Created by Vince Gilligan, the series charts the transformation of high school science teacher Walter White (played by Bryan Cranston) into a cold, calculating meth kingpin. Breaking Bad 101 collects esteemed critic Alan Sepinwall’s (Uproxx) popular Breaking Bad recaps in book form, featuring new, exclusive essays and completely revised and updated commentary—as well as insights from and interviews with the creative masterminds behind Breaking Bad. The ultimate critical companion for one of the greatest television dramas of all time, Breaking Bad 101 offers fans Sepinwall’s smart, funny, and incisive analysis of the psychology and filmmaking craft behind each episode and celebrates the series’ unique place in pop-culture history.

    They had a violin player. They came from Portugal, Spain, and England. Their anarchy was poetic. Working with the iconic Rough Trade Records at its radical beginnings, they were the first group of punk women to actively call themselves feminists.In this short book—the first on The Raincoats—author Jenn Pelly tells the story of the group's audacious debut album, which Kurt Cobain once called “wonderfully classic scripture.” Pelly builds on rare archival materials and extensive interviews with members of The Raincoats, Sleater-Kinney, Bikini Kill, Hole, Scritti Politti, Gang of Four, and more. She draws formal inspiration from the collage-like The Raincoats itself to explore this album's magic, vulnerability, and strength.

    It has its origins in a mode of self-examination and even self-obsession - 'it is many years now that I have had only myself as object of my thoughts', writes Montaigne in his essay 'Of Practice' - but it is just as accurately defined by its vagrant and curious scope, its capacity to suborn any and every object to its elegant remit. It may not in fact be 'well made' at all, but a thing of fragments and unfinished apercus, or an omnium-gatherum like Robert Burton's capacious but recognizably essayistic Anatomy of Melancholy. The essay may not even be written, but instead a photo essay, film essay, radio essay or some hybrid of these and the literary archetype. It may belong to a self-conscious genre and have been written by an essayist who self-declares as such; or it might be conjured from a milieu where the labels 'essay' and 'essayist' would make no sense at all. The essay, in short, is a varied and various artefact. Its occasion might be scholarly - there are academic essays, though they tend to be essays to the extent that they wish to stop being academic - or it may be journalistic, institutional or 'creative'. The essay can be tethered to a specific (perhaps polemical) context or written with an ambition to timeless or universal import. Whatever its motivation or avowed theme, the essay possesses a style and a voice. Generic, structural and contextual definitions will vary, but the essay is at least recognizable by its having a certain texture - the essay alters or interferes to some degree with the language of non-fiction. Essayism is a personal, critical and polemical book about the genre, its history and its contemporary possibilities, itself an example of what it describes: an essay that is curious and digressive and at the same time held together

    In this brilliant new interpretation of one of the great voices in modern literature, Maya Jasanoff reveals Conrad as a prophet of globalization. As an immigrant from Poland to England, and in travels from Malaya to Congo to the Caribbean, Conrad navigated an interconnected world, and captured it in a literary oeuvre of extraordinary depth. His life story delivers a history of globalization from the inside out, and reflects powerfully on the aspirations and challenges of the modern world. Joseph Conrad was born Józef Teodor Konrad Korzeniowski in 1857, to Polish parents in the Russian Empire. At sixteen he left the landlocked heart of Europe to become a sailor, and for the next twenty years travelled the world’s oceans before settling permanently in England as an author. He saw the surging, competitive "new imperialism" that planted a flag in almost every populated part of the globe. He got a close look, too, at the places “beyond the end of telegraph cables and mail-boat lines,” and the hypocrisy of the west’s most cherished ideals. In a compelling blend of history, biography, and travelogue, Maya Jasanoff follows Conrad’s routes and the stories of his four greatest works—The Secret Agent, Lord Jim, Heart of Darkness, and Nostromo. Genre-bending, intellectually thrilling, and deeply humane, The Dawn Watch embarks on a spell-binding expedition into the dark heart of Conrad’s world—and through it to our own.

    She covered civil rights demonstrations in the 1960s, places where she lived, locations she traveled to, theater she had seen, and murder trials that gripped her. She wrote sketches for various occasions and countless essays about literature, her greatest passion. For Hardwick, the essay was an imaginative endeavor. The continuous attention to language, the structure of observations, the line of interpretation— Hardwick deserves to be read and reread for the clarity of her perceptions and her enduring assessments of literature and society, and simply for the beauty of her writing alone.Edited and with an introduction by Darryl Pinckney, The Collected Essays of Elizabeth Hardwick gathers more than fifty essays for a retrospective of this writer or moral courage, as Joan Didion called her. Hardwick’s readings define literature itself.

    R. R. Tolkien s classic, The Lord of the Rings. It is well known that Tolkien disliked allegory. Yet he acknowledged that his work is imbued with Christian symbolism and meaning.Based on the inaugural Hansen Lectureship series delivered at the Marion E. Wade Center by Philip Ryken, president of Wheaton College, The Messiah Comes to Middle-Earth mines the riches of Tolkien s theological imagination. In the characters of Gandalf, Frodo, and Aragorn, Ryken hears echoes of the one who is the true prophet, priest, and king. Moreover, he considers what that threefold office means for his service as a college president as well as the calling of all Christians. Guided by both Tolkien and Ryken, things of first importance come alive in a tale of imaginary prophets, priests, and kings.

    Previously unpublished, the essays explore themes he returned to again and again in his writing: the roots of Western culture and the origin of language, the nature of beauty and ugliness, the potency of conspiracies, the lure of mysteries, and the imperfections of art. Eco examines the dynamics of creativity and considers how every act of innovation occurs in conversation with a superior ancestor.In these playful, witty, and breathtakingly erudite essays, we encounter an intellectual who reads comic strips, reflects on Heraclitus, Dante, and Rimbaud, listens to Carla Bruni, and watches Casablanca while thinking about Proust. On the Shoulders of Giants reveals both the humor and the colossal knowledge of a contemporary giant.

    Anything." Amy Ludwig VanDerwater explains in Poems Are Teachers. This is a practical book designed for every classroom teacher. Each lesson exploration includes three poems, one by a contemporary adult poet and two by students in grades 2 through 8, which serve as models to illustrate how poetry teaches writers to:find ideas choose perspective and point of view structure texts play with language craft beginnings and endings choose titles. Students will learn how to replicate the craft techniques found in poetry to strengthen all writing, from fiction to opinion, from personal narrative to information. "Poets arrange words and phrases just as prose writers do, simply in tighter spaces," Amy argues. "In the tight space of poetry, readers can identify writing techniques after reading one page, not thirty pages."

    Their either-or extremism has not become more popular in the last fifty to a hundred years since these stories were first published, but it has become more relevant to a twenty-first-century culture in which the lukewarm middle ground seems the most comfortable place to dwell. Giving the Devil His Due walks through all of O'Connor's stories and looks closely at Dostoevsky's magnum opus The Brothers Karamazov to show that when the devil rules, all hell breaks loose. Instead of this kingdom of violence, O'Connor and Dostoevsky propose a kingdom of love, one that is only possible when the Lord again is king."This is one of those rare books that should appeal to readers who love classic fiction and those with a strong interest in Christian theology. I admired Jessica Hooten Wilson's readings of both O'Connor and Dostoevsky—muscular, intelligent criticism, written with a passion for the worlds they conjure. It's splendid work, provocative, and deeply satisfying." –Jay Parini, author of The Last Station and Jesus: The Human Face of God"How refreshing it is—and how necessary—to read criticism that gets us down to the real stakes of moral existence. Wilson brings us Dostoevsky and O'Connor in their full profundity of faith and recognition of evil. This is just the right approach for college students awash in the trivia of youth culture, reminding them that their own lives can have a richer meaning." –Mark Bauerlein, Professor of English, Emory University

    And an annotated reading list of 30 favorite books "for a very long trip."

    Formed in 1966 and flourishing until 2010, the Art Ensemble distinguished itself by its unique performance practices—members played hundreds of instruments on stage, recited poetry, performed theatrical sketches, and wore face paint, masks, lab coats, and traditional African and Asian dress. The group, which built a global audience and toured across six continents, presented their work as experimental performance art, in opposition to the jazz industry’s traditionalist aesthetics. In Message to Our Folks, Paul Steinbeck combines musical analysis and historical inquiry to give us the definitive study of the Art Ensemble. In the book, he proposes a new theory of group improvisation that explains how the band members were able to improvise together in so many different styles while also drawing on an extensive repertoire of notated compositions. Steinbeck examines the multimedia dimensions of the Art Ensemble’s performances and the ways in which their distinctive model of social relations kept the group performing together for four decades. Message to Our Folks is a striking and valuable contribution to our understanding of one of the world’s premier musical groups.

    His sexually charged, fearlessly personal style of filmmaking has never been in vogue with mainstream critics, but for lovers of the strange and sado-erotic he is a magician, spinning his unique and disturbing dream worlds from the cheapest of budgets.In the world of Jess Franco freedom was the key, and he pushed at the boundaries of taste and censorship repeatedly, throughout an astonishingly varied career spanning sixty years. The director of more than 180 films, at his most prolific he worked in a supercharged frenzy that yielded as many as twelve titles per year, making him one of the most generative auteurs of all time.Franco's taste for the sexy and horrific, his lifelong obsession with the Marquis De Sade, and his roving hand-held camera style launched a whole new strain of erotic cinema. Disturbing, exciting, and defiantly avant-garde, films such as Necronomicon, Vampyros Lesbos, Virgin Among the Living Dead, and Venus in Furs are among the jewels of European horror, while a plethora of multiple versions, re-edits and echoes of earlier works turn the Franco experience into a dizzying hall of mirrors, further entrancing the viewer who dares enter Franco's domain.Stephen Thrower has devoted five years to examining each and every Franco film. This book―the second in a two-volume set―delves into the latter half of Franco's career, covering titles including Shining Sex, Barbed Wire Dolls, Swedish Nympho Slaves, and Lilian the Perverted Virgin.Assisted by the esteemed critic and researcher Julian Grainger, Thrower shines a light into the darkest corners of the Franco filmography and uncovers previously unknown and unsuspected facts about their casts, crews, and production histories.Unparalleled in scope and ambition, Flowers of Perversion brings Franco's career into focus with a landmark study that aims to provide the definitive assessment of Jess Franco's labyrinthine film universe.

    The Real Reader's Quarterly

    Some thought the book was too radical in its implications; a few found the central theme intriguing; no-one predicted its success.Since then, there have been many, many adaptations―120 films alone, at the last count―on screen, stage, in novels, comics and graphic novels, in advertisements and even on cereal packets. From a Regency nightmare, Frankenstein became a cuddly childhood companion―thoroughly munstered, so to speak. The story has been interpreted as a feminist allegory of birthing, an ecological reading of mother earth, an attack on masculinist science, the origin of science fiction, an example of “female gothic,” a reaction to the rise of the industrial proletariat and much else besides. Frankenstein lives! The F word has been applied, since the 1950s, to test-tube babies, heart transplants, prosthetics, robotics, cosmetic surgery, genetic engineering, genetically modified crops and numerous other public anxieties arising from scientific research. Today, Frankenstein has taken over from Adam and Eve as the creation myth for the age of genetic engineering.This book, celebrating the 200th birthday of Frankenstein, traces the journey of Shelley’s Frankenstein from limited-edition literature into the bloodstream of contemporary culture. With text by renowned Gothic scholar Sir Christopher Frayling, it includes new research on the novel’s origins; a facsimile reprint of the earliest-known manuscript version of the creation scene; visual material on adaptations for the stage, in magazines, on playbills, in prints and in book publications of the 19th century; visual essays on many of the film versions and their inspirations in the history of art; and Frankenstein in popular culture―on posters, advertisements, packaging, in comics and graphic novels.

    An Audio Course

    The book ends with the author's reflections on the past four decades of Philippine cultural studies.

    It opens with an essay whose physical printing, white text on black pages, is unique and the setup for an exploration of gender norms and the commodification of Black bodies in our culture. The collection of poems following the essay are standard black text on white pages but they question and challenge both the reader and the speaker. They challenge whiteness. The speaker repeatedly questions themselves, the publication of the chapbook, and their history. They call out the reader out. They call themselves out. In the end it is hard to note the distinction between speaker and reader.

    He writes honestly and movingly about his teenage attraction to risk and danger; of accidents and escapes; of curiosity as a flight from boredom; of suicidal depression and ecstasy; and, beneath all, of the life of desire haunted and torn by loss.For more than thirty years Jonathan Dollimore has been one of contemporary culture's most influential critics of politics, literature, and sexuality. Desire: A Memoir, a hybrid of autobiography, meditation and philosophical reflection, explores the existential sources of his writing.

    L. Austin, and extended by Stanley Cavell—to transform literary studies. In engaging and lucid prose, Toril Moi demonstrates this philosophy’s unique ability to lay bare the connections between words and the world, dispel the notion of literature as a monolithic concept, and teach readers how to learn from a literary text. Moi first introduces Wittgenstein’s vision of language and theory, which refuses to reduce language to a matter of naming or representation, considers theory’s desire for generality doomed to failure, and brings out the philosophical power of the particular case. Contrasting ordinary language philosophy with dominant strands of Saussurean and post-Saussurean thought, she highlights the former’s originality, critical power, and potential for creative use. Finally, she challenges the belief that good critics always read below the surface, proposing instead an innovative view of texts as expression and action, and of reading as an act of acknowledgment. Intervening in cutting-edge debates while bringing Wittgenstein, Austin, and Cavell to new readers, Revolution of the Ordinary will appeal beyond literary studies to anyone looking for a philosophically serious account of why words matter.

    And, like so many things in life we long for, it didn’t quite turn out----he shot the pier and dashed himself against the rocks of Sunset Cliffs in Ocean Beach, which just about killed him.   Fortunately, for Hickey and for us, he survived, and continues to battle, decades into a career as one of America’s foremost critical iconoclasts, a trusted, even cherished no-nonsense voice commenting on the all-too-often nonsensical worlds of art and culture. Perfect Wave brings together essays on a wide range of subjects from throughout Hickey’s career, displaying his usual breadth of interest and powerful insight into what makes art work, or not, and why we care. With Hickey as our guide, we travel to Disneyland and Vegas, London and Venice. We discover the genius of Karen Carpenter and Waylon Jennings, learn why Robert Mitchum matters more than Jimmy Stewart, and see how the stillness of Antonioni speaks to us today. Never slow to judge—or to surprise us in doing so—Hickey powerfully relates his wincing disappointment in the later career of his early hero Susan Sontag, and shows us the appeal to our commonality that we’ve been missing in Norman Rockwell. With each essay, the doing is as important as what’s done; the pleasure of reading Dave Hickey lies nearly as much in spending time in his company as in being surprised to find yourself agreeing with his conclusions.   Bookended by previously unpublished personal essays that offer a new glimpse into Hickey’s own life—including the aforementioned slam-bang conclusion to his youthful surfing career—Perfect Wave is not a perfect book. But it’s a damn good one, and a welcome addition to the Hickey canon.

    Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy is well aware of literary tradition, respectful of the canon, and deliberately situating himself in a knowing relationship to precursors.The Wittliff Collection at Texas State University acquired McCarthy’s literary archive in 2007. In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines the archive to identify nearly 150 writers and thinkers that McCarthy himself references in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy’s published works, the unpublished screenplay Whales and Men, and McCarthy’s correspondence. For each work, Crews identifies the authors, artists, or other cultural figures that McCarthy references; gives the source of the reference in McCarthy’s papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy’s literary influences—impossible to undertake before the opening of the archive—vastly expands our understanding of how one of America’s foremost authors has engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.

    This book looks at the kind of antisemitism which is tolerated or which goes unacknowledged in apparently democratic spaces: trade unions, churches, left-wing and liberal politics, the social gatherings of the chattering classes and the seminars and journals of the radical intellectuals. It analyses how criticism of Israel can mushroom into antisemitism and it looks at struggles over how antisemitism is defined. It focuses on ways in which those who raise the issue of antisemitism are often accused of doing so in bad faith for nationalist reasons. Hostility to Zionism has become a language in which opposition to imperialism, to neo-liberalism and to global capitalism is articulated and so it sets up a toxic way of imagining most Jews.Weaving together theoretical discussion with case study narrative in an engaging and interesting way, this book is a global study which is essential reading for scholars working in sociology, politics, Middle East studies, Israel studies, Jewish studies, philosophy, anthropology, journalism and history, as well as anyone interested in current affairs and politics.

    E. Cummings, Richard Brautigan); and sings the praises of unjustly neglected masters (Lucia Berlin, Kenneth Cox). He also turns the spotlight on himself in several short, delightful memoirs, covering such subjects as his obsessive CD collecting, the eerie effects of San Francisco fog, and the terrible duty of selling of his childhood home.

    The song s title refers to a literary device the repetition of a word or phrase at the end of successive clauses that is echoed in the construction of the melody. Written two decades later, Amiri Baraka s poem Epistrophe alludes slyly to Monk s tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black art.Epistrophies explores this fertile interface through case studies in jazz literature both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. From James Weldon Johnson s vernacular transcriptions to Sun Ra s liner note poems, from Henry Threadgill s arresting song titles to Nathaniel Mackey s Song of the Andoumboulou, there is an unending back-and-forth between music that hovers at the edge of language and writing that strives for the propulsive energy and melodic contours of music.At times this results in art that gravitates into multiple media. In Duke Ellington s social significance suites, or in the striking parallels between Louis Armstrong s inventiveness as a singer and trumpeter on the one hand and his idiosyncratic creativity as a letter writer and collagist on the other, one encounters an aesthetic that takes up both literature and music as components of a unique and uniquely African American sphere of art-making and performance."

    It is as if finding the Latinx presence in the DC and Marvel worlds requires activation of superheroic powers.Latinx Superheroes in Mainstream Comics blasts open barriers with a swift kick. It explores deeply and systematically the storyworld spaces inhabited by brown superheroes in mainstream comic book storyworlds: print comic books, animation, TV, and film. It makes visible and lets loose the otherwise occluded and shackled. Leaving nothing to chance, it sheds light on how creators (authors, artists, animators, and directors) make storyworlds that feature Latinos/as, distinguishing between those that we can and should evaluate as well done and those we can and should evaluate as not well done.The foremost expert on Latinx comics, Frederick Luis Aldama guides us through the full archive of all the Latinx superheros in comics since the 1940s. Aldama takes us where the superheroes live—the barrios, the hospitals, the school rooms, the farm fields—and he not only shows us a view to the Latinx content, sometimes deeply embedded, but also provokes critical inquiry into the way storytelling formats distill and reconstruct real Latinos/as.Thoroughly entertaining but seriously undertaken, Latinx Superheroes in Mainstream Comics allows us to truly see how superhero comic book storyworlds are willfully created in ways that make new our perception, thoughts, and feelings.

    Shadowing the greats from Sonny Clark to John Coltrane, Gilbreath traces the tragedy of saxophonist Hank Mobley, unearths the story of self-exiled pianist Jutta Hipp, and pauses on the meaning of heroin for trumpeter Lee Morgan. He also revisits a few standards, like The Connection, an influential film with its own take on drugs and sobriety; the ten-year evolution of Miles Davis' -So What-; and the impact of record labels' vault archives. This Is: Essays on Jazz celebrates the joy, genius and struggle of jazz, in essays both intimate and deeply researched.

    In this comprehensive study of Christian fine art David Lyle Jeffrey explores the relationship between beauty and holiness as he integrates aesthetic perspectives from the ancient Hebrew Scriptures through Augustine, Aquinas, and Kant down to contemporary philosophers of art. From the walls of the Roman catacombs to the paintings of Marc Chagall, visual art in the West has consistently drawn its most profound and generative inspiration from biblical narrative and imagery. Jeffrey guides readers through this artistic tradition from the second century to the twenty-first, astutely pointing out its relationship not only to the biblical sources but also to related expressions in liturgy and historical theology. Lavishly illustrated throughout with 146 masterworks, reproduced in full color, In the Beauty of Holiness is ideally suited to students of Christian fine art, to devotees of biblical studies, and to general readers wanting to better understand the story of Christian art through the centuries.

    

    Along the way they changed the course of the conservative movement and had a significant impact on shaping contemporary political debates from constitutional interpretation, civil rights, to the corruption of government today. Most importantly, these thinkers explain the deep reasons for patriotism—why we should love America not just because it is our country, but because it is a free and just country.

    

    

    Among his admirers are some of his most influential contemporaries. Roger Ebert called Kehr “one of the most gifted film critics in America.” James Naremore thought he was “one of the best writers on film the country as a whole has ever produced.” But aside from remarkably detailed but brief capsule reviews and top-ten lists, you won’t find much of Kehr’s work on the Internet, and many of the longer and more nuanced essays for which he is best known have not yet been published in book form.             With When Movies Mattered, readers welcomed the first collection of Kehr’s criticism, written during his time at the Chicago Reader. Movies That Mattered is its sequel, with fifty more reviews and essays drawn from the archives of both the Chicago Reader and Chicago magazine from 1974 to 1986. As with When Movies Mattered, the majority of the reviews offer in-depth analyses of individual films that are among Kehr’s favorites, from a thoughtful discussion of the sobering Holocaust documentary Shoah to an irresistible celebration of the raucous comedy Used Cars. But fans of Kehr’s work will be just as taken by his dissections of critically acclaimed films he found disappointing, including The Shining, Apocalypse Now, and Raiders of the Lost Ark. Whether you’re a long-time reader or just discovering Dave Kehr, the insights in Movies That Mattered will enhance your appreciation of the movies you already love—and may even make you think twice about one or two you hated.

    Born to a deeply literary and spiritual household, she went on to study at Cambridge, where she met Jacob Bronowski, William Empson, and Malcolm Lowry. A dedicated Neoplatonist, she studied and presented the works of Thomas Taylor and wrote seminal books on William Blake. With Keith Critchlow, Brian Keeble, and Philip Sherrard, she founded, in 1981, the Temenos Academy of Integral Studies, its journal Temenos, and, later, the Temenos Academy Review. HRH The Prince of Wales became the patron of the academy in 1997.For our new selection, That Wondrous Pattern, Raine offers sixteen essays that range from “The Inner Journey of the Poet” and “What Is Man?” to essays on Blake, Wordsworth, Hopkins, Yeats, Eliot, and several others. The centerpiece, “What Is the Use of Poetry?,” is a rigorous defense of the great art. Editor Brian Keeble himself contributes a fascinating introduction to Raine’s work, and Wendell Berry, a colleague and friend of hers, offers a preface.All who spend time in the presence of this wonderful writer will leave newly entranced with the art and use of the beautiful, convinced that “it is only in moments when we transcend ourselves that we can know anything of value.”

    Concentrating on aesthetic and decadent authors, Scents and Sensibility introduces a rich selection of poems, essays, and fiction, exploring these texts with reference to both the little-known cultural history of perfume use and the appreciation of natural fragrance in Victorian Britain. It shows how scent and perfume are used to convey not merely moods and atmospheres but the nuances of the aesthete or decadent's carefully cultivated identity, personality, or sensibility.A key theme is the emergence of the olfactif, the cultivated individual with a refined sense of smell, influentially represented by the poet and critic Algernon Charles Swinburne, who is emulated by a host of canonical and less well-known aesthetic and decadent successors such as Walter Pater, Edmund Gosse, John Addington Symonds, Lafcadio Hearn, Michael Field, Oscar Wilde, Arthur Symons, Mark Andre Raffalovich, Theodore Wratislaw, and A. Mary F. Robinson. This book explores how scent and perfume pervade the work of these authors in many different ways, signifying such diverse things as style, atmosphere, influence, sexuality, sensibility, spirituality, refinement, individuality, the expression of love and poetic creativity, and the aura of personality, dandyism, modernity, and memory. A coda explores the contrasting twentieth-century responses of Virginia Woolf and Compton Mackenzie to the scent of Victorian literature.

    Coetzee’s essays from 1986 to 1999 was followed by Inner Workings, which contained those from 2000 to 2005. Late Essays gathers together Coetzee’s literary essays since 2006.The subjects covered range from Daniel Defoe in the early eighteenth century to Coetzee’s contemporary Philip Roth. Coetzee has had a long-standing interest in German literature and here he engages with the work of Goethe, Hölderlin, Kleist and Walser. There are four fascinating essays on fellow Nobel laureate Samuel Beckett and he looks at the work of three Australian writers: Patrick White, Les Murray and Gerald Murnane. There are essays too on Tolstoy’s great novella The Death of Ivan Ilyich, on Flaubert’s masterpiece Madame Bovary, and on the Argentine modernist Antonio Di Benedetto.J.M. Coetzee, a great novelist himself, is a wise and insightful guide to these works of international literature that span three centuries.

    Rieder starts from the premise that science fiction and the other genres usually associated with so-called genre fiction comprise a system of genres entirely distinct from the pre-existing classical and academic genre system that includes the epic, tragedy, comedy, satire, romance, the lyric, and so on. He proposes that the field of literary production and the project of literary studies cannot be adequately conceptualized without taking into account the tensions between these two genre systems that arise from their different modes of production, distribution, and reception. Although the careful reading of individual texts forms an important part of this study, the systemic approach offered by Science Fiction and the Mass Cultural Genre System provides a fundamental challenge to literary methodologies that foreground individual innovation.

    "FLUTTER POINT's essays are palpably haunted by the past and future of our species and planet. But Anderson does something rare and even hopeful, even so: his ruminations pry apart our default intuitions about humanness and animality, the natural and built environments, art, language, and the body, and hold them apart like parentheses for us, to find a little space inside. In that space, these essays search for truthful, appropriate kinds of mourning and pleasure, presence and detachment. The brilliance of FLUTTER POINT is that what results are fresh new forms of the essay--moving, intelligent, relentless, still, and made exactly for our time."--Kristin Dombek "Erik Anderson, in these very edgy essays of FLUTTER POINT, mines the rich ore of the 'or, ' back slashing, back and forth, through the porous membranes of punctuated category, the skeletal strata of this gelatinous and layered world. To 'decide' is to cut, to sever, and Anderson is a katana smith par excellence, folding fluid steel, folding it back on itself again and again, peening home the sudden stunning serration less, it seems, than a molecule thick, while still separating out those old infinite spaces between the stars and the anxious quantum angstroms buzzing at the center of our very beings."--Michael Martone

    When the Cultural Revolution officially began, this uniformity seemed to extend to the mind. From the outside, China had become a monotonous world, a place of endless repetition and imitation, but a closer look reveals a range of cultural experiences, which also provided individuals with an obscure sense of freedom. In The Art of Cloning, Pang Laikwan examines this period in Chinese history when ordinary citizens read widely, traveled extensively through the country, and engaged in a range of cultural and artistic activities. The freedom they experienced, argues Pang, differs from the freedom, under Western capitalism, to express individuality through a range of consumer products. But it was far from boring and was possessed of its own kind of diversity.

    An unprecedented gathering of the correspondence of one of the great writers of twentieth century, The Collected Letters of Flann O'Brien presents an intimate look into the life and thought of Brian O'Nolan, a prolific author of novels, stories, sketches, and journalism who famously wrote and presented works to the reading public under a variety of pseudonyms.

    In addition to introducing readers to some of the field's major figures and their ideas, Puckett situates critical and philosophical approaches towards narrative within a longer intellectual history. The book reveals one of narrative theory's founding claims - that narratives need to be understood in terms of a formal relation between story and discourse, between what they narrate and how they narrate it - both as a necessary methodological distinction and as a problem characteristic of modern thought. Puckett thus shows that narrative theory is not only a powerful descriptive system but also a complex and sometimes ironic form of critique. Narrative Theory offers readers an introduction to the field's key figures, methods and ideas, and it also reveals that field as unexpectedly central to the history of ideas.

    Anarchism in the Twentieth CenturyOld debates about democracy vs. socialism vs. fascism are back. Missing from today's versions are the voices of moral clarity, those that challenge us to be our best selves in difficult times. Kristian Williams has mined the intellect of a man who, sixty-seven years after his death, still has much to offer readers. Between the Bullet and the Lie highlights the relationship George Orwell sees between aesthetics, ethics, and politics; the difference between honesty and integrity; the corruption of language; the importance of observation and evidence; and the many failures of the Left. The result is not a study of sacred decrees from Orwell, but an application of his thought to political and literary questions that trouble us today.Kristian Williams is the author of Our Enemies in Blue: Police and Power in America, American Methods: Torture and the Logic of Domination, and co-editor of Life During Wartime: Resisting Counterinsurgency.

    There’s really no way to describe the experience of reading this book as it juxtaposes and repurposes textbook diagrams, prose poetry, and comics panel sequences while opining on the imagined comings and goings of literary giants, failed mid-20th-century filmmakers, and the history of the blues. Damm’s ideal reader is an open-minded culture junkie and fan of poetry, high art, and comics, someone with a penchant for everything from Dada to Derrida." -Publishers Weekly, starred review

    They cover a range of subjects, from The Hobbit to The Lord of the Rings and their place within the legendarium he called the Silmarillion to shorter works like “The Story of Kullervo” and “Smith of Wootton Major.” From the pen of eminent Tolkien scholar Verlyn Flieger, the individual essays in this collection were written over a span of twenty years, each written to fit the parameters of a conference, an anthology, or both. They are revised slightly from their original versions to eliminate repetition and bring them up to date. Grouped loosely by theme, they present an unpatterned mosaic, depicting topics from myth to truth, from social manners to moral behavior, from textual history to the microparticles of Middle-earth. Together these essays present a complete picture of a man as complicated as the books that bear his name—an independent and unorthodox thinker who was both a believer and a doubter able to maintain conflicting ideas in tension, a teller of tales both romantic and bitter, hopeful and pessimistic, in equal parts tragic and comedic. A man whose work does not seek for right or wrong answers so much as a way to accommodate both; a man of antitheses.

    In this book, which weaves together two decades of writing on the subject, Good presents the first look at how the form has developed since the early 1900s.

    They are motivated specific to musicology and social/economic realities, which have changed from the postwar period to the present. In terms of status and livelihood support-paying gigs-there is normally a hierarchy: some are representative figures, some are ranked beneath them, and others are unranked and invisible to the media and public. The first part deals with free jazz from its originary period in New York when it was a sixties movement, to today's established form. The study follows the shifting relation of these musicians to the music world of media and institutions and to classic jazz, and the effect these have on what music gets performed and recorded and what is suppressed. Secondly, the book focuses on free improvisation in North America, which is traced from its beginnings in the mid-1970s to today, including its strong links to free jazz and experimental music. The title is often used indiscriminately, but for those who use that title to define their music it refers to a distinct approach, here given the name of free playing. Following some of the British originators of free improvisation, it has often been called "non-idiomatic," which is here critiqued. Socially it has been the practice of a small number of musicians who form a network rather than a hierarchy. For them no defining code is to be learned or imported, and so anyone can potentially benefit from playing with anyone else. Ad hoc groupings are balanced by choices based on individual musical interest and friendship. Instead of aiming to meet performance, music world, and career needs, their playing and relationships directly serve their artistic interest. Free playing puts the artists ahead of the results of their activity and in charge of their collectivity. Lacking a hierarchy, the names of its players are culturally insignificant. Given this configuration, the network, the approach, and the recorded results of playing are unknown outside a very small number of attentive listeners. The author is a saxophonist, exclusively playing free improvisation since the late 70s and continuously organizing, touring, and expanding his musical horizon. For more information see springgardenmusic.com

    Looking at intimidating mega-novel masterpieces from The Making of Americans to 2666, David Letzler explores reader responses to all the seemingly random, irrelevant, pointless, and derailing elements that comprise these mega-novels, elementsthathe labels cruft after the computer science term for junk code. In The Cruft of Fiction, Letzler suggests that these books are useful tools to help us understand the relationship between reading and attention.While mega-novel text is often intricately meaningful or experimental, sometimes it is just excessive and pointless. On the other hand, mega-novels also contain text that, though appearing to be cruft, turns out to be quite important. Letzler posits that this cruft requires readers to develop a sophisticated method of attentional modulation, allowing one to subtly distinguish between text requiring focused attention and text that must be skimmed or even skipped to avoid processing failures. The Cruft of Fiction shows how the attentional maturation prompted by reading mega-novels can help manage the information overload that increasingly characterizes contemporary life."

    M. Spackman was also a literary critic of formidable power and slashing wit. Gathered here are all the essays and reviews he published, including those that appeared in his 1967 book of essays On the Decay of Humanism. Ranging from ancient Greek and Latin literature to the latest poetry and novels, these brilliant essays argue that a work of literature should be evaluated on its artistry and craftsmanship, not on its content or ideas. Spackman quotes, with approval, Nabokov’s belief that, “Style and structure are the essence of a book; great ideas are a lot of hogwash,” and insists “aesthetic assessments… must come before everything else.” On those grounds, he finds such celebrated masters as Leo Tolstoy and Henry James inferior to lesser-known artists like Henry Green and Ivy Compton-Burnett. His iconoclastic views are supported with close technical analyses, but in a relaxed style that delights as it instructs.

    In Cultivation and Catastrophe, Sonya Posmentier uncovers a vivid diasporic tradition of Black environmental writing that responds to the aftermath of plantation slavery, urbanization, and free and forced migrations. While humanist discourses of African American and postcolonial studies often sustain a line between nature and culture, this book instead emphasizes the relationship between them, offering an innovative environmental history of modern black literature.

    Those who remained, however, were relegated to second-class status in this new country, controlled by a military regime that restricted their movement and political expression. For two decades, Palestinian citizens of Israel were cut off from friends and relatives on the other side of the Green Line, as well as from the broader Arab world. Yet they were not passive in the face of this profound isolation.Palestinian intellectuals, party organizers, and cultural producers in Israel turned to the written word. Through writers like Mahmoud Darwish and Samih al-Qasim, poetry, journalism, fiction, and nonfiction became sites of resistance and connection alike. With this book, Maha Nassar examines their well-known poetry and uncovers prose works that have, until now, been largely overlooked. The writings of Palestinians in Israel played a key role in fostering a shared national consciousness and would become a central means of alerting Arabs in the region to the conditions--and to the defiance--of these isolated Palestinians.Brothers Apart is the first book to reveal how Palestinian intellectuals forged transnational connections through written texts and engaged with contemporaneous decolonization movements throughout the Arab world, challenging both Israeli policies and their own cultural isolation. Maha Nassar reexamines these intellectuals as the subjects, not objects, of their own history and brings to life their perspectives on a fraught political environment. Her readings not only deprovincialize the Palestinians of Israel, but write them back into Palestinian, Arab, and global history.

    Employing the term “adapturgy”—her neologism for the art of adaptation dramaturgy—Barnette redefines the dramaturg’s role and thoroughly refutes the commonplace point of view that adapted works are somehow less creative than “original” plays.   The dual nature of dramaturgy and adaptation as both process and product is reflected in the structure and organization of the book. Part 1 explores the ways that linking adaptation to dramaturgy advances our understanding of both practices. Part 2 demonstrates three different methods—each grounded in a detailed case study—for analyzing theatrical adaptations. Part 3 offers concrete strategies for the dramaturg: dramaturgy for the adapted script; the production dramaturgy of stage adaptations; and the role of the dramaturg in the postmortem for a production. Rounding out the book are two appendixes containing interviews with adapters and theatre-makers and representative program notes from different play adaptations.   Plays adapted from literature and other media represent a rapidly growing part of the theatre. This book offers both practical and theoretical tools for understanding and creating these new works.

    His original creations American Flagg!, Time�, and the notorious Black Kiss, along with his reshaping of familiar titles like The Shadow and Blackhawk, generated acclaim and often controversy as they challenged expectations of the visual design and subject matter permissible in popular comics. Today, Chaykin remains a vital and prolific artist, but despite the original and influential nature of his work, he receives scant critical attention.In Neon Visions, Brannon Costello offers the first book-length critical evaluation of Chaykin's work and confronts the blind spots in comics scholarship that consign this seminal artist to the margins. He argues that Chaykin's contributions are often overlooked because his comics eschew any pretensions to serious literature. Instead, Chaykin's work revels in the cliffhanger thrills of heroic-adventure genres and courts outrage with transgressive depictions of violence and sexuality. Examining Chaykin's career from his early successes to compelling contemporary series such as City of Tomorrow, Dominic Fortune, and the controversial Black Kiss 2, Costello explores how this inventive body of work, through its evolving treatment of the theme of authenticity, incisively investigates popular culture's capacity to foster or constrain individual identity and political agency.Challenging prevailing assumptions about the types of comics deemed worthy of scholarly attention, Costello reveals that the work of an artist as distinctive as Howard Chaykin demands a nuanced reading--one that confronts his unique approach to the comics medium, his blending of autobiographical themes and genre trademarks, and his engagement with comic books as artifacts of consumer culture.

    Yet the terms "middle class" and "upward mobility"-often associated with assimilation, selling out, or political conservatism-can hold negative connotations in literary and cultural studies. Surveying literature, film, and television from the 1940s to the 2000s, Elda Maria Roman brings forth these narratives, untangling how they present the intertwined effects of capitalism and white supremacy.Race and Upward Mobility examines how class and ethnicity serve as forms of currency in American literature, affording people of color material and symbolic wages as they traverse class divisions. Identifying four recurring character types-status seekers, conflicted artists, mediators, and gatekeepers-that appear across genres, Roman traces how each models a distinct strategy for negotiating race and class. Her comparative analysis sheds light on the overlaps and misalignments, the shared narrative strategies, and the historical trajectories of Mexican American and African American texts, bringing both groups' works into sharper relief. Her study advances both a new approach to ethnic literary studies and a more nuanced understanding of the class-based complexities of racial identity.

    The opening chapters, "The Anonymity of Mothers in James Joyce" and "Stephen's Mothers in Ulysses: Notes toward the Autobiography of James Joyce" offer an overview of the theme with close attention to, first, Stephen's relation to his mother in Portrait and then to the many maternal images that flow through his mind in Ulysses. These chapters lead to mother love in a different context, Bloom's womanliness, his often wavering sexual identity.The next chapters, "The Child is Father to the Man," "Stoom: The Contransmagnificandjewbangtantiality of Son and Father," and "Blephen: The Contransmagnificandjewbangtantiality of Father and Son," offer an answer to a question that has long plagued Joyceans (and plagued many who read him for the first time)—what does Joyce mean when he makes Stephen one with Bloom (Stoom) and then makes Bloom one with Stephen (Blephen)? The Epilogue offers an answer to another longtime question: who is the Man in the Macintosh in Ulysses? And the Coda, "Another Discussion out of "Scylla and Charybdis," is a comic and serious or, in Joyce speak, a jocoserious discussion of the strengths and weaknesses of any psychoanalytic approach to Joyce.

    Interviews with 120 international contemporary artists discussing works from The Metropolitan Museum of Art's collection that spark their imagination shed new light on art-making, museums, and the creative process. Images of the artworks appear alongside images of the contemporary artists' work, allowing readers to discover a rich web of visual connections that spans cultures and millennia.

    In the process, they map out a critical history of how language serves, and has served, as a terrain for producing and reproducing social inequalities. The authors ask how, and by whom, ideas about language get unevenly shaped, offering new perspectives that will excite readers and incite further research for years to come.