment and uneven development, just at the same momentthat post-Darwinian racial sciences and quasi-Freudian sexological discourses lend greater influence to the idea that certain forms of human difference cannot be mitigated by civilizing or developmental forces. In this historical context, the temporal meaning and social vocation of the bildungsromanundergo a comprehensive shift, as the history of the novel indexes the gradual displacement of historical-progressive thinking by anthropological-structural thinking in the Age of Empire.

    The guide contains information on the International Phonetic Alphabet, iambic pentameter, and the Great Vowel Shift. It also has word lists and transcription exercises. Refined during four decades of Beidler's own teaching, this booklet is now widely available for the first time.

    Here, in several extended book reviews, he celebrates the creative spirit of Henry Miller, Charles Bukowski, and Irving Stettner while taking potshots at the academy and commercial publishing. Three essays on contemporary poetry and an article on B. Traven round out the volume. Passionate about literature, Joyce frequently goes out of his way to antagonize a literary establishment that places profit and political correctness before artistic vision. His blunt, sometimes crude language may put off some readers, but Joyce will not put anyone to sleep. The health of literary criticism in America today depends on voices like his.

    In China, that same document has caused officials to throw him in jail with an 11-year sentence that is extraordinary even by Chinese standards, while taking drastic measures to silence any mention of the text. But what is Charter 08 and why has it made Liu such a threat to the Chinese government? Perry Link, a Professor of Chinese literature who has worked closely with the Chinese dissidents who wrote the charter with Liu, for the first time brings together a full English translation of this powerful document and an incisive new profile of Liu himself with a series of short essays chronicling his arrest, show-trial, and imprisonment and the crackdown on the Charter 08 movement since its courageous beginnings two years ago. In an epilogue, Link draws on leaked government documents to reveal Beijing's nervous response to the Arab uprisings in the spring of 2011.

    The text provides an avenue through which to introduce and explore a rich assortment of philosophical themes and questions, and represents Schopenhauer's widely discussed attempt to find personal meaning amidst a violent, frustrating and seemingly godless world. Since it was published in 1818, the text has influenced generations of musicians, artists, writers and historians, as well as philosophers.This Reader's Guide presents a concise and accessible introduction to the text, offering invaluable guidance on:- Philosophical context- Key themes- Reading the text- Reception and influence- Further reading

    In today's surplus world of communication overload and cultural clutter, writer and cultural critic Masha Tupitsyn turns to the media matrix of Twitter to explore the changing ways that we construct and consume narrative.

    This book discusses one of his most influential concepts: governmentality. Reconstructing its emergence in Foucault's analytics of power, the book explores the theoretical strengths the concept of governmentality offers for political analysis and critique. It highlights the intimate link between neoliberal rationalities and the problem of biopolitics including issues around genetic and reproductive technologies. This book is a useful introduction to Foucault's work on power and governmentality suitable for experts and students alike

    cultural imperialism in Depression-era stage and screen performances. A population treated as second-class citizens at home imagined themselves as empowered, modern U.S. citizens and transnational actors in plays, operas, ballets, and films. Many of these productions, such as the 1938 hits Haiti and The "Swing" Mikado recruited large casts of unknown performers, involving the black community not only as spectators but also as participants. Performances of exoticism, orientalism, and primitivism are inevitably linked to issues of embodiment, including how bodies signify blackness as a cultural, racial, and global category. Whether enacting U.S. imperialism in westerns, dramas, dances, songs, jokes, or comedy sketches, African Americans maintained a national identity that registered a diasporic empowerment and resistance on the global stage. Boldly addressing the contradictions in these performances, Batiste challenges the simplistic notion that the oppressed cannot identify with oppressive modes of power and enact themselves as empowered subjects. Darkening Mirrors adds nuance and depth to the history of African American subject formation and stage and screen performance.

    Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or playing with light through the use of reflective, translucent, or transparent materials, each of these artists created situations capable of stimulating heightened sensory awareness in the receptive viewer. Phenomenal: California Light, Space, Surface, companion book to the exhibition of the same name, explores and documents the unique traits of the phenomenologically engaged work produced in Southern California during those decades and traces its ongoing influence on current generations of international artists. Foreword by Hugh M. Davies Additional contributors: Michael Auping, Stephanie Hanor, Adrian Kohn, Dawna Schuld Artists: Peter Alexander, Larry Bell, Ron Cooper, Mary Corse, Robert Irwin, Craig Kauffman, John McCracken, Bruce Nauman, Eric Orr, Helen Pashgian, James Turrell, De Wain Valentine, Doug Wheeler

    Freud in Oz turns the tables, suggesting that psychoanalysts owe a significant and largely unacknowledged debt to books ostensibly written for children. In fact, Kenneth B. Kidd argues, children’s literature and psychoanalysis have influenced and interacted with each other since Freud published his first case studies.In Freud in Oz, Kidd shows how psychoanalysis developed in part through its engagement with children’s literature, which it used to articulate and dramatize its themes and methods, turning first to folklore and fairy tales, then to materials from psychoanalysis of children, and thence to children’s literary texts, especially such classic fantasies as Peter Pan and Alice’s Adventures in Wonderland. He traces how children’s literature, and critical response to it, aided the popularization of psychoanalytic theory. With increasing acceptance of psychoanalysis came two new genres of children’s literature—known today as picture books and young adult novels—that were frequently fashioned as psychological in their forms and functions.Freud in Oz offers a history of reigning theories in the study of children’s literature and psychoanalysis, providing fresh insights on a diversity of topics, including the view that Maurice Sendak and Bruno Bettelheim can be thought of as rivals, that Sendak’s makeover of monstrosity helped lead to the likes of the Muppets, and that “Poohology” is its own kind of literary criticism—serving up Winnie the Pooh as the poster bear for theorists of widely varying stripes.

    In new essays and influential previously published pieces, Latino scholars based in American studies, ethnic studies, history, performance studies, and sociology consider gay Latino scholarly and cultural work in relation to mainstream gay, lesbian, and queer academic discourses and the broader field of Chicano and Latino studies. They also critique cultural explanations of gay Latino sexual identity and behavior, examine artistic representations of queer Latinidad, and celebrate the place of dance in gay Latino culture. Designed to stimulate dialogue, the collection pairs each essay with a critical response by a prominent Latino/a or Chicana/o scholar. Terms such as gay, identity, queer, and visibility are contested throughout the volume; the significance of these debates is often brought to the fore in the commentaries. The essays in Gay Latino Studies complement and overlap with the groundbreaking work of lesbians of color and critical race theorists, as well as queer theorists and gay and lesbian studies scholars. Taken together, they offer much-needed insight into the lives and perspectives of gay, bisexual, and queer Latinos, and they renew attention to the politics of identity and coalition.Contributors. Tomás Almaguer, Luz Calvo, Lionel Cantú,, Daniel Contreras, Catriona Rueda Esquibel, Ramón García, Ramón A. Gutiérrez, Michael Hames-García, Lawrence La Fountain-Stokes, María Lugones, Ernesto J. Martínez, Paula M. L. Moya, José Esteban Muñoz, Frances Negrón-Muntaner, Ricardo L. Ortiz, Daniel Enrique Pérez, Ramón H. Rivera-Servera, Richard T. Rodríguez, David Román, Horacio N. Roque Ramírez, Antonio Viego

    Its wide-ranging plot covers nearly three decades from the 1893 World's Fair to the years just after World War I and follows hundreds of characters within its 1085 pages. The book s eleven essays by established luminaries and emerging voices in the field of Pynchon criticism, address a significant aspect of the novel's manifold interests. By focusing on three major thematic trajectories (the novel's narrative strategies; its commentary on science, belief, and faith; and its views on politics and economics), the contributors contend that Against the Day is not only a major addition to Pynchon's already impressive body of work, but also a defining moment in the emergence of twenty-first century American literature."

    Watson and reflect true historical events. Of course, the only problem is that the good doctor was frequently careless in keeping straight the dates and details from one story to the next, leaving the path open for scholars to explain the discrepancies and inconsistencies.As a result, numerous vexing questions have stimulated the speculations of distinguished scholars for more than a century, and many of the best of these appear in this volume of classic articles covering the years 1902–1959. It includes articles by such luminaries as Ronald Knox, A.A. Milne, Dorothy L. Sayers, Christopher Morley, Rex Stout, Anthony Boucher, Red Smith, and even Franklin D. Roosevelt. The sixty-six articles contained in this remarkable book are among the best examples of "the grand game" to be produced during the first six decades of the twentieth century.

    This book illuminates the worlds social, political, economic and artistic in which Dickens worked. Dickens's professional life encompassed work as a novelist, journalist, editor, public reader and passionate advocate of social reform. This volume offers a detailed treatment of Dickens in each of these roles, exploring the central features of Dickens's age, work and legacy, and uncovering sometimes surprising faces of the man and of the range of Dickens industries. Through 45 digestible short chapters written by a leading expert on each topic, a rounded picture emerges of Dickens's engagement with his time, the influence of his works and the ways he has been read, adapted and re-imagined from the nineteenth century to the present.

    This issue features cover art by Edie Fake, inside cover art by Eamon Espey; its guts include….A review of the cult horror film Slither by Daniel MoseleyA slicing-dicing deconstruction by Bonnie KasermanTwo comic vignettes by Ellen NielsenA Real Asshole — essay by Marc Baez Bernhard – Kinski – Theodore: Only a Madman Would Imitate Madness — essay by John BerndtFEH-MUH-NIST: A Consideration of Offense in Diane DiMassa’s Hothead Paisan: Homicidal Lesbian Terrorist — essay by Vicky LimReinventing the Grotesque: Wangechi Mutu’s Beautifully Mutating Women — essay by Joyce KuechlerCharlottesville’s Lady Arm Wrestlers: A Bawdy, Rowdy, Satirical, Political, Feminist, Community-Based Performance Art Movement — feature by Leeyanne MooreBarf Transitive: Bulimic Writing as Feminist Resistance — essay by Megan MilksYou Want to Make a Joke About That? A Brief History on the Development of My Lisp by Jim Joycea feature on artist Jimmy Joe Roche by John Bylandera feature on puppeteer Sean Samoheyl by Leeyanne Moorefiction by James Tadd Adcox, Jake Hostetter, and Leeyanne Mooreinterviews with musician/writer Sabrina Chap and artists Edie Fake and Pippi Zornozacomics, illustration and art by Noel Freibert, Carrie Fucile, Zach Hazard, Gerry Mak, Sarah Magida, Jason Miles, and Ed Choy Moormanand more!

    Her stories are often on the borderline of memoir, and vice versa. From her college days, she could find the most astonishing yet thoroughly apt metaphors to illuminate her ideas. This volume—edited by the poet, Pulitzer Prize–winning critic, and Bishop scholar Lloyd Schwartz—includes virtually all her published shorter prose pieces and a number of prose works not published until after her death. Here are her famous as well as her lesser-known stories, crucial memoirs, literary and travel essays, book reviews, and—for the first time—her original draft of Brazil, the Time/Life volume she repudiated in its published version, and the correspondence between Bishop and the poet Anne Stevenson, the author of the first book-length volume devoted to Bishop.

    1960) brings the auteurist sensibility of alternative comics and graphic novels to the popular genres-superhero, science fiction, and fantasy-that dominate the American and British comics industries. His comics range from bestsellers featuring the most universally recognized superhero franchises (All-Star Superman, New X-Men, Batman) to more independent, creator-owned work (The Invisibles, The Filth, We3) that defies any generic classification.In Grant Morrison: Combining the Worlds of Contemporary Comics, author Marc Singer examines how Morrison uses this fusion of styles to intervene in the major political, aesthetic, and intellectual challenges of our time. His comics blur the boundaries between fantasy and realism, mixing autobiographical representation and cultural critique with heroic adventure. They offer self-reflexive appraisals of their own genres while they experiment with the formal elements of comics. Perhaps most ambitiously, they challenge contemporary theories of language and meaning, seeking to develop new modes of expression grounded in comics' capacity for visual narrative and the fantasy genres' ability to make figurative meanings literal.

    . . is the Human Existence itself.” But why are imagination and creation—so vital for Blake—essential for becoming human? And what is imagination? What is creation? How do we create? Blake had answers for these questions, both in word and in deed, answers that serve as potent teachings for aspiring writers and accomplished ones alike. Eric G. Wilson’s My Business Is to Create emulates Blake, presenting the great figure’s theory of creativity as well as the practices it implies.      In both his life and his art, Blake provided a powerful example of creativity at any cost—in the face of misunderstanding, neglect, loneliness, poverty, even accusations of insanity. Just as Los cries out in Jerusalem: The Emanation of the Giant Albion, “I must Create a System, or be enslav'd by another Man's; / I will not Reason and Compare: my business is to Create,” generations of writers and artists as diverse as John Ruskin, William Butler Yeats, Allen Ginsberg, Philip K. Dick, songwriter Patti Smith, the avant-garde filmmaker Jim Jarmusch, and the underground comic-book artist R. Crumb have taken Blake’s creed as inspiration.      Unwilling to cede his vision, Blake did more than simply produce iconoclastic poems and paintings; he also cleared a path toward spiritual and ethical enlightenment. To fashion powerful art is to realize the God within and thus to feel connected with enduring vitality and abundant generosity. This is Blake’s everlasting gospel, distilled here in an artist’s handbook of interest to scholars, writing teachers, and those who have made writing their way of life. My Business Is to Create is indispensable for all serious artists who want to transform their lives into art and make their art more alive.

    This focus is not exclusive to the work of left-wing poets: the problem of capitalism's effect on individuals, communities, and cultures is central to a wide variety of poetry, across a range of political and aesthetic orientations. Indeed, Nealon asserts, capitalism is the material out of which poetry in English has been created over the last century.Much as poets of previous ages continually examined topics such as the deeds of King Arthur or the history of Troy, poets as diverse as Jack Spicer, John Ashbery, and Claudia Rankine have taken as their "matter" the dynamics and impact of capitalism--not least its tendency to generate economic and political turmoil. Nealon argues persuasively that poets' attention to the matter of capital has created a corresponding notion of poetry as a kind of textual matter, capable of dispersal, retrieval, and disguise in times of crisis. Offering fresh readings of canonical poets from W. H. Auden to Adrienne Rich, as well as interpretations of younger writers like Kevin Davies, The Matter of Capital reorients our understanding of the central poetic project of the last century.

    These activities might seem irresponsibly escapist, but history tells another story. Beginning in the late nineteenth century, when Sherlock Holmes became the world's first "virtual reality" character, readers began to colonize imaginary worlds, debating serious issues and viewing reality in provisional, "as if" terms rather than through essentialist, "just so" perspectives. From Lovecraft's Cthulhu Mythos and Tolkien's Middle-earth to the World of Warcraft and Second Life, As If provides a cultural history that reveals how we can remain enchanted but not deluded in an age where fantasy and reality increasingly intertwine.

    These essays illustrates Maxwell’s poetic philosophy, that the greatest verse arises from a harmony of mind and body, and that poetic forms originate in human necessities – breath, heartbeat, footstep, posture. He speaks of his inspirations, his models, and takes us inside the strange world of the Creative Writing Class, where four young hopefuls grapple with love, sex, cheap wine and hard work. With examples from canonical poets, this is a beautiful, accessible guide to the most ancient and sublime of the realms of literature.

    Globalization and Contemporary Art is the first anthology to consider the role and impact of art and artist in an increasingly borderless world. First major anthology of essays concerned with the impact of globalization on contemporary art Extensive bibliography and a full index designed to enable the reader to broaden knowledge of art and its relationship to globalization Unique analysis of the contemporary art market and its operation in a globalized economy

    It includes writing by an extraordinarily diverse range of contributors, from the Pulitzer-Prize-winning novelist Jhumpa Lahiri to acclaimed poet Dan Beachy-Quick, and from art historians such as Colin Eisler, Albert Boime, and Thomas M. Messer to composer George Crumb and actor John Turturro. Each essay in The Suspension of Time offers its unique perspective, but taken as a whole they develop a dialogue of collaboration that directly reflects The Fulbright Triptych’s inherent message of symphonic connectivity, and demonstrate the rich potential for collaboration between visual, literary, musical, and other arts.

    The name was purposefully an anagram of shit, in order to demonstrate their youthful and iconoclastic attitude. In many ways, Tish, and its editors, became the clear break from older Canadian poets and styles. At the heart of the magazine, and the “movement,” was Frank Davey. And it is Davey who has written this definitive history. Davey has organized the material as a memoir, starting from his own early days in Abbotsford, B.C., and gradually introducing the other poets, including George Bowering, Daphne Marlatt, and Fred Wah, despite the fact that Davey doesn’t meet them until they all arrive at UBC. Much of the theory of the Tish poets derives from the Black Mountain poets, an American movement that incorporated the writings of Charles Olson, Robert Creeley, and Robert Duncan — who suggested the name itself. The Black Mountain poets believed that writing should be locally based and should grow out of the author’s own breathing patterns. The more specific to a locale, the better. The poets are introduced as characters in a play, and when Fred Wah says, “Let’s start a magazine,” things happen. The first 19 issues became the calling card for a new type of poetry, but inevitably the writers began to go their own way. It is Davey’s commitment that holds the group together, despite their geographical separation. The Tish movement provided the impetus to create a new, more contemporary Canadian poetry. And here, Frank Davey reveals how it started, grew, and became a lasting force.

    The essays explore the emergence of "Hammer Horror" and the company's groundbreaking 1958 adaptation of Dracula; the work of popular authors such as Shirley Jackson and Robert Bloch, and the effect that 50s food advertisements had upon the poetry of Sylvia Plath; the place of special effects in the decade's science fiction films; and 1950s Anglo-American relations as refracted through the prism of the 1957 film Night of the Demon.

    Through close readings of Frederick Douglass, William Wells Brown, Frances Ellen Watkins Harper, and Walt Whitman(on aurality), and Herman Melville, William J. Wilson, and a host of genre painters (on visuality), the book reveals how the difficult tasks of representing African Americans-both enslaved and free-in imaginative expression was part of a larger dilemma concerning representative democracy itself.

    To a great extent this is down to the distinctive re-invention of the programme by its chief writer and executive producer, Russell T. Davies, and the group of writers - many, like him, long-term Who fans - he assembled. The Unsilent Library examines the storytelling style and techniques of the first five years of the New Doctor Who. Ten in-depth critical essays explore how its writers have updated a series with a history stretching back five decades to stand in the forefront of contemporary science fiction drama.With contributions by Richard Burley, Catherine Coker, Andrew Duncan and Sydney Duncan, Paul Hawkins, Antony Keen, Una McCormack, Leslie McMurtry, Clare Parody, James Rose and Graham Sleight, and a foreword by Doctor Who writer Robert Shearman.

    Ranging over works of poetry, fiction, painting, sculpture, and film, it argues thatmodernism's core aesthetic problem-the artwork's status as an object, and a subject's relation to it-poses fundamental questions of agency, freedom, and politics. With fresh accounts of works by canonical figures such as William Carlos Williams and Marcel Duchamp, and transformative readings ofless-studied writers such as William Gaddis and Amiri Baraka, Siraganian reinterprets the relationship between aesthetic autonomy and politics. Through attentive readings, the study reveals how political questions have always been modernism's critical work, even when writers such as Gertrude Steinand Wyndham Lewis boldly assert the art object's immunity from the world's interpretations. Reorienting our understanding of the period, Siraganian demonstrates that the freedom of the art object from the reader's meaning presented a way to imagine an individual's complicated liberty within thestate. Offering readers an original encounter with modernism, Modernism's Other Work will interest literary and art historians, literary theorists, critics, and scholars in cultural studies.

    Sweeping yet precise, moving from essential detail to bracing illustration, Steiner spans the entire history of philosophy in the West as it entwines with literature, finding that, as Sartre stated, in all philosophy there is “a hidden literary prose.”“The poetic genius of abstract thought,” Steiner believes, “is lit, is made audible. Argument, even analytic, has its drumbeat. It is made ode. What voices the closing movements of Hegel’s Phenomenology better than Edith Piaf’s non de non, a twofold negation which Hegel would have prized? This essay is an attempt to listen more closely.”

    For over three centuries, it served as the standard English Bible and has, as such, exerted unparalleled influence on English and American culture in nearly every sphere--including education, law, literature, government, art, science, and religion.The Legacy of the King James Bible honors the 400th anniversary of the KJB's publication by telling its story--a drama that starts with the pioneering work of William Tyndale and progresses through half a dozen other popular translations. Leland Ryken, an expert on the Bible as literature, explores the excellence of the King James Bible by examining its status as the climax of a century of English Bible translations, its impression on the subsequent history of Bible translation, its inherent literary excellence, and its overall impact on English and American literature and culture. The Legacy of the King James Bible will shed new light on the depth of the translation's merit and influence and offer insight as to what its role may be in the next 400 years.

    His contributions to the philosophy of language, mind, meaning and psychology - as well as to logic, mathematics and epistemology - permanently altered the philosophical landscape, and his Tractatus Logico Philosophicus and Philosophical Investigations continue to be studied in philosophy departments around in the world. In this superb introduction and overview of Wittgenstein's life and work, William Child discusses:Wittgenstein's early work, Tractatus Logico-Philosophicus, including his account of language and thought Wittgenstein's subsequent rejection of some of the central doctrines of the TractatusWittgenstein's later philosophy intentionality and rule-following philosophy of mind and psychology in Philosophical Investigationsknowledge and certainty, and Wittgenstein's final work philosophy of religion the legacy and influence of Wittgenstein's ideas in philosophy, and beyond.Including a chronology, glossary, and helpful conclusions to each chapter, Wittgenstein is essential reading for anyone coming to Wittgenstein's philosophy for the first time.

    During the twentieth century, however, there emerged another form of comedy--a comedy of doing rather than saying--that yielded prop-like conceptual objects and gestures of public theater. Termed "concrete comedy" by internationally known artist and writer David Robbins, its origins date from around 1915, with the work of Karl Valentin, a German comedian of stage and screen who also made comic objects, and Marcel Duchamp, who used the art context as a site as for comedy. "Concrete Comedy" discusses visual artists (Manzoni, Warhol, Cattelan, Kippenberger, among many others) alongside entertainers (Albert Brooks, Andy Kaufman, Robert Benchley, Jack Benny), musicians (The Ramones, The Replacements, Frank Zappa), couturiers (from Chanel to Viktor & Rolf), architects (SITE Architects) and dozens of other comic imaginations. It offers both an alternative to conventional comedy and an alternative reading of certain abiding strategies in recent art.

    Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Novels by Ray Bradbury.

    Rebelling against the notion that his work should relate to some European school of thought, Crane defiantly asserted his freedom to be himself, a true American writer. John T. Irwin, long a passionate and brilliant critic of Crane, gives readers the first major interpretation of the poet’s work in decades.Irwin aims to show that Hart Crane’s epic The Bridge is the best twentieth-century long poem in English. Irwin convincingly argues that, compared to other long poems of the century, The Bridge is the richest and most wide-ranging in its mythic and historical resonances, the most inventive in its combination of literary and visual structures, the most subtle and compelling in its psychological underpinnings. Irwin brings a wealth of new and varied scholarship to bear on his critical reading of the work—from art history to biography to classical literature to philosophy—revealing The Bridge to be the near-perfect synthesis of American myth and history that Crane intended.Irwin contends that the most successful entryway to Crane’s notoriously difficult shorter poems is through a close reading of The Bridge. Having admirably accomplished this, Irwin analyzes Crane’s poems in White Buildings and his last poem, "The Broken Tower," through the larger context of his epic, showing how Crane, in the best of these, worked out the structures and images that were fully developed in The Bridge.Thoughtful, deliberate, and extraordinarily learned, this is the most complete and careful reading of Crane’s poetry available. Hart Crane may have lived in Cleveland, Ohio, but, as Irwin masterfully shows, his poems stand among the greatest written in the English language.

    Known for their animation shorts that rely on puppetry, miniatures, and stop-motion techniques, their fiercely idiosyncratic films are fertile fields for Suzanne Buchan's engaging descriptions and provocative insights into the Quays' art-and into the art of independent puppet animation.Buchan's aesthetic investigation stems from extensive access to the Quay Brothers' artistic practices and work, which spans animation and live-action film, stage design and illustration. She also draws on a long acquaintance with them and on interviews with collaborators essential to their productions, as well as archival sources. Discussions of their films' literary origins, space, puppets, montage, and the often-overlooked world of sound and music in animation shed new light on the expressive world that the Quay Brothers generate out of their materials to create the poetic alchemy of their films.At once a biography of the Quays' artistic trajectory and a detailed examination of one of their best-known films, Street of Crocodiles, this book goes further and provides interdisciplinary methodologies and tools for the analysis of animation.

    Read it and you'll understand why those-in-the-know scoff at the piles of gold embossed big books piled up in bookstores and opt for the more engaging fare by authors with tricky-to-pronounce names and squiggly lines surrounding their vowels."--Ed NawotkaThe Three Percent Problem: Rants and Responses on Publishing, Translation, and the Future of Reading is a collection of occasional essays, a series of meditations on the book industry as it transitions to its electronic future, and a reader on modern publishing. Taken from Open Letter's weblog, Three Percent, The Three Percent Problem examines the publishing industry from a the perspective of a publisher who specializes in bringing international authors to a North American audience.With pieces on ebooks, selling literary books in an increasingly commercial world, and insider views on international book fairs, The Three Percent Problem stands alongside Andre Schiffrin's The Business of Books and Jason Epstein's Book Business as primers on the publishing industry.

    Now that period of Irish history has closed, this study uncovers how their writing captured that unique historical moment.By showing how Ní Dhuibhne's novels act as considered arguments against attempts to disavow the past, how McCann's protagonists come to terms with their history and how Enright's fiction explores connections and relationships with the female body, Susan Cahill's study pinpoints common concerns for contemporary Irish writers: the relationship between the body, memory and history, between generations, and between past and present.Cahill is able to raise wider questions about Irish culture by looking specifically at how writers engage with the body. In exploring the writers' concern with embodied histories, related questions concerning gender, race, and Irishness are brought to the fore. Such interrogations of corporeality alongside history are imperative, making this a significant contribution to ongoing debates of feminist theory in Irish Studies.

    This is the most comprehensive volume ever published on Wittgenstein: thirty-five leading scholars explore the whole range of his thought, offering critical engagement and original interpretation, and tracing his philosophical development. Topics discussed include logic and mathematics, language and mind, epistemology, philosophical methodology, religion, ethics, and aesthetics. Wittgenstein's relation to other founders of analytic philosophy such as Gottlob Frege, Bertrand Russell, and G. E. Moore is explored. This Handbook is the place to look for a full understanding of Wittgenstein's special importance to modern philosophy.

    Around 1700 a new commercial society was emerging that thought of its values as the product of exchanges between citizens. Conversation became increasingly important as a model and as a practice for how community could be created. A welter of publications, in periodical essays, in novels, and in poetry, enjoined the virtues of conversation. These publications were enthusiastically read and discussed in book clubs and literary societies that created their own conversable worlds. From some perspectives, the freedom of a distinctively English conversation allowed for the 'collision' of ideas and sentiments. For others, like Joseph Addison and David Hume, ease of 'flow' was the key issue, and politeness the means of establishing a via media. For Addison and Hume, the feminization of culture promised to make women the sovereigns of what Hume called 'the conversable world'. As the culture seemed to open up to a multitude of voices, anxieties appeared as to how far things should be allowed to go. The unruliness of the crowd threatened to disrupt the channels of communication. There was a parallel fear that mere feminized chatter might replace learning. This book examines the influence of these developments on the idea of literature from 1762 through to 1830. Part I examines the conversational paradigm established by figures like Addison and Hume, and the proliferation of conversable worlds into gatherings like Johnson's Club and Montagu's Bluestocking assemblies. Part II looks at the transition from the eighteenth century to 'Romantic' ideas of literary culture, the question of the withdrawal from mixed social space, the drive to sublimate verbal exchange into forms that retained dialogue without contention in places like Coleridge's 'conversation poems, ' and the continuing tensions between ideas of the republic of letters as a space of vigorous exchange as opposed to the organic unfolding of consciousness.

    Cinematic Hamlet contains the first scene-by-scene analysis of the methods used by Laurence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda to translate Hamlet into highly distinctive and remarkably effective films.Applying recent developments in neuroscience and psychology, Patrick J. Cook argues that film is a medium deploying an abundance of devices whose task it is to direct attention away from the film’s viewing processes and toward the object represented. Through careful analysis of each film’s devices, he explores the ways in which four brilliant directors rework the play into a radically different medium, engaging the viewer through powerful instinctive drives and creating audiovisual vehicles that support and complement Shakespeare’s words and story.Cinematic Hamlet will prove to be indispensable for anyone wishing to understand how these films rework Shakespeare into the powerful medium of film.

    First, it models possible readers of the Bible--religious and nonreligious, professional and nonprofessional--and the reasons that might attract them to it. Second, with the aid of Mediterranean anthropology, it sets out an approach that helps us to interpret a selection of narratives with a cultural understanding close to that of an ancient Israelite. Powerful stories, such as those of Tamar and Judah in Genesis 38, Hannah in 1 Samuel 1-2, Saul and David in 1 Samuel, David and Bathsheba in 2 Samuel 10-12, and Judith, burst into new light when understood in closer relation to their original audience. Interpreted in this way, these narratives allow us to refresh the memory that links us with pivotal stories in Jewish and Christian identities, they disclose more ample possibilities for being human, they foster our capacity for intercultural understanding, and they provide aesthetic pleasure from their embodying plots of great imaginative power. Endorsements: "Esler shows us how to read afresh in the ancient narratives of the Old Testament. He shows us that these several plots of David and his traveling companions are saturated with old social habits and old cultural presuppositions that summon us to alertness and attentiveness. He offers us his deep learning of how stories work, how folk society functions, and how texts reveal and conceal. The outcome is a fresh invitation to textual materials that we thought we had long since mastered an exhausted. This is a welcome exercise in method that keeps its focus on plot and character in all their thickness." -Walter Brueggemann Columbia Theological Seminary author of A Pathway of Interpretation "Philip Esler has done much to make biblical scholars aware of social-scientific approaches. In this book he brings this perspective to a reading of Old Testament narrative texts, showing just how much social science can illuminate the Bible. The stories of wives, warriors, kings, and madmen are here read against the backdrop of the real society in which they were first told, and so become three-dimensional to the modern reader." -John Barton Oxford University author of Reading of the Old Testament Author Biography: Philip F. Esler is Principal and Professor of Biblical Interpretation at St Mary's University College, Twickenham, London. He is the author of Conflict and Identity in Romans (2003), and New Testament Theology (2005), and the editor of Ancient Israel (2006).

    The Routledge Companion to Anglophone Caribbean Literature offers a comprehensive, critically engaging overview of this increasingly significant body of work.The volume is divided into six sections that consider:the foremost figures of the Anglophone Caribbean literary tradition and a history of literary critical debatetextual turning points, identifying key moments in both literary and critical history and bringing lesser known works into contextfresh perspectives on enduring and contentious critical issues including the canon, nation, race, gender, popular culture and migrationnew directions for literary criticism and theory, such as eco-criticism, psychoanalysis and queer studiesthe material dissemination of Anglophone Caribbean literature and generic interfaces with film and visual art This volume is an essential text that brings together sixty-nine entries from scholars across three generations of Caribbean literary studies, ranging from foundational critical voices to emergent scholars in the field.The volume's reach of subject and clarity of writing provide an excellent resource and springboard to further research for those working in literature and cultural studies, postcolonial and diaspora studies as well as Caribbean studies, history and geography.

    Although it may seem that books are becoming less essential and that a revolution in sensibility is takingplace, the essays of Arthur Krystal suggest otherwise. Companionable without being chummy, engaged without being didactic, erudite without being stuffy, he demonstrates that literature, even in the digital age, remains the truest expression of the human condition.Covering subjects as diverse as aphorisms, dueling, the night, and the 1960s, the essays gathered here offer the common reader uncommon pleasure. In prose that is both vibrant and elegant, Krystal negotiates among myriad subjects-from historical writing as exemplified by Jacques Barzun to the art ofscreenwriting as not so happily represented by F. Scott Fitzgerald. His cardinal rule as a writer? William Hazlitt's Confound it, man, don't be insipid. No fear of that. Except When I Write is thoughtful in the most joyful sense--brimming with ideas in order to give us the flow and cadence ofsomeone actually thinking.Keenly observant and death on pretension, Krystal examines the world of books without ever losing sight of the world beyond them. Literature may be the bedrock on which these essays rest, but as F. R. Leavis aptly noted, One cannot seriously be interested in literature and remain purely literary ininterests. Except When I Write is a reminder of both the pleasure and the power of a well-tuned essay.

    In this volume of newly commissioned essays, fourteen leading philosophers offer fresh insights into many of the work s central questions: How did our dominant values originate and what functions do they really serve? What future does the concept of evil have and can it be revalued? What sorts of virtues and ideals does Nietzsche advocate, and are they necessarily incompatible with aspirations to democracy and a free society? What are the nature, role, and scope of genealogy in his critique of morality and why doesn t his own evaluative standard receive a genealogical critique? Taken together, this superb collection illuminates what a post-Christian and indeed post-moral life might look like, and asks to what extent Nietzsche s Genealogy manages to move beyond morality.