His thousands of pages of essays, reviews, prologues, lectures, and notes on politics and culture—though revered in Latin America and Europe as among his finest work—have scarcely been translated into English.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    From this starting point, Anne Carson launches an exploration, poetic in its own right, of the idea of poetic economy. She offers a reading of certain of Simonides' texts and aligns these with writings of the modern Romanian poet Paul Celan, a Jew and survivor of the Holocaust, whose economies of language are notorious. Asking such questions as, What is lost when words are wasted? and Who profits when words are saved? Carson reveals the two poets' striking commonalities.In Carson's view Simonides and Celan share a similar mentality or disposition toward the world, language and the work of the poet. Economy of the Unlost begins by showing how each of the two poets stands in a state of alienation between two worlds. In Simonides' case, the gift economy of fifth-century b.c. Greece was giving way to one based on money and commodities, while Celan's life spanned pre- and post-Holocaust worlds, and he himself, writing in German, became estranged from his native language. Carson goes on to consider various aspects of the two poets' techniques for coming to grips with the invisible through the visible world. A focus on the genre of the epitaph grants insights into the kinds of exchange the poets envision between the living and the dead. Assessing the impact on Simonidean composition of the material fact of inscription on stone, Carson suggests that a need for brevity influenced the exactitude and clarity of Simonides' style, and proposes a comparison with Celan's interest in the negative design of printmaking: both poets, though in different ways, employ a kind of negative image making, cutting away all that is superfluous. This book's juxtaposition of the two poets illuminates their differences--Simonides' fundamental faith in the power of the word, Celan's ultimate despair--as well as their similarities; it provides fertile ground for the virtuosic interplay of Carson's scholarship and her poetic sensibility.

    It was basic to the education of generations of Romans, and has stirred the imaginations of such writers and artists as St. Augustine, Dante, Milton, and countless others. The Aeneid represents both Virgil's tribute to Homer and his attempt to re-imagine and surpass the Homeric model. With Professor Vandiver's help and instruction, you enter fully into the gripping tale that Virgil tells.You join Aeneas on his long journey west from ruined Troy to the founding of a new nation in Italy, and see how he weaves a rich network of compelling human themes. His poem is an examination of leadership, a study of the conflict between duty and desire, a meditation on the relationship of the individual to society and of art to life, and a Roman's reflection on the dangers—and the allure—of Hellenistic culture.

    -- Presents the most important 20th-century criticism on major works from The Odyssey through modern literature -- The critical essays reflect a variety of schools of criticism -- Contains critical biographies, notes on the contributing critics, a chronology of the author's life, and an index

    The novel has been hailed as one of the most striking early examples of postmodernism and has become a famous test case for theories about reading because of the apparent impossibility of deciding between several radically different interpretations. Does the book have two narrators, as it first appears, or one? How much is fantasy and how much is reality? Whose fantasy and whose reality are they? Brian Boyd, Nabokov's biographer and hitherto the foremost proponent of the idea that Pale Fire has one narrator, John Shade, now rejects this position and presents a new and startlingly different solution that will permanently shift the nature of critical debate on the novel. Boyd argues that the book does indeed have two narrators, Shade and Charles Kinbote, but reveals that Kinbote had some strange and highly surprising help in writing his sections. In light of this interpretation, Pale Fire now looks distinctly less postmodern--and more interesting than ever.In presenting his arguments, Boyd shows how Nabokov designed Pale Fire for readers to make surprising discoveries on a first reading and even more surprising discoveries on subsequent readings by following carefully prepared clues within the novel. Boyd leads the reader step-by-step through the book, gradually revealing the profound relationship between Nabokov's ethics, aesthetics, epistemology, and metaphysics. If Nabokov has generously planned the novel to be accessible on a first reading and yet to incorporate successive vistas of surprise, Boyd argues, it is because he thinks a deep generosity lies behind the inexhaustibility, complexity, and mystery of the world. Boyd also shows how Nabokov's interest in discovery springs in part from his work as a scientist and scholar, and draws comparisons between the processes of readerly and scientific discovery.This is a profound, provocative, and compelling reinterpretation of one of the greatest novels of the twentieth century.

    A major collection of writings from one of the most important twentieth century French authors, "The Blanchot Reader" includes six works of fiction ("Death Sentence, The Madness of the Day, When the Time Comes, Vicious Circles, Thomas the Obscure", and "The One Who Was Standing Apart from Me") and extended selections of critical and philosophical essays from his major book, "The Gaze of Orpheus".

    Chapters focus on the supernatural elements of the work, as well as the author´s treatment of the physical self.

    His life, too, is the stuff of legend, from his survival of the siege of Leningrad in early childhood to his expulsion from the Soviet Union and his achievements as a Nobel Prize winner and America’s poet laureate.In this penetrating biography, Brodsky’s life and work are illuminated by his great friend, the late poet and literary scholar Lev Loseff. Drawing on a wide range of source materials, some previously unpublished, and extensive interviews with writers and critics, Loseff carefully reconstructs Brodsky’s personal history while offering deft and sensitive commentary on the philosophical, religious, and mythological sources that influenced the poet’s work. Published to great acclaim in Russia and now available in English for the first time, this is literary biography of the first order, and sets the groundwork for any books on Brodsky that might follow.

    In the tradition of Matthew Arnold and Edmund Wilson, James Wood reads literature expansively, always pursuing its role and destiny in our lives. In a series of essays about such figures as Melville, Flaubert, Chekhov, Virginia Woolf, and Don DeLillo, Wood relates their fiction to questions of religious and philosophical belief. He suggests that the steady ebb of the sea of faith has much to do with the revolutionary power of the novel, as it has developed over the last two centuries. To read James Wood is to be shocked into both thinking and feeling how great our debt to the novel is.        In the grand tradition of criticism, Wood's work is both commentary and literature in its own right--fiercely written, polemical, and richly poetic in style. This book marks the debut of a masterly literary voice.

    If you fall asleep in your English classes, this book is like drinking ten cups of coffee. Maybe eleven, depending upon your body weight. For high school students and up."The most obvious virtue of Leithart's book is its scope. In a single volume he provides a defense for the value of reading classical literature, a methodology for integrating that literature with the Christian faith, and a reader's guide to the works of classical literature that a contemporary reader would most benefit from reading." -Leland Ryken, Wheaton College"[A]nyone can read this volume and expect to gain a heightened awareness of the importance of Christian thinking to all of life and the great void that exists in societies that are not undergirded by such thinking." -Byron Snapp, Calvary Herald

    Essays include discussion of the psychological implications in the novel as well as themes and character analysis.

    Covering courtly fiction, Buddhist writings, war tales, diaries, poems, and more, Seeds in the Heart explores a vast and variegated treasury of writings. Detailed textual examinations of classic texts--from the Kojiki to The Tale of Genji, from The Pillow Book of Sei Sh�nagon to Zeami's N� plays--allow students, lay readers, and scholars a new understanding and enjoyment of this great literature.

    Although he saw himself chiefly as a poet, publishing a number of books of poetry, he also left behind a sparkling comic novel, four children's books, numerous translations, haunting letters, and four collections of essays. Edited by Brad Leithauser, No Other Bookdraws from these four essay collections, reminding us that Jarell the poet was also, in the words of Robert Lowell, "a critic of genius."

    How does poetry create feeling? What are fractal poetics?In a series of provocative, beautifully written essays concerning "the good strangeness of poetry," Fulton contemplates the intricacies of a rare genetic syndrome, the aesthetics of complexity theory, and the need for "cultural incorrectness." She also meditates on electronic, biological, and linguistic screens; falls in love with an outrageous 17th-century poet; argues for a Dickinsonian tradition in American letters; and calls for a courageous poetics of "inconvenient knowledge." Contents PreambleI. ProcessHead Notes, Heart Notes, Base NotesScreens: An Alchemical ScrapbookII. PoeticsSubversive PleasuresOf Formal, Free, and Fractal Verse: Singing the Body EclecticFractal Amplifications: Writing in Three DimensionsIII. PowersThe Only Kangaroo among the BeautyUnordinary Passions: Margaret Cavendish, the Duchess of NewcastleHer Moment of Brocade: The Reconstruction of Emily DickinsonIV. PraxisSeed InkTo Organize a WaterfallV. PenchantsA Canon for InfidelsThree Poets in Pursuit of AmericaThe State of the ArtMain Thingsri0VI. PremisesThe Tongue as a MuscleA Poetry of Inconvenient Knowledge

    In Narcissus Leaves the Pool, he displays his signature verve and charm in sixteen agile, entertaining pieces. Among his targets in this collection are name-dropping, talent versus genius, the cult of youthfulness, and the information revolution.

    Tolkien: A Celebration; Collected Writings on a Literary Legacy, by Pearce, Joseph, ed.

    In this new compendium, the writers describe their art and lives, creating a unique and fascinating record of their inspirations.

    Yet during medieval and Renaissance times, European writers portrayed Muslim women in exactly the opposite way, as forceful queens of wanton and intimidating sexuality. In this illuminating study, Mohja Kahf traces the process through which the "termagant" became an "odalisque" in Western representations of Muslim women. Drawing examples from medieval chanson de geste and romance, Renaissance drama, Enlightenment prose, and Romantic poetry, she links the changing images of Muslim women to changes in European relations with the Islamic world, as well as to changing gender dynamics within Western societies.

    Gifted by his god with a bow that would always shoot true to the mark and indispensable to his fellow Greeks, he was marked by the same god with an odious wound that made him hateful and hated. Sophocles' powerful insight is that those blessed by the gods and indispensable to men are visited as well with great vulnerability and suffering.Wagner: The Terrible Man and His Truthful Art traces some of Wagner's extraordinary influence for good and ill on a century of art and politics - on Eliot and Proust as well as on Adolf Hitler - and discusses in detail Wagner's Tannhouser, the work in which the composer first dramatised the Faustian struggle of a creative artist in whom 'two souls dwell.' In the course of this penetrating study, Father Lee argues that Wagner's ambivalent art is indispensable to us, life-enhancing and ultimately healing.

    But Squidgy immediately appears as large as life -- and he has his own story. What will happen if Formby invents other characters? Will they try and take over the book as well? Chaos reigns as Squidgy Moot masterminds a villain's night out.

    Sula and Nel--both black, both smart, both poor, raised in a small Ohio town--meet when they are twelve, wishbone thin and dreaming of princes.Through their girlhood years they share everything--perceptions, judgments, yearnings, secrets, even crime--until Sula gets out, out of the Bottom, the hilltop neighborhood where beneath the sporting life of the men hanging around the place in headrags and soft felt hats there hides a fierce resentment at failed crops, lost jobs, thieving insurance men, bug-ridden flour...at the invisible line that cannot be overstepped.Sula leaps it and roams the cities of America for ten years. Then she returns to the town, to her friend. But Nel is a wife now, settled with her man and her three children. She belongs. She accommodates to the Bottom, where you avoid the hand of God by getting in it, by staying "upright, " helping out at church suppers, asking after folks--where you deal with evil by surviving it.Not Sula. As willing to feel pain as to give pain, she can never accommodate. Nel can't understand her any more, and the others never did. Sula scares them. Mention her now, and they recall that she put her grandma in an old folks' home (the old lady who let a train take her leg for the insurance)...that a childdrowned in the river years ago...that there was a plague of robins when she first returned...In clear, dark, resonant language, Toni Morrison brilliantly evokes not only a bond between two lives, but the harsh, loveless, ultimately mad world in which that bond is destroyed, the world of the Bottom and its people, through forty years, up to the time of their bewildered realization that even more than they feared Sula, their pariah, they needed her.

    Through attentive readings of a variety of artists, including her contemporaries, Ellen Bryant Voigt celebrates the structure and elasticity of lyric poems. She argues for reading as a writer reads--with equal parts passion and analysis. Her analyses of the effects of tone, image, voice, and structure connect brilliant theory with tangible examples.Intimate as well as informative, the collection begins with a discussion of the creative process and Voigt's fascination with the writing of Flannery O'Connor and Elizabeth Bishop. Readings of lyric poems by Shakespeare, Sidney, Poe, Stevens, Williams, Larkin, Bogan, Roethke, Plath, Levertov, Berryman, and others demonstrate the roles of gender, point of view, image, and music in poetry. An experienced teacher, Voigt focuses on the lyric but encourages, in any study of poetry, original thinking, attention to structure, and, above all, close reading of the work itself. An intelligent and thought-provoking marriage of art and scholarship, The Flexible Lyric exemplifies, with fierceness, dedication, and precision, how the making of poems is not just a trade but a calling.

    Featuring more than 500 A-Z articles, it throws new and often unexpected light on the most familiar of Dickens's works, and explores the experiences, events, and literature on which he drew. There is also a chronology of Dickens' life, a list of characters in his works, a list of entries by theme, a family tree, three maps, an invaluable bibliography, and a general index. Compiled by a distinguished editorial team, and written in a lucid, easy style that would have pleased him, The Oxford Companion to Charles Dickens offers a more authoritative and accessible range of information than any other reference work on Dickens.

    Writers from Homer to Heaney instruct us in the art of mental composition, even as their poems progress. Just as painters understand paint, composers musical instruments, and sculptors stone or metal, verbal artists understand the only material in which their creations will get made--the back-lit tissue of the human brain. In her brilliant synthesis of literary criticism, philosophy, and cognitive psychology, Elaine Scarry explores the principal practices by which writers bring things to life for their readers.

    Together, as they spent evenings in tavernas, explored the Peloponnese, and considered the meaning of Greek life and freedom and art, they seemed to be inventing paradise. This blend of memoir, criticism, and storytelling takes readers on a journey into the poetry, friendships, and politics of an extraordinary time.

    They offer a unique and active view of the poet's wide-ranging intellect grappling with his most important themes: the estrangement of culture from experience and how the estrangement can be overcome; the use of history in writing poetry and the conduct of ordinary life. The book includes an essay by poets George Quasha and Charles Stein on the relevance of these lectures to present-day poetics, and remarks by some of Olson's contemporaries including Robert Creeley and Robert Duncan. Edited and introduced by Ann Charters, biographer of Jack Kerouac.

    In it Eliot gives voice to the deep intellectual uncertainty that had existed from the 1870s and to his own sense of the collapse of civilization. Stephen Coote's critical study outlines the historical background that led Eliot to his bleak vision of humanity. He gives a close account of the development of the poem and disucsses fully its arguments, allusions, poetic techniques and patterns of imagery. There is also a chapter on the crucial role played by Ezra Pound in editing the manuscript. Above all, he seeks to elucidate the way in which Eliot drew upon the rich tradition of past centuries, bringing together myth and life-enhancing poetry to create a work that has become a seminal part of our heritage.

    . . not for the obliquities and tenuosities of fiction.” Still, the novelist’s shaping hand, his gift for telling detail, can be detected in many of these literary considerations. Books by Edith Wharton, Dawn Powell, John Cheever, and Vladimir Nabokov are incisively treated, as are biographies of Isaac Newton, Abraham Lincoln, Queen Elizabeth II, and Helen Keller. As George Steiner observed, Updike writes with a “solicitous, almost tender intelligence. The critic and the poet in him . . . are at no odds with the novelist; the same sharpness of apprehension bears on the object in each of Updike’s modes.”

    It covers the broad sweep of Tate's critical concerns: poetry, poets, fiction, the imagination, language, literature, and culture.

    His visit spurred him to an original and powerful reappraisal of Faulkner's work.Like Faulkner's literary descendants in the United States, Glissant is fascinated by the stories of Yoknapatawpha County and disturbed by the author's equivocations about the racism there. Glissant, however, stands in a distinctive relation to Faulkner and his county: as a black Martinican, he is descended from slaves; as a native French speaker, he first encountered the great novelist's work in translation.Faulkner, Mississippi is a distinctive look at an American icon by a writer deeply involved in the issues of Faulkner's work. Glissant sees the racial complexities of Faulkner as the key to his influence in the next century, and presents Faulkner as the progenitor of Flannery O'Connor, Gabriel Garcia Marquez, Alejo Carpentier, and Toni Morrison, who all write fiction in which the characters are implicated in a single multiracial calamity. He exhorts the reader to "Look him straight in the eyes, the son of the slave and the son of the slave owner" -- and Glissant's own clear-eyed gaze makes this book a revelation about the work of one of our greatest but still least-understood writers.

    If you want to find a story, all the works of a particular author, or every story that mentions dread Cthulhu, "A Cthulhu Mythos Bibiography & Concordance" is the reference work you've been looking for.

    The Lost Love Letters of Heloise and Abelard looks at the earlier correspondence between these two famous individuals, revealing the emotions and intimate exchanges that occurred between them. The perspectives presented here are very different from the view related by Abelard in his "History of My Calamities," an account which provoked a much more famous exchange of letters between Heloise and Abelard after they had both entered religious life. Offering a full translation of the love letters along with a copy of the actual Latin text, Mews provides an in-depth analysis of the debate concerning the authenticity of the letters and look at the way in which the relationship between Heloise and Abelard has been perceived over the centuries. He also explores the political, literary, and religious contexts in which the two figures conducted their affair and offers new insights into Heloise as an astonishingly gifted writer, whose literary gifts were ultimately frustrated by the course of her relationship with her teacher.

    Giambattista Basile's Lo Cunto de li Cunti written in Neapolitan dialect and published in 1634-36, comprises 50 fairy tales and was the first integral collection of literary fairy tales to appear in Western Europe. It contains some of the best-known fairy tale types, such as Sleeping Beauty, Puss in Boots, Cinderella, and others, many in their earliest literary versions. Although it became a central reference point for subsequent fairy tale writers, such as Perrault and the Grimms, as well as a treasure chest for folklorists, Lo Cunto de li Cunti has had relatively little attention devoted to it by literary scholars.

    Elizabeth de Burgh, nee Elizabeth de Clare, (1295-1360) led a tumultuous early life: an arranged marriage, an abduction leading to a clandestine second marriage, a forced third marriage to a man who died a traitor. Afterwards, empowered by a vow of chastity to insure her independence, Elizabeth emerged as a capable administrator of her vast estates, a concerned mother and grandmother, a shrewd builder of social and political networks, and a good friend. She expressed her piety by many charitable initiatives, culminating in the foundation of Clare College, Cambridge University, a demonstration of her devotion to God and to learning. This book is the first biography of this remarkable woman. Frances Underhill shows how deeply gender issues influenced her life and how admirably Elizabeth rose above them to impact the lives of others. Hedged in by gender barriers, Underhill reveals, Elizabeth achieved prestige among her contemporaries and left a lasting legacy after her death.

    This edition has no associated ISBN

    Mandelbaum's translation, with facing original text and with illustrations by Barry Moser, has been praised by Robert Fagles as "exactly what we have waited for these years, a Dante with clarity, eloquence, terror, and profoundly moving depths," and by the late James Merrill as "lucid and strong . . . with rich orchestration . . . overall sweep and felicity . . . and countless free, brilliant, utterly Dantesque strokes." Charles Simic called the work "a miracle. A lesson in the art of translation and a model (an encyclopedia) for poets. The full range and richness of American English is displayed as perhaps never before."This collection of commentaries on the first part of the Comedy consists of commissioned essays, one for each canto, by a distinguished group of international scholar-critics. Readers of Dante will find this Inferno volume an enlightening and indispensable guide, the kind of lucid commentary that is truly adapted to the general reader as well as the student and scholar.

    Mary Gordon, Toni Morrison, Marge Piercy, Jane Smiley, and Amy Tan. By juxtaposing the novels and their authors' lives with general social and historical context, the book outlines the many ways domestic ritual continues to shape women's consciousness - and either foil or reflect women's creativity.

    Idelber Avelar argues that through their legacy of social trauma and obliteration of history, these military regimes gave rise to unique and revealing practices of mourning that pervade the literature of this region. The theory of postdictatorial writing developed here is informed by a rereading of the links between mourning and mimesis in Plato, Nietzsche’s notion of the untimely, Benjamin’s theory of allegory, and psychoanalytic / deconstructive conceptions of mourning. Avelar starts by offering new readings of works produced before the dictatorship era, in what is often considered the boom of Latin American fiction. Distancing himself from previous celebratory interpretations, he understands the boom as a manifestation of mourning for literature’s declining aura. Against this background, Avelar offers a reassessment of testimonial forms, social scientific theories of authoritarianism, current transformations undergone by the university, and an analysis of a number of novels by some of today’s foremost Latin American writers—such as Ricardo Piglia, Silviano Santiago, Diamela Eltit, João Gilberto Noll, and Tununa Mercado. Avelar shows how the ‘untimely’ quality of these narratives is related to the position of literature itself, a mode of expression threatened with obsolescence.This book will appeal to scholars and students of Latin American literature and politics, cultural studies, and comparative literature, as well as to all those interested in the role of literature in postmodernity.

    "A poetry of lyric complexity, determined in its exploration of the 'personal' as a territory of multiple voices and multiple selves." Michael Palmer"

    He gained a reputation as an innovator whose bold literary adventures were tempered by exacting discipline. Berryman was also an active, prolific, and perceptive critic whose own experience as a major poet served to his advantage.Berryman was a protege of Mark Van Doren, the great Shakespearean scholar, and the Bard's work remained one of his most abiding passions -- he would devote a lifetime to writing about it. His voluminous writings on the subject have now been collected and edited by John Haffenden. This book shows that Berryman's interest in Shakespeare was that of an expert scholar who thought seriously and deeply about his subject.

    In the early part of the century, pragmatists like William James, Charles Horton Cooley, and George Herbert Mead turned away from the transcendental self of philosophical reflection to formulate the new concept of an empirical selfthe notion that who and what we are is established in everyday interaction. The self was now a social structure, as Mead put it, even if it was located within the individual.The story has changed dramatically since then. Today, according to some postmodern critics, the self has been cast adrift on a sea of disparate images. Its just one swirling representation among others, bandied about the frenzy of a media-driven society. At the turn of the 21st century, the self has lost its traditional groundings and fizzled empirically. The self's very existence is seriously being questioned.The Self We Live By resurrects the big story by taking issue with this account. Holstein and Gubrium have crafted a comprehensive discussion that traces a different course of development, from the early pragmatists to contemporary constructionist considerations, rescuing the self from the scrap-heap of postmodern imagery. Glimpses of renewal are located in a new kind of ending, centered in an institutional landscape of diverse narratives, articulated in relation to an expanding horizon of identities. Not only is there a new story of the self, but were told that the self, itself, is narratively constructed. Yet as varied and plentiful as narrative identity has become, its disciplined by its social practices, which the authors discuss and illustrate in terms of the everyday technology of self construction. The empirical self, it turns out, has become more complex and varied than its formulators could have imagined.

    Dolan offers a perceptive study of the central role that Catholics and Catholicism played in early modern English law, literature, and politics. She contends that despite sharing the same blood, origins, and history as their Protestant antagonists, Catholics provoked more prolific and intemperate visual and verbal representation, and more elaborate and sustained legal regulation, than any other marginal group in seventeenth-century England. This careful and thorough study examines legal and literary representations of the "Catholic menace" during three crises in Protestant/Catholic relations, from the Gunpowder Plot (1605) to the Popish Plot and Meal Tub Plot (1678-80). It also offers the first sustained analysis of the extent to which gender issues informed both Catholicism and anti-Catholicism in the early modern period. Available for the first time in paperback, this book will appeal to scholars and students of early modern England, Catholic history, and gender studies.

    Reading Theatre is a long-awaited translation of the first volume.Clear and systematic in its approach, the book covers all the basic elements of theatrical text and performance. Ubersfeld begins by refuting the view of performance as the simple 'translation' of a dramatic text, and outlines a much more complex dynamic. In subsequent chapters she similarly begins with a brief critique of simplistic models and then teases out the complexities of action, character, space, time, and dialogue. A range of specific examples brings substance and clarity to her points.Ubersfeld shows how such formal analysis can enrich the work of theatre practitioners, offering a fruitful reading of the symbolic structures of stage space and time, and opening up multiple possibilities for interpreting a play's lines of action. Though firmly grounded in formalist and semiotic studies, the book exhibits a refreshing scepticism about scientific positivism, stressing the fundamental ambiguity of any dramatic text as well as the sociohistorical grounding of particular text and performance styles.A pioneering work, this contemporary classic continues to inform debates in theatre semiotics. Addressed as much to actors and directors as to students and scholars, it will be read widely in theatre circles throughout the English-speaking world.

    But this edge is one of deeply considered and concerned authority. A poet-critic engages closely with his masters, with his peers, with those whom he regards as falling short. This collection is an adventure of sensibility."—George SteinerWilliam Logan has been called the most dangerous poetry critic since Randall Jarrell. A critic of intensity and savage wit, he is the most irritating and strong-minded reviewer of contemporary poetry we have. A survey of American, British, and Irish poetry in the eighties and early nineties, Reputations of the Tongue is a book of poetry criticism more honest than any since Jarrell’s Poetry and the Age.The book opens with an essay arguing with Eliot over tradition and individual talent; it closes with a close scrutiny of contemporary British and Irish poetry. At the heart of the book are long essays on W. H. Auden, W. D. Snodgrass, Donald Justice, and Geoffrey Hill--and the reviews of major and minor contemporary poets that have earned Logan his reputation.Appearing in publications like the New York Times, Washington Post, Poetry, Parnassus, and Sewanee Review, Logan’s reviews have been noted for their violence, intelligence, candor, and humor. Many aroused tempers on first publication, leading one Pulitzer Prize winner to offer to run the critic over with a truck. Even as he tackles the radical excess of Ashbery and Ginsberg, however, Logan lauds the rich quietudes of Elizabeth Bishop and James Merrill, the froth and verbal fervor of Amy Clampitt, the philosophical comedies of Gjertrud Schnackenberg.The essays in this collection take the long view. Aspiring to more than miscellany or gossip, Reputations of the Tongue is the work of a critic for whom the reviewing of poetry is still a high calling.William Logan is the author of four books of poems, Sad-faced Men, Difficulty, Sullen Weedy Lakes, and Vain Empires , and a book of criticism, All the Rage. He has won the Peter I. B. Lavan Younger Poets Award from the Academy of American Poets and the Citation for Excellence in Reviewing from the National Book Critics Circle. He teaches at the University of Florida, where he is Alumni/ae Professor of English. He lives in Gainesville, Florida, and Cambridge, England.

    Reconsidering the traditional definitions of German modernism and its central issues of race politics, eugenics, and the city, Meskimmon explores the structures that marginalized the work of little known artists such as Lotte Laserstein, Jeanne Mammen, Gerta Overbeck and Grete Jurgens. She shows how these women's personal and professional experiences in the 1920s and 1930s relate to the visual imagery produced at that time. She also examines representations of different female roles—prostitute, mother, housewife, the "New Woman" and "garçonne"—that attracted the attention of these artists. Situating her exploration on a strong theoretical base, she ranges deftly over mass visual culture—from film to poster art and advertising—to create a vivid portrait of women living and creating in Weimar Germany.

    Now she offers a book that strips away poetry's scary mystique, introducing readers to its pleasures and inspiring them to form their own poetry circles with friends. Poetry is an invitation into new worlds both interior and exterior -- and with this delightful volume, Molly Peacock shows us how to accept that invitation.

    Although each novel illuminates the other, they also stand alone as original and independent works of art. In The Silk, the Shears, Vrkljan traces the symbolic and moral significance of her life, and her vision of the fate of women in her mother's time and in her own. Marina continues the intense analysis of the poetic self, using the life of Marina Tsvetaeva to meditate on the processes behind biography.

    But a classic belongs to its own time, too, and this meticulously compiled, handsomely designed and generously illustrated volume documents the social reality out of which The Great Gatsby grew and the cultural milieu in which F. Scott Fitzgerald wrote. It thus identifies for contemporary readers the crazes and events, the celebrities and the criminals, the music and dances and books, that the novel's first readers in 1925 would have immediately recognized. This invaluable companion to The Great Gatsby also examines—and illustrates with facsimiles of pages from Fitzgerald's handwritten drafts and revised typescripts—the arduous process of composition that ultimately produced the book hailed by critic Gilbert Seldes as "vivid and glittering and entertaining." Reviews and promotions as well as correspondence and comment from such literary figures as Edmund Wilson, Ernest Hemingway, Edith Wharton, and H. L. Mencken illuminate Gatsby's mostly favorable critical reception. Still, in the wake of the 1940s' Fitzgerald revival, as this volume's final chapter on the enduring reputation of The Great Gatsby shows, the novel has fulfilled Fitzgerald's boast that he wrote for "the youth of his own generation, the critics of the next, and the schoolmasters ever afterward," as well as the moviemakers, play producers, choreographers, and composers. And all students of Fitzgerald and general readers will find new insights into what makes Gatsby great in this generously illustrated, engaging reference book's every chapter.

    Perhaps Jack Kerouac's most famous phrase is his description of his own writing as "spontaneous bop prosody," and Coolidge understands that prosody, the secret, still underground language of America. Nobody writes about Kerouac with such attention to his sound, and Coolidge's prose is as remarkable as Kerouac's. Simultaneously criticism and poetry, this is writing that returns the reader to the utter originality of Kerouac's improvisations ("blues/and haikoos"). Poet to poet, each listening to and hearing the life of the other, Coolidge and Kerouac breathe together in the poems of their prose.Now It's Jazz includes an afterword by David Meltzer, poet and jazz anthologist, in whose correspondence with Coolidge many of these ideas first found expression. With the late Tina Meltzer on vibes, Clark (drums) and David (guitar) formed a trio known as Mix, successor to their 1960s band Serpent Power.

    This book explains why such a claim was possible to advance and impossible to defend. Ian Baucom reveals how Englishness emerged against the institutions and experiences of the British Empire, rendering English culture subject to local determinations and global negotiations. In his view, the Empire was less a place where England exerted control than where it lost command of its own identity.Analyzing imperial crisis zones--including the Indian Mutiny of 1857, the Morant Bay uprising of 1865, the Amritsar massacre of 1919, and the Brixton riots of 1981--Baucom asks if the building of the empire completely refashioned England's narratives of national identity. To answer this question, he draws on a surprising range of sources: Victorian and imperial architectural theory, colonial tourist manuals, lexicographic treatises, domestic and imperial cricket culture, country house fetishism, and the writings of Ruskin, Kipling, Ford Maddox Ford, Forster, Rhys, C.L.R. James, Naipaul, and Rushdie--and representations of urban riot on television, in novels, and in parliamentary sessions. Emphasizing the English preoccupation with place, he discusses some crucial locations of Englishness that replaced the rural sites of Wordsworthian tradition: the Morant Bay courthouse, Bombay's Gothic railway station, the battle grounds of the 1857 uprising in India, colonial cricket fields, and, last but not least, urban riot zones.

    Offering advice on the abstract poetic notions--what makes good poetry, the meaning and inspirations of poetry--and the concrete--how to start a poem, how to craft its shape, and how to use the various poetic forms--this concise and insightful book provides inspiring and practical instruction. Including the author's own poems for guidance, this revised edition also discusses the direction of post-millennium, contemporary poetry.

    He invited a group of artists to respond to Walser's writing. A Little Ramble is a result of that collaboration.The artists have chosen stories by Robert Walser as well as excerpts from Walks with Robert Walser, conversations with the writer recorded by his guardian Carl Seelig. Much of this material appears in English for the first time. Accompanying these pieces are over fifty color artworks created specifically for this project, a preface by Donald Young, and an afterword by Lynne Cooke.

    For Bishop--always wary of being pigeonholed and therefore reticent about naming her favorite contemporaries--it was a rare explicit acknowledgment of an informal but enduring artistic circle that has evaded the notice of literary journalists for more than forty years. Despite the private nature of their dialogue, the group's members--Bishop, Lowell, Jarrell, and Berryman--left a compelling record of their mutual interchange and influence. Drawing on an extensive range of published and archival sources, Thomas Travisano traces these poets' creation of a surprisingly coherent postmodern aesthetic and defines its continuing influence on American poetry.The refusal of this "midcentury quartet," as Travisano calls them, to voice a formalized doctrine, coupled with their intuitive way of working, has caused critics to miss the coherence of their project. Travisano argues that these poets are not only successors to Pound, Auden, Stevens, and Eliot but postmodern explorers in their own right. In forging their own aesthetic, characterized here as a postmodern mode of elegy, they encountered significant resistance from their immediate modernist mentors Allen Tate, John Crowe Ransom, and Marianne Moore.Jarrell, whom others of the group regarded as a critic of particular genius, was first described as a post-modernist in a 1941 review by Ransom that Travisano cites as the earliest known use of the term. In Jarrell's review of Lowell's Lord Weary's Castle six years later, he named Lowell a postmodernist and identified traits, among them the use of pastiche, that are now considered by theorists such as Fredric Jameson as specifically postmodern. And Bishop's inventiveness allowed her to adapt a self-exploratory mode often, but imprecisely, termed confessional to challenging forms such as the double sonnet, villanelle, and sestina.Each of these poets suffered a devastating loss during childhood and lived through the twentieth-century disasters of the Great Depression, World War II and the Holocaust, and the cold war. The continual tension in their poetry between subjectivity and form, claims Travisano, reflects the plight of the fractured individual in a postmodern world. By arguing so sharply for the importance of this circle, Midcentury Quartet is certain to redraw the map of postwar American poetry.

    Not a general discussion of early Christian teachings on celibacy and marriage, the book is a close examination, in the author's words, of how the Fathers' axiology of abstinence informed their interpretation of Scriptural texts and incited the production of ascetic meaning.Elizabeth Clark begins with a survey of scholarship concerning early Christian asceticism that is designed to orient the nonspecialist. Section Two is organized around potentially troubling issues posed by Old Testament texts that demanded skillful handling by ascetically inclined Christian exegetes. The third section, Reading Paul, focuses on the hermeneutical problems raised by I Corinthians 7, and the Deutero-Pauline and Pastoral Epistles.Elizabeth Clark's remarkable work will be of interest to scholars of late antiquity, religion, literary theory, and history.

    Not only are the importance of Hazlitt's Irish background and the significance of the Unitarian culture in which he was brought up central to this portrait but the sheer intellectual joy that is evident in Hazlitt's writing and that he wished his readers to share is communicated with comparable energy and relish through Paulin's own prose. A work of critical restitution, The Day-Star of Liberty restores an unjustly neglected figure to the literary canon and shows the means by which Hazlitt's creative genius transformed journalism and criticism into art forms, making it possible for Hazlitt's collected works to be read as one of the great Romantic autobiographies. 16 Pages of Black-and-White Art Notes/Bibliography/Index Tom Paulin was born in Leeds, England, in 1949. He is the G. M. Young Lecturer in English Literature at Hertford College, Oxford University.

    In Romantic Genius, Andrew Elfenbein explores the correspondence between the stereotypes applied to the "genius" and those applied to the homosexual, showing the centrality of disreputable desires to the works of Romantic male authors--from William Beckford to Samuel Taylor Coleridge to William Blake--as well as to the writings of lesser-known but equally significant female authors of the period.

    The book draws on extensive archival research, bringing to light exciting and neglected manuscript and printed sources. Offering a bold new narrative of the whole period, and a timely reminder that England has a republican as well as a royalist heritage, it will be of compelling interest to historians as well as literary scholars.

    In taking inspiration from the methodology of historical research developed by Foucault, the book places the intellectual achievements of the 13th century and, especially, Thomas Aquinas, in a larger cultural and institutional framework. Rosemann's analysis sees the scholastic tradition as the process of the gradual reinscription of the Greek intellectual heritage into the centre of Christian culture. This process culminated in the 13th century, when new intellectual techniques facilitated the creation of a culture of dialogue. Rosemann argues that the witch hunt can be seen as the result of a subtle but crucial transformation of the scholastic episteme.

    Demos reminds us that familiarity with the lyric poets was part of the educational background of Plato and his audience; therefore, she argues, Socrates is portrayed in the Platonic dialogues not only as a philosopher but also as someone with poetic sensibilities. Demos first investigates the Simonides poem in the Protagoras, showing that Plato has Socrates provide a fundamentally sound interpretation of the meaning of Simonides' words. She then argues that a purposeful misquotation of Pindar placed in the mouth of Callicles by Plato is not altogether implausible in light of the quotation's context in the Gorgias. Finally, Demos discusses Socrates' quotation of Stesichorus' palinode in the Phaedrus. Demos' analysis of the important role played by lyric quotation in Platonic dialogues will be of great interest to students and scholars of Plato and ancient lyric poetry.

    This book includes eighteen critical essays on The Merchant of Venice and a biography of William Shakespeare.Contents:ForewordIntroductionWilliam Shakespeare: A BiographyCharacters and PlotChapter 1: Background1. Historical Context of The Merchant of Venice / Dennis Kay2. The Venetian Setting Enhances the Play's Meaning / A.D. NuttallChapter 2: Major Themes1. The Merchant of Venice: A Critique of Puritanism / Paul N. Siegel2. The Merchant of Venice Portrays a World of Love and Music / Mark Van Doren3. Religion in The Merchant of Venice / Peter MilwardChapter 3: Characterization1. Characters in The Merchant of Venice / William Hazlitt2. Shylock and the Venetian Christians / Arthur Quiller-Couch and John Dover Wilson3. Shylock: A Villain with Humanity / John Russell Brown4. Portia Fails the Test for Inner Gold / Harold C. Goddard5. Antonio: The Neurotic Gambler / Ralph BerryChapter 4: Structure and Language1. Two Contrasting Worlds in The Merchant of Venice / Norman N. Holland2. The Play as a Fairy Tale / Harley Granville-Barker3. The Merchant of Venice Is a Comedy / Elmer Edgar Stoll4. Poetry and Prose in The Merchant of Venice / F.E. Halliday5. The Language of Argument in The Merchant of Venice / G.R. HibbardChapter 5: Evaluation1. The Merchant of Venice: An Imperfect Step Toward Later Comedies / D.A. Traversi2. The Merchant of Venice Lacks Dramatic Unity / Gareth Lloyd Evans3. The Merchant of Venice Is Clear, Simple, and Successful / E.M.W. TillyardChronologyFor Further ResearchIndex

    Otter portrays Melville as deeply concerned with issues of race, the body, gender, sentiment, and national identity. He articulates a range of contemporary texts (narratives of travelers, seamen, and slaves; racial and aesthetic treatises; fiction; poetry; and essays) in order to flesh out Melville's discursive world.Otter presents Melville's works as "inside narratives" offering material analyses of consciousness. Chapters center on the tattooed faces in Typee, the flogged bodies in White-Jacket, the scrutinized heads in Moby-Dick, and the desiring eyes and eloquent, constricted hearts of Pierre. Otter shows how Melville's books tell of the epic quest to know the secrets of the human body. Rather than dismiss contemporary beliefs about race, self, and nation, Melville inhabits them, acknowledging their appeal and examining their sway.Meticulously researched and brilliantly argued, this groundbreaking study links Melville's words to his world and presses the relations between discourse and ideology. It will deeply influence all future studies of Melville and his work.

    While Bront�'s first novel focuses on the governess and education, it shares, with The Tenant of Wildfell Hall, a concern with female disempowerment and the ways in which forms of tyranny can be resisted. Through her inscriptions of the complex intersections of gender, class, sexuality and education, it becomes clear that Anne Bront� articulates and interrogates those issues which still remain crucial to feminist debates at the close of the twentieth-century. Drawing upon recent literary and critical scholarship, Betty Jay sets out to re-evaluate Bront�'s novels by arguing that this engagement is as incisive as it is compelling. The need to re-appraise Bront�'s work in the light of contemporary critical discourse also extends to include her poetry. To this end, close textual readings of a selection of the poems

    In one wayward strand, waywardness itself is at work, delay becomes almost predictable, triviality is auspicious, and failure is cheerfully admired. This is loiterature. Loiterature is the first book to identify this strand, to follow its path through major works and genres, and to evaluate its literary significance. By offering subtle resistance to the laws of "good social order," loiterly literature blurs the distinctions between innocent pleasure and harmless relaxation on the one hand, and not-so-innocent intent on the other. The result is covert social criticism that casts doubt on the values good citizens hold dear—values like discipline, organization, productivity, and, above all, work. It levels this criticism, however, under the guise of innocent wit or harmless entertainment. Loiterature distracts attention the way a street conjurer diverts us with his sleight of hand.    If the pleasurable has critical potential, may not one of the functions of the critical be to produce pleasure? The ability to digress, Ross Chambers suggests, is at the heart of both, and loiterature’s digressive waywardness offers something to ponder for critics of culture as well as lovers of literature.

    But in the wake of poststructuralism, the role of photography in autobiography is far from simple or one-dimensional. Both media are increasingly self-conscious, argues Timothy Adams, and combining them intensifies rather than reduces the complexity and ambiguity of each taken separately.Focusing on works by Paul Auster, Maxine Hong Kingston, Sheila Ortiz Taylor, Sandra Ortiz Taylor, N. Scott Momaday, Michael Ondaatje, Reynolds Price, Eudora Welty, Wright Morris, and Edward Weston, Adams explores the ways in which text and image can interact with and reflect on one another. Photography may stimulate, inspire, or seem to document autobiography, he demonstrates, but it may also confound verbal narrative. Conversely, autobiography may mediate, motivate, or even take the form of photography. Because both media exist on the border between fact and fiction, Adams argues, they often undercut just as easily as they reinforce each other. Exploring the interrelations between photography and autobiography uncovers an inherent tendency in both to conceal as much as they reveal.

    The belle, the mammy, religion, and racism are several of the distinctive threads with which southern women writers have woven the fabric of their stories. Bringing southern motherhood into focus -- with all its peculiarities of attitude and tradition -- the essays speak to both the established and the unconventional modes of motherhood that are typical in southern writing and probe the extent to which southern women writers have rejected or embraced, supported or challenged the individual, social, and cultural understanding and institution of motherhood.

    Lynette Hunter elegantly weaves together vast areas of thought: rhetoric, politics, AI, computing, feminism, science studies, aesthetics and epistemology; showing us that what we need is a radical shake-up of approaches to the arts if the critiques of science and computing are to come to any fruition.

    It finds, in the writings of Herzen, Chekhov and Bakhtin, an emphasis on the role of chance and contingency in nature and history. It argues that this evidence establishes the importance of these humanists in the development of European thought.

    In the process, Franco has played a crucial role in developing cultural studies in both the English- and Spanish-speaking worlds. Critical Passions is the first volume to gather a wide-ranging selection of Franco’s influential essays. A key participant in the major debates in Latin American studies—beginning with the “boom” period of the 1960s and continuing through debates on ideology and discourse, Marxism, mass culture, and postmodernism—Franco is recognized for her feminist critique of Latin American writing. While her principal books are all readily available, Franco’s several dozen articles are dispersed in a variety of periodicals in Latin America, Europe, and the United States. Although many of these essays are considered pioneering and classic, they have never before been collected in a single work. In this volume, Mary Louise Pratt and Kathleen Newman have organized the essays into four interrelated sections: feminism and the critique of authoritarianism, mass and popular culture, Latin American literature from the “boom” onward, and the cultural history of Mexico. As a group, these writings demonstrate Franco’s ability to reflect on and judge with equal seriousness all spheres of expression, whether subway graffiti, a fashion manual, or an avant-garde haiku. A bona fide fan of popular and mass media, Franco never allows her critiques to dissolve into the puritanical or reductive; instead, she finds ways to present and debate complex theoretical questions in direct and accessible language. This volume will draw an extensive readership in Latin American, cultural, and women’s studies.

    Victorian Sappho traces the emergence of this idealized feminine figure through reconstructions of the Sapphic fragments in late-nineteenth-century England. Yopie Prins argues that the Victorian period is a critical turning point in the history of Sappho's reception; what we now call "Sappho" is in many ways an artifact of Victorian poetics. Prins reads the Sapphic fragments in Greek alongside various English translations and imitations, considering a wide range of Victorian poets--male and female, famous and forgotten--who signed their poetry in the name of Sappho. By "declining" the name in each chapter, the book presents a theoretical argument about the Sapphic signature, as well as a historical account of its implications in Victorian England. Prins explores the relations between classical philology and Victorian poetics, the tropes of lesbian writing, the aesthetics of meter, and nineteenth-century personifications of the "Poetess." as current scholarship on Sappho and her afterlife. Offering a history and theory of lyric as a gendered literary form, the book is an exciting and original contribution to Victorian studies, classical studies, comparative literature, and women's studies.

    Emma, Pride and Prejudice, and Jane Eyre, this genre study argues that these protagonists construct themselves as subjects by manipulating the signs of their objectification. By learning how the male gaze functions in their society, heroines learn to manipulate their appearance and behavior in order to gain some control over the self they project for others.

    Her challenging new book definitively establishes the centrality of lesbianism as sexual obsession and aesthetic model in Proust's vast novel A la recherche du temps perdu.Traditional readings of the Recherche have dismissed Proust's Gomorrah--his term for women who love other women--as a veiled portrayal of the novelist's own homosexuality. More recently, queer-positive rereadings have viewed the novel's treatment of female sexuality as ancillary to its accounts of Sodom and its meditations on time and memory. Ladenson instead demonstrates the primacy of lesbianism to the novel, showing that Proust's lesbians are the only characters to achieve a plenitude of reciprocated desire. The example of Sodom, by contrast, is characterized by frustrated longing and self-loathing. She locates the work's paradigm of hermetic relations between women in the self-sufficient bond between the narrator's mother and grandmother. Ladenson traces Proust's depictions of male and female homosexuality from his early work onward, and contextualizes his account of lesbianism in late-nineteenth-century sexology and early twentieth-century thought.A vital contribution to the fields of queer theory and of French literature and culture, Ladenson's book marks a new stage in Proust studies and provides a fascinating chapter in the history of a literary masterpiece's reception.

    A snappy little book containing facts, jargon, and inside information--all that readers need to know to hold their own among the experts.

    This volume brings together new essays from a variety of perspectives that illuminate both the richness of Braddon's oeuvre and the variety of critical approaches to it.Best known as the author of Lady Audley's Secret and Aurora Floyd, Braddon also wrote penny dreadfuls, realist novels, plays, short stories, reviews, and articles. The contributors move beyond her two most famous works and reflect a range of current issues and approaches, including gender, genre, imperialism, colonial reception, commodity culture, and publishing history.Contributors include Jennifer Carnell, Jeni Curtis, Pamela K. Gilbert, Lauren Goodlad, Aeron Haynie, Heidi Holder, Gail Turley Houston, Heidi H. Johnson, Toni Johnson-Woods, James R. Kincaid, Elizabeth Langland, Eve Lynch, Graham Law, Katherine Montweiler, Lillian Nayder, Lyn Pykett, and Tabitha Sparks, and Marlene Tromp.

    The essays in this volume describe and analyze the sexual diversity that proliferated during the period between the tenth and the sixteenth centuries when political hegemony in the region passed from Muslim to Christian hands. To show how sexual otherness is most evident at points of cultural conflict, the contributors use a variety of methodologies and perspectives and consider source materials that originated in Castilian, Latin, Arabic, Catalan, and Galician-Portuguese. Covering topics from the martydom of Pelagius to the exploits of the transgendered Catalina de Erauso, this volume is the first to provide a comprehensive historical examination of the relations among race, gender, sexuality, nation-building, colonialism, and imperial expansion in medieval and early modern Iberia. Some essays consider archival evidence of sexual otherness or evaluate the use of “deviance” as a marker for cultural and racial difference, while others explore both male and female homoeroticism as literary-aesthetic discourse or attempt to open up canonical texts to alternative readings. Positing a queerness intrinsic to Iberia’s historical process and cultural identity, Queer Iberia will challenge the field of Iberian studies while appealing to scholars of medieval, cultural, Hispanic, gender, and gay and lesbian studies.Contributors. Josiah Blackmore, Linde M. Brocato, Catherine Brown, Israel Burshatin, Daniel Eisenberg, E. Michael Gerli, Roberto J. González-Casanovas, Gregory S. Hutcheson, Mark D. Jordan, Sara Lipton, Benjamin Liu, Mary Elizabeth Perry, Michael Solomon, Louise O. Vasvári, Barbara Weissberger

    In addition to the historical information and discussion of aesthetic issues that appear in the introductions to each of the chapters, the book presents English translations of otherwise inaccessible major works on Japanese aesthetics, beginning with a complete and annotated translation of the first work in the field, Nishi Amane's Bimyogaku Setsu (The Theory of Aesthetics).In its four sections (The Subject of Aesthetics, Aesthetic Categories, Poetic Expression, Postmodernism and Aesthetics), Modern Japanese Aesthetics discusses the momentous efforts made by Japanese thinkers to master, assimilate, and transform Western philosophical systems to discuss their own literary and artistic heritage. Readers are introduced to debates between the unconditional supporters of Western ideas (Onishi Hajime) and more cautious approaches to the literary and artistic past (Okakura Kakuzo, Tsubouchi Shoyo). The institutionalization of aesthetics as an academic subject is discussed and the work of some of Japan's most distinguished professional aestheticians (Onishi Yoshimori, Imamichi Tomonobu), philosophers (Kusanagi Masao, Nishitani Keiji, Sakabe Megumi), and literary critics (Karatani Kojin) is included. Modern Japanese Aesthetics is a sophisticated and energetic volume on the process that led to the construction of aesthetic categories used by Japanese and, later, Western scholars in discussing Japanese literature and arts. This important work will be essential reading for anyone concerned with the formation of a critical vocabulary in Japan.Modern Japanese Aesthetics: A Reader is a companion volume to A History of Modern Japanese Aesthetics (UH Press, 2001).

    This volume brings together, for the first time, a variety of texts from Certeau's book and journal publications which have proved important in the various disciplines where Certeau has had an influence.

    -- Brings together the best criticism on the most widely read poets, novelists, and playwrights -- Presents complex critical portraits of the most influential writers in the English-speaking world -- from the English medievalists to contemporary writers

    James Olney, one of the most distinguished scholars of autobiography, tells the story of an evolving literary form that originated in the autobiographical writings of St. Augustine, underwent profound changes in Jean-Jacques Rousseau's life-writing trilogy, and found a momentary conclusion in the work of Samuel Beckett.

    The volume addresses Transcendentalism from many directions, illuminating the movement more clearly than ever before. The contributions consider aspects of the relationship between the Transcendentalists and their intellectual and social world, assess the movement's cultural legacy, and place Transcendentalism in the context of historical and literary scholarship, past and present.

    Praised and respected as "one of the most important figures in the history of American cultural thought in this century," Fiedler introduced groundbreaking ideas that now permeate university studies in literature: a homoerotic element in American machismo, interracial dependence as the classical American bond, those on the social margins being "secret selves," and the continuum of "high" and "low" culture.Designed to delight Fiedler's contemporary audience and introduce the author to a whole new generation of readers, A New Fiedler Reader is a captivating anthology of Fiedler's most notorious and celebrated essays, along with a selection of his engaging poems and short fiction.A literary icon, Fiedler is among those who urged legalization of marijuana in the late '60s; suggested that college students read Timothy Leary along with Milton; and was accused of corrupting the young with dangerous leftist ideas. Collected are Fiedler's most widely known articles, from "Come Back to the Raft Ag'in, Huck Honey!" to "An Almost Imaginary Interview: Hemingway in Ketchum." Complementing these essays are various lesser known poems and short stories, providing the reader with the complete Fiedler experience.

    Gates highlights the contributions of Victorian and Edwardian women to the study, protection, and writing of nature. Recovering their works from the misrepresentation they often faced at the time of their composition, Gates discusses not just well-known women like Beatrix Potter but also others—scientists, writers, gardeners, and illustrators—who are little known today.Some of these women discovered previously unknown species, others wrote and illustrated natural histories or animal stories, and still others educated women, the working classes, and children about recent scientific advances. A number of women also played pivotal roles in the defense of animal rights by protesting overhunting, vivisection, and habitat destruction, even as they demanded their own rights to vote, work, and enter universities.Kindred Nature shows the enormous impact Victorian and Edwardian women had on the natural sciences and the environmental movement, and on our own attitudes toward nature and human nature.

    Agnes as a basis for theorizing about the reading process, Stillinger's book explores the nature and whereabouts of meaning in complex works. A proponent of authorial intent, Stillinger argues a theoretical compromise between author and reader, applying a theory of interpretive democracy that includes the endlessly multifarious reader's response as well as Keats's guessed-at intent. Stillinger also considers the process of constructing meaning, and posits an answer to why Keats's work is considered canonical, and why it is still being read and admired.

    The book explores what characterises a ‘good life’ and how this idea has been affected by globalisation and neoliberalism.

    Readers of Edgar Rice Burroughs’ Tarzan novels are familiar with Queen La, Opar’s beautiful High Priestess, and her beast-like followers. But who built Opar? When, why and how? How came it to fall into decay and isolation? In his Tarzan novels, Burroughs touched only lightly on Opar’s ancient past.Three decades ago, Frank J. Brueckel and John Harwood attempted to answer those questions and many more in their essay, “Heritage of the Flaming God.” Fate left this classic essay unpublished through the years, but now, as the centerpiece of this collection of Opar and Atlantis essays edited by Alan Hanson and Michael Winger, Brueckel and Harwood's essay is available for the first time for all Burroughs and lost continent of Atlantis fans to enjoy.

    Drawing on a wide range of literary texts, Ritchie Robertson offers a close examination of attempts to construct a Jewish identity suitable for an increasingly secular world. No other study by a single author deals with German-Jewish relations so comprehensively and over such a long period of literary history.

    However, because critics have long dismissed it as subpar literature, little attention has been paid to autobiography, particularly accounts by women. Women and Autobiography, edited by Martine Watson Brownley and Allison B. Kimmich, offers an insightful perspective on this often overlooked field. This text gives a compact, comprehensive overview of women's autobiography, providing historical back-ground and contemporary criticism along with selections from a range of autobiographies by women. Developed primarily for undergraduates, Women and Autobiography combines theory and practice by pairing autobiographical selections and criticism. This book is a useful tool for courses in autobiography, literature by women, and women's studies.