James Joyce’s big blue book, Ulysses, ushered in the modernist era and changed the novel for all time. But the genius of Ulysses was also its danger: it omitted absolutely nothing. All of the minutiae of Leopold Bloom’s day, including its unspeakable details, unfold with careful precision in its pages. The New York Society for the Suppression of Vice immediately banned the novel as "obscene, lewd, and lascivious.” Joyce, along with some of the most important publishers and writers of his era, had to fight for years to win the freedom to publish it. The Most Dangerous Book tells the remarkable story surrounding Ulysses, from the first stirrings of Joyce’s inspiration in 1904 to its landmark federal obscenity trial in 1933.   Literary historian Kevin Birmingham follows Joyce’s years as a young writer, his feverish work on his literary masterpiece, and his ardent love affair with Nora Barnacle, the model for Molly Bloom. Joyce and Nora socialized with literary greats like Ezra Pound, Ernest Hemingway, T. S. Eliot and Sylvia Beach. Their support helped Joyce fight an array of anti-vice crusaders while his book was disguised and smuggled, pirated and burned in the United States and Britain. The long struggle for publication added to the growing pressures of Joyce’s deteriorating eyesight, finances and home life.   Salvation finally came from the partnership of Bennett Cerf, the cofounder of Random House, and Morris Ernst, a dogged civil liberties lawyer and founder of the ACLU. With their stewardship, the case ultimately rested on the literary merit of Joyce’s master work. The sixty-year-old judicial practices governing obscenity in the United States were overturned because a federal judge could get inside Molly Bloom’s head.   Birmingham’s archival work brings to light new information about both Joyce and the story surrounding Ulysses. Written for ardent Joyceans as well as novices who want to get to the heart of the greatest novel of the twentieth century, The Most Dangerous Book is a gripping examination of how the world came to say yes to Ulysses.

    “How much can a body endure? Almost everything.” Chelsea Hodson is a 2012 PEN Center USA Emerging Voices Fellow. She is also the author of the chapbook Beach Camp, published by Swill Children in 2010. Her essays have been published in Black Warrior Review, Vol. 1 Brooklyn, Sex Magazine, and elsewhere. She lives in Brooklyn, New York. Watch the trailer here: http://vimeo.com/88997155

    This funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but that we’re too embarrassed to ask. Questions such as: What is “good” or “bad” art—and does it even matter? Is art still capable of shocking us or have we seen it all before? And what happens if you place apiece of art in a rubbish dump?

    Many writers of all backgrounds see the imagination as ahistorical, as a generative place where race doesn't and shouldn't enter, a place of bodies that transcend the legislative, the economic—in other words, transcend the stuff that doesn't lend itself much poetry. In this view the imagination is postracial, a posthistorical and postpolitical utopia. . . . To bring up race for these writers is to inch close to the anxious space of affirmative action, the scarring qualifieds."So everyone is here."—Claudia Rankine and Beth Loffreda, from the introductionIn 2011, a poem published in a national magazine by a popular white male poet made use of a black female body. A conversation ensued, and ended. Claudia Rankine subsequently created Open Letter, a web forum for writers to relate the effects and affects of racial difference and to explore art's failure, thus far, to adequately imagine.Born in Kingston, Jamaica, Claudia Rankine is author and editor of more than six collections of poetry and poetics. She is a chancellor of the Academy of American Poets and a professor of English at Pomona College.Beth Loffreda is author of Losing Matt Shepard: Life and Politics in the Aftermath of Anti-gay Murder. She directs the MFA program in creative writing at the University of Wyoming.

    Written with the general reader in mind, Reading Dante brings her knowledge to bear in an accessible yet expert introduction to his great poem.This is far more than an exegesis of Dante’s three-part Commedia. Shaw communicates the imaginative power, the linguistic skill and the emotional intensity of Dante’s poetry—the qualities that make the Commedia perhaps the greatest literary work of all time and not simply a medieval treatise on morality and religion.The book provides a graphic account of the complicated geography of Dante's version of the afterlife and a sure guide to thirteenth-century Florence and the people and places that influenced him. At the same time it offers a literary experience that lifts the reader into the universal realms of poetry and mythology, creating links not only to the classical world of Virgil and Ovid but also to modern art and poetry, the world of T. S. Eliot, Seamus Heaney and many others.Dante's questions are our questions: What is it to be a human being? How should we judge human behavior? What matters in life and in death? Reading Dante helps the reader to understand Dante’s answers to these timeless questions and to see how surprisingly close they sometimes are to modern answers.Reading Dante is an astonishingly lyrical work that will appeal to both those who’ve never read the Commedia and those who have. It underscores Dante's belief that poetry can change human lives.

    In the years that followed, Willis’s daring insights went beyond popular music, taking on such issues as pornography, religion, feminism, war, and drugs.The Essential Ellen Willis gathers writings that span forty years and are both deeply engaged with the times in which they were first published and yet remain fresh and relevant amid today’s seemingly intractable political and cultural battles. Whether addressing the women’s movement, sex and abortion, race and class, or war and terrorism, Willis brought to each a distinctive attitude—passionate yet ironic, clear-sighted yet hopeful.Offering a compelling and cohesive narrative of Willis’s liberationist “transcendence politics,” the essays—among them previously unpublished and uncollected pieces—are organized by decade from the 1960s to the 2000s, with each section introduced by young writers who share Willis’s intellectual bravery, curiosity, and lucidity: Irin Carmon, Spencer Ackerman, Cord Jefferson, Ann Friedman, and Sara Marcus. The Essential Ellen Willis concludes with excerpts from Willis’s unfinished book about politics and the cultural unconscious, introduced by her longtime partner, Stanley Aronowitz. An invaluable reckoning of American society since the 1960s, this volume is a testament to an iconoclastic and fiercely original voice.

    It's a book that has remained current for over half a century, fighting off critics and changing tastes in fiction. But do even its biggest fans know all there is to appreciate about The Great Gatsby?Maureen Corrigan, the book critic for "Fresh Air" and a Gatsby lover extraordinaire, points out that while Gatsby may be the novel most Americans have read, it's also the ones most of us read too soon -- when we were "too young, too defensive emotionally, too ignorant about the life-deforming powers of regret" to really understand all that Fitzgerald was saying ("it's not the green light, stupid, it's Gatsby's reaching for it," as she puts it). No matter when or how recently you've read the novel, Corrigan offers a fresh perspective on what makes it so enduringly relevant and powerful. Drawing on her experience as a reader, lecturer, and critic, her book will be a rousing consideration of Gatsby: not just its literary achievements, but also its path to "classic" (its initial lukewarm reception has been a form of cold comfort to struggling novelists for decades), its under-acknowledged debt to hard-boiled crime fiction, its commentaries on race, class, and gender.With rigor, wit, and an evangelistic persuasiveness, Corrigan will leave readers inspired to grab their old paperback copies of Gatsby and re-experience this great novel in an entirely new light.

    In this first issue, Naomi Alderman talks books, body-building, fatherhood and feminism with debonair actor and Booker judge DAN STEVENS; and we reconsider THE WOMAN IN WHITE as The Book of the Season, getting to grips with the Victorian classic through fashion, film, food and more.

    Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, "Michael Schmidt does full justice to its complexity.Like his hero Ford Madox Ford in The March of Literature," Schmidt chooses as his traveling companions not critics or theorists but "artist practitioners," men and women who feel "hot love" for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliche--some irreducible quality that keeps readers coming back to its pages."

    “Hiarious ... Rodi’s title is a tribute. He’s angry that the Austen craze has defanged a novelist who’s ‘wicked, arch, and utterly merciless. She skewers the pompous, the pious, and the libidinous with the animal glee of a natural-born sadist’ … Like Rodi, I believe Austen deserves to join the grand pantheon of gadflies: Voltaire and Swift, Twain and Mencken.” - Lev Raphael, The Huffington Post

    I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark blue clocks on them. I was neat, clean, shaved and sober, and I didn’t care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.   With these words, private eye Philip Marlowe, Raymond Chandler’s great literary creation and one of the most enduringly popular characters in American fiction, first took life seventy-five years ago. Here, for the first time in a deluxe collector’s box, are all seven Philip Marlowe novels—The Big Sleep; Farewell, My Lovely; The High Window; The Lady in the Lake; The Little Sister; The Long Goodbye; and Playback—along with thirteen classic pulp stories, Chandler’s brilliant screenplay for Double Indemnity, and a selection of his revealing essays and letters: the most comprehensive edition of the hard-boiled crime fiction of Raymond Chandler ever published.

    The 300 poems collected here were composed at an extreme of human endurance—while their authors awaited execution, endured imprisonment, fought on the battlefield, or labored on the brink of breakdown or death. All bear witness to historical events and the irresistibility of their impact. Alongside Shakespeare, Milton, and Wordsworth, this volume includes such writers as Anne Askew, tortured and executed for her religious beliefs during the reign of Henry VIII; Phillis Wheatley, abducted by slave traders; Samuel Bamford, present at the Peterloo Massacre in 1819; William Blake, who witnessed the Gordon Riots of 1780; and Samuel Menashe, survivor of the Battle of the Bulge.Poetry of Witness argues that such poets are a perennial feature of human history, and it presents the best of that tradition, proving that their work ranks alongside the greatest in the language.

    Featuring work from all periods of Lynch’s career, this book documents Lynch’s first major museum exhibition in the United States, bringing together works held in American and European collections and from the artist’s studio. Much like his movies, many of Lynch’s artworks revolve around suggestions of violence, dark humor, and mystery, conveying an air of the uncanny. This is often conveyed through the addition of text, wildly distorted forms, and disturbances in the paint fields that surround or envelop his figures. While a few relate to his film projects, most are independent works of art that reveal a parallel trajectory. Organized in close collaboration with the artist, David Lynch: The Unified Field brings together ninety-five paintings, drawings, and prints from 1965 to the present, often unified by the recurring motif of the home as a site of violence, memories, and passion. Other works explore the odd, tender, and mincing aspects of relationships. Highlighting many works that have rarely been seen in public, including early work from his critical years in Philadelphia (1965–70), this catalog offers a substantial response to dealer Leo Castelli's comment when he enthusiastically viewed Lynch’s work in 1987, “I would like to know how he got to this point; he cannot be born out of the head of Zeus.” Published in association with the Pennsylvania Academy of the Fine Arts

    Tracing the constellation of talents that came together to produce the film, Roger Luckhurst examines its origins as a monster movie script called Star Beast, dismissed by many in Hollywood as B-movie trash, through to its afterlife in numerous sequels, prequels and elaborations. Exploring the ways in which Alien compels us to think about otherness, Luckhurst demonstrates how and why this interstellar slasher movie, this old dark house in space, came to coil itself around our darkest imaginings about the fragility of humanity. This special edition features original cover artwork by Marta Lech.

    The teaching of poetry languishes, and that region of youthful neurological terrain capable of being ignited only by poetry is largely dark, unpopulated, and silent, like a classroom whose shades are drawn. This is more than a shame, for poetry is our common treasure-house, and we need its vitality, its respect for the subconscious, its willingness to entertain ambiguity, its plaintive truth-telling, and its imaginative exhibitions of linguistic freedom, which confront the general culture's more grotesque manipulations. We need the emotional training sessions poetry conducts us through. We need its previews of coming attractions: heartbreak, survival, failure, endurance, understanding, more heartbreak.—from "Twenty Poems That Could Save America"Twenty Poems That Could Save America presents insightful essays on the craft of poetry and a bold conversation about the role of poetry in contemporary culture. Essays on the "vertigo" effects of new poetry give way to appraisals of Robert Bly, Sharon Olds, and Dean Young. At the heart of this book is an honesty and curiosity about the ways poetry can influence America at both the private and public levels. Tony Hoagland is already one of this country's most provocative poets, and this book confirms his role as a restless and perceptive literary and cultural critic.

    Now, for the first time in nearly a century, the public is invited to enjoy Mrs. Parker's sharp wit and biting commentary on the Jazz Age hits and flops in this first-ever published collection of her groundbreaking Broadway reviews.Starting when she was twenty-four at Vanity Fair as New York's only female theatre critic, Mrs. Parker reviewed some of the biggest names of the era: the Barrymores, George M. Cohan, W.C. Fields, Helen Hayes, Al Jolson, Eugene O'Neil, Will Rogers, and the Ziegfeld Follies. Her words of praise--and contempt--for the dramas, comedies, musicals, and revues are just as fresh and funny today as they were in the age of speakeasies and bathtub gin. Annotated with a notes section by Kevin C. Fitzpatrick, president of the Dorothy Parker Society, the volume shares Parker's outspoken opinions of a great era of live theatre in America, from a time before radio, talking pictures, and television decimated attendance. Dorothy Parker: Complete Broadway, 1918-1923 provides a fascinating glimpse of Broadway in its Golden Era and literary life in New York through the eyes of a renowned theatre critic.

    For a time, “Dell Comics Are Good Comics” was more than a slogan—it was a simple statement of fact. Many of the stories written and drawn by people like Carl Barks (Donald Duck, Uncle Scrooge), John Stanley (Little Lulu), and Walt Kelly (Pogo) repay reading and rereading by educated adults even today, decades after they were published as disposable entertainment for children. Such triumphs were improbable, to say the least, because midcentury comics were so widely dismissed as trash by angry parents, indignant librarians, and even many of the people who published them. It was all but miraculous that a few great cartoonists were able to look past that nearly universal scorn and grasp the artistic potential of their medium. With clarity and enthusiasm, Barrier explains what made the best stories in the Dell comic books so special. He deftly turns a complex and detailed history into an expressive narrative sure to appeal to an audience beyond scholars and historians.

    Nowadays the name of Vittore Carpaccio (1460–1520) suggests raw beef, but to Morris it conveyed far more profound meanings. Thus began a lifelong infatuation, reaching across the centuries, between a renowned Welsh writer and a great and delightfully entertaining artist of the early Renaissance. Handsomely designed with more than seventy photographs throughout, Ciao,Carpaccio! is a happy caprice of affection. In illuminating the life of the artist and his paintings, Morris throws in digressions about Venetian animals, courtesans, babies, ships, architecture, and history, and caps it all with thoughtful analyses of Carpaccio’s spiritual convictions. Part biography, part art interpretation, part personal odyssey, and all lots of fun, Ciao, Carpaccio! will no doubt help to rescue the name of a noble artist from its popular interpretation as an item of cuisine.

    He also means what he says; regardless of any implications to the contrary, Caples is writing out of emotion, even well-done sentiment." —Rain TaxiFrom "Theory on Retrievals":The concept of the poet-critic has always been a compelling one to me; it's hard not to admire 19th century French poets like Gautier, writing elegant prose in newspapers on topics the general public was more interested in reading about than it was in reading his poetry. (I've never been one to hold the general public's lack of interest in poetry against it; that's the way of the world.) The compensation was that being a poet gave one a certain license as a critic to roam among all the arts.Retrievals is a book of essays written over the course of ten years about underrecognized poets, unfairly discredited critics, and artists obscured by more famous relations.Garrett Caples is the author of The Garrett Caples Reader (Angle Press/Black Square Editions, 1999), Complications (Meritage Press, 2007), and Quintessence of the Minor (Wave Books, 2010). He is the co-editor of The Collected Poems of Philip Lamantia (University of California Press, 2013). He is the poetry editor at City Lights Books, and curates the Spotlight Poetry Series there. He has a PhD in English from the University of California, Berkeley, and lives in Oakland.

    This unfinished state of affairs, this lingering historical experience of being caught among unequal languages, is the subject of Rey Chow's book. A diverse group of personae, never before assembled in a similar manner, make their appearances in the various chapters: the young mulatto happening upon a photograph about skin color in a popular magazine; the man from Martinique hearing himself named "Negro" in public in France; call center agents in India trained to Americanize their accents while speaking with customers; the Algerian Jewish philosopher reflecting on his relation to the French language; African intellectuals debating the pros and cons of using English for purposes of creative writing; the translator acting by turns as a traitor and as a mourner in the course of cross-cultural exchange; Cantonese-speaking writers of Chinese contemplating the politics of food consumption; radio drama workers straddling the forms of traditional storytelling and mediatized sound broadcast.In these riveting scenes of speaking and writing imbricated with race, pigmentation, and class demarcations, Chow suggests, postcolonial languaging becomes, de facto, an order of biopolitics. The native speaker, the fulcrum figure often accorded a transcendent status, is realigned here as the repository of illusory linguistic origins and unities. By inserting British and post-British Hong Kong (the city where she grew up) into the languaging controversies that tend to be pursued in Francophone (and occasionally Anglophone) deliberations, and by sketching the fraught situations faced by those coping with the specifics of using Chinese while negotiating with English, Chow not only redefines the geopolitical boundaries of postcolonial inquiry but also demonstrates how such inquiry must articulate historical experience to the habits, practices, affects, and imaginaries based in sounds and scripts.

    During the Nazi regime in Germany, -degenerate art- was the official term for much of the most important modern art of the day. -Degenerate art- was defined by the Nazi regime as artwork that was not in line with the National Socialists' ideas of beauty. Their condemnation extended to works in nearly every major art movement: Expressionism, Dada, New Objectivity, Surrealism, Cubism, and Fauvism. Banned artists included Max Beckmann, Paul Klee, and Oskar Kokoschka. Richly illustrated, Degenerate Art elucidates the historical and intellectual context of the notorious exhibition in Munich in 1937, which spurred the attack on modern art. The book contains reflections on the genesis and evolution of the term -degenerate art- and details of the National Socialist policy on art. Art works from the exhibition Degenerate Art are compared to works of art from The Great German Art Exhibition, which was held at the same time and displayed the works of officially approved artists. The book also presents the after-effects of the attack on modernism that are felt even today.

    Whether fifteen or fifty, we love sitting down with a comic book, losing ourselves in a universe filled with wonder and excitement. But comics offer much more than meets the eye, and in Comics Unmasked, Paul Gravett and John Harris Dunning look beyond the notion of comics as pleasure reading to focus on their inherently anarchic nature.             Gravett and Dunning have combed the British Library’s extensive comic collection not only to explore the full potential of the medium but also to single out the critical points in history in which the art form challenged the status quo. Featuring newly discovered Victorian comics alongside some of the biggest names in comics today, including Alan Moore (Watchmen, V for Vendetta), Neil Gaiman (Sandman), Mark Millar (Kick-Ass), and Grant Morrison (Batman: Arkham Asylum), Comics Unmasked explores the political and social issues raised by British comics and their creators over the last century, from violence and drugs to class and sexuality.             Published to accompany a British Library exhibition that will be the United Kingdom’s largest exhibit of British comics to date, Comics Unmasked will delight comics enthusiasts around the world, offering them the chance to discover a different—perhaps darker side—of the medium.

    n+1 appeared in the fall of 2004, the brainchild of a group of writers working out of a small apartment. Intended to revive the leftist social criticism and innovative literary analysis that was the hallmark of the Partisan Review and other midcentury magazines, n+1 was a rejoinder to the consumerism and complacency of the Bush years. It hasn't slowed down since. n+1 has given us the most clear-eyed reporting on the 2008 crash and the Occupy movement, the best criticism of publishing culture, and the first sociological report on the hipster. No media, new or old, has escaped its ire as n+1's outspoken contributors have taken on reality TV, Twitter, credentialism, drone strikes, and Internet porn.Happiness, released on the occasion of n+1's tenth anniversary, collects the best of the magazine as selected by its editors. These essays are fiercely contentious, disconcertingly astute, and screamingly funny. They explore our modern pursuits of happiness and take a searching moral inventory of the strange times we live in. Founding lights Chad Harbach, Keith Gessen, Benjamin Kunkel, Marco Roth, and Mark Greif are featured alongside Elif Batuman, Rebecca Curtis, Emily Witt, and other young talents launched by n+1. This n+1 anthology is the definitive work of the definitive twenty-first century intellectual magazine.

    The immediate result was a glut of dense, abstract books on the "nature of man." But the dawning "age of the crisis of man," as Mark Greif calls it, was far more than a historical curiosity. In this ambitious intellectual and literary history, Greif recovers this lost line of thought to show how it influenced society, politics, and culture before, during, and long after World War II.During the 1930s and 1940s, fears of the barbarization of humanity energized New York intellectuals, Chicago protoconservatives, European Jewish emigres, and native-born bohemians to seek "re-enlightenment," a new philosophical account of human nature and history. After the war this effort diffused, leading to a rebirth of modern human rights and a new power for the literary arts.Critics' predictions of a "death of the novel" challenged writers to invest bloodless questions of human nature with flesh and detail. Hemingway, Faulkner, and Richard Wright wrote flawed novels of abstract man. Succeeding them, Ralph Ellison, Saul Bellow, Flannery O'Connor, and Thomas Pynchon constituted a new guard who tested philosophical questions against social realities--race, religious faith, and the rise of technology--that kept difference and diversity alive.By the 1960s, the idea of "universal man" gave way to moral antihumanism, as new sensibilities and social movements transformed what had come before. Greif's reframing of a foundational debate takes us beyond old antagonisms into a new future, and gives a prehistory to the fractures of our own era.

    Martin's A Song of Ice and Fire saga to give the most comprehensive deconstruction – and explanation – yet offered. Each one of Thrones's 73 chapters is broken down in meticulous detail in four key areas. The Political and Historical Analyses explore the political ramifications that each character's decisions entail while digging into the real-world historical incidents that inspired Martin's narrative twists and turns. What If? offers up a tantalizing look at how these political and historical elements could have played out in dozens of alternative scenarios, underscoring the majesty and complexity of Martin's storytelling. And Book vs. Show looks at the key differences – both good and bad – between the story as originally conceived on the printed page and as realized in HBO's Game of Thrones. At nearly 204,000 words, it's literally impossible to imagine a more exhaustive or authoritative reading companion for any novel ever before published. Note: there are spoilers for all five published novels in the Song of Ice and Fire series.

    Valente (The Girl Who Circumnavigated Fairyland, The Girl Who Fell Beneath Fairyland) are brought together in print for the first time, sharing Cat's observations and insights about fairy tales and myths, pop culture, gender and race issues, an amateur's life on planet Earth and much more. Join Cat as she studies the fantasy genre's inner clockwork to better comprehend its infatuation with medievalism (AKA "dragon bad, sword pretty"), considers the undervalued importance of the laundry machine to women's rights in locales as wide-ranging as Japan and the steampunk genre, and comes to understand that so much of shaping fantasy works is about making puppets seem real and sympathetic (otherwise, you're just playing with dolls).Also featured: Cat takes a hard look at why she can't stop writing about Persephone, dwells upon the legacy of poets in Cleveland, and examines how stories teach us how to survive - if Gretel can kill the witch, Snow White can return from the dead, and Rapunzel can live in the desert, trust that you can too.

    In the course of 25 essays, some of which appear for the first time in this volume, Strauss discusses the work of artists who provoke us with revealing, clear-eyed investigations of the ostensibly patent world in front of us, and others who transport us to new realms, poetic and unreal--creative minds ranging from Frederick Sommer, Helen Levitt, Daido Moriyama and Joseph Beuys to contemporary photographers Sally Mann, James Nachtwey, Susan Meiselas, Tim Davis and many others. Also considered are the groundbreaking theoretical writings of Susan Sontag and Jean-Luc Nancy, the films of Chris Marker and Stan Brakhage, and issues and events that have irrevocably altered the way we consider the medium of photography and how it communicates: 9/11, Abu Ghraib, the death of Osama bin Laden, the Arab Spring and Occupy Wall Street. Published in the Aperture Ideas series, Words Not Spent Today is an incisive exploration of photography's changing role as a tool of evidence and conscience as we move forward into--can we say it?--a post-photographic era.David Levi Strauss is the author of From Head to Hand: Art and the Manual (2010); Between the Eyes: Essays on Photography and Politics, with an introduction by John Berger (2003); and Between Dog and Wolf: Essays on Art and Politics (1999, updated in 2010 with a prolegomenon by Hakim Bey). Strauss was a Guggenheim fellow in 2003 and received the Infinity Award for Writing from the International Center of Photography in 2007. He is chair of the graduate program in art criticism and writing at the School of Visual Arts in New York.

    If he wrote non-fiction about drying paint, I would still be the first in line to read it.” – Jared Shurin of Pornokitsch. An award winning author in his own right, Adam Roberts makes no concessions when appraising the work of others. His reviews are honest, forthright, and never timid. In Sibilant Fricative Adam considers a broad spectrum of speculative fiction, from fantasy to science fiction, from literature to films. The book opens with insightful consideration of Philip K Dick’s oeuvre followed by Ridley Scott’s Blade Runner, and closes with a volume-by-volume analysis of Robert Jordan’s Wheel of Time opus. Along the way we stop off for a review by text among other amusements – one thing the author never loses sight of is the need to entertain. “Titan is one of the blandest pieces of fiction I have come across in four decades of reading novels. If the Campbell shortlist is a high-class curry restaurant of delicious, spicy and stimulating food, then Titan is a single slice of white bread and margarine on a white plate under the neon light of a truck drivers’ café.” (on Titan by Ben Bova) “Let me see if I can boil down Crossroads of Twilight’s 700-pages for you. Drivel. There you go.” (on Crossroads of Twilight by Robert Jordan)

    Nevertheless, Wallace always thought of himself primarily as a novelist. From his college years at Amherst, when he wrote his first novel as part of a creative honors thesis, to his final days, Wallace was buried in a novel project, which he often referred to as "the Long Thing." Meanwhile, the short stories and journalistic assignments he worked on during those years he characterized as "playing hooky from a certain Larger Thing." Wallace was also a specific kind of novelist, devoted to producing a specific kind of novel, namely the omnivorous, culture-consuming "encyclopedic" novel, as described in 1976 by Edward Mendelson in a ground-breaking essay on Thomas Pynchon's Gravity's Rainbow.David Foster Wallace and "The Long Thing" is a state-of-the art guide through Wallace's three major works, including the generation-defining Infinite Jest. These essays provide fresh new readings of each of Wallace's novels as well as thematic essays that trace out patterns and connections across the three works. Most importantly, the collection includes six chapters on Wallace's unfinished novel, The Pale King, which will prove to be foundational for future scholars of this important text.

    Each of Natasha Sajé’s nine essays addresses a topic of central concern to readers and writers of poetry while also making an argument about poetic language and ideology. Foundational topics—diction, syntax, rhythm, surprise, figurative language, narrative, genre, book design, and performance—are explained through the lenses of theory, history, and philosophy and illuminated through vibrant examples from the works of numerous contemporary American poets.

    From William Gass and Thomas Pynchon to Brian Evenson and Steve Erickson, John Domini takes readers beyond that which is "impossible" to explain.John Domini, noted poet, essayist, and author, has had his work appear in the New York Times, GQ, Paris Review, and Ploughshares. A former National Endowment for the Arts and Ingram-Merrill Foundation fellow, he teaches at Iowa State University and lives in Des Moines, Iowa.

    Richly illustrated with colour photographs of artworks both modern and classical and written by a sculptor and teacher with lifelong experience, it arms the reader with the tools and vocabulary with which to view a vast range of sculptures. Insightful and thought-provoking, it is accessible to the widest audience, both as a primer for students and for general readers, it provides a new way of looking at, experiencing and discussing the art of crafting in three dimensions.

    Early Islam made a seminal but largely unrecognized contribution to the history of economic thought; it is the only religion founded by an entrepreneur. Descending from an elite dynasty of religious, civil, and commercial leaders, Muhammad was a successful businessman before founding Islam. As such, the new religion had much to say on trade, consumer protection, business ethics, and property. As Islam rapidly spread across the region so did the economic teachings of early Islam, which eventually made their way to Europe. Early Islam and the Birth of Capitalism demonstrates how Islamic institutions and business practices were adopted and adapted in Venice and Genoa. These financial innovations include the invention of the corporation, business management techniques, commercial arithmetic, and monetary reform. There were other Islamic institutions assimilated in Europe: charities, the waqf, inspired trusts, and institutions of higher learning; the madrasas were models for the oldest colleges of Oxford and Cambridge. As such, it can be rightfully said that these essential aspects of capitalist thought all have Islamic roots.

    Crossway's Christian Guides to the Classics series is designed to help readers enjoy the greatest literature in history with the aid of a gifted teacher to answer questions along the way. Popular professor, author, and literary expert Leland Ryken situates each work in its cultural context, incorporates published criticism, includes brief bibliographies for further study, and wisely evaluates classic texts from a Christian worldview through penetrating commentary. This particular volume will help readers understand and engage with the devotional poetry of three seventeenth-century poetic geniuses—John Donne, George Herbert, and John Milton.

    But the prolific author shocked the world in 1970 when he attempted a coup d’état that ended in his suicide by ritual disembowelment. In this radically new analysis of Mishima’s extraordinary life, Damian Flanagan deviates from the stereotypical depiction of a right-wing nationalist and aesthete, presenting the author instead as a man in thrall to the modern world while also plagued by hidden neuroses and childhood trauma that pushed him toward his explosive final act.             Flanagan argues that Mishima was a man obsessed with the concepts of time and “emperor,” and reveals how these were at the heart of his literature and life. Untangling the distortions in the writer’s memoirs, Flanagan traces the evolution of Mishima’s attempts to master and transform his sexuality and artistic persona. While often perceived as a solitary protest figure, Mishima, Flanagan shows, was very much in tune with postwar culture—he took up bodybuilding and became a model and actor in the 1950s, adopted the themes of contemporary political scandals in his work, courted English translators, and became influenced by the student protests and hippie subculture of the late 1960s. A groundbreaking reevaluation of the author, this succinct biography paints a revealing portrait of Mishima’s life and work.

    T. Joshi has been one of the leading authorities on H. P. Lovecraft. As Lovecraft’s editor and biographer, Joshi has revolutionized our understanding of the dreamer from Providence. This enormous volume, which contains all the critical essays that Joshi has written since 1979, is a treasure-house of scholarship that exhibits Joshi’s all-encompassing knowledge of Lovecraft the man, writer, and thinker. Joshi has focused on a holistic understanding of Lovecraft, integrating his life and thought into the study of his work. Lovecraft, the atheist and materialist, infused his worldview into each tale, essay, and poem. Joshi has studied the interrelations between Lovecraft’s life and work in such papers as “Autobiography in Lovecraft” and “Lovecraft and the Munsey Magazines.” Joshi’s analysis of Lovecraft’s philosophical thought comes forth in such major essays as “Lovecraft’s Alien Civilisations: A Political Interpretation” and “H. P. Lovecraft: The Fiction of Materialism.” Joshi has also devoted much attention to neglected aspects of Lovecraft’s work, and this book contains illuminating discussions of Lovecraft’s poetry, essays, and letters. Joshi’s landmark study “Textual Problems in Lovecraft” laid the groundwork for his corrected editions of Lovecraft’s tales. A final section of the book studies Lovecraft’s legacy and influence, including a lengthy essay on the Cthulhu Mythos and, as a capstone, a transcript of Joshi’s keynote address at the NecronomiCon convention of 2013. This mammoth volume features nearly four decades of scholarship on one of the towering writers of the twentieth century, written by one of his most insightful interpreters.

    In short, philology was the queen of the human sciences. How did it become little more than an archaic word?In Philology, the first history of Western humanistic learning as a connected whole ever published in English, James Turner tells the fascinating, forgotten story of how the study of languages and texts led to the modern humanities and the modern university. The humanities today face a crisis of relevance, if not of meaning and purpose. Understanding their common origins--and what they still share--has never been more urgent.

    The public and private writings cannot be easily dissociated, nor should they be. For Burke a thinker, writer, and politician the principles of politics were merely those of morality enlarged. Bromwich reads Burke s career as an imperfect attempt to organize an honorable life in the dense medium he knew politics to be.This intellectual biography examines the first three decades of Burke s professional life. His protest against the cruelties of English society and his criticism of all unchecked power laid the groundwork for his later attacks on abuses of government in India, Ireland, and France. Bromwich allows us to see the youthful skeptic, wary of a social contract based on nature; the theorist of love and fear in relation to the sublime and beautiful; the advocate of civil liberty, even in the face of civil disorder; the architect of economic reform; and the agitator for peace with America. However multiple and various Burke s campaigns, a single-mindedness of commitment always drove him.Burke is commonly seen as the father of modern conservatism. Bromwich reveals the matter to be far more subtle and interesting. Burke was a defender of the rights of disfranchised minorities and an opponent of militarism. His politics diverge from those of any modern party, but all parties would be wiser for acquaintance with his writing and thoughts."

    David Bromwich explores the importance of imagination and sympathy to suggest how these faculties may illuminate the motives of human action and the reality of justice. These wide-ranging essays address thinkers and topics from Gandhi and Martin Luther King on nonviolent resistance, to the dangers of identity politics, to the psychology of the heroes of classic American literature.Bromwich demonstrates that moral imagination allows us to judge the right and wrong of actions apart from any benefit to ourselves, and he argues that this ability is an innate individual strength, rather than a socially conditioned habit. Political topics addressed here include Edmund Burke and Richard Price's efforts to define patriotism in the first year of the French Revolution, Abraham Lincoln's principled work of persuasion against slavery in the 1850s, the erosion of privacy in America under the influence of social media, and the use of euphemism to shade and anesthetize reactions to the global war on terror. Throughout, Bromwich considers the relationship between language and power, and the insights language may offer into the corruptions of power.Moral Imagination captures the singular voice of one of the most forceful thinkers working in America today.

    Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

    Kalfopoulou’s Athens and New York are twinned sites of perpetual dislocation, palimpsests of political, economic, cultural—and personal—crisis. The refugee, the immigrant, the fragmented ‘I’ charted in these essays—all are studies in exilic living, pilgrims wandering the wreckage of late capitalism.

    Gass: Interviewed by G. A. M. Janssens, 1978 (Published in the Dutch Quarterly Review, 1979)William H. Gass: Interviewed by Thomas LeClair — with John Gardner, 1979 (Published in The New Republic, 1979, as “William Gass and John Gardner: A Debate on Fiction”)William H. Gass: Interviewed by Arthur M. Saltzman, 1991 (Published as “Language and Conscience” in the Review of Contemporary Fiction, Fall 1991)William H. Gass: Interviewed by Michael Silverblatt, 1995William H. Gass: Interview with Michael Silverbatt, 1998William H. Gass: Interviewed by Jim Neighbors, 2002William H. Gass: Interviewed by Michael Silverblatt, 2004William H. Gass: Interviewed by Eric Day, 2004 (Published as “Structures that Sing: An Interview with William H. Gass” in Hayden’s Ferry Review, 2004)William H. Gass: Interviewed by Stephen Schenkenberg, 2005 (Published in The Believer, 2005)William H. Gass: Interviewed by Paul Maliszewski, 2009 (Published in Vice, 2009)William H. Gass: Interviewed by Stephen Schenkenberg, 2009William H. Gass: Interviewed by Greg Gerke, 2011 (Published in Tin House, Winter 2012)https://medium.com/the-william-h-gass...

    In this highly anticipated sequel to her award-winning Literacy in American Lives, Deborah Brandt moves beyond laments about the decline of reading to focus on the rise of writing. What happens when writing overtakes reading as the basis of people's daily literate experience? How does a societal shift toward writing affect the ways that people develop their literacy and understand its value? Drawing on recent interviews with people who write every day, Brandt explores this major turn in the development of mass literacy and examines the serious challenges it poses for America's educational mission and civic health.

    The theory of narrative or narratology, which was developed in the 1960s, has helped us towards a better understanding of the how and why of narrative. Narratology and Classics is the first introduction to narratology that deals specifically with classical narrative: epic, historiography, biography, the ancient novel, but also the many narratives inserted in drama or lyric.The first part of the volume sketches the rise of narratology, and defines key narratological terms, illustrated with examples from both modern novels and Greek and Latin texts. Among the topics discussed are the identity of the role of narrator and narratees, tales within tales, metalepsis, temporal devices such as prolepsis and analepsis, retardation and acceleration, repetition and gaps, focalisation, and the thematic, symbolic, or characterising functions of space. The second part of the volume offers three close readings of famous classical texts and shows how the interpretation of these texts can be enriched by the use of narratology.The aim of this practical guide is to initiate its readers quickly into a literary theory that has established itself as a powerful new instrument in the classicist's toolkit. All concepts are clearly defined and illustrated from Greek and Latin texts, and detailed bibliographies at the end of each chapter point the way to theoretical studies and to further narratological studies of classical texts.

    R. R. Tolkien’s Middle-Earth is growing. unfortunately, scholarship dealing with Middle-Earth itself is comparatively rare in Tolkien studies, and students and scholars seeking greater insight have few resources. Similarly, although public concern for the environment is widespread and “going green” has never been trendier, ecocriticism is also an underserved area of literary studies. Arda Inhabited fills a gap in both areas by combining ecocritical and broader postmodern concerns with the growing appreciation for Tolkien’s Middle-Earth. Susan Jeffers looks at the way different groups and individuals in The Lord of the Rings interact with their environments. Drawing substantially on ecocritical theory, she argues that there are three main ways these groups relate to their setting: “power with,” “power from,” and “power over.” Ents, Hobbits, and Elves have “power with” their environments. Dwarves and Men draw “power from” their place, interacting with the world symbolically or dialectically. Sauron, Saruman, and Orcs all stand as examples of narcissistic solipsism that attempts to exercise “power over” the environment. Jeffers further considers how wanderers in Middle-Earth interact with the world in light of these three categories and examines how these relationships reflect Tolkien’s own moral paradigm. Arda Inhabited responds to environmental critics such as Neil Evernden and Christopher Manes, as well as to other touchstones of postmodern thought such as Hegel, DeSaussure, Adorno, and Deleuze and Guattari. It blends their ideas with the analyses of Tolkien scholars such as Patrick Curry, Verlyn Flieger, and Tom Shippey and builds on the work of other scholars who have looked at environment and Tolkien such as Matthew Dickerson and Jonathan Evans. Arda Inhabited demonstrates how Tolkien studies enhances ecocriticism with a fresh examination of interconnection and environment, and ecocriticism enriches Tolkien studies with new ways of reading his work.

    Each of these voices was originally issued in a distinct generation but was only captured and frozen in time by the Talmud s editors, who lived during the fifth through seventh centuries C.E. Reconstructing the Talmud introduces the modern Talmud student to the techniques developed over the last century for uncovering how this literature developed. Opening with an extended introduction outlining the methods employed by scholars to engage in such analysis, Reconstructing the Talmud proceeds with nine examples concretely demonstrating how such methods are applied to actual passages from the Bavli. Sorting out the layers of the Bavli, understanding each layer within its cultural and historical context, and comparing it with earlier sources, reveals a dynamic world of change, debate, halakhic diversity and development far richer and more nuanced than that which is evident in the static and fixed text of the printed edition. Reconstructing the Talmud introduces the reader to the world of academic Talmudic research and opens new venues of exploration and understanding of one of the world's great literary treasures.

    This is a complete resource for scholars and students of Tolkien, as well as avid fans, with coverage of his life, work, dominant themes, influences, and the critical reaction to hiswriting.An in-depth examination of Tolkien's entire work by a cadre of top scholarsProvides up-to-date discussion and analysis of Tolkien's scholarly and literary works, including his latest posthumous book, The Fall of Arthur, as well as addressing contemporaryadaptations, including the new Hobbit filmsInvestigates various themes across his body of work, such as mythmaking, medieval languages, nature, war, religion, and the defeat of evilDiscusses the impact of his work on art, film, music, gaming, and subsequent generations of fantasy writers

    Muckraking journalism is part and parcel of American democracy. But how many people know about the role that muckraking has played around the world?This groundbreaking new book presents the most important examples of world-changing journalism, spanning one hundred years and every continent. Carefully curated by prominent international journalists working in Asia, Africa, Latin America, Europe, and the Middle East, Global Muckraking includes Ken Saro-Wiwa’s defense of the Ogoni people in the Niger Delta; Horacio Verbitsky's uncovering of the gruesome disappearance of political detainees in Argentina; Gareth Jones’s coverage of the Ukraine famine of 1932–33; missionary newspapers’ coverage of Chinese foot binding in the nineteenth century; Dwarkanath Ganguli’s exposé of the British "coolie" trade in nineteenth-century Assam, India; and many others.Edited by the noted author and journalist Anya Schiffrin, Global Muckraking is a sweeping introduction to international journalism that has galvanized the world’s attention. In an era when human rights are in the spotlight and the fate of newspapers hangs in the balance, here is both a riveting read and a sweeping argument for why the world needs long-form investigative reporting.

    Sor Juana's goal was to reconcile inequalities between men and women in central Mexico and between the Spaniards and the indigenous Nahua population of New Spain. Yugar reconstructs a her-story narrative through analysis of two primary texts Sor Juana wrote en sus propias palabras (in her own words), El Sueño (The Dream) and La Respuesta (The Answer). Yugar creates a historically-based narrative in which Sor Juana's sueño of a more just world becomes a living nightmare haunted by misogyny in the form of the church, the Spanish Tribunal, Jesuits, and more--all seeking her destruction. In the process, Sor Juana "hoists [them] with their own petard." In seventeenth-century colonial Mexico, just as her Latina sisters in the Americas are doing today, Sor Juana used her pluma (pen) to create counternarratives in which the wisdom of women and the Nahua inform her sueño of a more just world for all."Theresa Ann Yugar's book elaborates the importance of Sor Juana Inés de la Cruz, the foremost seventeenth-century protofeminist and ecofeminist in the Americas. Yugar's work on Sor Juana as the foundational figure for Latina feminism and ecofeminism in the Americas deserves wide recognition and reading. I highly recommend it."--Elisabeth Schüssler Fiorenza, Harvard Divinity School, Cambridge, MA "Theresa Yugar's imaginative reconstruction of the life of Sor Juana de la Cruz locates the seventeenth-century scholar within the framework of liberation theology and ecofeminism. She demonstrates the ways that communities of women with whom the writer lived influenced Sor Juana's thinking about patriarchy and hierarchy. Further, she shows how natural disasters shaped the nun's views about the environment. Yugar therefore enlarges and expands our understanding of the significance of Sor Juana de la Cruz, taking scholarly considerations of this figure in new directions."--Rebecca Moore, San Diego State University, San Diego, CA"Theresa Yugar has written a refreshing book on a feminist theology that places Sor Juana Inés de la Cruz at the headwaters of Latina feminism and ecofeminism. In shedding new light on this important figure who lived and wrote in seventeenth-century colonial New Spain, Yugar uses her own feminist eyes to clear away patriarchal preconceptions about Sor Juana. Yugar is a promising, rising feminist scholar whose new book is characterized by thorough research, enticing writing, and delightful presentation."--Grace Ji-Sun Kim, Georgetown University, Washington, DC "Like many bold women, Sor Juana Inés de la Cruz can be interpreted as 'ahead of her time.' Theresa Yugar clearly shows that Sor Juana--in her intelligence, wit, and candor--occupies her unique historical moment and social location, yet she relates directly to contemporary feminist and ecofeminist concerns. Yugar's book is a good read for anyone interested in Mesoamerican and colonial history, women's studies in religion, and Catholic feminism."--Sarah Robinson, Claremont Graduate University, Claremont, CA"Yugar offers a contemporary feminist reconstruction of the thought of Latin America's most famous woman intellectual, Sor Juana Inés de la Cruz.

    The None and the Many

    It is a region where the reality of daily life is often stranger and more extraordinary than any fiction one could envision. This unprecedented book documents the region through five themes: settlements, architecture, mobility, monitoring, and resources. Many North reveals the challenges and opportunities of building, mobility, and culture in the dispersed communities of the Canadian North, and speculates the emergence of a contemporary northern, or arctic, vernacular. Many North offers a unique look at Canada's "many norths," uncovering the compelling story of northern inhabitation and cultural adaptation through architecture, landscape, and infrastructure development over the past 100 years.

    A smart and passionate exegesis of Chester Brown's seminal comic-book, Yummy Fur.

    Gibson's 1984 debut is one of the most celebrated SF novels of the last half century, and in a career spanning more than three decades, the American Canadian science fiction writer and reluctant futurist responsible for introducing -cyberspace- into the lexicon has published nine other novels.Editor Patrick A. Smith draws the twenty-three interviews in this collection from a variety of media and sources--print and online journals and fanzines, academic journals, newspapers, blogs, and podcasts. Myriad topics include Gibson's childhood in the American South and his early adulthood in Canada, with travel in Europe; his chafing against the traditional SF mold, the origins of -cyberspace, - and the unintended consequences (for both the author and society) of changing the way we think about technology; the writing process and the reader's role in a new kind of fiction. Gibson (b. 1948) takes on branding and fashion, celebrity culture, social networking, the post-9/11 world, future uses of technology, and the isolation and alienation engendered by new ways of solving old problems. The conversations also provide overviews of his novels, short fiction, and nonfiction.

    In Disability, Deformity, and Disease in the Grimms' Fairy Tales, author Ann Schmiesing analyzes various representations of disability in the tales and also shows how the Grimms' editing (or "prostheticizing") of their tales over seven editions significantly influenced portrayals of disability and related manifestations of physical difference, both in many individual tales and in the collection overall. Schmiesing begins by exploring instabilities in the Grimms' conception of the fairy tale as a healthy and robust genre that has nevertheless been damaged and needs to be restored to its organic state. In chapter 2, she extends this argument by examining tales such as "The Three Army Surgeons" and "Brother Lustig" that problematize, against the backdrop of war, characters' efforts to restore wholeness to the impaired or diseased body. She goes on in chapter 3 to study the gendering of disability in the Grimms' tales with particular emphasis on the Grimms' editing of "The Maiden Without Hands" and "The Frog King or Iron Henry." In chapter 4, Schmiesing considers contradictions in portrayals of characters such as Hans My Hedgehog and the Donkey as both cripple and "supercripple"--a figure who miraculously "overcomes" his disability and triumphs despite social stigma. Schmiesing examines in chapter 5 tales in which no magical erasure of disability occurs, but in which protagonists are depicted figuratively "overcoming" disability by means of other personal abilities or traits. The Grimms described the fairy tale using metaphors of able-bodiedness and wholeness and espoused a Romantic view of their editorial process as organic restoration. Disability, Deformity, and Disease in the Grimms' Fairy Tales shows, however, the extent to which the Grimms' personal experience of disability and illness impacted the tales and reveals the many disability-related amendments that exist within them. Readers interested in fairy-tales studies and disability studies will appreciate this careful reading of the Grimms' tales.

    It is not a historical study or a survey of narrative plots, but instead takes a more conceptual approach that engages with the central ideas of posthumanism: such as the fragmented nature of posthuman identity, the concept of agency as distributed and collective and the role of embodiment in understandings of selfhood. Arguing that Young Adult fiction is on the cusp of a substantive paradigm shift, this book analyses the novels of emerging authors such as Cory Doctorow, Marissa Meyer and Mary E. Pearson. It demonstrates that these emerging writers are increasingly representing technology in a positive light that clearly resonates with posthumanism's interest in how technology can produce new and innovative forms of selfhood and identity.

    Histories of African American literature likewise have a hard time accounting for the distinctiveness of experimental writing, which is part of a general shift in emphasis among black writers away from appeals for social recognition or raising consciousness. In Freedom Time, Anthony Reed offers a theoretical reading of "black experimental writing" that presents the term both as a profound literary development and as a concept for analyzing how writing challenges us to rethink the relationships between race and literary techniques.Through extended analyses of works by African American and Afro-Caribbean writers--including N. H. Pritchard, Suzan-Lori Parks, NourbeSe Philip, Kamau Brathwaite, Claudia Rankine, Douglas Kearney, Harryette Mullen, and Nathaniel Mackey--Reed develops a new sense of the literary politics of formally innovative writing and the connections between literature and politics since the 1960s.Freedom Time reclaims the power of experimental black voices by arguing that readers and critics must see them as more than a mere reflection of the politics of social protest and identity formation. With an approach informed by literary, cultural, African American, and feminist studies, Reed shows how reworking literary materials and conventions liberates writers to push the limits of representation and expression.

    In fact, the Bible is made up of many separate books composed by multiple writers in a wide range of styles and perspectives. It is, as Michael Carasik demonstrates, not a remote text reserved for churches and synagogues but rather a human document full of history, poetry, politics, theology, and spirituality. Using historic, linguistic, anthropological, and theological sources, Carasik helps us distinguish between the Jewish Bible’s voices—the mythic, the historical, the prophetic, the theological, and the legal. By articulating the differences among these voices, he shows us not just their messages and meanings but also what mattered to the authors. In these contrasts we encounter the Bible anew as a living work whose many voices tell us about the world out of which the Bible grew—and the world that it created.Listen to the author's podcast.

    The period's perception of Shakespeare as unlearned allowed many women to identify with him and in doing so they seized an opportunity to enter public life by writing about and performing his works. Actresses (such as Hannah Pritchard, Kitty Clive, Susannah Cibber, Dorothy Jordan and Sarah Siddons), female playgoers (including the Shakespeare Ladies Club) and women critics (like Charlotte Lennox, Elizabeth Montagu, Elizabeth Griffith and Elizabeth Inchbald), had a profound effect on Shakespeare's reception. Interdisciplinary in approach and employing a broad range of sources, this book's analysis of criticism, performance and audience response shows that in constructing Shakespeare's significance for themselves and for society, women were instrumental in the establishment of Shakespeare at the forefront of English literature, theatre, culture and society in the eighteenth century and beyond.

    Today, among Westerners, at least, the very idea of the futuristic city -- with its multilayered skyways, domestic robotsand flying cars -- seems doomed to the realm of nostalgia, the sadly comic promise of a future that failed to materialize.Shanghai Future maps the city of tomorrow as it resurfaces in a new time and place. It searches for the contours of an unknown and unfamiliar futurism in the city's street markets as well as in its skyscrapers. For though it recalls the modernity of an earlier age, Shanghai's current re-emergence isonly superficially based on mimicry. Rather, in seeking to fulfill its ambitions, the giant metropolis is reinventing the very idea of the future itself. As it modernizes, Shanghai is necessarily recreating what it is to be modern.

    Robert M. Thorson is interested in Thoreau the rock and mineral collector, interpreter of landscapes, and field scientist whose compass and measuring stick were as important to him as his plant press. At Walden's climax, Thoreau asks us to imagine a "living earth" upon which all animal and plant life is parasitic. This book examines Thoreau's understanding of the geodynamics of that living earth, and how his understanding informed the writing of Walden.The story unfolds against the ferment of natural science in the nineteenth century, as Natural Theology gave way to modern secular science. That era saw one of the great blunders in the history of American science--the rejection of glacial theory. Thorson demonstrates just how close Thoreau came to discovering a "theory of everything" that could have explained most of the landscape he saw from the doorway of his cabin at Walden. At pivotal moments in his career, Thoreau encountered the work of the geologist Charles Lyell and that of his protege Charles Darwin. Thorson concludes that the inevitable path of Thoreau's thought was descendental, not transcendental, as he worked his way downward through the complexity of life to its inorganic origin, the living rock."

    Each has spawned volumes of secondary literature and sparked fierce, polarizing debates, particularly about the relationship between philosophy and politics. And yet, to date there exists almost no work that presents a systematic and comprehensive engagement of the two in relation to one another. The World of Freedom addresses this lacuna.Neither apology nor polemic, the book demonstrates that it is not merely interesting but necessary to read Heidegger and Foucault alongside one another if we are to properly understand the shape of twentieth-century Continental thought. Through close, scholarly engagement with primary texts, Robert Nichols develops original and demanding insights into the relationship between fundamental and historical ontology, modes of objectification and subjectification, and an ethopoetic conception of freedom. In the process, his book also reveals the role that Heidegger's reception in France played in Foucault's intellectual development—the first major work to do so while taking full advantage of the recent publication of Foucault's last Collège de France lectures of the 1980s, which mark a return to classical Greek and Roman philosophy, and thus to familiar Heideggerian loci of concern.

    Even those who view his work favorably often see it as essentially optimistic, reassuring, and conservative. James Kendrick takes an alternate view of Spielberg's cinema and proposes that his films—even the most popular ones that seem to trade in easy answers and comforting, reassuring notions of cohesion and narrative resolution—are significantly darker and more emotionally and ideologically complex than they are routinely given credit for.Darkness in the Bliss-Out demonstrates, through close analysis of a wide range of Spielberg's films, that they are only reassuring on the surface, and that their depths embody a complex and sometimes contradictory view of the human condition.

    The first chapter focuses on several relevant preliminary issues, such as the nature, purpose, and interpretation of parables. It then discuss the parables themselves in the subsequent chapters.

    Literature is good for us. These two ideas about reading literature are often taken for granted. But what is the relationship between literature's capacity to unsettle, perplex, and bewilder us, and literature's ethical value? To revive this question, C. Namwali Serpell proposes a return to William Empson's groundbreaking work, Seven Types of Ambiguity (1930), which contends that literary uncertainty is crucial to ethics because it pushes us beyond the limits of our own experience.Taking as case studies experimental novels by Thomas Pynchon, Toni Morrison, Bret Easton Ellis, Ian McEwan, Elliot Perlman, Tom McCarthy, and Jonathan Safran Foer, Serpell suggests that literary uncertainty emerges from the reader's shifting responses to structures of conflicting information. A number of these novels employ a structure of mutual exclusion, which presents opposed explanations for the same events. Some use a structure of multiplicity, which presents different perspectives regarding events or characters. The structure of repetition in other texts destabilizes the continuity of events and frustrates our ability to follow the story.To explain how these structures produce uncertainty, Serpell borrows from cognitive psychology the concept of affordance, which describes an object's or environment's potential uses. Moving through these narrative structures affords various ongoing modes of uncertainty, which in turn afford ethical experiences both positive and negative. At the crossroads of recent critical turns to literary form, reading practices, and ethics, Seven Modes of Uncertainty offers a new phenomenology of how we read uncertainty now.

    Calico examines the cultural history of postwar Europe through the lens of the performance and reception of Arnold Schoenberg's A Survivor from Warsaw—a short but powerful work, she argues, capable of irritating every exposed nerve in postwar Europe. Schoenberg, a Jewish composer whose oeuvre had been one of the Nazis’ prime exemplars of entartete (degenerate) music, immigrated to the United States and became an American citizen. Both admired and reviled as a pioneer of dodecaphony, he wrote this twelve-tone piece about the Holocaust in three languages for an American audience. This book investigates the meanings attached to the work as it circulated through Europe during the early Cold War in a kind of symbolic musical remigration, focusing on six case studies: West Germany, Austria, Norway, East Germany, Poland, and Czechoslovakia. Each case is unique, informed by individual geopolitical concerns, but this analysis also reveals common themes in anxieties about musical modernism, Holocaust memory and culpability, the coexistence of Jews and former Nazis, anti-Semitism, dislocation, and the presence of occupying forces on both sides of the Cold War divide.

    This volume serves as an incisive and accessible overview of that brilliant period in which Irish artists not only helped to create a distinctive nationalist literature but also changed the face of European and anglophone culture. This Companion surveys developments in modernist poetry, drama, fiction and the visual arts. Early innovators, such as Oscar Wilde, George Bernard Shaw, Jack B. Yeats and James Joyce, as well as late modernists, including Elizabeth Bowen, Samuel Beckett, Flann O'Brien, Mairtin O Cadhain and Francis Bacon, all appear here. Significantly, however, this volume ranges beyond such iconic figures to open up new ground with chapters on Irish women modernists, Irish American modernism, Irish-language modernism and the critical reception of modernism in Ireland."

    Pacific Islanders had established civilisations and cultures of travel well before European explorers arrived, initiating centuries of upheaval and transformation. The twentieth century, with its various wars fought in and over the Pacific, is only the most recent era to witness military strife and economic competition. While Asia Pacific and Pacific Rim were late twentieth-century terms that dealt with the importance of the Pacific to the economic, political, and cultural arrangements that span Asia and the Americas, a new term has arisen--the transpacific. In the twenty-first century, U.S. efforts to dominate the ocean are symbolized not only in the Pacific pivot of American policy but also the development of a Transpacific Partnership. This partnership brings together a dozen countries--not including China--in a trade pact whose aim is to cement U.S. influence. That pact signals how the transpacific, up to now an academic term, has reached mass consciousness.Recognising the increasing importance of the transpacific as a word and concept, this anthology proposes a framework for transpacific studies that examines the flows of culture, capital, ideas, and labour across the Pacific. These flows involve Asia, the Americas, and the Pacific Islands. The introduction to the anthology by its editors, Janet Hoskins and Viet Thanh Nguyen, consider the advantages and limitations of models found in Asian studies, American studies, and Asian American studies for dealing with these flows. The editors argue that transpacific studies can draw from all three in order to provide a critical model for considering the geopolitical struggle over the Pacific, with its attendant possibilities for inequality and exploitation. Transpacific studies also sheds light on the cultural and political movements, artistic works, and ideas that have arisen to contest state, corporate, and military ambitions. In sum, the transpacific as a concept illuminates how flows across the Pacific can be harnessed for purposes of both domination and resistance. The anthology's contributors include geographers (Brenda S. A.Yeoh, Weiqiang Lin), sociologists (Yen Le Espiritu, Hung Cam Thai), literary critics (John Carlos Rowe, J. Francisco Benitez, Yunte Huang, Viet Thanh Nguyen), and anthropologists (Xiang Biao, Heonik Kwon, Nancy Lutkehaus, Janet Hoskins), as well as a historian (Laurie J. Sears), and a film scholar (Akira Lippit). Together these contributors demonstrate how a transpacific model can be deployed across multiple disciplines and from varied locations, with scholars working from the United States, Singapore, Japan and England. Topics include the Cold War, the Chinese state, U.S. imperialism, diasporic and refugee cultures and economies, national cinemas, transpacific art, and the view of the transpacific from Asia. These varied topics are a result of the anthology's purpose in bringing scholars into conversation and illuminating how location influences the perception of the transpacific. But regardless of the individual view, what the essays gathered here collectively demonstrate is the energy, excitement, and insight that can be generated from within a transpacific framework.

    The structure of apocalyptic science fiction reveals what is at stake in Japanese society - cultural continuity, tradition, politics, ideology, reality, communities, and interpersonal relationships - and suggests ways to cope with these crises and visions for the future, both positive and negative. By looking at the postwar period, Motoko Tanaka observes how Japanese apocalyptic discourse has changed in its role as a tool according to the zeitgeists of various decades.

    In this collection of 35 essays drawn from his revered Cult Movies series, cult film specialist Danny Peary examines, dissects, defends, and exalts crime films from his unique and engaging perspective. His writing is a cornerstone of the cult film culture that continues to flourish today. New to this ebook series are Danny Peary’s cult movie checklists for each genre. Every crime fan will walk away with newly discovered gems to watch, and a newfound appreciation of his or her favorites.

    Neither Marx nor Nietzsche first gave us theory—Hegel did. To support this contention, Andrew Cole’s The Birth of Theory presents a refreshingly clear and lively account of the origins and legacy of Hegel’s dialectic as theory. Cole explains how Hegel boldly broke from modern philosophy when he adopted medieval dialectical habits of thought to fashion his own dialectic. While his contemporaries rejected premodern dialectic as outdated dogma, Hegel embraced both its emphasis on language as thought and its fascination with the categories of identity and difference, creating what we now recognize as theory, distinct from systematic philosophy. Not content merely to change philosophy, Hegel also used this dialectic to expose the persistent archaism of modern life itself, Cole shows, establishing a method of social analysis that has influenced everyone from Marx and the nineteenth-century Hegelians, to Nietzsche and Bakhtin, all the way to Deleuze and Jameson.             By uncovering these theoretical filiations across time, The Birth of Theory will not only change the way we read Hegel, but also the way we think about the histories of theory. With chapters that powerfully reanimate the overly familiar topics of ideology, commodity fetishism, and political economy, along with a groundbreaking reinterpretation of Hegel’s famous master/slave dialectic, The Birth of Theory places the disciplines of philosophy, literature, and history in conversation with one another in an unprecedented way. Daring to reconcile the sworn enemies of Hegelianism and Deleuzianism, this timely book will revitalize dialectics for the twenty-first century.

    Poet, novelist, essayist and philosopher B.W. Powe, who studied with both of these formidable and influential intellectuals, presents an exploration of their lives and work in Marshall McLuhan and Northrop Frye: Apocalypse and Alchemy.Powe considers the existence of a unique visionary tradition of Canadian humanism and argues that McLuhan and Frye represent fraught but complementary approaches to the study of literature and to the broader engagement with culture. Examining their eloquent but often acid responses to each other, Powe exposes the scholarly controversies and personal conflicts that erupted between them, and notably the great commonalities in their writing and biographies. Using interviews, letters, notebooks, and their published texts, Powe offers a new alchemy of their thought, in which he combines the philosophical hallmarks of McLuhan's "The medium is the message" and Frye's "the great code."

    This collection indicates that trauma in literature is best read through a theoretical pluralism that allows for an understanding of trauma's variable representations that include, but move beyond, the concept of trauma as unspeakable.

    The book argues that the idea of the tragic arose in response to a new consciousness of history in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Holderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy.

    From his early writings on phenomenology and linguistics to his later meditations on war, terrorism, and justice, Jacques Derrida (1930–2004) achieved prominence on an international scale by addressing as many different audiences as he did topics. Yet despite widespread acclamation, his work has never been considered easy. Rendering accessible debates that marked more than four decades of engagement and inquiry, Susanne Lüdemann traces connections between the philosopher's own texts and those of his many interlocutors, past and present.Unlike conventional introductions, Politics of Deconstruction offers a number of personal approaches to reading Derrida and invites readers to find their own. Emphasizing the relationship between philosophy and politics, it shows that, with Deconstruction, there is much more at stake than an "academic" discussion, for Derrida's work deals with all the burning political and intellectual challenges of our time. The author's own professional experience in both the United States and in Europe, which particularly inform her chapter on Derrida's reception in the United States, opens a unique perspective on a unique thinker, one that rewards specialists and newcomers alike.

    Drawing upon a wide variety of texts, many of which have been previously untranslated, Capobianco illuminates the overarching importance of Being as radiant manifestation - "the truth of Being" - and how Heidegger also named and elucidated this fundamental phenomenon as physis (Nature), Aletheia, the primordial Logos, and as Ereignis, Lichtung, and Es gibt.Heidegger's Way of Being brings back into full view the originality and distinctiveness of Heidegger's thought and offers an emphatic rejoinder to certain more recent readings, and particularly those that propose a reduction of Being to "sense" or "meaning" and maintain that the core matter is human meaning-making. Capobianco's vivid and often poetic reflections serve to evoke for readers the very experience of Being - or as he prefers to name it, the Being-way - and to invite us to pause and meditate on the manner of our human way in relation to the Being-way.

    Written by leading international scholars of Woolf and modernism, this companion to To the Lighthouse will be of interest to students and scholars alike. Individual chapters explore the biographical and textual genesis of the novel; its narrative perspectives and use of form; its thematic and formal attention to time and space; and its representations of feminism and gender as well as generational change, race, and class. Complete with a chapter on the novel's critical history, a chronology, and a guide to further reading, this volume synthesizes To the Lighthouse's major ideas and formal innovations while also summarizing and advancing critical debate.

    Ma Rainey, Bessie Smith, and other classic blues singers also tapped, joked, and flaunted extravagant costumes on tent show and black vaudeville stages. The press even described these women as "actresses" long before they achieved worldwide fame for their musical recordings. In Staging the Blues, Paige A. McGinley shows that even though folklorists, record producers, and festival promoters set the theatricality of early blues aside in favor of notions of authenticity, it remained creatively vibrant throughout the twentieth century. Highlighting performances by Rainey, Smith, Lead Belly, Sister Rosetta Tharpe, Sonny Terry, and Brownie McGhee in small Mississippi towns, Harlem theaters, and the industrial British North, this pioneering study foregrounds virtuoso blues artists who used the conventions of the theater, including dance, comedy, and costume, to stage black mobility, to challenge narratives of racial authenticity, and to fight for racial and economic justice.

    Literary Cartographies surveys a broad expanse of literary historical territories, including romance and realism, modernism and imperialism, and the postmodern play of spaces in the era of globalization. As such, this collection also provides a representative sample of work being done in this area by spatially oriented critics across a range of periods, languages, and literatures. Drawing upon the resources of spatiality studies and comparative literature, this collection of essays explores the ways authors use both strictly mimetic and more fantastic means to figure forth the 'real-and-imagined' spaces of their respective worlds. Examining diverse texts and spaces, the contributors to Literary Cartographies demonstrate how a variety of romantic, realist, modernist, and postmodernist narratives represent the changing social spaces of their world, and of our own world system today.

    Each chapter discusses a topical text set of YA novels in a conceptual framework--how these novels contribute to or deconstruct conventional wisdom about key topics from identity formation to awareness of world issues, while also providing a springboard in secondary and college classrooms for critical discussion of these novels. Uncloaking many of the issues that have been essentially invisible in discussions of YA literature, these essays can then guide the design of curriculum through which adolescent readers hone the necessary skills to unpack the ideologies embedded in YA narratives. The annotated bibliography provides supplementary articles and books germane to all the issues discussed. Closing End Points highlight and reinforce cross-cutting themes throughout the book and tie the essays together.

    They begin in summer 1816, as he approached his twenty-first birthday, and were written over the next four years until his early death. Viewed together, they give the fullest and most poignant record we have of Keats's ambitions and hopes as a poet, his life as a literary man about town, his close relationship with his brothers and young sister, and, later, his passionate, jealous and frustrated love for Fanny Brawne.Keats enclosed many of his poems with his letters, and read together, they offer an incomparable insight into his creative process and development as a poet. This major new edition edited by Professor John Barnard includes an introduction and notes, as well as a map of Keats's Scottish walking tour and reproductions of his letters.John Keats was born in October 1795. His Poems appeared in 1817, while Endymion was published in 1818, both to mixed reviews. In 1819 he wrote The Eve of St Agnes, La Belle Dame sans Merci, the major odes, Lamia and the Fall of Hyperion. Keats was already unwell when preparing his 1820 volume for the press; by the time it appeared in July he was desperately ill. He died in Rome in 1821, in a rented apartment next to the Spanish Steps, at the age of twenty-five.John Barnard is Emeritus Professor of English Literature at the University of Leeds and has edited The Complete Poems of Keats for Penguin Classics.

    Vollmann as the most ambitious, productive, and important living author in the US. His oeuvre not only includes outstanding work in numerous literary genres, but also global reportage, ethical treatises, paintings, photographs, and many other productions. His reputation as a daring traveler and his fascination with life on the margins have earned him an extra-literary renown unequaled in our time. Perhaps most importantly, his work is exceptional in relation to the literary moment. Vollmann is a member of a group of authors who are responding to the skeptical ironies of postmodernism with a reinvigoration of fiction s affective possibilities and moral sensibilities, but he stands out even among this cohort for his prioritization of moral engagement, historical awareness, and geopolitical scope. Included in this book in addition to twelve scholarly critical essays are reflections on Vollmann by many of his peers, confidantes, and collaborators, including Jonathan Franzen, James Franco, and Michael Glawogger. With a preface by Larry McCaffery and an afterword by Michael Hemmingson, this book offers readings of most of Vollmann s works, includes the first critical engagements with several key titles, and introduces the work of several foreign Vollmann scholars to American audiences."

    The book analyzes and applies the most relevant concepts and themes discussed in trauma theory, such as the relationship between individual and collective trauma, historical trauma, absence vs. loss, the roles of perpetrator and victim, dissociation, nachtr�glichkeit, transgenerational trauma, the process of acting out and working through, introjection and incorporation, mourning and melancholia, the phantom and the crypt, postmemory and multidirectional memory, shame and the affects, and the power of resilience to overcome trauma. Significantly, the essays not only focus on the phenomenon of trauma and its diverse manifestations but, above all, consider the elements that challenge the aporias of trauma, the traps of stasis and repetition, in order to reach beyond the confines of the traumatic condition and explore the possibilities of survival, healing and recovery.

    But very few have had the opportunity to view the horror offerings from a studio better known for its serials than its scares. Republic, whose chapter plays and westerns are widely available to this day, actually produced some first-rate horror films in the forties which have remained largely unseen for over fifty years. Author Brian McFadden brings these long lost genre offerings from “The Little Studio in the Valley” to life, complete with the circumstances surrounding their production and fascinating details about the people both in front of and behind the cameras. So sit back, relax and enjoy the “Best Horror Pictures You’ve Probably Never Seen” from “The Serial Studio, Republic!”

    Through their writing in and about the imperial metropolis, colonial women authors not only remapped the city, they also renegotiated the position of women within the empire. This book examines the significance of gender to the interwoven nature of empire and modernism. As transgressive figures of modernity, writers such as Jean Rhys, Katherine Mansfield, Una Marson and Sarojini Naidu brought their own versions of modernity to the capital, revealing the complex ways in which colonial identities 'traveled' to London at the turn of the twentieth century. Anna Snaith's timely and original study provides a new vantage point on the urban metropolis and its artistic communities for scholars and students of literary modernism, gender and postcolonial studies, and English literature more broadly.

    To date, he has written more than 70 books of poetry and fiction - books that reveal a breathtaking range, from freshly minted trobar clus and contemporized sonnet forms, to epic-length narratives and non-narratives - such as Axon Dendron Tree, The Common Shore, The Loom, or the first two installments of a recent trilogy, Fire Exit & Uncertainties. Just as compelling are the volumes of shorter lyric forms, such as Finding the Measure, Songs I-XXX, Not this Island Music, and Lapis, or his even more experimental work, such as Sentence, The Flowers of Unceasing Coincidence, or his writing-through of Shelley's poem, Mont Blanc. The deeper unity of the work is unavoidably present in the voice that underlies the multiplicity of forms. As Guy Davenport wrote: "A Kelly poem is a Kelly poem. It dances in his way, sings in his intonations, insisting on its style. No American poet except perhaps Wallace Stevens has his sense of balance in a line. [...] Kelly has nothing to hide: the untiltable balance is there to begin with." Less visible than the poetry, but certainly no less important, incisive, worth preserving & circulating anew, are the trove of essayistic materials disseminated throughout numerous small & not so small magazines of the second-half of the 20th C. The out-of-print 1971 In Time was Kelly's sole published book of essays properly speaking, even though he has been writing on his (& others') poetry & poetics since the early 60s. Long over-due, the present volume, A Voice Full of Cities, collects for the first time Kelly's essays, statements, & other writings on poetry & poetics, making available a vast array of difficult to obtain works. The editors' aim was to insure that - in Robert Kelly's own words - "the fifty years of thinking around the fifty years of making won't get lost, and making and thinking will be seen as one thing." A forthcoming companion volume from Contra Mundum Press, A City Full of Voices, will present critical essays on Robert Kelly's work by a wide range of contributors.

    Jager demonstrates the distinctive ability of literary writing to register the uneasiness and anxiety that characterize the mood of secular modernity.

    These and countless other novels affirm the power of sonance and sound in the African Americanliterary canon. Considering the wide swath of work in this powerful lineage -- in addition to its shared heritage with performance -- Mae G. Henderson deploys her trope of speaking in tongues to theorize the preeminence of voice and narration in black women's literary performance through herreconstruction of a fundamentally spiritual practice as a critical concept for reading black women's writing dialogically and intertextually.The first half of the book is devoted to influential works of fiction, as Henderson offers a series of spirited, attentive readings of works by Zora Neale Hurston, Alice Walker, Sherley Anne Williams, Toni Morrison, Gayl Jones, and Nella Larsen. The second half shifts gears to consider the world offemale African American performance, most notably in the figures of Josephine Baker and the video dancer. Drawing on the trope of dancing diaspora, Henderson proposes a model of theorizing based on performing testimony and critical witnessing. Throughout the book, Henderson draws on a historyof black women not only in the Pentecostal Holiness Church, but also within the traditions of classical, Christian, African, and black diasporic spirituality and performance. Ultimately, Speaking in Tongues and Dancing Diaspora provides a deeply felt reflection on race and gender and their effectswithin the discourses of speaker/listener and audience/performer.

    Crossway's Christian Guides to the Classics series helps readers enjoy the greatest literature in history with the aid of a gifted teacher. Popular professor, author, and literary expert Leland Ryken situates each work in its cultural context, incorporates published criticism, includes brief bibliographies for further study, and evaluates these works through a Christian worldview. This volume will help readers understand and engage with William Shakespeare's greatest tragedy: Hamlet.

    Metaphor ("a carrying or bearing across") supposes that an ordinary word could have been used in a statement but hasn't been. Instead, something else, something unexpected, appears. The point of a metaphor is to enrich the reader's experience by bringing different associations to mind. The force of a good metaphor is to give something a different life, a new life. The essential character of metaphor, Donoghue says, is prophetic. Metaphors intend to change the world by changing our sense of it.At the center of Donoghue's study is the idea that metaphor permits the greatest freedom in the use of language because it exempts language from the local duties of reference and denotation. Metaphors conspire with the mind in its enjoyment of freedom. Metaphor celebrates imaginative life par excellence, from Donoghue's musings on Aquinas' Latin hymns, interspersed with autobiographical reflection, to his agile and perceptive readings of Wallace Stevens.When Donoghue surveys the history of metaphor and resistance to it, going back to Aristotle and forward to George Lakoff, he is a sly, cogent, and persuasive companion. He also addresses the question of whether or not metaphors can ever truly die. Reflected on every page of Metaphor are the accumulated wisdom of decades of reading and a sheer love of language and life.

    Jean-Michel Rabat� takes Sigmund Freud as his point of departure, studying in detail Freud's integration of literature in the training of psychoanalysts and how literature provided crucial terms for his myriad theories, such as the Oedipus complex. Rabat� subsequently surveys other theoreticians such as Wilfred Bion, Marie Bonaparte, Carl Jung, Jacques Lacan, and Slavoj Zizek. This Introduction is organized thematically, examining in detail important terms like deferred action, fantasy, hysteria, paranoia, sublimation, the uncanny, trauma, and perversion. Using examples from Miguel de Cervantes and William Shakespeare to Sophie Calle and Yann Martel, Rabat� demonstrates that the psychoanalytic approach to literature, despite its erstwhile controversy, has recently reemerged as a dynamic method of interpretation.

    In this provocative book, Margaret Peacock offers an original account of how Soviet and American leaders used emotionally charged images of children in an attempt to create popular support for their policies at home and abroad. Groups on either side of the Iron Curtain pushed visions of endangered, abandoned, and segregated children to indict the enemy's state and its policies. Though the Cold War is often characterized as an ideological divide between the capitalist West and the communist East, Peacock demonstrates a deep symmetry in how Soviet and American propagandists mobilized similar images to similar ends, despite their differences. Based on extensive research spanning fourteen archives and three countries, Peacock tells a new story of the Cold War, seeing the conflict not simply as a divide between East and West, but as a struggle between the producers of culture and their target audiences.