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

    Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art.Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.

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

    One history of will is a history of attempts to eliminate willfulness from the will. Delving into philosophical and literary texts, Ahmed examines the relation between will and willfulness, ill will and good will, and the particular will and general will. Her reflections shed light on how will is embedded in a political and cultural landscape, how it is embodied, and how will and willfulness are socially mediated. Attentive to the wayward, the wandering, and the deviant, Ahmed considers how willfulness is taken up by those who have received its charge. Grounded in feminist, queer, and antiracist politics, her sui generis analysis of the willful subject, the figure who wills wrongly or wills too much, suggests that willfulness might be required to recover from the attempt at its elimination.

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

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

    Welch reminds us that Jean Valjean’s life provides the truest example of why real love is found in the grittiest places, and that hearts are made whole beneath the crush of mercy. Most important, though, Welch keeps returning to the intersections of faith and reality throughout Hugo’s writing—those places where mercy becomes an inroad to the heart, and where love is only truly received when it is given without condition.Discover again why life’s purpose is found not in attending to personal needs and desires, but in responding to the hearts of others.

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

    Louise Cowan postulates a culture-generating cosmos as the identifying mark of epic. The essays illustrate the applicability of her theory of genres to major works in the epic tradition. An excellent resource for those studying the social, psychological and historical aspects of epic as a literary art form. Dallas Institute Publications publishes works concerned with the imaginative, mythic, and symbolic sources of culture. 378 pages, indexed.

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

    Performative and funny one minute, respectful and constructive the next, these rejections both serve as entertaining writing tips (suitable for use in today’s more adventuresome creative writing classrooms) and suggest a skewed story about a boy and his seminal semi-literary website, Eyeshot.net, which Lee Klein founded in 1999. What started as a lark -- sending playful rejection notes to writers who’d submitted work for the site -- over ten years took on a life of its own, becoming an outlet for Klein to meditate on his aesthetic preferences, the purpose of literature, and the space between the ideal and the real. Praise for Thanks and Sorry and Good Luck"These tiny, tight bursts of writing hummed with energy that hopscotched among comical, cruel, warm, demented, high level and nitpicky. Send him a piece of your soul on Microsoft Word, Klein seemed to believe, and you deserved a piece of his soul right back. An amazing little act of generosity, considering the number of terrible pieces of writing out there. (Klein estimates that he has tapped out more than a thousand original rejections.)" -- Jamie Allen in Paste Magazine "Somewhere on the brutal truth continuum between Bill Hicks and Mussolini, Lee Klein’s rejection letters are mini-masterpieces of literary criticism disguised as no-thank-yous from Writer’s Hell. And yet, in each, a little lesson; a steadfast faith that says 'I took the time to read what you created and this is exactly what I thought.' They should be passing these things out under the pillows at MFA camp; we’d all be better off." –- Blake Butler, author of "There Is No Year" and "Sky Saw" "Sometimes writers who succeed against the odds brag about the number of rejections they’ve accumulated. A rejection from Eyeshot’s Lee Klein is a whole different badge of honor. Like a letter from a serial killer on death row, your Tea Party inlaws, or the Pope, they’re suitable for framing and brilliantly repugnant. I kind of want to send him a really shitty story just so I can get one of these in return." -– Ryan Boudinot, author of "Blueprints of the Afterlife" "To 'decide' is to 'cut,' and Lee Klein in the highly honed collection of rejections, Thanks and Sorry and Good Luck, wields a drawer full of gleaming cutlery, edgy edged instruments of decision. Surely, he holds his pen like a surgeon holds the scalpel. These serrated graphs of glee and screed are incisive incisions—katana, rattled sabers, sharp-tongued stilettos of the split-lipped kiss-off." -– Michael Martone, author of "Michael Martone" and "Four for a Quarter" "Lee Klein made me cry. He was the only editor ever to make me. This was back in 2002. I wish I still had the email. I remember it going something like, 'whenever you have the instinct to write a line like that, delete it immediately, without prejudice.' I hated him for a while. I pictured him looking like the guy in that 90’s movie Heavy (the one with Liv Tyler), except housebound and with no redeemable qualities. Then, somewhere around 2004, I met him 'IRL' and he was soft-spoken and sweet. It was harder to hate him after that. Reading all of these rejection letters here in this book made me finally fall a little in love with him, I think. I think if I had had access to (and disassociation from) these letters then, I might have fallen in love with him then. This is the funniest book I have read in a long time. It is also the smartest. I feel confused now, like I’m unsure whether to love or hate Lee Klein. But both of us are married now so it doesn’t really matter." –- Elizabeth Ellen, author of "Fast Machine "I was reluctant to start reading the book because it begins around 2001 and at that time you weren't mentally or physically or fiscally at your strongest. There's a manic quality to some of the rejections, and the way you build up momentum in your responses is kind of funny, almost the way Belushi used to work himself up and then throw himself to the floor. I like the sub-story that's your life that's happening. You're funny and weird and sometimes I flinch for the recipient of your rejections, other times you seem like a sweet snark. I have a distinct memory of meeting you for lunch after you were rejected from a job interview or something and I was brutally rejected by a curator of the Drawing Center. You looked very pale and the surface of your skin was oddly moist, like you were really sick. I was worried. It was after 9/11 and all the rest. You led a very unhealthy life in those days, way too much booze, etc. Probably didn't eat well or exercise either. Anyway, I love how post-Iowa your rejections have gotten richer and so amazingly worded -- the last one I read yesterday just soared with such feelings about writing, striving for near perfection. You say something like "preserved in amber." It's a beautiful passage. You are so much yourself in these letters. So real and present and unfiltered. Hard, mean, soft, sensitive. It's all there. Your maturity as a person and writer really comes across in the post-Iowa section, I think. Living in Philadelphia, I think it's good that you lost that Brooklyn veneer, you've fought and sometimes lost a few wars and become richer and deeper emotionally and it shows in the writing. I can also appreciate how exhausting it must be to read submissions when they're mostly not up to par. But also I think they became your audience, your friends, students -- and you fed off them the way I did when I was teaching. Every once in a while, something would just strike me and that was exciting. It's really autobiographical. But most of all, I love the voice. It's genuine and the emotional quality sometimes sounds exhausted, other times exasperated, or manic, strung out, hungover. I like all those mood changes. But overall, there's a sweetness and sensitivity. You use the word "maybe" a lot. Think I did too when I taught. Hard to say anything that's declarative when critiquing someone's work." -- Barbara Klein, the author's motherOrder here.

    By exploring the harsh romance of the medieval past with its ruined castles and abbeys, its wild landscapes and fascination with the supernatural, Gothic writers placed imagination firmly at the heart of their work.The Gothic has continued to haunt literature, fine art, music, film and fashion ever since its heyday in Britain in the 1790s. This book, which accompanies a major exhibition at the British Library, traces the numerous meanings and manifestations of the Gothic across time, tracking its shifts and mutations from its eighteenth-century origins, through the Victorian period, and into the present day.Through 150 objects – including manuscripts, paintings, film clips and posters – Terror and Wonder explores all aspects of the Gothic world. Iconic works, including Mary Shelley’s Frankenstein, Bram Stoker’s Dracula, the sinister fairy tales of Angela Carter and the modern horrors of Clive Barker, highlight the ways in which contemporary fears have been addressed by successive generations of Gothic writers. Other rare and fascinating exhibits, including hitherto overlooked manuscripts and even a real-life vampire-slaying kit, add colour and drama to the story.Edited and introduced by Dale Townshend, and with original essays by major scholars of the Gothic, Terror and Wonder provides a compelling and comprehensive overview of the Gothic imagination over the past 250 years.ContentsDale Townshend, IntroductionNick Groom, Gothic Antiquity: From the Sack of Rome to The castle of OtrantoAngela Wright, Gothic, 1764-1820Alexandra Warwick, Gothic, 1820-1880Andrew Smith, Gothic and the Victorian fin de siecle, 1880-1900Lucie Armitt, Twentieth-Century GothicCatherine Spooner, Twenty-First Century GothicMartin Parr, Photographing Goths: Martin Parr at the Whitby Goth Weekend

    The contributors relate the liminal nature of the female protagonist to liminality as a unifying feature of dystopian literature, literature for and about young women, and cultural expectations of adolescent womanhood. Divided into three sections, the collection investigates cultural assumptions and expectations of adolescent women, considers the various means of resistance and rebellion made available to and explored by female protagonists, and examines how the adolescent female protagonist is situated with respect to the groups and environments that surround her. In a series of thought-provoking essays on a wide range of writers that includes Libba Bray, Scott Westerfeld, Tahereh Mafi, Veronica Roth, Marissa Meyer, Ally Condie, and Suzanne Collins, the collection makes a convincing case for how this rebellious figure interrogates the competing constructions of adolescent womanhood in late-twentieth- and early twenty-first-century culture.

    17/18), this lively and erudite book traces the art derived from Ovid’s Metamorphoses from the Renaissance up to the present day. The Metamorphoses has been more widely illustrated than any other book except the Bible; for centuries, great artists have drawn, painted, and sculpted its stories, the artists often responding not only to Ovid’s work but to one another’s in their depictions.  Paul Barolsky, a specialist in Italian Renaissance art and literature, explores Ovid’s unparalleled influence on the visual arts, discussing works by many of the most famous artists of the past six centuries.  Broadly interdisciplinary, the new understanding of the themes of the Metamorphoses revealed here will appeal to those in the fields of Renaissance art, humanism, literature, history, and classics, among others.  At once witty, entertaining, and profound, Ovid and the Metamorphoses of Modern Art from Botticelli to Picasso is a meditation on what words can achieve that images cannot, and conversely what images can show that words cannot tell.

    And this story stands to shatter our preconceptions of Orientalism.To illuminate why and how the Islamicate world became the locus for such fantasies and desires, Boone deploys a supple mode of analysis that reveals how the cultural exchanges between Middle East and West have always been reciprocal and often mutual, amatory as well as bellicose. Whether examining European accounts of Istanbul and Egypt as hotbeds of forbidden desire, juxtaposing Ottoman homoerotic genres and their European imitators, or unlocking the homoerotic encoding in Persian miniatures and Orientalist paintings, this remarkable study models an ethics of crosscultural reading that exposes, with nuance and economy, the crucial role played by the homoerotics of Orientalism in shaping the world as we know it today.A contribution to studies in visual culture as well as literary and social history, The Homoerotics of Orientalism draws on primary sources ranging from untranslated Middle Eastern manuscripts and European belles-lettres to miniature paintings and photographic erotica that are presented here for the first time.

    From Buffy the Vampire Slayer to Much Ado About Nothing, from Dr. Horrible's Sing-Along Blog to The Avengers, the word of Whedon have been the focus of increasing academic attention. This collection represents new work by some of the best scholars covering a wide array of topics that clarify WHedon's importance, including considerations of narrative and visual techniques, myth construction, symbolism, gender, heroism, and the business side of television. The editors argue that Whedon's work is of both social and aesthetic significance; that he creates "canonical television." He is a master of his artistic medium and has managed this success on broadcast networks rather than on cable. From the focus on a single episode to the exploration of an entire season, from the discussion of a particular narrative technique to a recounting of the history of Whedon studies, this collection will both entertain and educate those exploring Whedon scholarship for the first time and those landing to teach a course on his works.

    The fastest reader is the best reader and gets the gold star and the certificate for free ice cream! This, of course, punishes deliberate, careful students and booklovers who delight in the process and incorporate what they read into their everyday lives. The dominant method of reading works for simple linear texts, but it is by no means the only way to go about reading and excludes many other types of texts. In How to Read,, veteran novelist, editor and educator Eckhard Gerdes reveals 81 different approaches for reading, opening up new horizons that restrictive educators have been blocking from view for far too long. This innovative guidebook will enrich the experience of textuality for young and old readers alike.

    Johnson achieved renown early in her career, both as a brilliant student of the Yale School of literary criticism and as the translator of Jacques Derrida's Dissemination. She went on to lead the way in extending the insights of structuralism and poststructuralism into newly emerging fields now central to literary studies, fields such as gender studies, African American studies, queer theory, and law and literature. Stunning models of critical reading and writing, her essays cultivate rigorous questioning of universalizing assumptions, respect for otherness and difference, and an appreciation of ambiguity.Along with the classic essays that established her place in literary scholarship, this Reader makes available a selection of Johnson's later essays, brilliantly lucid and politically trenchant works exploring multilingualism and translation, materiality, ethics, subjectivity, and sexuality. The Barbara Johnson Reader offers a historical guide through the metamorphoses and tumultuous debates that have defined literary study in recent decades, as viewed by one of critical theory's most astute thinkers.

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

    There is a growing concern among many that the West is sliding into political, economic, and moral bankruptcy. In his beloved novels of Middle-Earth, J.R.R. Tolkien has drawn us a map to freedom.Scholar Joseph Pearce, who himself has written articles and chapters on the political significance of Tolkien s work, testified in his book "Literary Giants, Literary Catholics," If much has been written on the religious significance of "The Lord of the Rings," less has been written on its political significance and the little that has been written is often erroneous in its conclusions and ignorant of Tolkien s intentions . Much more work is needed in this area, not least because Tolkien stated, implicitly at least, that the political significance of the work was second only to the religious in its importance.Several books ably explore how Tolkien's Catholic faith informed his fiction. None until now have centered on how his passion for liberty and limited government also shaped his work, or how this passion grew directly from his theological vision of man and creation. "The Hobbit Party" fills this void.The few existing pieces that do focus on the subject are mostly written by scholars with little or no formal training in literary analysis, and even less training in political economy. Witt and Richards bring to "The Hobbit Party" a combined expertise in literary studies, political theory, economics, philosophy, and theology."

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

    Laura Sims shares her correspondence with him, which began with an impassioned fan letter in 2003 and ended with his death in 2010, finally allowing a glimpse into the personal world of this solitary man who found his life's solace in literature.   The letters trace the growth of a genuine and moving friendship between two writers at very different stages; in them we see Markson grapple, humorously, with the indignities of old age and poor health, and reminiscence about his early days as a key literary figure in the Greenwich Village scene of the 1950s and 60s. At the same time, he sincerely celebrates Sims’s marriage and the first milestones of her career as a poet. The book is full of engaging commentary on life, love, and the writing life:   On old age: “Did I say I was 117? Now that the humidity has finally lifted, I sometimes don’t feel a day over 109.”   On critics: “If I’d run into the guy…I would have punched him in the mouth.”   On blogs: “I would rather spend an hour and a half trying to solve the roughest first draft of a note for the new book…than ever ever ever read another word of the Internet.”   On politics: “I hope neither of you slashed your wrists after the election. I was gonna jump off the roof here, but my sciatica hurt too much for me to get over the railing.”   Markson reveals himself to be casually erudite, caustically funny, lovably cantankerous, and always entertaining. This volume marks a significant contribution to our understanding and appreciation of Markson’s indubitably important and affecting body of work and will be a delight for his long-time fans as well as those just now discovering him.

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

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

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

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

    An immediate success, the first installment had a first printing of 50,000 hardcover copies, which quickly ballooned to 200,000. Spending one hundred consecutive weeks on the New York Times bestseller list, the book was put into development for release on the big screen. The first two films, starring Academy Award-winning actress Jennifer Lawrence, broke box office records, and the final installment is expected to follow suit.Fan Phenomena: The Hunger Games charts the series’s success through the increasingly vocal online communities that drive the young adult book market. Essays here consider the fashion that the series has created and how the costumes, memorabilia, merchandising, and branding have become an ever bigger part of the fandom experience. Issues explored include debates over the movie stars’ race and size, which tap into greater issues within the fan community and popular culture in general and the current argument that has divided fans and critics: whether or not the third book, Mockingjay, should be split into two films. With this scholarly compendium, navigating the postapocalyptic landscape of Panem will be as effortless as Katniss Everdeen’s archery and ensure that the odds will be forever in your favor.

    Many of the leading figures in the field engage in multimedia enterprises that allow their work to reach a much wider public than the mere readers of books. In Disorders of Magnitude: A Survey of Dark Fantasy, Jason V Brock analyzes the intersection of literature, media, and genre fiction in essays, reviews, and pioneering interviews. Beginning with the pulp magazines of the 1920s, Brock studies such dynamic figures as H. P. Lovecraft, Forrest J Ackerman, Harlan Ellison, and the Southern California writers known collectively as "The Group"-Ray Bradbury, Charles Beaumont, Richard Matheson, Rod Serling, and William F. Nolan. This collection also includes filmmakers Roger Corman, George Romero, and Dan O'Bannon, and such fantasy artists as H. R. Giger. Graced with dozens of photographs from the author's personal collection, this wide-ranging study offers a kaleidoscopic look at the multifarious ways in which fantasy, horror, and the supernatural have permeated our culture. Brock-himself a fiction writer, critic, and filmmaker-concludes the book with touching eulogies to the recently deceased Ray Bradbury and Ray Harryhausen. Highlighting so many figures essential to the understanding of fantasy and horror, Disorders of Magnitude will appeal to fans of these fiction genres around the world.

    The essays invite readers to begin their own independent exploration of the poem by equipping them with useful background knowledge, introducing them to key passages, and acquainting them with the current state of critical debates. Chapters are arranged to mirror the way the poem itself unfolds, offering exactly what readers need as they approach each movement of its grand design. Essays in Part I introduce the characters who frame the poem's story and set its plot and theological dynamics in motion. Part II deals with contextual issues raised by the early books, while Part III examines the epic's central and final episodes. The volume concludes with a meditation on the history of the poem's reception and a detailed guide to further reading, offering students and teachers of Milton fresh critical insights and resources for continuing scholarship.

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

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

    Starting with the exploration of a single line as the basic gesture of a poem, and moving into an examination of the essential expressive gestures that exist inside forms, Hass goes beyond approaching form as a set of traditional rules that precede composition, and instead offers penetrating insight into the true openness and instinctiveness of formal creation.A Little Book on Form is a rousing reexamination of our longest lasting mode of literature from one of our greatest living poets.

    His focus is on the major writers in the field.

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

    This book, the companion volume to Collected French Translations: Poetry, presents his version of the classic French fairytale ‘The White Cat’ by Marie-Catherine d’Aulnoy, alongside works by innovative masters such as Raymond Roussel and Giorgio de Chirico. Here are Roussel’s Documents to Serve as an Outline and extracts from his Impressions of Africa; selections from Georges Bataille’s darkly erotic novella L’Abbé C; Antonin Artaud’s correspondence with Jacques Rivière; Salvador Dalí on Willem de Kooning; Jacques Dupin on Alberto Giacometti; and key theoretical texts by Odilon Redon and others.Several of these twenty-eight prose pieces, by seventeen writers, artists, musicians and critics, are previously unpublished or have been long unavailable. Many, such as Pierre Reverdy’s Haunted House, are modern classics. This book provides new insight into the range of French cultural influences on John Ashbery’s life and work in literature and the arts.

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

    Writers such as Yu Hua, Su Tong, Wang Anyi, Mo Yan, Han Shaogong, Ge Fei, Li Rui, and Zhang Wei skew and scramble common conceptions of China's modern development, deploying avant-garde narrative techniques from Latin American and Euro-American modernism to project a surprisingly "un-Chinese" dystopian vision and critical view of human culture and ethics.The epic narratives of modern Chinese fiction make rich use of magical realism, surrealism, and unusual treatments of historical time. Also featuring graphic depictions of sex and violence, as well as dark, raunchy comedy, these novels reflect China's recent history re-presenting the overthrow of the monarchy in the early twentieth century and the resulting chaos of revolution and war; the recurring miseries perpetrated by class warfare during the dictatorship of Mao Zedong; and the social dislocations caused by China's industrialization and rise as a global power. This book casts China's highbrow historical novels from the late 1980s to the first decade of the twenty-first century as a distinctively Chinese contribution to the form of the global dystopian novel and, consequently, to global thinking about the interrelations of utopia and dystopia.

    Each chapter begins with a poem by one of Ireland's leading poets, followed by sharp, shrewd analysis of its making and references. As well as poetry's inner workings, the reader will discover a wealth of Celtic culture - their gods, heroes, and folklore - and its continuing role in Ireland's identity today.

    "It is always a little more than you had hoped for. Each day, there, is so definitely a new day." Now you can journey back there, in time, to a grand city teeming with hidden bars, luxurious movie palaces, and dazzling skyscrapers. In these places, Dorothy Parker and her cohorts in the Vicious Circle at the infamous Algonquin Round Table sharpened their wit, polished their writing, and captured the energy and elegance of the time. Robert Benchley, Parker's best friend, became the first managing editor of Vanity Fair before Irving Berlin spotted him onstage in a Vicious Circle revue and helped launch his acting career. Edna Ferber, an occasional member of the group, wrote the Pulitzer-winning bestseller So Big as well as Show Boat and Cimarron. Jane Grant pressed her first husband, Harold Ross, into starting The New Yorker. Neysa McMein, reputedly "rode elephants in circus parades and dashed from her studio to follow passing fire engines." Dorothy Parker wrote for Vanity Fair and Vogue before ascending the throne as queen of the Round Table, earning everlasting fame (but rather less fortune) for her award-winning short stories and unforgettable poems. Alexander Woollcott, the centerpiece of the group, worked as drama critic for the Times and the World, wrote profiles of his friends for The New Yorker, and lives on today as Sheridan Whiteside in The Man Who Came to Dinner. Explore their favorite salons and saloons, their homes and offices (most still standing), while learning about their colorful careers and private lives. Packed with archival photos, drawings, and other images--including never-before-published material--this illustrated historical guide includes current information on all locations. Use it to retrace the footsteps of the Algonquin Round Table, and you'll discover that the golden age of Gotham still surrounds us.

    For Borges it is the tiger and the color red, for Cortázar a pair of amorous lions, and for an early Egyptian scribe the monarch butterfly that metamorphosed into the Key of Life. Ducornet names these powers The Deep Zoo. Her essays take us from the glorious bestiary of Aloys Zötl to Abu Ghraib, from the tree of life to Sade's Silling Castle, from The Epic of Gilgamesh to virtual reality. Says Ducornet, "To write with the irresistible ink of tigers and the uncaging of our own Deep Zoo, we need to be attentive and fearless—above all very curious—and all at the same time.""Ducornet’s skill at drawing unexpected connections, and her ability to move between outrage and meditativeness, are gripping to behold."— Star Tribune "This collection of essays meditates on art, mysticism, and more; it’ll leave a reader with plenty to ponder."— Vol. 1 Brooklyn "Rikki Ducornet's new collection The Deep Zoo is filled with smart and surprising essays that explore our connections to the world through art."— Largehearted Boy ““The Deep Zoo” acts as a kind of foundational text, a lens to view her work and the other essays through. . . Subversive at heart and acutely perceptive.”— Numero Cinq "Ducornet moves between these facets of human experience with otherworldly grace, creating surprising parallels and associations. . . The Deep Zoo is a testament to her acrobatic intelligence and unflinching curiosity. Ducornet not only trusts the subconscious, she celebrates and interrogates it."— The Heavy Feather “What struck me most about this collection, and what I am confident will pull me back to it again, is Ducornet’s obvious passion for life. She is . . .  attentive, fearless, and curious. And for a hundred pages we get to see how it feels to exist like that, what it’s like to think critically and still be open to the world.”— Cleaver Magazine “Rikki Ducornet is imagination’s emissary to this mundane world.”—Stephen Sparks, Green Apple Books on the Park"This book is like the secret at the heart of the world; I've put other books aside."—Anne Germanacos, author of TributePraise for Rikki Ducornet"A novelist whose vocabulary sweats with a kind of lyrical heat."— The New York Times "Linguistically explosive . . . one of the most interesting American writers around."— The Nation "Ducornet—surrealist, absurdist, pure anarchist at times—is one of our most accomplished writers, adept at seizing on the perfect details and writing with emotion and cool detachment simultaneously."—Jeff Vandermeer"A unique combination of the practical and fabulous, a woman equally alive to the possibilities of joy and the necessity of political responsibility, a creature—à la Shakespeare's Cleopatra—of 'infinite variety,' Ducornet is a writer of extraordinary power, in whose books 'rigor and imagination' (her watchwords) perform with the grace and daring of high-wire acrobats."—Laura Mullen, BOMB Magazine"The perversity, decadence, and even the depravity that Ducornet renders here feel explosively fresh because their sources are thought and emotion, not the body, and finally there's some pathos too."— The Boston Globe "Ducornet's skill at drawing unexpected connections, and her ability to move between outrage and meditativeness, are gripping to behold."—Tobias Carroll, Star Tribune"This collection of essays meditates on art, mysticism, and more; it'll leave a reader with plenty to ponder."— Vol. 1 Brooklyn "Rikki Ducornet's new collection The Deep Zoo is filled with smart and surprising essays that explore our connections to the world through art."— Largehearted Boy

    ninth century CE), the greatest of the alvar poet-saints of the Tamil Srivaisnava tradition. Its hundred interlinked verses celebrate the love between an anonymous heroine and hero, who come to be identified with Nammalvar and his beloved deity, Visnu. The poet masterfully weaves the erotic and esoteric to reveal both the contours of love and the never-ending cycles of separation and union, of birth and death, from which only Visnu can offer release.In A Hundred Measures of Time, Archana Venkatesan has crafted a sonorous free-verse rendering and an accompanying far-ranging essay to delight poetry lovers and scholars alike.

    These letters, the vast majority previously unpublished, provide an indelible self-portrait of Cowley and his time, and make possible a full appreciation of his long and varied career.Perhaps no other writer aided the careers of so many poets and novelists. Faulkner, Fitzgerald, Hemingway, Kerouac, Tillie Olsen, and John Cheever are among the many authors Cowley knew and whose work he supported. A poet himself, Cowley enjoyed the company of writers and knew how to encourage, entertain, and when necessary scold them. At the center of his epistolary life were his friendships with Kenneth Burke, Allen Tate, Conrad Aiken, and Edmund Wilson. By turns serious and thoughtful, humorous and gossipy, Cowley's letters to these and other correspondents display his keen literary judgment and ability to navigate the world of publishing.The letters also illuminate Cowley's reluctance to speak out against Stalin and the Moscow Trials when he was on staff at The New Republic--and the consequences of his agonized evasions. His radical past would continue to haunt him into the Cold War era, as he became caught up in the notorious "Lowell Affair" and was summoned to testify in the Alger Hiss trials. Hans Bak supplies helpful notes and a preface that assesses Cowley's career, and Robert Cowley contributes a moving foreword about his father.

    The results here provide discrepant engagements on the most pressing questions of the literary, the political, and the force of what's possible for writers in the 21st Century.

    He can bend the fabric of time and space with his TARDIS, alter the destiny of worlds, and drive entire species into extinction. The good doctor's eleven "regenerations" and fifty years' worth of adventures make him the longest-lived hero in science-fiction television. In The Language of Doctor Who: From Shakespeare to Alien Tongues, Jason Barr and Camille D. G. Mustachio present several essays that use language as an entry point into the character and his universe. Ranging from the original to the rebooted television series-through the adventures of the first eleven Doctors-these essays explore how written and spoken language have been used to define the Doctor's ever-changing identities, shape his relationships with his many companions, and give him power over his enemies-even the implacable Daleks. Individual essays focus on fairy tales, myths, medical-travel narratives, nursery rhymes, and, of course, Shakespeare. Contributors consider how the Doctor's companions speak with him through graffiti, how the Doctor himself uses postmodern linguistics to communicate with alien species, and how language both unites and divides fans of classic Who and new Who as they try to converse with each other. Broad in scope, innovative in approach, and informed by a deep affection for the program, The Language of Doctor Who will appeal to scholars of science fiction, television, and language, as well as to fans looking for a new perspective on their favorite Time Lord.

    Through critical examination of the film's distinctive treatment of perennial philosophical issues including human nature, personhood, identity, consciousness, free will, morality, God, death, time, and the meaning of life, the distinctive philosophy of Blade Runner is explored and assessed. The result is an engaging philosophical exploration of the greatest science fiction film of all time and a unique contribution to the philosophy of film that invites readers to ponder questions of universal human significance: Where did I come from? Where am I going? How long have I got?

    Coming at a crucial time in his career, the text illustrates Heidegger’s turn toward language, art, and poetry while reflecting his despair at his failure to revolutionize the German university and his hope for a more profound revolution through the German language, guided by Hölderlin’s poetry. These lectures are important for understanding Heidegger’s changing relation to politics, his turn toward Nietzsche, his thinking about the German language, and his breakthrough to a new kind of poetic thinking. First published in 1980 as volume 39 of Heidegger’s Complete Works, this graceful and rigorous English-language translation will be widely discussed in continental philosophy and literary theory.

    Animals work like people, play like people, sing, dance, make love, start families, and participate in seasonal celebrations from New Year's Day to end-of-year drinking parties--as portrayed in the haiku of Issa. They can also, according to the Pure Land Buddhism to which Issa subscribed, attain enlightenment in a future life. Recognizing animals, as Issa does, as fellow travelers in a shared world is a first step toward their ethical treatment.

    The Occult Revival was an international surge of interest in the supernatural, magic, and Eastern mysticism that thrived in Europe and the United States between the late nineteenth-century and the mid-twentieth-century. By studying the theatre that was developed in affiliation with occult movements, this book shows how theatre contributed to the complication and fragmentation of Western religious culture during the turn-of-the-century Occult Revival and how theatre continues to play a part in the development of occult rituals and beliefs.

    But not any longer. Ever since the end of the millennium an increasingly perceptible desire to turn towards other concerns can be noted. Only, what comes after postmodernism? Where are we going now? Irmtraud Huber suggests some answers to these questions, focusing on novels by Michael Chabon, Mark Z. Danielewski, Jonathan Safran Foer and David Mitchell and highlighting the ways in which they go beyond postmodernism and turn from deconstruction to reconstruction. Approaching the question from an unusual direction by exploring the novelists' particular use of the fantastic mode, this book offers both further insights into the present aesthetic shift and a new perspective on the literary fantastic.

    The volume visits a series of questions about the history of the body and how early modern cultures understand physical ability or vigor, emotional competence or satisfaction, and joy or self-fulfillment. Individual essays investigate the purported disabilities of the "crook-back" King Richard III or the "corpulent" Falstaff, the conflicts between different health-care belief-systems in The Taming of the Shrew and Hamlet, the power of figurative language to delineate or even instigate puberty in the Sonnets or Romeo and Juliet, and the ways in which the powerful or moneyed mediate the access of the poor and injured to cure or even to care. Integrating insights from Disability Studies, Health Studies, and Happiness Studies, this book develops both a detailed literary-historical analysis and a provocative cultural argument about the emphasis we place on popular notions of fitness and contentment today.

    First published in April 1939, Steinbeck’s National Book Award–winning epic of the Great Depression chronicles the Dust Bowl migration of the 1930s and the story of one Oklahoma farm family, the Joads, driven from their homestead and forced to travel west to the promised land of California. The story of their struggle remains eerily relevant in today’s America and stands as a portrait of the conflict between the powerful and the powerless, “in the souls of the people.”

    The fantasy novels of Dion Fortune, Marion Zimmer Bradley, and Diana L. Paxson influenced the image of the priestess in Neopagan and Goddess-centered spirituality throughout the world. The Priestess & the Pen shows how their work changed the way women are depicted in literature, created space for women to reclaim their power, and energized the women's equality movement.Presenting a reinterpretation of the Goddess as fourfold rather than threefold, The Priestess & the Pen adds dimension and relevance to the traditional Triple Goddess archetype in a way that has never before been considered with such compelling clarity. This book is poised to become a vital interpretation of the Pagan priestess.

    This book is your cultural tour guide of Dragon Ball, the world’s most recognized anime and manga series. Over 11 years in development, at over 2,000 pages, and featuring over 1,800 unique terms, Dragon Ball Culture is a 7 Volume analysis of your favorite series. You will go on an adventure with Son Goku, from Chapter 1 to 194 of the original Dragon Ball, as we explore every page, every panel, and every sentence, to reveal its hidden symbolism and deeper meaning. In Volume 1 you will discover the origin of Dragon Ball. How does Akira Toriyama get his big break and become a manga author? Why does he make Dragon Ball? Where does Dragon Ball’s culture come from? And why is it so successful? Along the way you’ll be informed, entertained, and inspired. You will learn more about your favorite series and about yourself. Now step with me through the doorway of Dragon Ball Culture.

    While much has been written on medievalism in Tolkien's works, this research adds to the field a detailed explanation of the Anglo-Saxon worldview embedded in Tolkien's The Lord of the Rings .

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

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

    Bergman uses this innovative angle to retell the recent history of crime fiction in Sweden, exploring central themes and selecting key authors that have garnered national and international acclaim for their lethal plots. Swedish Crime Fiction: The Making of Nordic Noir contextualizes the explosive recent history of the genre, offering newcomers and aficionados insights into the minds of protagonista and their literary creators. This is the first research-based and exhaustive presentation of Swedish crime fiction and its Nordic neighbours to an international audience."

    Nearly all of the plays were first editions, but one stood out as extraordinary: a previously unknown text of Hamlet that predated all other versions. Suddenly, the world had to grapple with a radically new--or rather, old--Hamlet in which the characters, plot, and poetry of Shakespeare's most famous play were profoundly and strangely transformed.Q1, as the text is known, has been declared a rough draft, a shorthand piracy, a memorial reconstruction, and a pre-Shakespearean "ur-Hamlet," among other things. Flickering between two historical moments--its publication in Shakespeare's early seventeenth century and its rediscovery in Bunbury's early nineteenth--Q1 is both the first and last Hamlet. Because this text became widely known only after the familiar version of the play had reached the pinnacle of English literature, its reception has entirely depended on this uncanny temporal oscillation; so too has its ongoing influence on twentieth- and twenty-first-century ideas of the play.Zachary Lesser examines how the improbable discovery of Q1 has forced readers to reconsider accepted truths about Shakespeare as an author and about the nature of Shakespeare's texts. In telling the story of this mysterious quarto and tracing the debates in newspapers, London theaters, and scholarly journals that followed its discovery, Lesser offers brilliant new insights on what we think we mean when we talk about Hamlet.

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

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

    Focusing on the narrative poem Lucrece, on four of his late Elizabethan plays -- Romeo and Juliet, TheMerchant of Venice, Julius Caesar and Hamlet -- and on three early Jacobean dramas, Othello, Measure for Measure and All's Well That Ends Well, Quentin Skinner argues that there are major speeches, and sometimes sequences of scenes, that are crafted according to a set of rhetorical precepts about how to develop a persuasive judicial case, either in accusation or defence. Some of these works have traditionally been grouped together as "problem plays," but here Skinner offers a different explanation for their frequent similarities of tone. There have been many studies of Shakespeare's rhetoric, but they have generally concentrated on his wordplay and use of figures and tropes. By contrast, this study concentrates on Shakespeare's use of judicial rhetoric as a method of argument. By approaching the plays from this perspective, Skinner is able to account for some distinctive features of Shakespeare's vocabulary, and also help to explain why certain scenes follow a recurrent pattern and arrangement.

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

    B. Worthen argues that the theatrical event represents less an inquiry into the presumed meanings of the text than an effort to frame performance as a vehicle of cultural critique. Using contemporary performances as test cases, Worthen explores the interfaces between the origins of Shakespeare's writing as literature and as theatre, the modes of engagement with Shakespeare's plays for readers and spectators, and the function of changing performance technologies on our knowledge of Shakespeare. This book not only provides the material for performance analysis, but places important contemporary Shakespeare productions in dialogue with three influential areas of critical discourse: texts and authorship, the function of character in cognitive theatre studies, and the representation of theatre and performing in the digital humanities. This book will be vital reading for scholars and advanced students of Shakespeare and of performance studies.

    For certain scholars, poetry should in no way be confused with philosophy. For others, poetry is at the heart of the possibility of thinking itself. In Affirmation of Poetry, Judith Balso defends the significance of poetry as a necessary practice for thinking. For Balso, if reading poetry properly has become an obscure task, poetry itself still carries with it a power of thinking: the efforts of the poets must continue. In analyzing the affirmation of thought found within the work of such poets as Osip Mandelstam, Wallace Stevens, Alberto Caeiro, and Giacomo Leopardi, Balso reestablishes poetry’s place as a site of thought.

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

    Bringing together the insights of fifty distinguished scholars, this literary history emphasizes the complex roles that poetry has played in American cultural and intellectual life, detailing the variety of ways in which both public and private forms of poetry have met the needs of different communities at different times. The Cambridge History of American Poetry recognizes the existence of multiple traditions and a dramatically fluid canon, providing current perspectives on both major authors and a number of representative figures whose work embodies the diversity of America's democratic traditions.

    The essay marked the beginning of Johnson's lifelong interest in Shelley as well as her first foray into the field of "women's studies," one of whose commitments was the rediscovery and analysis of works by women writers previously excluded from the academic canon. Indeed, the last book Johnson completed before her death was Mary Shelley and Her Circle, published here for the first time. Shelley was thus the subject for Johnson's beginning in feminist criticism and also for her end.It is surprising to recall that when Johnson wrote her essay, only two of Shelley's novels were in print, critics and scholars having mostly dismissed her writing as inferior and her career as a side effect of her famous husband's. Inspired by groundbreaking feminist scholarship of the seventies, Johnson came to pen yet more essays on Shelley over the course of a brilliant but tragically foreshortened career. So much of what we know and think about Mary Shelley today is due to her and a handful of scholars working just decades ago.In this volume, Judith Butler and Shoshana Felman have united all of Johnson's published and unpublished work on Shelley alongside their own new, insightful pieces of criticism and those of two other peers and fellow pioneers in feminist theory, Mary Wilson Carpenter and Cathy Caruth. The book thus evolves as a conversation amongst key scholars of shared intellectual inclinations while closing the circle on Johnson's life and her own fascination with the life and circle of another woman writer, who, of course, also happened to be the daughter of a founder of modern feminism.

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

    Various studies of anarchist culture do exist, some quite good, but none approach the breadth or depth of Jesse Cohn’s study. He is able to do something different: explore what forms of anarchist resistance culture in different places and times have had in common, and therefore what made them specifically anarchist. —Kenyon Zimmer, author of Immigrants against the State: Yiddish and Italian Anarchism in America“Readers [of Underground Passages] will appreciate how anarchist culture (poetry, songs, fiction, plays, illustrations, and films) was by no means monolithic in approach or rationale, since different anarchist creators at different times saw the importance of making anarchist resistance culture relevant to particular settings or ‘deterritorializing’ it to give it a more global feel that fit with the transnational and internationalist dimensions of global anarchism.” —Kirwin Shaffer, author of Black Flag Boricuas: Anarchism, Antiauthoritarianism, and the Left in Puerto Rico, 1897–1921What anarchists demanded from art was what they demanded from all aspects of their political lives: that it should, as much as possible, embody the principle in the practice, the end in the means. While prefiguring a post-revolutionary world, anarchists simultaneously created a richly textured "resistance culture" to sustain their ideals and identities amid everyday lives defined by capital and the state, allowing an escape from domination even while enmeshed in it. Underground Passages investigates and interrogates these creations across the history of the movement. Whether discussing famous artists like John Cage or Diane DiPrima or unknown and anonymous anarchist writers, Cohn shows how aesthetic shifts both reflected and influenced and political and economic ones. This is cultural criticism at its best—and most useful.Jesse Cohn is the author of Anarchism and the Crisis of Representation: Hermeneutics, Aesthetics, Politics, and an associate professor of English at Purdue University North Central in Indiana.

    Current scholarship on this alliterative masterpiece looks very different from that available even a decade ago. New information about the manuscripts of the poem, new historical discoveries, and new investigations of its literary, cultural and theoretical scope have fundamentally altered the very meaning of Langland's art. This Companion thus critically surveys traditional scholarship, with the aim of recuperating its best insights, and it ventures forth into newer areas of inquiry attuned to questions of social setting, institutional context, intellectual and literary history, theory, and the revitalized fields of codicology and paleography. By proceeding through chapters that offer cumulatively wider views as well as stand-alone analyses of topics most crucial to understanding Piers Plowman, this Companion gives serious students and seasoned scholars alike up-to-date knowledge of this intricate and beautiful poem.

    And yet there is a curious puzzle at its center. The figure to whom Shakespeare gives more lines than anyone except the king—Edgar—has often seemed little more than a blank, ignored and unloved, a belated moralizer who, try as he may, can never truly speak to the play’s savaged heart. He saves his blinded father from suicide, but even this act of care is shadowed by suspicions of evasiveness and bad faith. In Poor Tom, Simon Palfrey asks us to go beyond any such received understandings—and thus to experience King Lear as never before. He argues that the part of Edgar is Shakespeare’s most radical experiment in characterization, and his most exhaustive model of both human and theatrical possibility. The key to the Edgar character is that he spends most of the play disguised, much of it as “Poor Tom of Bedlam,” and his disguises come to uncanny life. The Edgar role is always more than one person; it animates multitudes, past and present and future, and gives life to states of being beyond the normal reach of the senses—undead, or not-yet, or ghostly, or possible rather than actual. And because the Edgar role both connects and retunes all of the figures and scenes in King Lear, close attention to this particular part can shine stunning new light on how the whole play works. The ultimate message of Palfrey’s bravura analysis is the same for readers or actors or audiences as it is for the characters in the play: see and listen feelingly; pay attention, especially when it seems as though there is nothing there.

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

    In 26 incisive and engaging essays, Ulrich Baer's The Rilke Alphabet examines both the lesser-known and the overlooked and controversial aspects of Rilke's poetry and life. The book focuses on 26 unexpected but crucial words in Rilke's writings that reveal Rilke's poetic method, his obsessions and concerns, and his deepest thoughts on life, art, politics, sexuality, and death. The book shows that Rilke's work, read here in its entirety, provides a guide to modern life by deepening our experience and awareness of existence. Whether it is a love letter to frogs, a problematic brief flirtation with Mussolini, a deep reflection on Buddha in several poems, or an unambiguous assertion that freedom is not an abstraction but must be lived to be known, Rilke's writings pull us deeply into life. Baer's decades-long engagement with Rilke, as a scholar, and a translator and editor of Rilke's letters, serves to reveal unique aspects of Rilke's work in its entirety. The Rilke Alphabet will surprise and delight Rilke fans, intrigue newcomers to his work, and deepen every reader's sense of the power of poetry to penetrate the mysteries and confusion of our world.

    He provides a historical account of its emergence around the turn of the twentieth century, and analyses the musical components that make it work.Drawing on materialist interpretations of art and culture, Mark Abel engages with aesthetic arguments, challenging in particular Adorno's critique of popular music. He concludes that groove does not simply reflect the temporality of contemporary society, but, by incorporating abstract time into its very structure, is capable of effecting a critique of it.

    This expansive number opens with an intimate portrait of the Brazilian legend, assembled through premiere folios of Lispector’s letters and paintings, as well as her candid final interview, while new essays by her translators and a host of international writers complete this 100-page tribute to Hurricane Clarice. Meanwhile, the musical galaxies of Maya Homburger and Barry Guy are unveiled through new twin (and entwined) interviews, a selection of Guy’s graphic scores, and a special Bach Pilgrimage Portfolio, to which the legendary conductor Sir John Eliot Gardiner lends his voice. Finally, this edition concludes with the first comprehensive appreciation of Mary Ruefle’s entire career to date, with sixteen new poems and erasures by the “contemporary Dickinson” herself. Our most ambitious issue yet, Music & Literature no. 4 is a collection that, in its cumulative synergy, captures the wild intelligences of four of this century's indispensable artists.CONTENTS I. CLARICE LISPECTORA Letter to Clarice / Tatiana Salem Levy, trans. Ana FletcherRemarks on Clarice Lispector / Mary RuefleA Reverence / Micheline Aharonian MarcomThe Last Interview / Clarice Lispector, trans. Benjamin MoserSeven Questions for Paulo Gurgel Valente / Taylor Davis-Van AttaSix Letters / Clarice Lispector, trans. Ana FletcherAn Introduction to the PaintingsSeven Paintings / Clarice LispectorA Few Notes on Clarice the Artist / Carlos Mendes de Sousa, trans. Ana FletcherClarice Lispector’s “New World of Feeling” / Alison EntrekinAn Interview with Idra Novey / Madeleine LaRue“Soliloquies of the Irrational Dark” / Johnny LorenzTranslating Water, Translating Água Viva / Stefan ToblerPure Sensation / Sarah GerardThe World’s Continual Breathing: On the First and Last Stories of Clarice Lispector / Andrea ScrimaLipstick Traces: Clarice Lispector’s Radiant Nothingness / Rachel KushnerNear to the Heart of Language / Claudia Lage, trans. Ana FletcherThe Apple in the Dark at Noon / Adam MorrisFor Peter Pan and Puer Senex: Lispector’s Children’s Books / Roy RosensteinII. MAYA HOMBURGER & BARRY GUYA Descriptive Biography of Maya HomburgerA Descriptive Biography of Barry GuyDios los cría... / Benjamin DwyerSix Graphic Scores / Barry GuyAn Interview with Barry Guy / Declan O’DriscollAn Interview with Maya Homburger / Declan O’DriscollA Synopsis of Time Passing... / Barry GuyFive Poems / Kerry HardieSPUN / Mats GustafssonLighting Out for the Territory: Barry Guy’s Fizzles / Brian LynchAn Education in Listening / Barra Ó SeaghdhaThe Bach Pilgrimage Portfolio / Sir John Eliot Gardiner / Maya Homburger / Valerie Botwright / Hildburg WilliamsIII. MARY RUEFLEA Mind of Surplus / Rachael AllenA Conversation with Mary Ruefle / Bradley HarrisonEight Poems / Mary RuefleMary Ruefle’s Erasures / Carey WallaceEight Erasures / Mary RuefleLife through Every Conceivable Hour / Timothy KercherSomeday I’ll Be Dead / Rachel HurnThere Is No What Happened / Michael KleinIn the Cradle of All There Is / Jason KooA Guide in the Mist / Stephen SparksRadical Compassion / Bethany W. Pope

    In response to the erasure of historical memories that discomfit a public's self-understanding, this book proposes the historical uncanny as that which resists reification precisely because it cannot be assimilated to dominant discourses of commemoration.Focusing on the problems of representation and reception, the book explores memorials for two marginalized aspects of Holocaust: the Nazi euthanasia program directed against the mentally ill and disabled and the Fascist persecution of Slovenes, Croats, and Jews in and around Trieste. Reading these memorials together with literary and artistic texts, Knittel redefines "sites of memory" as assemblages of cultural artifacts and discourses that accumulate over time; they emerge as a physical and a cultural space that is continually redefined, rewritten, and re-presented.In bringing perspectives from disability studies and postcolonialism to the question of memory, Knittel unsettles our understanding of the Holocaust and its place in the culture of contemporary Europe.

    There are many histories of literary criticism, but this is the first to clarify our understanding of the many seemingly incommensurable approaches employed over the centuries by reference to the three traditions. Making its case by careful analyses of individual critics, the book argues for the relevance of the humanistic tradition in the twenty-first century and beyond.

    Each chapter has been carefully selected for its originality and relevance to the needs of students, teachers and researchers. Key themes and topics covered include:The Text and its Status History and TopicalityCritical Approaches and Close ReadingAdaptation and Afterlife All the essays offer new perspectives and combine to give readers an up-to-date understanding of what's exciting and challenging about Macbeth. The approach based on an individual play, unlike that of topic-based series, reflects how Shakespeare is most commonly studied and taught.

    It explores the many and deep ways in which the works of Shakespeare, the greatest writer of the English language, penetrate the novels of Vladimir Nabokov, one of the finest English prose stylists of the twentieth century.As a Russian youth, Nabokov read all of Shakespeare, in English. He claimed a shared birthday with the Bard, and some of his most highly regarded novels (Lolita, Pale Fire and Ada) are infused with Shakespeare and Shakespeareanisms. Nabokov uses Shakespeare and Shakespeare's works in a surprisingly wide variety of ways, from the most casual references to deep thematic links.Schuman provides a taxonomy of Nabokov's Shakespeareanisms; a quantitative analysis of Shakespeare in Nabokov; an examination of Nabokov's Russian works, his early English novels, the non-novelistic writings (poetry, criticism, stories), Nabokov's major works, and his final novels; and a discussion of the nature of literary relationships and influence.With a Foreword by Brian Boyd.

    society. Cosmopolitan Minds focuses on a core of transnational writers—Kay Boyle, Pearl S. Buck, William Gardner Smith, Richard Wright, and Paul Bowles—who found themselves prompted to seek experiences outside of their home country, experiences that profoundly changed their self-understanding and creative imagination as they encountered alternative points of views and cultural practices in Europe, Asia, and Africa.Alexa Weik von Mossner offers a new perspective on the affective underpinnings of critical and reflexive cosmopolitanism by drawing on theories of emotion and literary imagination from cognitive psychology, philosophy, and cognitive literary studies. She analyzes how physical dislocation, and the sometimes violent shifts in understanding that result from our affective encounters with others, led Boyle, Buck, Smith, Wright, and Bowles to develop new, cosmopolitan solidarities across national, ethnic, and religious boundaries. She also shows how, in their literary texts, these writers employed strategic empathy to provoke strong emotions such as love, sympathy, compassion, fear, anger, guilt, shame, and disgust in their readers in order to challenge their parochial worldviews and practices. Reading these texts as emotionally powerful indictments of institutionalized racism and national violence inside and outside of the United States, Weik von Mossner demonstrates that our emotional engagements with others—real and imagined—are crucially important for the development of transnational and cosmopolitan imaginations.

    This book focuses on the experiences that good stories generate: feelings of purposeful involvement, elevation, temporary loss of self, vicarious emotion, and relief of tension. The author examines what drives writers to create stories and why readers fall under their spell; why some children grow up to be writers; and how the capacity for creating and comprehending stories develops from infancy right through into old age. Entranced by Story applies recent research on brain function to literary examples ranging from the Iliad and Wuthering Heights to Harold and the Purple Crayon, providing a groundbreaking exploration of the biological and neurological basis of the literary experience. Blending research, theory, and biographical anecdote, the author shows how it is the unique structure of the human brain, with its layering of sophisticated cognitive capacities upon archaic, emotion-driven functions, which best explains the mystery of story.