Rather, the industry is a hotbed of fractures and inequities that reflect and even drive some of the most divisive issues in our country. The nine provocative and deeply personal essays in Full Dissidence confront the dangerous narratives that are shaping the current dialogue in sports and mainstream culture. The book is a reflection on a culture where African Americans continue to navigate the sharp edges of whiteness--as citizens who are always at risk of being told, often directly from the White House, to go back to where they came from. The topics Howard Bryant takes on include the player-owner relationship, the militarization of sports, the myth of integration, the erasure of black identity as a condition of success, and the kleptocracy that has forced America to ask itself if its beliefs of freedom and democracy are more than just words.In a time when authoritarianism is creeping into our lives and is being embraced in our politics, Full Dissidence will make us question the strength of the bonds we think we have with our fellow citizens, and it shows us why we must break from the malignant behaviors that have become normalized in everyday life.

    Born in 1897 in Mississippi, Faulkner wrote such iconic novels as Absalom, Absalom! and The Sound and the Fury, creating in Yoknapatawpha County the richest gallery of characters in American fiction, his achievements culminating in the 1949 Nobel Prize in Literature. But given his works’ echo of “Lost Cause” romanticism, his depiction of black characters and black speech, and his rendering of race relations in a largely unreconstructed South, Faulkner demands a sobering reevaluation. Interweaving biography, absorbing literary criticism, and rich travelogue, The Saddest Words recontextualizes Faulkner, revealing a civil war within him, while examining the most plangent cultural issues facing American literature today.

    In 1867 an infant girl called Luli is born into a middle-class Chinese family on the mainland. Her fate is altered when instead of being put to the breast of her mother, her father declares her a misfortune and she is left at the famous Chaozhou wall where many parents and grandparents abandon their unwanted girls. But the child’s mother is desperate to save her and beseeches one of her sons to step in and deliver the baby to safety.At the same time in the affluent house of a scholar on the island of Hong Kong, house slaves Sun Ling and Jingwei are sworn sisters, bound by their shared struggles. When the hardship and abuse become too much too bear, the girls escape and make a run for freedom, then find themselves on a ship bound for the western coast of the Americas. When the paths of these three forgotten girls of China meet, the ocean journey is treacherous and not for the faint-hearted. In the midst of monumental difficulties, their lives converge, and they traverse many obstacles, but will do anything for one another in their oath to stay together and fulfill their hope for a better future in Chinatown, on the shores of San Francisco.

    

    A fascinating read' Damon AlbarnWhen I stopped wanting things for the wrong reasons, they became possible.For almost 30 years as label boss, producer, and talent conductor at XL Recordings, Richard Russell has discovered, shaped and nurtured the artists who have rewritten the musical dictionary of the 21st century, artists like The Prodigy, The White Stripes, Adele, M.I.A., Dizzee Rascal and Giggs. Growing up in north London in thrall to the raw energy of '80s US hip hop, Russell emerged as one part of rave outfit Kicks Like a Mule in 1991 at a moment when new technology enabled a truly punk aesthetic on the fledgling free party scene. For most of the 90s identified with breakbeat and hardcore, Russell's stewardship at the label was always uncompromising and open to radical influences rather than conventional business decisions.Liberation through Hearing tells the remarkable story of XL Recordings and their three decades on the frontline of innovation in music; the eclectic chorus of artists who came to define the label's unique aesthetic, and Russell's own story; his highs and lows steering the fortunes of an independent label in a rapidly changing industry, his celebrated work with Bobby Womack and Gil Scot Heron on their late-career masterpieces, and his own development as a musician in Everything is Recorded.Always searching for new sounds and new truths, Liberation through Hearing is a portrait of a man who believes in the spiritual power of music to change reality. It is also the story of a label that refused to be categorised by genre and in the process cut an idiosyncratic groove which was often underground in feel but mainstream in impact.

    A young laywoman with almost no education, she became renowned for her intense mystical experiences, inspired preaching, and scathing criticism of corrupt political and ecclesial authorities. She is even recognized today as a Doctor of the Church—the only layperson to ever receive the title—yet comes across to us more as an apostle than an intellectual. Her work is like Aquinas’ Summa set on fire.But for all the fascination with Catherine, the distinguishing feature of her life has received surprisingly little attention: her preoccupation with freedom. Catherine had a keen sense of the “unspeakably crazy” love of God and the liberating power of his mercy. But she also knew the terrible bondage of sin—and the necessity of facing our own inner darkness if we are to overcome it. She had a passion for leading those enslaved by fear and oppression to self-knowledge in God—and ultimately, to true freedom. It is this “fire” that inflames almost every page she writes.In this profound book, the Irish Dominican poet and writer Fr. Paul Murray draws us into the fire of this great mystic’s love for God and humanity, reading her life and teaching not only in light of Dominican spirituality, but also the writings of Renaissance philosopher Giovanni Pico della Mirandola and the modern psychologist Carl Jung. What results is a portrait of a preacher of freedom who speaks to us, even today, with compelling authority.

    How did Cheryl Strayed turn a solo hike into an inspirational memoir, beloved by millions? Memoirist and professor Alden Jones sets out to explore why. But when a sudden personal crisis occurs while she is writing, Jones realizes she must confront some difficult truths, both in her life and on the page. THE WANTING WAS A WILDERNESS is a profoundly original work that blends criticism, craft analysis, and a memoir of Jones's own time in the wilderness. The result is a celebration of WILD and a map of our long path to self-discovery.Alden Jones intended to write a reckoning with a contemporary literary classic--but she has written far more than that. To carefully dissect Wild, she finds she must consider her own quests: her own time in the wild; her self-discoveries as a queer woman; and how she can both live and tell an authentic story. This is a beautiful, lyric, unexpected book about the power of memoir and how desire both leads us into the wilderness and makes for us a map. THE WANTING WAS A WILDERNESS is book for readers, true readers, to treasure.--Alex Marzano-Lesnevich

    Blackspace: On the Poetics of an Afrofuture is the culmination of six years of multidisciplinary research by trans poet and curator Anaïs Duplan about the aesthetic strategies used by experimental artists of color since the 1960s to pursue liberatory possibility. Through a series of lyric essays, interviews with contemporary artists and writers of color, and ekphrastic poetry, Duplan deconstructs how creative people frame their relationships to the word, "liberation." With a focus on creatives who use digital media and language-as-technology—luminaries like Actress, Juliana Huxtable, Lawrence Andrews, Tony Cokes, Sondra Perry, and Nathaniel Mackey—Duplan offers three lenses for thinking about liberation: the personal, the social, and the existential. Arguing that true freedom is impossible without considering all three, the book culminates with a personal essay meditating on the author’s own journey of gender transition while writing the book.

    The glue holding the collection together is autobiography. Every item carries deep personal significance, and most are rooted in lived experience, in particular Sante’s youth on the Lower East Side of New York in the fertile 1970s and ’80s. He traces his deep engagement with music, his experience of the city, his progression as an artist and observer, his love life and ambitions. Maybe the People Would Be the Times is organized as a series of sequences, in which one piece leads into the next. Memoir flows into essay, fiction into critical writing, humor into poetry, the pieces answering and echoing one another, examining their subjects from multiple vantages. The collection shows Sante at his most lyrical, impassioned, and imaginative, a writer for whom every assignment brings the challenge of inventing a new form. “Luc Sante is a superb writer who can give astonishing form to floating moods and thoughts that no one noticed before.—JOHN ASHBERY

    Unfortunately, in today's cultural climate, our writing is too often laced with harsh judgments and vitriol rather than careful consideration and generosity. But might the Christian faith transform how we approach the task of writing? How might we love God and our neighbors through our writing? This book is not a style guide that teaches you where to place the comma and how to cite your sources (as important as those things are). Rather, it offers a vision for expressing one's faith through writing and for understanding writing itself as a spiritual practice that cultivates virtue. Under the guidance of two experienced Christian writers who draw on authors and artists throughout the church's history, we learn how we might embrace writing as an act of discipleship for today--and how we might faithfully bear the weight of our written words.

    In Spanish, however, disparate means “nonsense,” “folly,” or “absurdity,”—words appropriate to Madden’s goal of undercutting any notion that essays must be serious business. Thus, in this collection, the essays are frivolous and lively, aiming to make readers laugh while they think about such abstract subjects as happiness and memory and unpredictability. In this vein, Madden takes sidelong swipes at weighty topics via form, with wildly meandering essays, abandoned essays in honor of the long tradition of essayists disparaging their own efforts, and guerrilla essays—which slip in quietly under the guise of a borrowed form, abruptly attack, and promptly escape, leaving laughter and contemplation in their wake. Madden also incorporates cameos from guest essayists, including Mary Cappello, Matthew Gavin Frank, David Lazar, Michael Martone, Jericho Parms, and Wendy S. Walters, much like a musician features other performers.Disparates reflects the current zeitgeist by taking on important issues with a touch of cleverness, a dash of humor, and a little help from one’s friends.   Read Chapter 1.

    Armed with new vocabulary, he recounts his process and pitfalls in advising Salt Lake City’s Ballet West on the presentation of a lost Balanchine work from 1925, Le Chant du Rossignol.Chan encounters orientalism, cultural appropriation, and yellowface, and witnesses firsthand the continuing evolution of an Old World aristocratic dance form in a New World democratic environment. As a storyteller, Chan presents a mix of dance and Chinese American history, personal anecdotes, and best practices for any professional arts organization to use for navigating issues around race, while outlining an essential path American ballet must take in order for our beloved art form to stay alive for a growingly diverse 21st century audience.

    Inspired by Ferrante's intense depiction of female friendship and women's intellectual lives, four critics embarked upon a project that was both work and play: to create a series of epistolary readings of the Neapolitan Quartet that also develops new ways of reading and thinking together.In a series of intertwined, original, and daring readings of Ferrante's work and her fictional world, Sarah Chihaya, Merve Emre, Katherine Hill, and Jill Richards strike a tone at once critical and personal, achieving a way of talking about literature that falls between the seminar and the book club. Their letters make visible the slow, fractured, and creative accretion of ideas that underwrites all literary criticism and also illuminate the authors' lives outside the academy. The Ferrante Letters offers an improvisational, collaborative, and cumulative model for reading and writing with others, proposing a new method the authors call collective criticism. A book for fans of Ferrante and for literary scholars seeking fresh modes of intellectual exchange, The Ferrante Letters offers incisive criticism, insouciant riffs, and the pleasure of giving oneself over to an extended conversation about fiction with friends.

    That first novel, "Three Wogs," was named Book of the Year by "Encyclopedia Britannica," and his second, "Darconville's Cat," was nominated for the National Book Award. Since then he has gone on to publish 20 more books and has been the subject of several interviews and academic studies. The 2020 publication of his "Collected Stories" will bring him renewed attention. This is the first book-length study of Theroux's complete body of work-novels, fables and short stories, nonfiction books, poetry, journalism-concluding with a chapter on his contentious relationship with his best-selling brother Paul Theroux. Critic Steven Moore, who has known Theroux for nearly forty years and helped with the publication of some of his books, illuminates Theroux work in a scholarly yet accessible style. While appreciative of most of what Theroux has written, Moore doesn't shirk from what he regards as some of his weaker efforts in order to provide a balanced evaluation of this unique writer. Moore's book will appeal to Theroux's fan base as well as to students of modern American literature"--

    In a series of warm and often funny letters, essayist and memoirist Kim Adrian delivers a compelling feminist critique of the 6-volume autobiographical novel My Struggle, by Norwegian writer Karl Ove Knausgaard. Adrian's book of letters begins as a witty and entertaining response to a seminal work and transforms into a fierce and powerful interrogation of the darker social and cultural forces informing Knausgaard's project. Through an examination of the curious operations of intimacy demanded on both sides of the page by all great literature, DEAR KNAUSGAARD ultimately provides a heartfelt celebration of the act of reading itself."Kim Adrian's DEAR KNAUSGAARD isn't just for everyone who reveled in or fought with My Struggle, it's for everyone who reads--period, everyone who struggles with the profoundly complicated act of engaging with another mind. It is both a love letter to Knausgaard and a feminist critique of his work, a celebration and deconstruction of the act of close reading, and a meta-commentary on the relationship between writer and reader. Smart, funny, intimate, and erudite, this marvelous book is a powerful argument for the potential of reading to change us, to alter the trajectory of our lives."--Peter Grandbois"DEAR KNAUSGAARD brings together two notions of what it means to be good, two kinds of writerly indulgence, two versions of the casualness and self-attentiveness of our era. In these imaginary letters, Kim Adrian faces down her hero and unwitting oppressor, a man whose novels have helped her see the world anew, but whose blind spots give pain and spark anger. Adrian's crushing honesty, her unusual forbearance: these make the book a moving and intimate one. Her long attachment to My Struggle makes the critique an essential read."--William Pierce

    In the ever-expansive margins of dominant literary culture, translation links up with performance, repetition, failure, process, collaboration, feminism, polyphony, conversation, deviance, punk, and improvisation.

    B. Yeats, arguably the most significant poet in the history of Irish literature. When he died in 2013 the public reaction in Ireland was extraordinary, and the outpouring of feeling decisively demonstrated that he occupied an exceptional place in national life. The words of his last message to his wife, 'Noli timere', 'Don't be afraid', appeared over and over again on social media, while key phrases from favourite poems became and have remained canonical. In this short book, conceived for the Writers on Writers series, historian Roy Foster offers an extended and largley chronological reflection upon Heaney's life, work and historical context, from the poet's origins in Northern Ireland and the publication of Death of a Naturalist in 1966, through the explosive impact of his 1975 collection North, and then into his years as a 'world poet' and an Irish writer with a powerful influence on English literature generally. Foster considers virtually all of Heaney's major output, including later volumes such as The Spirit Level and Human Chain, as well as Heaney's translation of Beowulf and his renderings from Virgil. Throughout the book, Foster conveys something of Heaney's charismatic, expansive and subtle personality, as well as the impact of his work in both the USA and in Europe. Certain themes emerge throughout, such as the way Heaney maintained a deceptive simplicity throughout his writing career, his relations with classical literature and the poetry of dissidence in Eastern Europe, and the increasing presence of the unseen and even spiritual in his later work. Foster also highlights Heaney's importance as a critic and the largely unacknowledged ways in which his own trajectory echoed that of the life and work of Yeats. Though Heaney evaded direct comparisons with his Nobel-prizewinning predecessor, he personified the quality which he attributed to Yeats: 'the gift of establishing authority within a culture'. Both poets made a challenging and oblique use of autobiography and personal history in their work, and both sustained a very particular and sometimes contested relation to the life of their country. Foster shows us that Heaney, like Yeats, came to personify and express the Ireland of his time with unique force and resonance"--

    LGBTQIA Studies. Art. In this first volume of REMEMBER THE INTERNET, a series that tells a complete history of the Internet, one book at a time, journalist Ana Valens introduces us to the erotic gifs, hashtag fetish fan art, and sex worker resource blogs that combined to transform Tumblr into the vanguard of a user-generated sexual revolution. As she tells the story of her own online sexual and political awakening, Valens investigates how Tumblr's technical architecture made it a convenient laboratory for social justice and sexual freedom, one that would ultimately clash with the government's crackdown on sexuality online.

    But it doesn’t actually work this way. As the recent college-admissions bribery scandal demonstrates, social inequalities and colleges’ pursuit of wealth and prestige stack the deck in favor of the children of privilege. For education scholar and critic Anthony P. Carnevale, it’s clear that colleges are not the places of aspiration and equal opportunity they claim to be.The Merit Myth calls out our elite colleges for what they are: institutions that pay lip service to social mobility and meritocracy, while offering little of either. Through policies that exacerbate inequality, including generously funding so-called merit-based aid for already-wealthy students rather than expanding opportunity for those who need it most, U.S. universities—the presumed pathway to a better financial future—are woefully complicit in reproducing the racial and class privilege across generations that they pretend to abhor.This timely and incisive book argues for unrigging the game by dramatically reducing the weight of the SAT/ACT; measuring colleges by their outcomes, not their inputs; designing affirmative action plans that take into consideration both race and class; and making 14 the new 12—guaranteeing every American a public K–14 education. The Merit Myth shows the way for higher education to become the beacon of opportunity it was intended to be.

    Louis Markos on an unparalleled adventure for the modern Christian! In the spirit of C. S. Lewis, whose own acceptance of Christ hinged on his understanding that Christ is the myth become fact, The Myth Made Fact: Reading Greek and Roman Mythology through Christian Eyes mines wisdom of eternal value from the great storehouses of Greek and Roman mythology and traces the links that bind those myths to the Bible and the Christian life.The Myth Made Fact takes its readers on an exploration of Greek and Roman characters, art, and stories one that spans 50 myths and sheds new light on the legends of Hercules, Orpheus, Jason, Phaedra, Oedipus, and many more! The journey through myth unfolds through six unique parts, each pointing beyond the lustful and wrathful Olympian gods to the One Holy Creator who stands, like Aslan, at the back of all our stories.Part I: Journeys and OriginsPart II: Platonic MythsPart III: The Four Great HeroesPart IV: The Tragic House of ThebesPart V: The Tragic House of AtreusPart VI: Love Lost and FoundThe Myth Made Fact offers distinct insight into how the common people of pagan Greece and Rome received their myths and used them as guides to virtuous living. By doing so, Dr. Markos helps his readers receive myth in the right spirit: not as historical tales that contradict the Bible, but as testimonies to the yearnings of people who lacked clear revelation but nevertheless hungered and thirsted for Truth, Goodness, and Beauty.

    In this wide-ranging book, internationally renowned sculptor Antony Gormley and distinguished art critic Martin Gayford consider sculpture as an art form related to humanity’s potential for thought and feeling, as well as to our urge to build, make pictures, practice religion, and develop philosophical thought. They take into account materials and techniques and consider overarching themes, such as space, light, and darkness.Drawing on examples from around the globe—ranging from the standing stones at Stenness, Orkney, dating from around 3100 BCE, and the Terracotta Army in China to Robert Smithson’s Spiral Jetty and Richard Serra’s steel structures—Shaping the World explores sculpture as a form of physical thought capable of altering the way people feel.

    Tracing Milton's literary, intellectual, and political development with unprecedented depth and understanding, Poet of Revolution is an unmatched biographical account of the formation of the mind that would go on to create Paradise Lost--but would first justify the killing of a king.Biographers of Milton have always struggled to explain how the young poet became a notorious defender of regicide and other radical ideas such as freedom of the press, religious toleration, and republicanism. In this groundbreaking intellectual biography of Milton's formative years, Nicholas McDowell draws on recent archival discoveries to reconcile at last the poet and polemicist. He charts Milton's development from his earliest days as a London schoolboy, through his university life and travels in Italy, to his emergence as a public writer during the English Civil War. At the same time, McDowell presents fresh, richly contextual readings of Milton's best-known works from this period, including the "Nativity Ode," "L'Allegro" and "Il Penseroso," Comus, and "Lycidas."Challenging biographers who claim that Milton was always a secret radical, Poet of Revolution shows how the events that provoked civil war in England combined with Milton's astonishing programme of self-education to instil the beliefs that would shape not only his political prose but also his later epic masterpiece.

    Such fringe examples, Rice argues, bring to light other questions about evidence that force us to reassess and move beyond traditional forms of ethics and debate. After sketching a broader framework for understanding what evidence is, Awful Archives then asks how we can practice more ethical and productive forms of debate, especially when we’re faced with arguments that feel like a dead end. Thorough, engaging, and deeply insightful, Awful Archives: Conspiracy Theory, Rhetoric, and Acts of Evidence introduces an entirely new perspective on evidence—one that will impact the field for years to come.

    Above all, Points of Attack is a handbook of the ways of the good life in bad times, and an inoculation against presumption in an era when the axioms of liberal democratic life have come undone and the end of history once again appears a long way off.

    Her art addressed issues that resonate today, such as sexual violence and women’s problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars.   This book breaks new ground by placing Gentileschi in the context of women’s political history. Mary D. Garrard, noted Gentileschi scholar, shows that the artist most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art.

    The essays range from Pyle’s experience as a young national park ranger in the Sierra Nevada to the streets of Manhattan; from the suburban jungle to the tangles of the written word; and from the phenomenon of Bigfoot to that of the Big Year―a personal exercise in extreme birding and butterflying. They include deep profiles of John Jacob Astor I and Vladimir Nabokov, as well as excursions into wild places with teachers, children, and writers. The nature of real wilderness in modern times comes under Pyle’s lens, as does reconsideration of his trademark concept, “the extinction of experience”―maybe the greatest threat of alienation from the living world that we face today.Nature Matrixshows a way back toward possible integration with the world, as it plumbs the range and depth of experience in one lucky life lived in close connection to the physical earth and its denizens. This collection brings together the thoughts and hopes of one of our most widely read and respected natural philosophers as he seeks to summarize a life devoted to conservation.

    Vollmann's oeuvre--which includes a "prostitution trilogy," a septology (Seven Dreams) about encounters between first North Americans and European colonists, and a more than three-thousand-page philosophical treatise on violence--is ambitious as it is dazzling. Conversations with William T. Vollmann collects twenty-nine interviews, from early press coverage in Britain where his career first took flight, to in-depth visits to his writing and art studio in Sacramento, California.Throughout these conversations, Vollmann (b. 1959) speaks with candor and wit on such subjects as grief and guilt in his work, his love of guns and his experience of war, the responsibilities of the artist as witness, the benefits of looking out into the world beyond the confines of one's horizon, the limitations of what literature can achieve, and how we can speak to the future. Bringing to the fore several expanded, unpublished, and hard-to-find interviews, this volume offers a valuable set of perspectives on a uniquely rewarding and sometimes overwhelming writer. On the road promoting his books or in a domestic setting, Vollmann comes across as reflective and humane, humble in his craft despite deep dedication to his uncompromising vision, and ever armed with a spirit of mischief and capacity to shock and unsettle the reader.

    The twelve essays in this book consider how this tale of trauma was told: from the filmmaking to the thematic concerns, the imagery to the “how on earth was this done?” of it all. Witness us.

    Grossman and Scheibel explore the influences of melodrama and film noir, the significance around the idea of "home," as well as female trauma and agency. In addition to this close investigation of the series itself, the authors examine the rich storytelling surrounding Twin Peaks that includes the film prequel, Mark Frost's novels, and Showtime's 2017 revival. In Twin Peaks, Grossman and Scheibel argue that the show has transcended conventional binaries not only in film and television but also in culture and gender.The book begins with a look into the publicity and critical discourses on authorship that framed Twin Peaks as an auteurist project rather than a prime-time soap opera. Despite critics' attempts to distance the series from the soap opera genre, Grossman and Scheibel explore how melodrama and noir are used in Twin Peaks. Grossman and Scheibel masterfully examine star performances in the series including Kyle MacLachlan's epic portrayal as the idiosyncratic Special Agent Dale Cooper and Sheryl Lee's haunting embodiment of Laura Palmer. The monograph finishes with an examination of the adaptation and remediation of Twin Peaks in a variety of different platforms, which have further expanded the boundaries of the series.Twin Peaks explores the ways in which the series critiques multiple forms of objectification in culture and textuality. Readers interested in film, television, pop culture, and gender studies as well as fans and new audiences discovering Twin Peaks will embrace this book.

    on 6 September 2018, the Supreme Court of India created history by reading down Section 377—reversing an archaic law laid down by the British in 1860 and decriminalizing homosexuality for the first time in modern India.Yet, this is not the only ruling that the Supreme Court has made in recent times championing the rights of an individual to her or his identity and dignity. From empowering the transgender community and lending teeth to the prevention of sexual harassment of women at the workplace, to protecting the privacy, rights and dignity of women and minorities on issues such as interfaith marriages, entering the Sabarimala temple, the controversial triple talaq and the striking down of the adultery law—the highest court of the land has firmly placed the individual at the centre of the constitutional firmament, and set a course for progressive societal reform.This remarkable collection of writings by legal luminaries is the only book to offer sharp insights into each of these crucial rulings. Justice M.B. Lokur writes on the issues that affect the transgender community; Justice B.D. Ahmed elucidates on Muslim law in the modern context; and Justice A.K. Sikri addresses the fundamental concept of dignity, which binds together all the essays in this book. Some of the best-known names in Indian law—Mukul Rohatgi, Madhavi Divan, Menaka Guruswamy, Arundhati Katju and Saurabh Kirpal—offer legal perspectives of judgements on sex, sexuality and gender. From petitioners like Ritu Dalmia, Keshav Suri and Zainab Patel, we hear personal narratives of being a part of the LGBTQ community in India, while journalist Namita Bhandare provides a powerful account of the struggle against sexual harassment.An unprecedented documentation of the rulings that have set a standard for the rights and liberties of sexual minorities and women in India, Sex and the Supreme Court is also an invaluable record for posterity—for it reveals the power of the country's courts to uphold the privacy, dignity and safety of its citizens.

    

    . . . A discerning portrait of the writer and his times."— Kirkus Reviews "Prochnik provides a jaunty narrative of Heine’s schooldays in Bonn and Göttingen, journalistic career in Berlin, and twenty-five-year exile in Paris, detailing his literary feuds, scraps with censors, and unwavering belief in political liberty."— New Yorker Heinrich Heine (1797–1856) was a virtuoso German poet, satirist, and visionary humanist whose dynamic life story and strikingly original writing are ripe for rediscovery.   In this vividly imagined exploration of Heine’s life and work, George Prochnik contextualizes Heine’s biography within the different revolutionary political, literary, and philosophical movements of his age. He also explores the insights Heine offers contemporary readers into issues of social justice, exile, and the role of art in nurturing a more equitable society.   Heine wrote that in his youth he resembled “a large newspaper of which the upper half contained the present, each day with its news and debates, while in the lower half, in a succession of dreams, the poetic past was recorded fantastically like a series of feuilletons.”   This book explores the many dualities of Heine’s nature, bringing to life a fully dimensional character while also casting into sharp relief the reasons his writing and personal story matter urgently today.

    Margaret Drabble swims with The Water Babies.Clive Unger Hamilton develops a taste for Paris.Annabel Walker changes her mind about Cornwall.Antony Wood falls for an unapologetic old rogue.Kate Young feels the heat at Hanging Rock.Ursula Buchan remembers a ground-breaking gardener.Mick Herron sees life on Cannery Row.Dan Worsley meets a shrewd medieval merchant,Jon Woolcott finds romance in ruins.Kate Morgan delivers a missing letter.

    In this groundbreaking cultural history, Alyce Mahon traces how artists of the twentieth century turned to Sade to explore political, sexual, and psychological terror, adapting his imagery of the excessively sexual and terrorized body as a means of liberation from systems of power.Mahon shows how avant-garde artists, writers, dramatists, and filmmakers drew on Sade’s “philosophy in the bedroom” to challenge oppressive regimes and their restrictive codes and conventions of gender and sexuality. She provides close analyses of early illustrated editions of Sade’s works and looks at drawings, paintings, and photographs by leading surrealists such as André Masson, Leonor Fini, and Man Ray. She explains how Sade’s ideas were reflected in the writings of Guillaume Apollinaire and the fiction of Anne Desclos, who wrote her erotic novel, Story of O, as a love letter to critic Jean Paulhan, an admirer of Sade. Mahon explores how Sade influenced the happenings of Jean-Jacques Lebel, the theater of Peter Brook, the cinema of Pier Paolo Pasolini, and the multimedia art of Paul Chan. She also discusses responses to Sade by feminist theorists such as Simone de Beauvoir, Susan Sontag, and Angela Carter.Beautifully illustrated, The Marquis de Sade and the Avant-Garde demonstrates that Sade inspired generations of artists to imagine new utopian visions of living, push the boundaries of the body and the body politic, and portray the unthinkable in their art.

    But it was above all through the wonderful, unforgettable, extravagant characters that Balzac dreamed up and made flesh--entrepreneurs, bankers, inventors, industrialists, poets, artists, bohemians of both sexes, journalists, aristocrats, politicians, prostitutes--that he brought to life the dynamic forces of an era that ushered in our own. Peter Brooks's Balzac's Lives is a vivid and searching portrait of a great novelist as revealed through the fictional lives he imagined.

    In What Is the Grass, Doty—a poet, a lover of men, a New Yorker, and an American—keeps company with Whitman and his mutable, landmark work, Leaves of Grass, tracing the resonances between his own experience and the legendary poet’s life and work.What is it, then, between us? Whitman asks. Doty’s answer is to explore spaces tied to Whitman’s life and spaces where he finds the poet’s ghost, meditating on desire, love, and the mysterious wellsprings of the poet’s enduring work. How does a voice survive death? What Is the Grass is a conversation across time and space, a study of the astonishment one poet finds in the accomplishment of another, and an attempt to grasp Whitman’s deeply hopeful vision of humanity.

    Take him up. You won’t regret it.” —Boris Dralyuk, Executive Editor, Los Angeles Review of Books “What are these fragments we’ve Jersey Shored against our ruin?” asks M. I. Devine, remixing T. S. Eliot, in this dizzying collection of essays that pays homage to the cultural forms that hold us steady. These fragments are stored in Warhol’s Mother’s Pantry, which takes us deep beneath the surfaces of pop to explore our shared quest for meaning today. Julia Warhola, an immigrant who arrived as the US was closing its borders a century ago, is the muse of reuse in these essays that cross boundaries—between now and then, high and low. She is the mom in pop who cut tin cans into flowers and taught Andy (and us) how to reshape and redeem our world. In essays as lyrical, witty, and experimental as the works they cover, Devine offers a new account of pop humanism. How we cut new things from the traditions we’re given, why we don’t stop believin’ (and carry on, wayward sons) when so much is stacked against us. Here are Leonard Cohen’s last songs and Molly Bloom’s last words; Vampire Weekend’s Rostam and Philip Larkin too; Stevie Smith, John Donne, and Kendrick Lamar; sonnets and selfies; early cinema and post–9/11 film, pop hooks, and pop art. In Devine’s hands, these literary and cultural artifacts are provocatively reassembled into an urgent and refreshing history that refuses to let its readers forget where pop came from and where it can go.Chicago Review of Books: "In a lyrical mix of memoir and criticism... with playful, plosive prose rich with cultural allusion... Devine suggests we may not be as alienated from one another as we seem."The Millions: "an inventive, playful, and rangy consideration of that human depth upon the surfaces of things—Devine has a way of magnetizing himself to past and present, bounding across references and texts."

    Waldie reconsiders the city in a collection of contemporary essays.Nobody sees Los Angeles with more eloquence than D. J. Waldie. – Susan Brenneman, Los Angeles Times Deputy Op-Ed EditorBecoming Los Angeles, a new collection by the author of the acclaimed memoir Holy Land, blends history, memory, and critical analysis to illuminate how Angelenos have seen themselves and their city. Waldie’s particular concern is commonplace Los Angeles, whose rhythms of daily life are set against the gaudy backdrop of historical myth and Hollywood illusion. It’s through sacred ordinariness that Waldie experiences the city’s seasons. In his exploration of sprawling Los Angeles, he considers how the city’s image was constructed and how it fostered willful amnesia about the city’s conflicted past. He encounters the immigrants and exiles, the dreamers and con artists, the celebrated and forgotten who became Los Angeles. He measures the place of nature in the city and the different ways that nature has been defined. He maps on the contours of Los Angeles what embracing—or rejecting—an Angeleno identity has come to mean.Becoming Los Angeles draws on a decade of Waldie’s writing about the intersection of the city’s history and its aspirations. He asks, what do we talk about when we talk about Los Angeles today? In a global, cosmopolitan city, is there value in cultivating a local imagination? And he wonders how to describe a city that is denser and more polarized and challenged by climate change, homelessness, and economic disparity. There will always be romance in the idea of Los Angeles, but it requires renewed hope to sustain. Becoming Los Angeles is a further account of how Waldie gained a sense of place, which James Mustich, author of 1,000 Books to Read Before You Die, described as “an almost sacramental act of attention.” Becoming Los Angeles is ultimately a book about learning how to fall in love with wherever it is you are.Called a writer whose work is a “gorgeous distillation of architectural and social history” by the New York Times, whose essays and memoirs, said the Los Angeles Times, “conjure the idiosyncratic splendor of Southern California life,” D. J. Waldie is the author of the acclaimed Holy Land: A Suburban Memoir and other books that illuminate the ordinary and the everyday in lyrical prose. In collaboration with Diane Keaton, Waldie provided the text for two photographic explorations of home: California Romantica, dealing with homes in the Spanish Colonial Revival Style of the early twentieth century, and House, examining post-modern interpretations of domesticity. California Romantica became a Los Angeles Times non-fiction bestseller in 2007. D. J. Waldie’s narratives about suburban life have appeared in BUZZ, The Kenyon Review, The Massachusetts Review, The Georgetown Review, Salon, dwell, Los Angeles Magazine, Spiritus, Gulf Coast, Urbanisme, Bauwelt, and other publications. His book reviews and commentary have appeared in the Los Angeles Times, the Wall Street Journal, and the New York Times. He lives in the home where he was born in Lakewood, California, where he was formerly the Deputy City Manager.

    

    Rachel Sagner Buurma and Laura Heffernan open up “the teaching archive”—the syllabuses, course descriptions, lecture notes, and class assignments—of critics and scholars including T. S. Eliot, Caroline Spurgeon, I. A. Richards, Edith Rickert, J. Saunders Redding, Edmund Wilson, Cleanth Brooks, Josephine Miles, and Simon J. Ortiz. This new history of English rewrites what we know about the discipline by showing how students helped write foundational works of literary criticism and how English classes at community colleges and HBCUs pioneered the reading methods and expanded canons that came only belatedly to the Ivy League. It reminds us that research and teaching, which institutions often imagine as separate, have always been intertwined in practice. In a contemporary moment of humanities defunding, the casualization of teaching, and the privatization of pedagogy, The Teaching Archive offers a more accurate view of the work we have done in the past and must continue to do in the future.

    It is also the first study to include controversial material from unpublished letters that reveals the complex and troubling nature of O'Connor's thoughts on the subject. O'Connor lived and did most of her writing in her native Georgia during the tumultuous years of the civil rights movement. In one of her letters, O'Connor frankly expresses her double-mindedness regarding the social and political upheaval taking place in the United States with regard to race: "I hope that to be of two minds about some things is not to be neutral." Radical Ambivalence explores this double-mindedness and how it manifests itself in O'Connor's fiction.

    She examines who is included and excluded, while producing alternative visions for a more just South African society.This is an erudite analysis of ten well-known South African writers, spanning the apartheid and post-apartheid era: Miriam Tlali, Lauretta Ngcobo, Farida Karodia, Agnes Sam, Sindiwe Magona, Zo� Wicomb, Rayda Jacobs, Yvette Christians�, Kagiso Lesego Molope and Zukiswa Wanner. Boswell argues that black women's fiction could and should be read as a subversive site of knowledge production in a setting, which, for centuries, denied black women's voices and intellects.Reading their fiction as theory, for the first time these writers' works are placed in sustained conversation with each other, producing an arc of feminist criticism that speaks forcefully back to the abuse of a racist, white-dominated, patriarchal power.

    In Infamous Bodies, Samantha Pinto explores how histories of these black women and their ongoing fame generate new ways of imagining black feminist futures. Drawing on a variety of media, cultural, legal, and critical sources, Pinto shows how the narratives surrounding these eighteenth- and nineteenth-century celebrities shape key political concepts such as freedom, consent, contract, citizenship, and sovereignty. Whether analyzing Wheatley's fame in relation to conceptions of race and freedom, notions of consent in Hemings's relationship with Thomas Jefferson, or Baartman's ability to enter into legal contracts, Pinto reveals the centrality of race, gender, and sexuality in the formation of political rights. In so doing, she contends that feminist theories of black women's vulnerable embodiment can be the starting point for future progressive political projects.

    A century later, the mainstream blues world has transformed into a multicultural and transnational melting pot, taking the music far beyond the black southern world of its origins. But not everybody is happy about that. If there's "No black. No white. Just the blues," as one familiar meme suggests, why do some blues people hear such pronouncements as an aggressive attempt at cultural appropriation and an erasure of traumatic histories that lie deep in the heart of the music? Then again, if "blues is black music," as some performers and critics insist, what should we make of the vibrant global blues scene, with its all-comers mix of nationalities and ethnicities? In Whose Blues?, award-winning blues scholar and performer Adam Gussow confronts these challenging questions head-on. Using blues literature and history as a cultural anchor, Gussow defines, interprets, and makes sense of the blues for the new millennium. Drawing on the blues tradition's major writers including W. C. Handy, Langston Hughes, Zora Neale Hurston, and Amiri Baraka, and grounded in his first-person knowledge of the blues performance scene, Gussow's thought-provoking book kickstarts a long overdue conversation.

    Drawing on Marxism and philosophy of science, The Calamity Form shines new light on Romantic poetry, identifying a number of rhetorical tropes used by writers to underscore their very failure to make sense of our move to industrialization.   Anahid Nersessian explores works by Friedrich Hölderlin, William Wordsworth, John Keats, and others to argue that as the human and ecological costs of industry became clear, Romantic poetry adopted formal strategies—among them parataxis, the setting of elements side by side in a manner suggestive of postindustrial dissonance, and apostrophe, here an address to an absent or vanishing natural environment—as it tried and failed to narrate the calamities of capitalism. These tropes reflect how Romantic authors took their bewilderment and turned it into a poetics: a theory of writing, reading, and understanding poetry as an eminently critical act. Throughout, Nersessian pushes back against recent attempts to see literature as a source of information on par with historical or scientific data, arguing instead for an irreducibility of poetic knowledge. Revealing the ways in which these Romantic works are of their time but not about it, The Calamity Form ultimately exposes the nature of poetry’s relationship to capital—and capital’s ability to hide how it works.

    Their inability wasn’t due to religion, but philosophy: saying someone is dead is nonsense, as the person no longer is. The one thing that can talk about something that is not, as D. Vance Smith shows in this innovative, provocative book, is literature. Covering the emergence of English literature from the Old English to the late medieval periods, Arts of Dying argues that the problem of how to designate death produced a long tradition of literature about dying, which continues in the work of Heidegger, Blanchot, and Gillian Rose. Philosophy’s attempt to designate death’s impossibility is part of a literature that imagines a relationship with death, a literature that intensively and self-reflexively supposes that its very terms might solve the problem of the termination of life. A lyrical and elegiac exploration that combines medieval work on the philosophy of language with contemporary theorizing on death and dying, Arts of Dying is an important contribution to medieval studies, literary criticism, phenomenology, and continental philosophy.

    

    The mind's powers came to preoccupy a range of thinkers and writers: ethicists pursuing contractual theories of justice, radical ecologists interested in the paleolithic brain, seventies cultists, and the devout of both evangelical and New Age persuasions. In Ideal Minds, Michael Trask presents a boldly revisionist argument about the revival of subjectivity in postmodern American culture, connecting familiar figures within the seventies intellectual landscape who share a commitment to what he calls neo-idealism as a weapon in the struggle against discredited materialist and behaviorist worldviews.In a heterodox intellectual and literary history of the 1970s, Ideal Minds mixes ideas from cognitive science, philosophy of mind, moral philosophy, deep ecology, political theory, science fiction, neoclassical economics, and the sociology of religion. Trask also delves into the decade's more esoteric branches of learning, including Scientology, anarchist theory, rapture prophesies, psychic channeling, and neo-Malthusianism. Through this investigation, Trask argues that a dramatic inflation in the value of consciousness and autonomy beginning in the 1970s accompanied a growing argument about the state's inability to safeguard such values. Ultimately, the thinkers Trask analyzes--John Rawls, Arne Naess, L. Ron Hubbard, Hal Lindsey, Philip Dick, Ursula Le Guin, Edward Abbey, William Burroughs, John Irving, and James Merrill--found alternatives to statism in conditions that would lend intellectual support to the consolidation of these concepts in the radical free market ideologies of the 1980s.

    Historical context proves itself to be key in the chronologically ordered chapters, while the thematically arranged ones provide a place to discuss islands, reality, doubles, and the arts. This duality provides an excellent space for Kincaid to use his incisive powers of critical thinking to capture the evanescence and ambivalence of Priest's writing.

    The book uses a variety of examples to show the rich history as well as the current cultural relevance and significance of Comics.Taking a broadly global approach, Harriet Earle discusses the history and development of the form internationally, as well as how to navigate comics as a new way of reading. Earle also pushes beyond the book to lay out the ways that fans engage with their comics of choice - and how this can affect the industry. Two final chapters take a close-up look at how Comics can work for social change and political comment. Chapters on Journalism and Life Writing looks at how the coming together of word and image give us new ways to discuss our world and ourselves.A glossary and further reading section help those new to Comics solidify their understanding and further their exploration of this dynamic and growing field.

    American and British programming that featured the abjection of young, middle-class, liberal white people-such as Broad City, Casual, You're the Worst, Catastrophe, Fleabag, and Transparent-proliferated to wide popular acclaim in the 2010s. Taylor Nygaard and Jorie Lagerwey track how these shows of the white left, obsessed with its own anxiety and suffering, are complicit in the rise and maintenance of the far right-particularly in the mobilization, representation, and sustenance of structural white supremacy on television.Nygaard and Lagerwey examine a cycle of dark television comedies, the focus of which are "horrible white people," by putting them in conversation with similar upmarket comedies from creators and casts of color like Insecure, Atlanta, Dear White People, and Master of None. Through their analysis, they demonstrate the ways these non-white-centric shows negotiate prestige TV's dominant aesthetics of whiteness and push back against the centering of white suffering in a time of cultural crisis.Through the lens of media analysis and feminist cultural studies, Nygaard and Lagerwey's book opens up new ways of looking at contemporary television consumption-and the political, cultural, and social repercussions of these "horrible white people" shows, both on- and off-screen.

    Two of our most eminent Shakespeare scholars guide us through his sonnets, his poems, and his plays, providing the reader with detailed scene-by-sceneplot synopses, cast lists, notes on the texts and sources, discussions of artistic features, and accounts of significant productions on stage and screen.Derived from the acclaimed Oxford Companion to Shakespeare, and fully updated to reflect the latest scholarship and most recent notable productions, it is the ideal compact guide for students and theatre-goers needing a helpful plot summary, or readers wishing to browse on fascinating backgroundinformation.

    LGBTQIA Studies. At One End collects excerpts from a longer science fiction epic composed in a hybrid autofiction style, a mediation or recuperation of traumatic memory: "the trans body, here, my trans body represents an attempted topography, mouthing around shape-hood, which fails to resolve into any ideal epistemological dimensions but, instead, like the syntax, mutates within your looking at me."

    Conflicting messages bombard us every day with news on everything from politics and world events to investments and alternative health. The daily paper, nightly news, websites, and social media each compete for our attention and each often insist on a different version of the facts. Inevitably, we have questions:Who is telling the truth? How would we know? How did we get here? What can we do?Beyond Fake News answers these and other queries. It offers a technological and market-based explanation for how our informational environment became so polluted. It shows how purveyors of news often have incentives to mislead us, and how consumers of information often have incentives to be misled. And it chronicles how, as technology improves and the regulatory burdens drop, our information-scape becomes ever more littered with misinformation. Beyond Fake News argues that even when we really want the truth, our minds are built in such a way so as to be incapable of grasping many facts, and blind spots mar our view of the world. But we can do better, both as individuals and as a society. As individuals, we can improve the accuracy of our understanding of the world by knowing who to trust and recognizing our limitations. And as a society, we can take important steps to reduce the quantity and effects of misinformation.

    Some pro-Israel students label pro-Palestinian students terrorists, and the Jews among them traitors. Lawsuits are filed. Legislation is proposed. Faculty members are blacklisted and receive death threats. Academic freedom is compromised and the entire academic enterprise is threatened. How did we get here and what can be done?In this passionate book, Kenneth S. Stern examines attempts from each side to censor the other at a time when some say students, rather than being challenged to wrestle with difficult issues and ideas, are being quarantined from them. He uniquely frames the examination: our ability to think rationally is inhibited when our identity is fiercely connected to an issue of perceived social justice or injustice, and our proclivity to see in-groups and out-groups - us versus them - is obvious. According to Stern, the campus is the best place to mine this conflict and our intense views about it to help future generations do what they are supposed to do: think. The Conflict over the Conflict shows how this is possible.