Challenging queer theory’s recent emphasis on loss and trauma, Elizabeth Freeman foregrounds bodily pleasure in the experience and representation of time as she interprets an eclectic archive of queer literature, film, video, and art. She examines work by visual artists who emerged in a commodified, “postfeminist,” and “postgay” world. Yet they do not fully accept the dissipation of political and critical power implied by the idea that various political and social battles have been won and are now consigned to the past. By privileging temporal gaps and narrative detours in their work, these artists suggest ways of putting the past into meaningful, transformative relation with the present. Such “queer asynchronies” provide opportunities for rethinking historical consciousness in erotic terms, thereby countering the methods of traditional and Marxist historiography. Central to Freeman’s argument are the concepts of chrononormativity, the use of time to organize individual human bodies toward maximum productivity; temporal drag, the visceral pull of the past on the supposedly revolutionary present; and erotohistoriography, the conscious use of the body as a channel for and means of understanding the past. Time Binds emphasizes the critique of temporality and history as crucial to queer politics.

    A book about our growing alienation from nature, it is also a brilliant meditation on the capacity of the writer to bring us back to earth, our home.In the first ecological reading of English literature, Jonathan Bate traces the distinctions among nature, culture, and environment and shows how their meanings have changed since their appearance in the literature of the eighteenth century. An intricate interweaving of climatic, topographical, and political elements poetically deployed, his book ranges from greenhouses in Jane Austen's novels to fruit bats in the poetry of Les Murray, by way of Thomas Hardy's woodlands, Dr. Frankenstein's Creature, John Clare's birds' nests, Wordsworth's rivers, Byron's bear, and an early nineteenth-century novel about an orangutan who stands for Parliament. Though grounded in the English Romantic tradition, the book also explores American, Central European, and Caribbean poets and engages theoretically with Rousseau, Adorno, Bachelard, and especially Heidegger.The model for an innovative and sophisticated new ecopoetics, The Song of the Earth is at once an essential history of environmental consciousness and an impassioned argument for the necessity of literature in a time of ecological crisis.

    Puar brings her pathbreaking work on the liberal state, sexuality, and biopolitics to bear on our understanding of disability. Drawing on a stunning array of theoretical and methodological frameworks, Puar uses the concept of “debility”—bodily injury and social exclusion brought on by economic and political factors—to disrupt the category of disability. She shows how debility, disability, and capacity together constitute an assemblage that states use to control populations. Puar's analysis culminates in an interrogation of Israel's policies toward Palestine, in which she outlines how Israel brings Palestinians into biopolitical being by designating them available for injury. Supplementing its right to kill with what Puar calls the right to maim, the Israeli state relies on liberal frameworks of disability to obscure and enable the mass debilitation of Palestinian bodies. Tracing disability's interaction with debility and capacity, Puar offers a brilliant rethinking of Foucauldian biopolitics while showing how disability functions at the intersection of imperialism and racialized capital.

    A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question. The books in the series will all follow the same structure:a biography of the novelist, including other works, influences, and, in some cases, an interview; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received upon publication; a summary of how the novel has performed since publication, including film or TV adaptations, literary prizes, etc.; a wide range of suggestions for further reading, including websites and discussion forums; and a list of questions for reading groups to discuss.

    37 essays in an expanded edition of the author's major volume of criticism.

    Here Benjamin evolves a theory of language as the medium of all creation, discusses theater and surrealism, reminisces about Berlin in the 1920s, recalls conversations with Bertolt Brecht, and provides travelogues of various cities, including Moscow under Stalin. He moves seamlessly from literary criticism to autobiography to philosophical-theological speculations, cementing his reputation as one of the greatest and most versatile writers of the twentieth century. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times.

    The author shows how, as the novel has been eclipsed by the mass media, novelists have sought to retain and regain a wide readership by drawing on the themes and preoccupations of these forms. Making use of contemporary fiction by such writers as Fowles, Borges, Spark, Barthelme, Brautigan, Vonnegut and Barth, and drawing on Russian Formalist theories of literary evolution, the book argues that metafiction uses parody along with popular genres and non-literary forms as a way not only of exposing the inadequate and obsolescent conventions of the classic novel, but of stuggesting the lines along which fiction might develop in the future.

    From early obsessions with the March sisters to her later idolization of Sylvia Plath, Ellis evaluates how her heroines stack up today. And, just as she excavates the stories of her favorite characters, Ellis also shares a frank, often humorous account of her own life growing up in a tight-knit Iraqi Jewish community in London. Here a life-long reader explores how heroines shape all our lives.

    He analyzes previous contributions to a Marxist theory of literature from Marx himself to Lukacs, Althusser, and Goldmann, and develops his own approach by outlining a theory of cultural materialism' which integrates Marxist theories of language with Marxist theories of literature. Williams moves from a review of the growth of the concepts of literature and idealogy to a redefinition of determinism' and hegemony'. His incisive discussion of the 'social material process' of cultural activity culminates in a re-examination of the problems of alignment and commitment and of the creative practice in individual authors and wider social groups.

    For the 1999 edition, Williams has written a new preface and a new epilogue, "On/scenities," illustrated with 25 photographs. She has also added a supplementary bibliography.

    This collection highlights the concerns running throughout her pioneering work: the politics of difference and solidarity, decolonizing and democratizing feminist practice, the crossing of borders, and the relation of feminist knowledge and scholarship to organizing and social movements. Mohanty offers here a sustained critique of globalization and urges a reorientation of transnational feminist practice toward anticapitalist struggles.Feminism without Borders opens with Mohanty's influential critique of western feminism ("Under Western Eyes") and closes with a reconsideration of that piece based on her latest thinking regarding the ways that gender matters in the racial, class, and national formations of globalization. In between these essays, Mohanty meditates on the lives of women workers at different ends of the global assembly line (in India, the United Kingdom, and the United States); feminist writing on experience, identity, and community; dominant conceptions of multiculturalism and citizenship; and the corporatization of the North American academy. She considers the evolution of interdisciplinary programs like Women's Studies and Race and Ethnic Studies; pedagogies of accommodation and dissent; and transnational women's movements for grassroots ecological solutions and consumer, health, and reproductive rights.Mohanty's probing and provocative analyses of key concepts in feminist thought—"home," "sisterhood," "experience," "community"—lead the way toward a feminism without borders, a feminism fully engaged with the realities of a transnational world.

    Kelly illuminates the radical subjects--slavery, poverty, feminism, the Church, evolution, among them--considered treasonous at the time, that Austen deftly explored in the six novels that have come to embody an age. The author reveals just how in the novels we find the real Jane Austen: a clever, clear-sighted woman "of information," fully aware of what was going on in the world and sure about what she thought of it. We see a writer who understood that the novel--until then seen as mindless "trash"--could be a great art form and who, perhaps more than any other writer up to that time, imbued it with its particular greatness.

    These changes mark the endge of adolescence as a watershed in women's psychological development and the stories the girls tell are by turns heartrending and courageous. Listening to these girls provides us with the means of reaching out to them at this critical time, and of better understanding what we as women and men may have left behind at our own crossroads.A NEW YORK TIMES NOTABLE BOOK OF THE YEAR

    In Practicing the New Historicism, two of its most distinguished practitioners reflect on its surprisingly disparate sources and far-reaching effects.In lucid and jargon-free prose, Catherine Gallagher and Stephen Greenblatt focus on five central aspects of new historicism: recurrent use of anecdotes, preoccupation with the nature of representations, fascination with the history of the body, sharp focus on neglected details, and skeptical analysis of ideology. Arguing that new historicism has always been more a passionately engaged practice of questioning and analysis than an abstract theory, Gallagher and Greenblatt demonstrate this practice in a series of characteristically dazzling readings of works ranging from paintings by Joos van Gent and Paolo Uccello to Hamlet and Great Expectations.By juxtaposing analyses of Renaissance and nineteenth-century topics, the authors uncover a number of unexpected contrasts and connections between the two periods. Are aspects of the dispute over the Roman Catholic doctrine of the Eucharist detectable in British political economists' hostility to the potato? How does Pip's isolation in Great Expectations shed light on Hamlet's doubt?Offering not only an insider's view of new historicism, but also a lively dialogue between a Renaissance scholar and a Victorianist, Practicing the New Historicism is an illuminating and unpredictable performance by two of America's most respected literary scholars."Gallagher and Greenblatt offer a brilliant introduction to new historicism. In their hands, difficult ideas become coherent and accessible."—Choice"A tour de force of new literary criticism. . . . Gallagher and Greenblatt's virtuoso readings of paintings, potatoes (yes, spuds), religious ritual, and novels—all 'texts'—as well as essays on criticism and the significance of anecdotes, are likely to take their place as model examples of the qualities of the new critical school that they lead. . . . A zesty work for those already initiated into the incestuous world of contemporary literary criticism-and for those who might like to see what all the fuss is about."—Kirkus Reviews, starred review

    A Critique of Postcolonial Reason tracks the figure of the native informant through various cultural practices--philosophy, history, literature--to suggest that it emerges as the metropolitan hybrid. The book addresses feminists, philosophers, critics, and interventionist intellectuals, as they unite and divide. It ranges from Kant's analytic of the sublime to child labor in Bangladesh. Throughout, the notion of a Third World interloper as the pure victim of a colonialist oppressor emerges as sharply suspect: the mud we sling at certain seemingly overbearing ancestors such as Marx and Kant may be the very ground we stand on.A major critical work, Spivak's book redefines and repositions the postcolonial critic, leading her through transnational cultural studies into considerations of globality.