The lucid understandings presented here are gripping and transformative in themselves. Investigating the power of poetry to move and change us becomes in these pages an equal investigation into the inhabitance and navigation of our human lives.Closely reading poems by Dickinson, Bashō, Szymborska, Cavafy, Heaney, Bishop, and Komunyakaa, among many others, Hirshfield reveals how poetry's world-making takes place: word by charged word. By expanding what is imaginable and sayable, Hirshfield proposes, poems expand what is possible. Ten Windows restores us at every turn to a more precise, sensuous, and deepened experience of our shared humanity and of the seemingly limitless means by which that knowledge is both summoned and forged.

    Wright argues for poetry as a way of being and seeing, and calls it "the one arena where I am not inclined to crank up the fog machine." Wright's passion for the genre is pure inspiration, and in her hands the answer to the question of poetry is poetry.From "In a Word":I love the nouns of a time in a place, where a sack once was a poke and native skag was junk glass not junk and junk was just junk not smack and smack entailed eating with your mouth open, and an Egyptian one-eye was an egg, sunny side up, and a nation sack was a flannel amulet, worn only by women, to be touched only by women, especially around Memphis. Red sacks for love and green for money…C.D. Wright's most recent volume, One With Others, was a National Book Award finalist. Among her many honors are the Griffin Poetry Prize and a MacArthur Fellowship. She teaches at Brown University and lives outside of Providence, Rhode Island.

    Some are entertainingly bad. But the very worst are instructively bad. Left Behind: A Novel of the Earth's Last Days is even worse than that. Fred Clark has been learning from the relentless awfulness of this book for more than a decade and he invites you to join him on a journey through the horrors and hilarity of one of the worst books ever written.

    Ranging across her poetry, prose, letters, and biography, Toibin creates a vivid picture of Bishop while also revealing how her work has helped shape his sensibility as a novelist and how her experiences of loss and exile resonate with his own. What emerges is a compelling double portrait that will intrigue readers interested in both Bishop and Toibin.For Toibin, the secret of Bishop's emotional power is in what she leaves unsaid. Exploring Bishop's famous attention to detail, Toibin describes how Bishop is able to convey great emotion indirectly, through precise descriptions of particular settings, objects, and events. He examines how Bishop's attachment to the Nova Scotia of her childhood, despite her later life in Key West and Brazil, is related to her early loss of her parents--and how this connection finds echoes in Toibin's life as an Irish writer who has lived in Barcelona, New York, and elsewhere.Beautifully written and skillfully blending biography, literary appreciation, and descriptions of Toibin's travels to Bishop's Nova Scotia, Key West, and Brazil, On Elizabeth Bishop provides a fresh and memorable look at a beloved poet even as it gives us a window into the mind of one of today's most acclaimed novelists.

    It will help you understand how the genre works, the big do's and don't's - as well as giving you the inspiration and motivation you actually need to write. Written by a leading literary agent who knows what it takes to make it in this market, this book will give you the advice and tips you need to stand out. An essential book for anyone hoping to emulate the success and addictive qualities that characterize books like The Hunger Games, Twilight, Divergent and The Fault in Our Stars.

    Banks' Culture novels covers the series from its inception in the 1970s to the The Hydrogen Sonata (2012), published less than a year before Banks' death. It considers Banks' origins as a writer, the development of his politics and ethics, his struggles to become a published author, his eventual success with The Wasp Factory (1984) and the publication of the first Culture novel, Consider Phlebas (1987). His 1994 essay "A Few Notes on the Culture" is included, along with a range of critical responses to the 10 Culture books he published in his lifetime and a discussion of the series' status as utopian literature.Banks was a complex man, both in his everyday life and on the page. This work aims at understanding the Culture series not only as a fundamental contribution to science fiction but also as a product of its creator's responses to the turbulent times he lived in.

    We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world.While holding this to be true of authentic art, the author acknowledges the presence--overwhelming in our media-saturated age--of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival.Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.

    Caroline Levine argues that forms organize not only works of art but also political life-and our attempts to know both art and politics. Inescapable and frequently troubling, forms shape every aspect of our experience. Yet, forms don't impose their order in any simple way. Multiple shapes, patterns, and arrangements, overlapping and colliding, generate complex and unpredictable social landscapes that challenge and unsettle conventional analytic models in literary and cultural studies. Borrowing the concept of affordances from design theory, this book investigates the specific ways that four major forms-wholes, rhythms, hierarchies, and networks-have structured culture, politics, and scholarly knowledge across periods, and it proposes exciting new ways of linking formalism to historicism and literature to politics. Levine rereads both formalist and antiformalist theorists, including Cleanth Brooks, Michel Foucault, Jacques Rancière, Mary Poovey, and Judith Butler, and she offers engaging accounts of a wide range of objects, from medieval convents and modern theme parks to Sophocles's Antigone and the television series The Wire. The result is a radically new way of thinking about form for the next generation and essential reading for scholars and students across the humanities who must wrestle with the problem of form and context.

    The Left Behind series has sold tens of millions of copies -- deforming faith, church and politics for millions of Americans. Fred Clark plows through the first book in that series -- page by hilariously horrible page -- unpacking its universe of awfulness. This torturous journey offers a window into the world view of a right-wing religious subculture that shapes American politics and society. It also provides a master-class in How Not To Write.If you care about stories, or storytelling, or theology, or the Bible, or Jesus, or other people, then you'll enjoy this examination of how the Left Behind series -- the World's Worst Books -- are an affront to all of those things.David Dark says, "The slacktivist's thoroughgoing, critically engaging response to the biblical, exegetical and literary malpractice of the Left Behind series is a tour de force that makes the blogosphere feel like a sign of the coming kingdom. One midrash leads to another in his ever-redeeming tangents."Daniel Radosh, a writer for Spy magazine and The Daily Show, says, "Blogger Fred Clark has written one of the most effective (and hilarious) critiques of Left Behind. ... The level of detail gives Clark space to build a devastating case."

    The Life of Images brings together his best prose work written over twenty-five years.A blend of the straightforward, the wry, and the hopeful, the essays in The Life of Images explore subjects ranging from literary criticism to philosophy, photography to Simic’s childhood in a war-torn country. Culled from five collections, each work demonstrates the qualities that make Simic’s poetry so brilliant yet accessible.Whether he is revealing the influence of literature on his childhood development, pondering the relationship between food and comfort, or elegizing the pull to return to a homeland that no longer exists, the legendary poet shares his distinctive take on the world and offers an intimate look into his remarkable mind.

    With this volume spanning from her punk fanzine roots to her landmark piece on R. Kelly's past, The First Collection leaves no doubt why The New York Times has called Hopper's work "influential." Not merely a selection of two decades of Hopper's most engaging, thoughtful, and humorous writing, this book documents the last 20 years of American music making and the shifting landscape of music consumption. The book journeys through the truths of Riot Grrrl's empowering insurgence, decamps to Gary, IN, on the eve of Michael Jackson's death, explodes the grunge-era mythologies of Nirvana and Courtney Love, and examines emo's rise. Through this vast range of album reviews, essays, columns, interviews, and oral histories, Hopper chronicles what it is to be truly obsessed with music. The pieces in The First Collection send us digging deep into our record collections, searching to re-hear what we loved and hated, makes us reconsider the art, trash, and politics Hopper illuminates, helping us to make sense of what matters to us most.

    A contemporary of Jackson Pollock and Willem De Kooning, she is not as well known as her male counterparts because she was a woman and also because she spent most of her working life in France. Still, in 2013, Bloomsburg Business listed Mitchell as the bestselling female artist of all time. When asked to talk about her paintings, Joan Mitchell often responded, "If I could say it in words, I'd write a book." Here is her book. At once unique and universal, Blue Territory is at its core an exploration of love and life, and what it means to love - and live - what you do. Meticulously researched and lyrically written, it will appeal to anyone interested in passionate engagement with the world. The book eschews images so as to allow the words to form them, thereby freeing the reader to imagine the paintings, much as Mitchell would have to do before picking up her brush.

    Drawing on her conversations with Auerbach and from published and archival interviews, she offers rare insight into his professional life, working methods, and philosophy, as well as the places, people, and experiences that have shaped his life. These include arriving in Britain as a seven-year-old refugee from Nazi Germany in 1939, finding his way in the London art world of the 1950s and 60s, his friendships with Leon Kossoff, Francis Bacon, and Lucian Freud, among others, and his approaches to looking and painting throughout his working life. The text is complemented by illustrations of Auerbach’s paintings and drawings as well as by images from his studio and personal photographs that have never been published before.

    He presents the author who was always being told he had nearly written a masterpiece, and the genius of the short story who brewed his own cider and lived in a railway carriage. Then there’s the figure of the 1890s, praised by Max Beerbohm, who liked to wander around London wearing horns and chewing railings, and the young man in the 1930s who tried to sell his poetry door to door. There are also new angles on key figures: the strange case of Robert Aickman, sailor and philosopher; the book that Sax Rohmer really wanted to write; the enigma of Walter de la Mare’s ‘Seaton’s Aunt’. And there are literary mysteries; what was the MS in a Red Box? Who wrote Shakespeare’s Gunpowder Plot? What became of Dr Ludovicus? Other essays celebrate neglected writers worth discovering, such as Mary Butts, Claude Houghton, and Vernon Knowles, or offer fresh perspectives, looking at Lewis Grassic Gibbon’s fantasies, Malcolm Lowry’s reading in occult fiction. There are even studies of books that were never written. Haunted by Books will delight all readers and book collectors who like to leave the beaten path and wander in the wild woods, forgotten lanes and lonely houses of literature.

    Wolfe is famous for creating labyrinthine and complicated stories full of allusions that are not always easily understood; Between Light and Shadow explores every short story and novel that Wolfe composed in the first half of his career. Between Light and Shadow is not only a holistic illustration of Wolfe's work, but attempts to solve many of the narrative mysteries that have eluded readers for decades. From focused essays interpreting masterpieces such as "The Fifth Head of Cerberus" and "Peace" to complete story analyses which not only delineate allusions and themes but also take a rigorous, logical approach to reading Wolfe, the book is above all an enormous commitment to understanding the work of one of modern literature's most unique and challenging figures. Between Light and Shadow presents the thesis that objective closure is possible in even Wolfe's most complicated cosmological and metaphysical narratives, and reveals that the mysteries behind the ideas and images inspiring Wolfe are ultimately comprehensible.

    Jekyll to hide Mr. Hyde

    The Ocean, the Bird, and the Scholar gathers two decades' worth of Helen Vendler's essays, book reviews, and occasional prose--including the 2004 Jefferson Lecture--in a single volume. Taken together, they serve as a reminder that if the arts and the patina of culture they cast over the world were deleted, we would, in Wallace Stevens's memorable formulation, inhabit "a geography of the dead." These essays also remind us that without the enthusiasm, critiques, and books of each century's scholars, there would be imperfect perpetuation and transmission of culture.All of the modern poets who have long preoccupied Vendler--Wallace Stevens, Seamus Heaney, John Ashbery, and Jorie Graham--are fully represented, as well as others, including Langston Hughes, Allen Ginsberg, Robert Lowell, Elizabeth Bishop, Amy Clampitt, James Merrill, A. R. Ammons, and Mark Ford. And Vendler reaches back into the poetic tradition, tracing the influence of Keats, Yeats, Whitman, T. S. Eliot, and others in the work of today's poets. As ever, her readings help to clarify the imaginative novelty of poems, giving us a rich sense not only of their formal aspects but also of the passions underlying their linguistic and structural invention. The Ocean, the Bird, and the Scholar is an eloquent plea for the centrality, both in humanistic study and modern culture, of poetry's beautiful, subversive, sustaining, and demanding legacy.

    I prefer the good to the bad, the articulate to the mumbling, the aesthetically developed to the merely primitive, and full to partial consciousness. I love the spectacle of skill, whether it’s an expert gardener at work, or a good carpenter chopping dovetails . . . I don’t think stupid or ill-read people are as good to be with as wise and fully literate ones. I would rather watch a great tennis player than a mediocre one . . . Consequently, most of the human race doesn’t matter much to me, outside the normal and necessary frame of courtesy and the obligation to respect human rights. I see no reason to squirm around apologizing for this. I am, after all, a cultural critic, and my main job is to distinguish the good from the second-rate.” Robert Hughes wrote with brutal honesty about art, architecture, culture, religion, and himself. He translated his passions—of which there were many, both positive and negative—brilliantly, convincingly, and with vitality and immediacy, always holding himself to the same rigorous standards of skill, authenticity, and significance that he did his subjects. There never was, and never will be again, a voice like this. In this volume, that voice rings clear through a gathering of some of his most unforgettable writings, culled from nine of his most widely read and important books. This selection shows his enormous range and gives us a uniquely cohesive view of both the critic and the man. Most revealing, and most thrilling for Hughes’s legions of fans, are the never-before-published pages from his unfinished second volume of memoirs. These last writings show Robert Hughes at the height of his powers and can be read only with pleasure and a tinge of sadness that his extraordinary voice is no longer here to educate us as well as to clarify and define our world.

    Yet the music emerged from the same songwriters, musicians, and producers in the recording studios of Memphis and Nashville, Tennessee, and Muscle Shoals, Alabama--what Charles L. Hughes calls the country-soul triangle. In legendary studios like Stax and FAME, integrated groups of musicians like Booker T. and the MGs and the Muscle Shoals Rhythm Section produced music that both challenged and reconfirmed racial divisions in the United States. Working with artists from Aretha Franklin to Willie Nelson, these musicians became crucial contributors to the era's popular music and internationally recognized symbols of American racial politics in the turbulent years of civil rights protests, Black Power, and white backlash. Hughes offers a provocative reinterpretation of this key moment in American popular music and challenges the conventional wisdom about the racial politics of southern studios and the music that emerged from them. Drawing on interviews and rarely used archives, Hughes brings to life the daily world of session musicians, producers, and songwriters at the heart of the country and soul scenes. In doing so, he shows how the country-soul triangle gave birth to new ways of thinking about music, race, labor, and the South in this pivotal period.

    A powerful selection of Susan Howe's previously uncollected essays, The Quarry moves backward chronologically, from her brand-new "Vagrancy in the Park" (about Wallace Stevens) through such essential texts as "The Disappearance Approach," "Personal Narrative," "Sorting Facts," "Frame Structures," and "Where Should the Commander Be," and ending with her seminal early criticism, "The End of Art." The essays of The Quarry map the intellectual territory of one of America's most important and vital avant-garde poets.

    Jonathan Culler explores alternative conceptions offered by this tradition, such as public discourse made authoritative by its rhythmical structures, and he constructs a more capacious model of the lyric that will help readers appreciate its range of possibilities.Theory of the Lyric constitutes a major advance in our understanding of the Western lyric tradition. Examining ancient as well as modern poems, from Sappho to Ashbery, in many European languages, Culler underscores lyric's surprising continuities across centuries of change--its rhythmical resources, its strange modes of address, its use of the present tense, and the intriguing tension between its ritualistic and fictional dimensions. He defends the idea of lyric as a genre against recent critiques, arguing that lyrics address our world rather than project a fictional world and also challenging the strongly established assumption that poems exist to be interpreted. Theory of the Lyric concludes with a discussion of how to conceive the relations between lyric and society in ways that would acknowledge and respond to lyric's enduring powers of enchantment.

    Out of a wounding sense of alienation and dividedness he created a profoundly original symbolic language, in which words and images unite in a unique interpretation of self and society. He was a counterculture prophet whose art still challenges us to think afresh about almost every aspect of experience—social, political, philosophical, religious, erotic, and aesthetic. He believed that we live in the midst of Eternity here and now, and that if we could open our consciousness to the fullness of being, it would be like experiencing a sunrise that never ends.   Following Blake’s life from beginning to end, acclaimed biographer Leo Damrosch draws extensively on Blake’s poems, his paintings, and his etchings and engravings to offer this generously illustrated account of Blake the man and his vision of our world. The author's goal is to inspire the reader with the passion he has for his subject, achieving the imaginative response that Blake himself sought to excite. The book is an invitation to understanding and enjoyment, an invitation to appreciate Blake’s imaginative world and, in so doing, to open the doors of our perception.

    Lappin departs from the classical concept of the Genius Loci, the indwelling spirit residing in every landscape, house, city, or forest—to argue that by entering into contact with the unique energy and identity of a place, writers can access an inexhaustible source of creative power. The Soul of Place provides instruction on how to evoke that power. The writing exercises are drawn from many fields—architecture and landscaping, painting, cuisine, literature and literary criticism, geography and deep maps, Jungian psychology, fairy tales, mythology, theater and performance art, occult philosophy and metaphysics—all of which offer surprising perspectives on our writing and may help us uncover raw materials for fiction, essays, and poetry hidden in our environment.An essential resource book for the writer’s library, this book is ideal for creative writing courses, with stimulating exercises adaptable to all genres. For writers or travelers about to set out on a trip abroad, The Soul of Place is the perfect road-trip companion, attuning our senses to a deeper awareness of place.

    In this remarkable collection, twenty-four painters, video and mixed-media artists, sculptors, and photographers reveal highly idiosyncratic production tools and techniques, as well as quotidian habits and strategies for getting work done: the music they listen to; the hours they keep; and the relationships with gallerists and curators, friends, family, and fellow artists that sustain them outside the studio.

    Felski argues that critique is a sensibility best captured by Paul Ricoeur’s phrase “the hermeneutics of suspicion.” She shows how this suspicion toward texts forecloses many potential readings while providing no guarantee of rigorous or radical thought. Instead, she suggests, literary scholars should try what she calls “postcritical reading”: rather than looking behind a text for hidden causes and motives, literary scholars should place themselves in front of it and reflect on what it suggests and makes possible. By bringing critique down to earth and exploring new modes of interpretation, The Limits of Critique offers a fresh approach to the relationship between artistic works and the social world.

    It emphasizes the selective and uneven affirmation and incorporation of subjects and ideas that were formerly categorically marginalized, particularly through invitation into reproductive respectability. It does so in order to suggest that racial, gendered, and sexualized violence and inequity are conditions of the past, rather than the foundations of contemporary neoliberalism’s exacerbation of premature death. Neoliberal ideologies hold out the promise of protection from premature death in exchange for complicity with this pretense.In Audre Lorde’s Sister Outsider, Cherríe Moraga’s The Last Generation and Waiting in the Wings, Oscar Zeta Acosta’s The Revolt of the Cockroach People, Ana Castillo’s So Far from God, Gayl Jones’s Corregidora, Isaac Julien’s Looking for Langston, Inge Blackman’s B. D. Women, Rodney Evans’s Brother to Brother, and the work of the late Barbara Christian, Death beyond Disavowal finds the memories of death and precarity that neoliberal ideologies attempt to erase.Hong posits cultural production as a compelling rejoinder to neoliberalism’s violences. She situates women of color feminism, often dismissed as narrow or limited in its effect, as a potent diagnosis of and alternative to such violences. And she argues for the importance of women of color feminism to any critical engagement with contemporary neoliberalism.

    . . And you wonder--what other highbrow writer, or indeed lowbrow writer has such a reflexive grasp of the street, the machine, the law courts, the rackets?" --Martin Amis, The New York Times Book Review The year 2015 marks several literary milestones: the centennial of Saul Bellow's birth, the tenth anniversary of his death, and the publication of Zachary Leader's much anticipated biography. Bellow, a Nobel Laureate, Pulitzer Prize winner, and the only novelist to receive three National Book awards, has long been regarded as one of America's most cherished authors. Here, Benjamin Taylor, editor of the acclaimed Saul Bellow: Letters, presents lesser-known aspects of the iconic writer.Arranged chronologically, this literary time capsule displays the full extent of Bellow's nonfiction, including criticism, interviews, speeches, and other reflections, tracing his career from his initial success as a novelist until the end of his life. Bringing together six classic pieces with an abundance of previously uncollected material, There Is Simply Too Much to Think About is a powerful reminder not only of Bellow's genius but also of his enduring place in the western canon and is sure to be widely reviewed and talked about for years to come.

    Skies of Parchment, Seas of Ink offers the first full survey of Jewish illuminated manuscripts, ranging from their origins in the Middle Ages to the present day. Featuring some of the most beautiful examples of Jewish art of all time—including hand-illustrated versions of the Bible, the Haggadah, the prayer book, marriage documents, and other beloved Jewish texts—the book introduces readers to the history of these manuscripts and their interpretation.Edited by Marc Michael Epstein with contributions from leading experts, this sumptuous volume features a lively and informative text, showing how Jewish aesthetic tastes and iconography overlapped with and diverged from those of Christianity, Islam, and other traditions. Featured manuscripts were commissioned by Jews and produced by Jews and non-Jews over many centuries, and represent Eastern and Western perspectives and the views of both pietistic and liberal communities across the Diaspora, including Europe, Israel, the Middle East, and Africa.Magnificently illustrated with pages from hundreds of manuscripts, many previously unpublished or rarely seen, Skies of Parchment, Seas of Ink offers surprising new perspectives on Jewish life, presenting the books of the People of the Book as never before.

    The volume engages some of the most pressing debates of our time, such as prenatal testing, euthanasia, accessibility in public transportation and the workplace, post-traumatic stress, and questions about the beginning and end of life. Each of the 60 essays in Keywords for Disability Studies focuses on a distinct critical concept, including ethics, medicalization, performance, reproduction, identity, and stigma, among others. Although the essays recognize that disability is often used as an umbrella term, the contributors to the volume avoid treating individual disabilities as keywords, and instead interrogate concepts that encompass different components of the social and bodily experience of disability. The essays approach disability as an embodied condition, a mutable historical phenomenon, and a social, political, and cultural identity. An invaluable resource for students and scholars alike, Keywords for Disability Studies brings the debates that have often remained internal to disability studies into a wider field of critical discourse, providing opportunities for fresh theoretical considerations of the field s core presuppositions through a variety of disciplinary perspectives.

    But can the anticipation of violence be a form of violence as well? Tense Future argues that it can-that twentieth-century war technologies and practices, particularly the aerial bombing of population centers, introduced non-combatants to acoercive and traumatizing expectation. During wartime, civilians braced for the next raid; during peacetime they braced for the next war. The pre-traumatic stress they experienced permeates the century's public debates and cultural works. In a series of groundbreaking readings, Saint-Amourillustrates how air war prophets theorized the wounding power of anticipation, how archive theory changed course in war's shadow, and how speculative fiction conjured visions of a civilizational collapse that would end literacy itself. And in this book's central chapters, he shows us how Ford MadoxFord, Robert Musil, James Joyce, Virginia Woolf, and other interwar modernist writers faced the memory of one war and the prospect of another, some by pitting their fictions' encyclopedic scale and formal turbulence against total war, others by conceding war's inevitability while refusing to longfor a politically regressive peace.Total war: a conflict that exempts no one, disregarding any difference between soldier and civilian. Tense Future forever alters our understanding of the concept of total war by tracing its emergence during the First World War, its incubation in air power theory between the wars, and above all itsprofound partiality. For total war, during most of the twentieth century, meant conflict between imperial nation states; it did not include the violence those states routinely visited on colonial subjects during peacetime. Tacking back and forth between metropole and colony, between world war andpolice action, Saint-Amour describes the interwar refashioning of a world system of violence-production, one that remains largely intact in our own moment of perpetual interwar.

    The result is a very subtle, thought-provoking book.”—Anka Muhlstein, author of Balzac’s Omelette and Monsieur Proust’s Library   Marcel Proust came into his own as a novelist comparatively late in life, yet only Shakespeare, Balzac, Dickens, Tolstoy, and Dostoyevsky were his equals when it came to creating characters as memorably human. As biographer Benjamin Taylor suggests, Proust was a literary lightweight before writing his multivolume masterwork In Search of Lost Time, but following a series of momentous historical and personal events, he became—against all expectations—one of the greatest writers of his, and indeed any, era.   This insightful, beautifully written biography examines Proust’s artistic struggles—the “search” of the subtitle—and stunning metamorphosis in the context of his times. Taylor provides an in-depth study of the author’s life while exploring how Proust’s personal correspondence and published works were greatly informed by his mother’s Judaism, his homosexuality, and such dramatic events as the Dreyfus Affair and, above all, World War I. As Taylor writes in his prologue, “Proust’s Search is the most encyclopedic of novels, encompassing the essentials of human nature. . . . His account, running from the early years of the Third Republic to the aftermath of World War I, becomes the inclusive story of all lives, a colossal mimesis. To read the entire Search is to find oneself transfigured and victorious at journey’s end, at home in time and in eternity too.”

    Perhaps, inevitably, these images are of white men (and more rarely, women). It was not until the 1970s that African American superheroes such as Luke Cage, Blade, and others emerged. But as this exciting new collection reveals, these superhero comics are only one small component in a wealth of representations of black characters within comic strips, comic books, and graphic novels over the past century. The Blacker the Ink is the first book to explore not only the diverse range of black characters in comics, but also the multitude of ways that black artists, writers, and publishers have made a mark on the industry. Organized thematically into “panels” in tribute to sequential art published in the funny pages of newspapers, the fifteen original essays take us on a journey that reaches from the African American newspaper comics of the 1930s to the Francophone graphic novels of the 2000s. Even as it demonstrates the wide spectrum of images of African Americans in comics and sequential art, the collection also identifies common character types and themes running through everything from the strip The Boondocks to the graphic novel Nat Turner.  Though it does not shy away from examining the legacy of racial stereotypes in comics and racial biases in the industry, The Blacker the Ink also offers inspiring stories of trailblazing African American artists and writers. Whether you are a diehard comic book fan or a casual reader of the funny pages, these essays will give you a new appreciation for how black characters and creators have brought a vibrant splash of color to the world of comics.

    In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment. McMillan reframes the concept of the avatar in the service of black performance art, describing black women performers’ skillful manipulation of synthetic selves and adroit projection of their performances into other representational mediums.A bold rethinking of performance art, Embodied Avatars analyzes daring performances of alterity staged by “ancient negress” Joice Heth and fugitive slave Ellen Craft, seminal artists Adrian Piper and Howardena Pindell, and contemporary visual and music artists Simone Leigh and Nicki Minaj. Fusing performance studies with literary analysis and visual culture studies, McMillan offers astute readings of performances staged in theatrical and quotidian locales, from freak shows to the streets of 1970s New York; in literary texts, from artists’ writings to slave narratives; and in visual and digital mediums, including engravings, photography, and video art. Throughout, McMillan reveals how these performers manipulated the dimensions of objecthood, black performance art, and avatars in a powerful re-scripting of their bodies while enacting artful forms of social misbehavior.

    His widely-published work maps the furthest frontiers of contemporary fiction and theory. The essays in this book range from the American satirist Sam Lipsyte to the reclusive Australian genius Gerald Murnane; from the "distant reading" of Franco Moretti to the legacy of Gordon Lish. Meditations on style, form and fictional worlds sit side-by-side with overviews of the cult status of Oulipo, the aftermath of modernism, and the history of continental philosophy. Infinite Fictions is indispensable reading for anyone interested in the forefront of literary thought.

    After the Japanese empire’s collapse in 1945, new nation-centered histories in Korea and Japan actively erased these once ubiquitous cultural interactions that neither side wanted to remember.  Kwon reconsiders these imperial encounters and their contested legacies through the rise and fall of Japanese-language literature and other cultural exchanges between Korean and Japanese writers and artists in the Japanese empire. The contrast between the prominence of these and other forums of colonial era cultural collaborations between the colonizers and the colonized, and their denial in divided national narrations during the postcolonial aftermath, offers insights into the paradoxical nature of colonial collaboration, which Kwon characterizes as embodying desire and intimacy with violence and coercion. Through the case study of the formation and repression of imperial subjects between Korea and Japan, Kwon considers the imbrications of colonialism and modernity and the entwined legacies of colonial and Cold War histories in the Asia-Pacific more broadly.

    The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action.Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.

    But for those of us who remain a bit intimidated or simply want to get more out of our reading, this companion to Crossway's Christian Guides to the Classics series is here to help.In this brief guidebook, popular professor, author, and literary expert Leland Ryken explains what the classics are, how to read them, and why they're still valuable. Written to help you become a seasoned reader and featuring a list of books to get you started, this guide will give you the tools you need to read and enjoy some of history's greatest literature.

    and the decadent and villainous W.A.S.T.E., led by a be-suited and bandaged cackling madman in sunglasses. THE FUTURE OF COMICS, THE FUTURE OF MEN argues that beneath its pop surface, CASANOVA is doing more. It challenges the corporate-driven comic book production model, in which Disney and Time-Warner own all the major super-heroes. And it critiques the vision of masculinity, limited and damaging, that informs so much of modern super-hero comics and movies.From Sequart Organization. More info at http://sequart.org

    

    That’s what I think. It seems to me that our Big Four can also be divided by according to these temperaments, inasmuch as all of them are actually very distinctly represented in the group. Tsvetaeva is unquestionably the choleric author. Pasternak is sanguine. Mandelstam is melancholic. And Akhmatova is phlegmatic. Together they cover the whole poetic universe."-Joseph BrodskyIncluded in this dual-language book is a selection of 10 poems from each poet translated into English by Andrey Kneller.

    Such anecdotes are nevertheless a vital index to the ways that Shakespeare's plays have generated meaning across varied times and in varied places. Furthermore, particular plays have produced particular anecdotes – stories of a real skull in Hamlet, superstitions about the name Macbeth, toga troubles in Julius Caesar – and therefore express something embedded in the plays they attend. Anecdotes constitute then not just a vital component of a play's performance history but a form of vernacular criticism by the personnel most intimately involved in their production: actors. These anecdotes are therefore every bit as responsive to and expressive of a play's meanings across time as the equally rich history of Shakespearean criticism or indeed the very performances these anecdotes treat. Anecdotal Shakespeare provides a history of post-Renaissance Shakespeare and performance, one not based in fact but no less full of truth.

    He shows how our Millennial artists (Lady Gaga to Dorothea Lasky), literary movements (Post-Conceptual Poetry to Alt Lit), and political philosophies (Speculative Materialism to Queer Theory), interface with 20th-century aesthetics by revising (through appeals to sincerity, affect, and the great outdoors) and reinforcing (through lingering appeals to irony and the presumed necessity of reductive meme-making and networking) the daunting trifecta of post-structuralism, critical theory, and postmodernism.

    It can be an act of creative destruction and a double-edged sword, and yet professional discourse around design has been dominated by voices that only trumpet its commercial and aesthetic successes. Violence, defined here as the power to alter circumstances against the will of others and to their detriment, is ubiquitous in history and in contemporary society. In recent years, moreover, technology has introduced new threats and added dramatically to the many manifestations of violence. Design and Violence is an exploration of the relationship between the two that sheds light on the complex impact of design on the built environment and on everyday life, as well as on the forms of violence in contemporary society. Published to accompany an online experiment launched by The Museum of Modern Art in October 2013, this book brings together controversial, provocative and compelling design projects with leading voices from a variety of fields. Each invited author responds to one object chosen by the curators--ranging from an AK-47 to a Euthanasia Rollercoaster, from plastic handcuffs to the Stuxnet digital virus--and invites dialogue, comments, reflection and active, occasionally fierce, debate. Examples of questions posed include: Can we design a violent act to be more humane? How far can the state go to protect its borders from immigration before it becomes an act of violence? Is violence male? These experimental and wide-ranging conversations host voices from the fields of art and design, science, law, criminal justice, ethics, finance, journalism and social justice, making Design and Violence an invaluable resource for lively discussions and classroom curricula.

    Collecting thoughts, essays,fragments and paroxysms on the revolutionary impulse of poetry, art, and life, THE BOOK IS A GHOST presents an image of Gilbert-Lecomte as a visionary writer whose impulse to transcend the banality of the everyday has been matched by few since Antonin Artaud.In considering the revolutionary spirit within the context of a mysticism (a term that is still functionally a dirty word for intellectuals), the texts gathered in this two-volume set strive to present alternative considerations of the intellectual & artistic concerns of Gilbert-Lecomte's day—concerns which still grip us a century later: the cinema, the value of art, the metaphysics of absence, a speculative consideration of vision through the pineal gland, a refusal to posit the high and the low as binary opposites, the limiting nature of expression & representation, and the ever pervasive question of death. In his consideration of poetry & the way language can shape thought, these essays reveal that Gilbert-Lecomte predated the structuralists & post-structuralists that would rise to prominence in the second half of the 20th century.In this volume, deftly translated by Michael Tweed, Gilbert-Lecomte's constant striving for revelation and revolution, his desire to refuse (and transcend) the corporeal limits one inhabits by being human, are finally revealed to English language readers.

    Opening up fresh lines of enquiry, Daniela Berghahn's detailed and entertaining account of the film's production history and reception instead situates the film in the rich context of global art cinema and transnational melodrama.

    Peirce is also widely known for his work on truth, his foundational work in mathematical logic, and an influential theory of signs, or semiotics. Albert Atkin introduces the full spectrum of Peirce’s thought for those coming to his work for the first time.The book begins with an overview of Peirce’s life and work, considering his early and long-standing interest in logic and science, and highlighting important views on the structure of philosophical thought. Atkin then explains Peirce’s accounts of pragmatism and truth examining important later developments to these theories. He then introduces Peirce’s full accounts of semiotics, examines his foundational work on formal and graphical logic, and introduces Peirce’s account of metaphysics, the least understood aspect of his philosophy. The final chapter considers Peirce’s legacy and influence on the thought of philosophers such as John Dewey and Richard Rorty, as well as highlighting areas where Peirce’s ideas could still provide important insights for contemporary philosophers.Including chapter summaries, suggestions for further reading and a glossary, this invaluable introduction and guide to Peirce’s philosophy is essential reading for those new to his work.

    In so doing, Franklin traces three intertwined threads: the relationships among information, labor, and social management that emerged in the nineteenth century; the mid-twentieth-century diffusion of computational metaphors; and the appearance of informatic principles in certain contemporary socioeconomic and cultural practices.Drawing on critical theory, media theory, and the history of science, Franklin names control as the episteme grounding late capitalism. Beyond any specific device or set of technically mediated practices, digitality functions within this episteme as the logical basis for reshaped concepts of labor, subjectivity, and collectivity, as well as for the intensification of older modes of exclusion and dispossession. In tracking the pervasiveness of this logical mode into the present, Franklin locates the cultural traces of control across a diverse body of objects and practices, from cybernetics to economic theory and management styles, and from concepts of language and subjectivity to literary texts, films, and video games.

    To others, she’s a racy Halloween costume or inspiring feminist role model. Which is true? This book analyzes each era of Wonder Woman, from the Golden Age to George Pérez and Gail Simone’s reboots to The New 52 and television shows, cartoons, and films. Which teach the right messages for girls and boys? Which have problematic symbols? Most of all, which present an empowering female superhero and which just a fun-loving princess in an improbably clinging corset? Let’s find out.

    Irregularity and the grotesque have been associated with Gothic architecture and are also indicative of wayward flesh and its deformities. Through an investigation of the body and its oppression by the church, the medical profession and the state, this book reveals the actual horrors lying beneath fictional horror in settings as diverse as the monastic community, slave plantation, operating theatre, Jewish ghetto and battlefield trench. Original readings of canonical Gothic literary and film texts include The Castle of Otranto, The Monk, Frankenstein, Dracula and Nosferatu. This collection of fictionalised dangerous bodies will be traced back to the effects of the English Reformation, Spanish Inquisition, French Revolution, Caribbean slavery, Victorian medical malpractice, European anti-Semitism and finally warfare, ranging from the Crimean up to the Vietnam War. Dangerous Bodies demonstrates how the Gothic corpus is haunted by a tangible sense of corporeality, often at its most visceral. Chapters set out to vocalise specific body parts such as skin, genitals, the nose and eyes, as well as blood. The endangered or dangerous body lies at the centre of the clash between victim and persecutor and has generated tales of terror and narratives of horror, which function to either salve, purge or dangerously perpetuate such oppositions. This ground-breaking book will be of interest to academics and students of Gothic studies, gender and film studies and especially to readers interested in the relationship between history and literature.

    Three sets of essays explore different forms of architectural time, particularly as they shape the differences between history, theory and criticism as genres of writing.Architecture Words is a series of texts and important essays on architecture written by architects, critics and scholars. Like many aspects of everyday life, contemporary architectural culture is dominated by an endless production and consumption of images, graphics and information. Rather than mirror this larger force, this series of small books seeks to deflect it by means of direct language, concise editing and beautiful, legible graphic design. Each volume in the series offers the reader texts that distil important larger issues and problems. The words are edited and the pages designed in a way that acknowledges the ability of graphic and printed forms to communicate architectural ideas; not only the ideas contained within each volume, but also the enduring power of written ideas more generally to challenge and change the way all architects think.

    Mahoney began writing these reviews in order to investigate the distance between sound and how language is employed to describe sound. This all comes from the author's interest in translation (and a deep love of music). All translators ask the same basic questions: can words ever bring us closer to understanding the way a “foreign” language (in this case: music) works, or is any attempt to describe (or translate) it doomed to failure? And, if it is all doomed to failure, why do we keep doing it? For translators (artist in general) the answer always is: because we need to… After a year of writing these reviews the author wanted to hear how musicians would translate the review language into music, upending the paradigm of how this is usually done. The book (a hand made work of art in and of itself) is being offered with an accompanying cassette that includes ten tracks from ten different bands/musicians; each track is based on different music review.

    Over a period of about two years, many posts built the case against market-based education reform and for a critical re-imagining of public education. This book presents a coordinated series of essays based on that work, using a wide range of written and visual texts to call for the universal public education we have failed to achieve.The central image and warning of the book—“beware the roadbuilders”—is drawn from Alice Walker’s The Color Purple. The book presents a compelling argument that billionaires, politicians, and self-professed education reformers are doing more harm than good—despite their public messages. The public and our students are being crushed beneath their reforms.In the wake of Ferguson and the growing list of sacrificed young black men—Trayvon Martin, Jordan Davis, Tamir Rice, Eric Garner—the essays in this book gain an even wider resonance, seeking to examine both the larger world of inequity as well as the continued failure of educational inequity. While each chapter stands as a separate reading, the book as a whole produces a cohesive theme and argument about the power of critical literacy to read and re-read the world, and to write and re-rewrite the world (Paulo Freire).Supporting that larger message are several key ideas and questions: What are the confrontational texts we should be inviting students to read, that anyone should read? Instead of reducing texts to the narrow expectations of New Criticism or “close reading,” how do we expand those texts into how they inform living in a free society and engaging in activism? How do traditional assumptions about what texts matter and what texts reveal support the status quo of power? And how can texts of all types assist in the ongoing pursuit of equity among free people?

    Yet in spite of its centrality, place remains a concept more often deployed than interrogated, and there are relatively few works that focus directly on the concept of place as such. The Intelligence of Place fills this gap, providing an exploration of place from various perspectives, encompassing anthropology, architecture, geography, media, philosophy, and the arts, and as it stands in relation to a range of other concepts. Drawing together many of the key thinkers currently writing on the topic, The Intelligence of Place offers a unique point of entry into the contemporary thinking of place – into its topographies and poetics – providing new insights into a concept crucial to understanding our world and ourselves.

    Intangible, inhospitable, or inaccessible, these blank spaces--what Siobhan Carroll calls atopias--existed beyond the boundaries of known and inhabited places. The eighteenth century conceived of these geographic outliers as the natural limits of imperial expansion, but scientific and naval advances in the nineteenth century created new possibilities to know and control them. This development preoccupied British authors, who were accustomed to seeing atopic regions as otherworldly marvels in fantastical tales. Spaces that an empire could not colonize were spaces that literature might claim, as literary representations of atopias came to reflect their authors' attitudes toward the growth of the British Empire as well as the part they saw literature playing in that expansion.Siobhan Carroll interrogates the role these blank spaces played in the construction of British identity during an era of unsettling global circulations. Examining the poetry of Samuel T. Coleridge and George Gordon Byron and the prose of Sophia Lee, Mary Shelley, and Charles Dickens, as well as newspaper accounts and voyage narratives, she traces the ways Romantic and Victorian writers reconceptualized atopias as threatening or, at times, vulnerable. These textual explorations of the earth's highest reaches and secret depths shed light on persistent facets of the British global and environmental imagination that linger in the twenty-first century.

    Carson’s pathbreaking translations of Ancient Greek poetry and drama, as well as her scholarship on everything from Sappho to Celan, only continue to demonstrate the unique vision she has for what’s possible for a work of literature to become.Anne Carson: Ecstatic Lyre is the first book of essays dedicated to the breadth of Anne Carson’s works, individually, spanning from Eros the Bittersweet through Red Doc. With contributions from Kazim Ali, Dan Beachy-Quick, Julie Carr, Harmony Holiday, Cole Swensen, Eleni Sikelianos, and many others (including translators, poets, essayists, scholars, novelists, critics, and collaborators themselves), we learn from Carson’s greatest admirers and closest readers about the books that moved and inspired them.

    This theory has a long pedigree in the social sciences, where it continues to stimulate debate. But its implications for cultural analysis have received less attention, even though the theory might be said to draw attention to a central -perhaps the central - arc or trajectory of modern(ist) production in literature and the other arts worldwide. It is in the conjuncture of combined and uneven development, on the one hand, and the recently interrogated and expanded categories of 'world literature' and 'modernism', on the other, that this book looks for its specific contours. In the two theoretical chapters that frame the book, the authors argue for a single, but radically uneven world-system; a singular modernity, combined and uneven; and a literature that variously registers this combined unevenness in both its form and content to reveal itself as, properly speaking, world-literature. In the four substantive chapters that then follow, the authors explore a selection of modern-era fictions in which the potential of their method of comparativism seems to be most dramatically highlighted. They treat the novel paradigmatically, not exemplarily, as a literary form in which combined and uneven development is manifested with particular salience, due in no small part to its fundamental association with the rise of capitalism and its status in peripheral and semi-peripheral societies as a 'modernising' import. The peculiar plasticity and hybridity of the novel form enables it to incorporate not only multiple literary levels, genres and modes, but also other non-literary and archaic cultural forms - so that, for example, realist elements might be mixed with more experimental modes of narration, or older literary devices might be reactivated in juxtaposition with more contemporary frames.

    Essential for all students of medieval literature, Early Fiction in England includes extracts by Geoffrey of Monmouth, Wace, Marie de France, Chaucer and many others, in new translations and with illuminating introductions. Before the twelfth century, fiction had completely disappeared in Europe. In this important and provocative book, Laura Ashe shows how English writers brought it back, composing new tales about King Arthur, his knights and other heroes and heroines in Latin, French and English. Why did fiction disappear, and why did it come to life again to establish itself the dominant form of literature ever since? And what do we even mean by the term 'fiction'? Gathering extracts from the most important texts of the period by Wace, Marie de France, Chaucer and others, this volume offers an absorbing and surprising introduction to the earliest fiction in England.The anthology includes a general introduction by Laura Ashe, introductions to each extract, explanatory notes and other useful editorial materials. All French and Latin texts have been newly translated, while Middle English texts include helpful glosses.Laura Ashe is a University Lecturer in English and Fellow of Worcester College, Oxford. Her first book Fiction and History in England, 1066-1200 (Cambridge University Press, 2007) has been followed by numerous articles and edited collections; she is now writing the new Oxford English Literary History vol. 1: 1000-1350 (Oxford University Press).

    In Utopia, Limited she enlists William Blake, William Wordsworth, John Keats, and others to redefine utopianism as a positive investment in limitations. Linking the ecological imperative to live within our means to the aesthetic philosophy of the Romantic period, Nersessian's theory of utopia promises not an unconditionally perfect world but a better world where we get less than we hoped, but more than we had.For the Romantic writers, the project of utopia and the project of art were identical. Blake believed that without limits, a work of art would be no more than a set of squiggles on a page, or a string of nonsensical letters and sounds. And without boundaries, utopia is merely an extension of the world as we know it, but blighted by a hunger for having it all. Nersessian proposes that we think about utopia as the Romantics thought about aesthetics--as a way to bind and thereby emancipate human political potential within a finite space.Grounded in an intellectual tradition that begins with Immanuel Kant and includes Theodor Adorno and Northrop Frye, Utopia, Limited lays out a program of "adjustment" that applies the lessons of art to the rigors of life on an imperiled planet. It is a sincere response to environmental devastation, offering us a road map through a restricted future.

    But it turns out we have only scratched the surface. Scholar David Day has spent many years down the rabbit hole of this children's classic and has emerged with a revelatory new view of its contents. What we have here, he brilliantly and persuasively argues, is a complete classical education in coded form--Carroll's gift to his "wonder child" Alice Liddell.      In two continuous commentaries, woven around the complete text of the novel for ease of cross-reference on every page, David Day reveals the many layers of teaching, concealed by manipulation of language, that are carried so lightly in the beguiling form of a fairy tale. These layers relate directly to Carroll's interest in philosophy, history, mathematics, classics, poetry, spiritualism and even to his love of music--both sacred and profane. His novel is a memory palace, given to Alice as the great gift of an education. It was delivered in coded form because in that age, it was a gift no girl would be permitted to receive in any other way.     Day also shows how a large number of the characters in the book are based on real Victorians. Wonderland, he shows, is a veritable "Who's Who" of Oxford at the height of its power and influence in the Victorian Age.     There is so much to be found behind the imaginary characters and creatures that inhabit the pages of Alice's Adventures in Wonderland. David Day's warm, witty and brilliantly insightful guide--beautifully designed and stunningly illustrated throughout in full colour--will make you marvel at the book as never before.From the Hardcover edition.

    Once a new, exciting, and frightening concept, “the world” was transformed in the sixteenth and seventeenth centuries. But how could one envision something that no one had ever seen in its totality?  The Worldmakers moves beyond histories of globalization to explore how “the world” itself—variously understood as an object of inquiry, a comprehensive category, and a system of order—was self-consciously shaped by human agents. Gathering an international cast of characters, from Dutch cartographers and French philosophers to Portuguese and English poets, Ramachandran describes a history of firsts: the first world atlas, the first global epic, the first modern attempt to develop a systematic natural philosophy—all part of an effort by early modern thinkers to capture “the world” on the page.

    Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred.Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour � l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry, two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories.ContentsFormalism and Historicity (1977) - Marcel Broodthaers: Allegories of the Avant-Garde (1980) - Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981) - Allegorical Procedures: Appropriations and Montage in Contemporary Art (1982) - The Museum Fictions of Marcel Broodthaers (1983) - From Faktura to Factography (1984) - Readymade, Objet Trouv�, Id�e Re�ue (1985) - The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avantgarde (1986) - Cold War Constructivism (1986) - Conceptual Art 1962-1969: From the Aesthetics of Administration to the Critique of Institutions (1989) - Residual Resemblance: Three Notes on the Ends of Portraiture (1994) - Sculpture: Publicity and the Poverty of Experience (1996)

    Over the past fifteen years, authors Richard J. Hand and Michael Wilson have worked to explore this extraordinary but largely forgotten theater, running theater workshops with students that at times have led to new productions in the style of the Grand-Guignol. The present volume provides rich insights into the authors’ work performing Grand-Guignol theater with their students, and includes a brief history of the Grand-Guignol as well as translations of sixteen plays from such notable writers as Octave Mirbeau, Gaston Leroux, and St John Ervine in addition to Grand-Guignol stalwarts René Berton and André de Lorde. Performing Grand-Guignol is ideal as an acting guide as well as for anyone with an interest in theater studies or the history of theater.

    The acclaimed Mexican poet, novelist and playwright shares her perspective on Texas-Mexico border history, women's issues, art and literature.

    But how, precisely, should we understand this notion of colorblindness in the face of enduring racial hierarchy in American society? In Letters of the Law, Sora Y. Han argues that colorblindness is a foundational fantasy of law that not only informs individual and collective ideas of race, but also structures the imaginative capacities of American legal interpretation. Han develops a critique of colorblindness by deconstructing the law's central doctrines on due process, citizenship, equality, punishment and individual liberty, in order to expose how racial slavery and the ongoing struggle for abolition continue to haunt the law's reliance on the fantasy of colorblindness.Letters of the Law provides highly original readings of iconic Supreme Court cases on racial inequality—spanning Japanese internment to affirmative action, policing to prisoner rights, Jim Crow segregation to sexual freedom. Han's analysis provides readers with new perspectives on many urgent social issues of our time, including mass incarceration, educational segregation, state intrusions on privacy, and neoliberal investments in citizenship. But more importantly, Han compels readers to reconsider how the diverse legacies of civil rights reform archived in American law might be rewritten as a heterogeneous practice of black freedom struggle.

    A world of cultural production, in the form of literature, poetry, art, music, and eventually film, would often simultaneously contravene or cooperate with the newly established order of Latin American nations negotiating independence and a new political and cultural balance. In Black Writing, Culture, and the State in Latin America, Jerome Branche presents the reader with the complex landscape of art and literature among Afro-Hispanic and Latin artists. Branche and his contributors describe individuals such as Juan Francisco Manzano, who wrote an autobiography on the slave experience in Cuba during the nineteenth century. The reader finds a thriving Afro-Hispanic theatrical presence throughout Latin America and even across the Atlantic. The role of black women in poetry and literature comes to the forefront in the Caribbean, presenting a powerful reminder of the diversity that defines the region.All too often, the disciplines of film studies, literary criticism, and art history ignore the opportunity to collaborate in a dialogue. Branche and his contributors present a unified approach, however, suggesting that cultural production should not be viewed narrowly, especially when studying the achievements of the Afro-Latin world.

    In her essays and long-form journalism, she has captured the cultural zeitgeist, distrusted the accepted wisdom, and written stories that would otherwise go untold. As a staff writer at The New Yorker from 1963 to 2001, Adler reported on civil rights from Selma, Alabama; on the war in Biafra, the Six-Day War, and the Vietnam War; on the Nixon impeachment inquiry and Congress; on cultural life in Cuba. She has also written about cultural matters in the United States, films (as chief film critic for The New York Times), books, politics, television, and pop music. Like many journalists, she has put herself in harm’s way in order to give us the news, not the “news” we have become accustomed to—celebrity journalism, conventional wisdom, received ideas—but the actual story, an account unfettered by ideology or consensus. She has been unafraid to speak up when too many other writers have joined the pack. In this sense, Adler is one of the few independent journalists writing in America today.This collection of Adler’s nonfiction draws on Toward a Radical Middle (a selection of her earliest New Yorker pieces), A Year in the Dark (her film reviews), and Canaries in the Mineshaft (a selection of essays on politics and media), and also includes uncollected work from the past two decades. The more recent pieces are concerned with, in her words, “misrepresentation, coercion, and abuse of public process, and, to a degree, the journalist’s role in it.” With a brilliant literary and legal mind, Adler parses power by analyzing language: the language of courts, of journalists, of political figures, of the man on the street. In doing so, she unravels the tangled narratives that pass for the resolution of scandal and finds the threads that others miss, the ones that explain what really is going on here—from the Watergate scandal, to the “preposterous” Kenneth Starr report submitted to the House during the Clinton impeachment inquiry, to the plagiarism and fabrication scandal of the former New York Times reporter Jayson Blair. And she writes extensively about the Supreme Court and the power of its rulings, including its fateful decision in Bush v. Gore.

    D. Guttenplan calls him “probably the most astute critic of American popular culture since Edmund Wilson.” For nearly thirty years, he has written a remarkable column that has migrated from the Village Voice to Artforum, Salon, City Pages, Interview, and The Believer and currently appears in the Barnes & Noble Review. It has been a laboratory where Marcus has fearlessly explored and wittily dissected an enormous variety of cultural artifacts, from songs to books to movies to advertisements, teasing out from the welter of everyday objects what amounts to a de facto theory of cultural transmission. Published to complement the paperback edition of The History of Rock & Roll in Ten Songs, Real Life Rock reveals the critic in full: direct, erudite, funny, fierce, vivid, astute, uninhibited, and possessing an unerring instinct for art and fraud. The result is an indispensable volume packed with startling arguments and casual brilliance.

    From there, it includes separate chapters surveying theory and criticism in antiquity, the Middle Ages and Renaissance, the Enlightenment, and the nineteenth century. For twentieth- and twenty-first-century theory, the discussion is subdivided into separate chapters on formalist, historicist, political, and psychoanalytic approaches.The final chapter applies a variety of theoretical concepts and approaches to two famous works of literature: William Shakespeare’s Hamlet and Mary Shelley’s Frankenstein.