A noted scholar offers fresh ways of looking at two legendary American authors.
Both F. Scott Fitzgerald and Ernest Hemingway came into their own in the 1920s and did some of their best writing during that decade. In a series of interrelated essays, Ronald Berman considers an array of novels and short stories by both authors within the context of the decade's popular culture, philosophy, and intellectual history. As Berman shows, the thought of Fitzgerald and Hemingway went considerably past the limits of such labels as the Jazz Age or the Lost Generation.
Both Fitzgerald and Hemingway were avid readers, alive to the intellectual currents of their day, especially the contradictions and clashes of ideas and ideologies. Both writers, for example, were very much concerned with the problem of untenable belief—and also with the need to believe. In this light, Berman offers fresh readings of such works as Fitzgerald's The Great Gatsby, "Bernice Bobs Her Hair," and "The Diamond as Big as the Ritz" and Hemingway's "The Killers," A Farewell to Arms, and The Sun Also Rises. Berman invokes the thinking of a wide range of writers in his considerations of these texts, including William James, Alfred North Whitehead, Walter Lippman, and Edmund Wilson.
Berman's essays are driven and connected by a focused line of inquiry into Fitzgerald's and Hemingway's concerns with dogma both religious and secular, with new and old ideas of selfhood,and, particularly in the case of Hemingway, with the way we understand, explain, and transmit experience.
In this study, Ronald Berman examines the work of the critic/novelist Edmund Wilson and the art of F. Scott Fitzgerald and Ernest Hemingway as they wrestled with the problems of language, experience, perception and reality in the "age of jazz." By focusing specifically on aesthetics—the ways these writers translated everyday reality into language—Berman challenges and redefines many routinely accepted ideas concerning the legacy of these authors.
Fitzgerald is generally thought of as a romantic, but Berman shows that we need to expand the idea of Romanticism to include its philosophy. Hemingway, widely viewed as a stylist who captured experience by simplifying language, is revealed as consciously demonstrating reality's resistance to language. Between these two renowned writers stands Wilson, who is critically influenced by Alfred North Whitehead, as well as Dewey, James, Santayana, and Freud.
By patiently mapping the correctness of these philosophers, historians, literary critics and writers, Berman aims to open a gateway into the era. This work should be of interest to scholars of American literature, philosophy and aesthetics; to academic libraries; to students of intellectual history; and to general readers interested in Fitzgerald, Hemingway and Wilson.
As the author of some of the most compelling short stories ever written, two of the central novels in American literature, and some of the most beautiful prose ever penned, F. Scott Fitzgerald is read and studied all over the world. Sixty-two years after his death, his works—protean, provocative, multilayered, and rich—continue to elicit spirited responses. This collection grew out of the F. Scott Fitzgerald Conference that convened in Princeton at the centennial of this author's birth. Bringing together dozens of the world's leading scholars and commentators, the conference and the book celebrate the ever-growing legacy of Fitzgerald's art.
Only a few of us seek immortality, and fewer still by writing. But Arthur Inman challenged the odds. He calculated that if he kept a diary and spared no thoughts or actions, was entirely honest and open, and did not care about damage or harm to himself or others, he would succeed in gaining attention beyond the grave that he could not attain in life.
The diary became a many-layered and strikingly animated work of a gifted writer, by turns charming, repellent, shocking, cruel, and comical. But the diary is also an uninhibited history of his times, of his eccentricities and fantasies, of his bizarre marriage arrangements and sexual adventures. Inman’s explorations of his own troubled nature made him excessively curious about the secret lives of others. Like some ghostly doctor-priest, he chronicled their outpourings of head and heart as vividly as he did his own. The diary reads like a nonfiction novel as it moves inexorably toward disaster.
This is an abridged version of the celebrated two-volume work published by Harvard as The Inman Diary: A Public and Private Confession.
When Donald Justice wrote in “On a Picture by Burchfield” that “art keeps long hours,” he might have been describing his own life. Although he early on struggled to find a balance between his life and art, the latter became a way of experiencing his life more deeply. He found meaning in human experience by applying traditional religious language to his artistic vocation. Central to his work was the translation of the language of devotion to a learned American vernacular. Art not only provided him with a wealth of intrinsically worthwhile experiences but also granted rich and nuanced ways of experiencing, understanding, and being in the world. For Donald Justice—recipient of some of poetry’s highest laurels, including the Pulitzer Prize, the Bollingen Prize, and the Lannan Literary Award for Poetry—art was a way of life.
Because Jerry Harp was Justice’s student, his personal knowledge of his subject—combined with his deep understanding of Justice’s oeuvre—works to remarkable advantage in For Us, What Music? Harp reads with keen intelligence, placing each poem within the precise historical moment it was written and locating it in the context of the literary tradition within which Justice worked. Throughout the text runs the narrative of Justice’s life, tying together the poems and informing Harp’s interpretation of them. For Us, What Music? grants readers a remarkable understanding of one of America’s greatest poets.
This first biographical and literary assessment of Frances Newman highlights one of the most experimental writers of the Southern Renaissance
The Four-Chambered Heart, Anaïs Nin’s 1950 novel, recounts the real-life affair she conducted with café guitarist Gonzalo Moré in 1936. Nin and Moré rented a house-boat on the Seine, and under the pervading influence of the boat’s watchman and Moré’s wife Helba, developed a relationship. Moré; named the boat Nanankepichu, meaning "not really a home."
In the novel, which Nin drew from her experiences on the boat, the characters' sources are clear. Djuna is an embodiment of Nin herself. A young dancer in search of fulfillment, she encapsulates all that the author was striving for at that time. The character of Djuna features in other novels, perhaps weaving a directly autobiographical thread into Nin’s fiction. The gypsy musician, Rango, is therefore Moré, and his invalid wife is Zora. The old watchman is present as a force that, along with Zora, works against the lovers in their quest for happiness.
Nin’s main concern throughout the novel is the "exterior," and how it affects the "interior." Water is a cleverly used theme. “I have no great fear of depths,” says Djuna, “and a great fear of shallow living.” Rango and Djuna’s relationship is, in effect, their effort to remain afloat. Often, Nin employs a stream of consciousness, especially in her flowing analyses of love, life and music, which continues the water image.
Anaïs Nin’s writing is typically exquisite in its detail and texture. She describes Paris: its "black lacquered cobblestones" and "silver filigree trees." The "humid scarfs of fog" on the river, and "the sharp incense of roasted chestnuts" reveal their source through their reality: Nin’s personal experience.
Katherine Anne Porter often spoke of her story "Flowering Judas" as the tale she liked best of all her stories because it came the nearest to what she meant it to be. It is the story of Laura, an idealistic woman, who travels to Mexico from Arizona at the age of twenty-two to assist the Obreg-n Revolution.
This casebook on "Flowering Judas" addresses Porter's ambivalence surrounding her roles as woman and artist and also attests to the profound influence of Mexico upon her work. Readers of this early tale will not be surprised to learn that although Porter was a practicing feminist in her life and her work, she actually eschewed the feminist label.
Virginia Spencer Carr brings her own sharply focused biographer's eye to the introduction, further illuminating the story and the superb critical essays that it provokes. The casebook includes the authoritative text of the story itself, Porter's own statement regarding the genesis of this highly acclaimed work, an important interview, a collection of significant essays on "Flowering Judas" and the historical, cultural, and personal milieu from which the tale evolved, a bibliography, and a chronology of Porter's life and work.
A constellation of essays that reanimates the work of this pivotal twentieth-century American poet for a new century.
This volume is the first to reconsider Roethke’s work in terms of the expanded critical approaches to literature that have emerged since his death in 1963. Editor William Barillas and over forty contributors, including highly respected literary scholars, critics, and writers such as Peter Balakian, Camille Paglia, Jay Parini, and David Wojahn, collectively make a case for Roethke’s poetry as a complete, unified, and evolving body of work. The accessible essays employ a number of approaches, including formalism, ecocriticism, reader-response, and feminist critique to explicate the poetics, themes, and the biographical, historical, cultural, and literary contexts of Roethke’s work.
A Frieze of Girls speaks with a fresh voice from an American era long past. This is more than Allan Seager's story of what happened; it is also about how "the feel of truth is very like the feel of fiction, especially when either is at all strange."
Seager gives us his coming-of-age story, from a high-school summer as a sometime cowboy in the Big Horn mountains to a first job at seventeen managing an antiquated factory in Memphis to a hard-drinking scholarship year in Oxford, cut short by tuberculosis. At once funny with an undercurrent of pain, the stories in A Frieze of Girls remind us of the realities we create to face the world and the past, and in turn of the realities of the world we must inevitably also confront. "Time makes fiction out of our memories," writes Seager. "We all have to have a self we can live with and the operation of memory is artistic---selecting, suppressing, bending, touching up, turning our actions inside out so that we can have not necessarily a likable, merely a plausible identity." A Frieze of Girls is Allan Seager at the top of his form, and a reminder that great writing always transcends mere fashion.
Allan Seager was Professor of English at the University of Michigan and author of many highly praised short stories and novels, including Amos Berry. He died in Tecumseh, Michigan, in 1968. Novelist Charles Baxter is the author of Saul and Patsy.
The first book in T. S. Stribling's award-winning Vaiden Trilogy about life in north Alabama at the onset, during, and after the Civil War
Originally published in 1931, The Forge introduces the Vaiden family, residents of the rural north Alabama of Stribling’s own youth. The Vaidens are a family of white yeoman farmers who scratch out a living in the social and financial shadow of the Lacefields, masters of an opulent plantation nearby.
The novel opens on Alabama’s secession and the onset of the Civil War. It traces the story of Miltiades Vaiden, who enlists in the Confederate army, and explores the ways the Vaidens, Lacefields, and freed slaves attempt to adapt to the collapse of southern society on the home front.
After The Forge, Stribling continued the Vaiden saga in 1932 with The Store, which earned him the Pulitzer Prize. He completed the trilogy in 1934 with The Unfinished Cathedral. Together, the three books paint a portrait of the agrarian South of the mid-nineteenth century, its destruction, and the beginnings of a mercantile future.
Here is an introspective, poignant portrait of an American family during a time of sweeping changes. Now nearly sixty years after it first appeared, Suckow's finest work still displays a thorough realism in its characters' actions and aspirations; the uneasy compromises they are forced to make still ring true.
Suckow's talent for retrospective analysis comes to life as she examines her own people—Iowans, descendants of early settlers—through the lives of the Ferguson family, living in the fictional small town of Belmond, Iowa. Using her gift of creating three-dimensional, living characters, Suckow focuses on personal differences within the family and each member's separate struggle to make sense of past and present, to confront a pervasive sense of loss as a way of life disappears.
Using the history of Alabama and the stories of her pioneering ancestors, Lella Warren created the Whetstone clan who settled Alabama in the 1820s, helped lead it into the prosperity of the 1850s, and fought for it in the War Between the States. The historical background of Foundation Stone is authentic, but, more, it is a compelling story about believable characters. The story of these people—three generations of Whetstones—captures the American pioneering spirit. As an unidentified reviewer described the novel, “Lella Warren’s ‘Foundation Stone’ is the long, well-told chronicle of a family that loved and hoped and struggled in a difficult world, unaware that they symbolized an era and a way of life.” Foundation Stone was published in September 1940 and was on the Publishers Weekly bestseller list September 1940-February 1941, along with Hemingway’s For Whom the Bell Tolls and Wolfe’s You Can’t Go Home Again.
Over the course of his life, Frank Waters amassed a body of work that has few equals in the literature of the American West. Because his was a writing that touched every facet of the Western experience, his voice still echoes throughout that region’s literary world.
Swallow Press is especially proud to present this generous sampling of Frank Waters’s writings. A Frank Waters Reader encompasses the full range of his work and draws from both his nonfiction and his many novels. It stands as a testament to his singular achievement and proof of the talent that established him as the foremost writer in the Southwest.
This collection spanning forty years of writing provides an excellent introduction for the uninitiated as well as a retrospective for those already familiar with this giant talent. His gift for achieving a delicate balance among the many contrary forces at work in the land and the people who inhabit it is as true and enduring as the region that inspired him.
Over the course of his life, Frank Waters amassed a body of work that has few equals in the literature of the American West. Because his was a writing that touched every facet of the Western experience, his voice still echoes throughout that region’s literary world.
Swallow Press is especially proud to present this generous sampling of Frank Waters’s writings. A Frank Waters Reader encompasses the full range of his work and draws from both his nonfiction and his many novels. It stands as a testament to his singular achievement and proof of the talent that established him as the foremost writer in the Southwest.
This collection spanning forty years of writing provides an excellent introduction for the uninitiated as well as a retrospective for those already familiar with this giant talent. His gift for achieving a delicate balance among the many contrary forces at work in the land and the people who inhabit it is as true and enduring as the region that inspired him.
Frank Waters, whose work has spanned half a century, has continually attempted to depict the reconciliation of opposites, to heal the national wounds of polarization.
Flight From Fiesta, Waters’ first novel in nearly two decades, is testimony to that aspiration, emerging as a moving and masterfully–told story of two characters who must discover the potential for common ground between their personalities.
Set in Santa Fe in the mid–fifties, the story itself is deceptively simple. Elsie, a spoiled, self–centered ten–year–old Anglo tourist girl, has come to the annual Fiesta with her divorced mother and her mother’s lover. When Elsie runs away from her hotel, she encounters Inocencio, an old alcoholic Pueblo Indian now reduced to selling pottery beneath the portal of the Palace of the Governors. With childish cunning she maneuvers Inocencio into taking her away with him. In the wake of the child’s disappearance, as the local posse–mentality intensifies and Inocencio is suspected of kidnapping and perhaps molesting her, the frightened Indian flees to the hills, taking Elsie with him on a week–long odyssey through the mountains, towns, and pueblos of New Mexico.
Waters’ eye is precise, providing sharp visual detail on very page. His ear is flawless, especially in his rendering of the laconic and stolid Indian speech patterns. All through his book there is an immediacy and a feel for place and culture that cannot be fabricated but must be gained, as Waters himself has gained it, through a lifetime among these people, these towns, and these mountains. The reconciliation of the two fugitives of Flight From Fiesta serves to point, not didactically or allegorically, but emotionally and spiritually, but emotionally and spiritually, to the possibility of the grander reconciliation that Waters envisions.
“In addition to his accomplishments as a talented novelist, a thorough historian, and an excellent essayist, Frank Waters is that rare breed of man who has merged heart and mind early in his life and moved forward to confront ultimate questions. This dilemma of faith and heritage, religion and identity, and commitment and comfort has never been resolved intellectually. Even with profound faith and rigorous discipline of self, mystics have found it difficult to resolve through action and prayer…I look at the life and writing of Frank Waters…and find…a remarkable journey of inquiry spanning nearly a century and illuminating questions which I did not think possible to formulate.”
—Vine Deloria, Jr., editor
Contributors to this volume are Alvin M. Josephy, Jr., Bobby Bridger, Steven Wall, Will Wright, William Eastlake, Larry Evers, David Jongeward, Max Evans, Win Blevins, Barbara Waters, Rudolfo Anaya, Thomas J. Lyon, Joe Gordon, Robert Kostka, Charles Adams, Father Peter J. Powell, Quay Grigg, Alexander Blackburn, and T. N. Luther.
The Battle of Five Forks was one of the the last battles of the American Civil War. A week later, Lee surrendered. Two weeks later, Lincoln was dead. In this meditation on that battle, Alexander juxtaposes the story of the battle, which he tells through narrative, letters, and journal entries, with his own impressions, viewing the South through Northern eyes. In addition, he views contemporary American society through the story of the Civil War and specifically through the story of Five Forks. If it is true that we meet our past coming to us out of the future, then, Alexander posits, America is still grappling with issues unresolved by the Civil War. Those issues are not just the obvious ones of race and class, or of North vs. South, but also the more ephemeral issues surrounding the mythos Americans live by.
Alexander is not a historian, and this is much more a literary work than a battle story. However, the immediacy with which Alexander tells his tale leads the reader to experience Five Forks—the land, the smells, the cries—as if present there in 1865. Thus, he does not just describe a battle; he captures the spirit of all battles, all wars.
Herman Melville, Matthew Arnold, Sarah Orne Jewett, Dusty Rhodes, and Hoyt Wilhelm skinny-dip and pick up gondoliers and cut figure eights into the ice in Christopher Bursk’s new collection. But the main cast of characters for these poems is the alphabet itself, “the first inhabitants of Arcadia, / now homesick, curious exiles from Eden.” Here are a boy’s first investigations into the nature of language as he studies the backs of baseball cards, and a young man’s infatuation with the “F-word.” The titles sing their lettered songs: “An Ode to j,” “M-m-m Good!” and “O in Trouble.”
Here are “reading lessons,” the author’s exploration of the curses and blessings of the word. It is about the fall from paradise and the gifts that fall makes possible. And over the whole book broods the great lexicographer, Samuel Johnson, that deeply troubled caretaker of the mother tongue. More than an ABC book, this collection asks questions at the very heart of how we understand the world and shows us the glory and silliness at the heart of human life.
Taunted by the violent character "Chops," Zu-Zu sings to keep her spirit alive in New York City's Central Park. Zu-Zu and the novel's narrator have a relationship which is transformed into a stormy, dreamlike urban affair. Their oppressive situation is depicted through multiple collages of sound and image, a funky mix of original and sampled cuts, both literary and musical.
The social chaos around them is remixed in a text consisting of street beats, classic breaks, and fresh-cool cadences. Bleeding proves that the loudest noises of moral panic can be gunshots, to be sure, but they can also be the very human sound of the music of hope and despair.
Furious Lullaby is both a celebration of and a eulogy to the body in the twenty-first century. The collection, which examines the larger concepts of salvation and temptation in a world of blossoming strife, includes a series of aubades – dramatic poems culminating with the separation of lovers at dawn. The lovers suffer a metaphysical crisis, seeking to know what is good, what is evil, and how to truly know the difference. Knowing, however, invites the terrible into their world. The Devil, a seductive trickster, haunts the landscape as a voice who dares each inquisitor to learn about mortality, morality, the beautiful, and the unspeakable through direct experience. Furious Lullaby offers a departure from the lighter prose poetry of de la Paz’s Names above Houses and preserves the author’s concern with the nature of human grace.
Hannah Arendt, Walter Benjamin, and Theodor W. Adorno were intellectual giants of the first half of the twentieth century. The drama Foreplay explores their deeply human and psychologically intriguing private lives, focusing on professional and personal jealousies, the mutual dislike of Theodor Adorno and Hannah Arendt, the association between Walter Benjamin and Georges Bataille, and the border between erotica and pornography.
Set in the summer of 1979 at the height of the movement to free Soviet Jewry, Farewell, Mama Odessa is an autobiographical novel whose intertwined storylines follow a variety of people—dissidents, victims of ethnic discrimination, and black marketeers among them—as they bid farewell to their beloved hometown of Odessa, Ukraine, and make their way to the West. At the book’s center is Boris, a young writer thwarted by state censorship and antisemitism. With an Angora kitten for his companion and together with other émigrés, he puts the old country in his rear-view mirror and sets out on a journey that will take him to Bratislava, Vienna, Rome, and New York on his way to Los Angeles. Will Boris be able to rekindle his creative passion and inspiration in the West? Will other Jewish émigrés fit into the new society, so much different than the one they left behind? With humor and compassion, Farewell, Mama
Odessa describes the émigrés’ attempts at adjustment to the free world.
This fine debut of twelve stories explores a topography of the interior, probing the thoughts, motivations, and little-understood impulses behind moments of aggression, jealousy, and loneliness. Turning her eye on the academic landscape as well as the workaday world, Frucht keenly observes people forging friendships, groping for greater self-understanding, and attempting to find meaning in their lives and loves.
Whether writing about a couple trying to conceive a much-wanted child or a lonely husband mourning the changing political attitudes of his wife, Frucht brings her characters and their lives into memorable focus. She builds a fictional world that resonates with the immediate and the familiar.
Although many books of contemporary fiction document the ways people often fail to communicate, the essential quality of Abby Frucht's characters is that they do communicate—connect—and gain part of what they want from life as a result. These stories are never about despair without also being about hope. They speak to each other as playfully and accidentally as memories do.
“I am reminded of the Argentinean writers Julio Cortázar and Jorge Luis Borges, but with sunglasses and in California. The Flying Garcias is a sure voice and a fine book.”
—Alberto Ríos
Frank X. Gaspar’s collection of poems is haunted by the presence of mystics and visionaries: Mohammed, Buddha, St. Paul, Augustine, George Herbert, Emily Dickinson, Blake, Milton, Rilke. A Field Guide to the Heavens is punctuated with designs of science, the wondering and rapt observations of the sky made at the eyepiece of a backyard telescope. We come to know Gaspar’s city streets, the neighbors and strangers that walk them, the wreckage of past lives, the ocean, the gardens, the orchards and alleys and parking lots, all spread out under the vast sky.
Fretwork hazards a response to its dilemma by turning, skeptically and resiliently, toward the materials of lyric poetry and empathetic action, however fragmented and fragile. Glazer’s poems are sculpted word by word, their forms evoking both organic process and machined exactness. Their voice blends command and humility, openness and terseness, generosity and rigor, gravity and mordant humor.
“Another fine, reflective, anecdotal look at rural Texas.” —New Yorker
“Graves writes eloquently about a countryman’s concerns. There's not a false note in the book.” —Boston Globe
“Like the unmortared stone fences of Graves’s native hill country, From a Limestone Ledge is constructed of bits and pieces never designed to fit together, yet made to achieve a unity that is more enduring than the sum of its individual parts by the hands of a master craftsman.” —Southwestern Historical Quarterly
“The beauty of his work endures, and there is a greater pride in Texans’ hearts for their home, I think, than there would be if he hadn’t written the books he did.” —Rick Bass, Garden & Gun
“In describing the particulars of his surroundings, Graves often was describing the world in microcosm and the place and plight of humankind in it.” —Bryan Woolley, Dallas Morning News
"The Lifetime movie of my divorce and crime spree will be entitled Breakdown at Midnight.... Sympathy for my character will be established by my loss of a wildly respectable, lucrative job with Arthur Andersen, a company which turned out to be as crooked as its customers. I will be another orphan of the American Dream gone sour, and eventually I will give in to the so-called dark side of my nature when I strangle Carmine with the strap of her Prada bag, or stab her to death with a survivalist-quality knife, or bludgeon her skull to a bloody pulp with a classic Tiffany lamp; this part of the script will have to wait for the real event to unfold since, though I've decided that tomorrow will be the day I kill her, I have yet to choose how."
—Charley Stranger
Turning headline news into biting social satire, Jim Grimsley exposes the amorality of materialistic America in Forgiveness, a blackly comic tale of a bankrupt accounting executive who dreams of achieving stardom in the only way a pathetic failure can—by murdering his wife. As Charley Stranger imagines the crime, he fantasizes wildly unlikely encounters with celebrities—sharing marital woes with Nicole Kidman over a latte at Starbucks, being interviewed by Barbara Walters—while in real life his wife Carmine incessantly ridicules his inability to perform either in bed or in the marketplace. As Forgiveness veers to its shocking conclusion, it strips bare the corruption of the American Dream—the moral bankruptcy of corporate and political institutions, the hollowness of living in a media-saturated world, the delusion of buying love with luxury goods.
A mentally challenged teen in a coma, a WWII veteran weighing his beliefs, an intersexed man anticipating a relationship, a single woman who has kissed far too many frogs, and a first grader suffering at the hands of a family friend. These are just a few of the unforgettable characters in Fortune Teller Miracle Fish, an innovative collection of stories from award-winning novelist and poet Cathryn Hankla. The figures in these stories struggle toward more truthful expressions of themselves, as outsiders whose dilemmas, emotions, and desires make them unmistakably human. As varied as they are vivid, they strive for closer connections of love and community. Through humor and understanding, Hankla intrepidly navigates the transitions that define them—unplanned pregnancy, divorce, death, and gender change, to name a few. Acutely attuned to her subjects’ inner landscapes, Hankla captures the full spectrum of human experience, from childhood to old age, with heart, rare skill, and nerve.
Over the past forty-five years, William Hoffman has written eleven novels, including the critically acclaimed Tidewater Blood, winner of the Dashiell Hammett award, and four short-fiction collections, the most recent being Doors—all of which have enjoyed a loyal and appreciative readership. His work has received numerous honors, including the Andrew Nelson Lytle Prize for the best short story published in the Sewanee Review; the Jeanne C. Goodheart Prize for fiction, awarded by Shenandoah; and the Hillsdale Prize for fiction, awarded by the Fellowship of Southern Writers. Yet a critical evaluation of his acclaimed fiction has not previously appeared.
The Fictional World of William Hoffman provides readers with the first vital and informative assessment of Hoffman's work. Including penetrating commentary and analysis from fellow writers—Fred Chappell, George Core, George Garrett, Dabney Stuart—as well as from established and emerging critics—Ron Buchanan, Martha Cook, Jeanne Nostrandt, Gordon Van Ness-this collection of essays aims to deepen the appreciation of those already familiar with Hoffman and to introduce new readers to one of the South's most influential voices.
George Core's opening essay provides an overview of Hoffman's novels to date, with sufficient examples to suggest his range, scope, imagery, and principal themes, including honor, courage, love, self-sacrifice, and the role of religion. The other essays in the collection focus in detail on his most admired work, especially the war novels, the short stories, and the philosophical novels of recent years. All eleven novels are covered briefly throughout the collection, six are treated extensively, and three essays focus on his short fiction.
There is no doubt that William Hoffman is a major contemporary writer. His considerable talent and influence have been felt by generations of readers. The Fictional World of William Hoffman helps to secure this influence for years to come. "As with all gifted and talented writers," Frank concludes, "the themes of Hoffman's fiction are what will endure."
A keenly observant collection of poems on disaster, aging, and apocalypse.
Golda Meir once said, “Old age is like a plane flying through a storm. Once you're aboard, there’s nothing you can do.” The poems in Fleda Brown’s brave collection, her thirteenth, take readers on a journey through the fury of this storm. There are plenty of tragedies to weather here, both personal and universal: the death of a father, a child’s terminal cancer, the extinction of bees, and environmental degradation.
Brown’s poems are wise, honest, and deeply observant meditations on contemporary science, physics, family, politics, and aging. With tributes to visionary artists, including Frida Kahlo, Pablo Picasso, and Grandma Moses, as well as to life’s terrors, sadnesses, and joys, these works are beautiful dispatches from a renowned poet who sees the shadows lengthening and imagines what they might look like from the other side.
Having escaped the porn factories of Utah, Pidgin heads for Clovis, NM to bury his father, Cline. But the body is stolen at the funeral, and Pidgin must recover it. With the aid of car thief Charlie Ward, he criscrosses a wasted New Mexico, straying through bars, junkyards, and rodeos, evading the cops, and tearing through barriers "Dukestyle." "Charlie Ward slid his thin leather belt from his jeans and held it out the window, whipping the cutlass faster, faster, his dyed black hair unbraiding in the fifty mile per hour wind, and they never stopped for gas." Along the way, Pidgin escapes a giant coyote, survives a showdown with Custer, and encounters the remnants of the Goliard Tribe—a group of radicals to which Cline belonged.
Pidgin's search allows him to reconcile the death of his father with five hundred years of colonial myth-making, and will eventually place him in a position to rewrite history. Jones tells his tale in lean, poetic prose. He paints a bleak, fever-burnt west—a land of strip-joints, strip-malls, and all you can eat beef-fed-beef stalls, where the inhabitants speak a raw, disposable lingo. His vision is dark yet frighteningly recognizable. In the tradition of Gerald Vizenor's Griever, The Fast Red Road—A Plainsong blazes a trail through the puppets and mirrors of myth, meeting the unexpected at every turn, and proving that the past—the texture of the road—can and must be changed.
In his newest collection of poetry, Laurence Leiberman widens the scope of his previous Caribbean collections by drawing attention to the small enchanting islands of the Grenadines, a chain running between Grenada and St. Vincent. These outposts, often frequented by sailors, are mainly off the beaten tourist tracks. Lieberman’s poems bring to life all the overlooked people, hidden places, and indigenous but rarely seen animals which can be found on these islands.
These poems are as powerful as voodoo, full of energetic narratives in which Lieberman acts as observer while his characters—native “Caribs” and friends—guide us through the mystifying world of Guyana and the Caribbean: the planting of tree farms, local myths and religious sects, the daily crises of manual laborers working in the gold and diamond mines, and encounters with watras and harpy eagles.
Lieberman’s lines are rhythmic and strong; voices swirl in and out of his stanzas. From Lieberman’s own precise observations to his inclusion of Caribbean dialects, the language created here is deeply textured and unique. The majority of these poems are narratives, stories about a culture that is extremely attuned to the richness of its past. They remind their readers that no matter how diverse a society becomes, it remains irrevocably connected to the land it was born of and the plants and animals that struggle to survive in its midst.
Running the gamut from traditional to radical forms, Timothy Liu’s sixth collection of poems, For Dust Thou Art, continues the trajectory of his previous books but extends his lyrical range. The centerpiece of the volume’s tripartite structure is a meditation on the events surrounding 9/11 and its aftermath. In his poems, Liu explores what a twenty-first century American “poetry of witness” might look like and protests the charge that the poetic generation to which Liu belongs is stymied by a kind of jaded amorality. Whether taking on public spectacle or contemplating the fallout of a private life, these meditations move forward and backward through time, seeking spiritual consolation within a material world.
A new inclusiveness, a heady freedom, grounded in the facts of mortality, inform Gail Mazur’s recent poems, as if making them has served as both a bunker and a promontory, a way to survive, and to be exposed to, the profound underlying subject of this book: a husband’s approaching death. The intimate particulars of a shared life are seen from a great height—and then there’s the underlife of the bunker: endurance, holding on, life as uncompromising reality. This new work, possessed by the unique devil-may-care intensity of someone writing at the end of her nerves, makes Figures in a Landscape feel radiant, visionary, and exhilarating, rather than elegiac. Mazur’s masterly fusion of abstraction with the facts of a life creates a coming to terms with what Yeats called “the aboriginal ice.”
Jane Miller loves poetry. In these provocative and deeply insightful essays, she unpacks the work of giants like Adrienne Rich, Paul Celan, Marina Tsvetaeva, Osip Mandelstam, and Federico García Lorca alongside painters such as Caravaggio and Paul Klee, as well as ancient Chinese music and techniques of the contemporary poem. Miller explores the use of the question mark in the history of poetry and its function as a revelation of poetic voice. She considers the positive and negative aspects of surrealism on the contemporary poem, its anti-feminist origins in France, its contemporary usage, and the benefits of super-real images. Miller examines how identity politics might affect the imagination. She describes ancient Chinese musical instruments to show how their sounds resonate off/in American poems and on the aural integrity of the lyric poem. She interrogates the political implications of language and the degeneration and regeneration of words. Finally, in an essay about what she dares not say about poetry, she comes out against forms of surrealism, narrative, jargon, rhetoric, irony, and appropriation. This masterful work can be read as advice to a young writer, but it also invites us into the mind of a writer who has developed her craft through the course of a lifetime of writing, reading, and exploring the world, showing not only the ideas that influenced her—feminist, lesbian, and international works—but also how Miller has, in turn, influenced ideas.
In this lively coming-of-age novel, young Danny Meyer lays bare a landscape of illness and despair but emerges triumphant, with a new awareness of the limitations of security and the lessons of eternity. Danny’s bubble-like existence in paradisal Madison is broken when his father, a concert pianist and professor, is stricken with illness and must give up his professorship. The family is forced to move to Milwaukee to live at the brink of poverty while his father gets sicker, his artistic mother struggles as bread-winner, and his brother becomes delusional. Here, Danny finds himself in the uncertain position of having to accept the responsibilities of manhood while still struggling with adolescence.
In a world that keeps shifting, Danny befriends the son of a gangster and, through his brushes with that compelling world of crime, finds his way to a new confidence. Realistically portrayed, A Friend of Kissinger, captures an authentic sense of place that is one part arty, heartland Main Street and one part shady, small-time gangsterland.
The Fiction of Gloria Naylor is one of the very first critical studies of this acclaimed writer. Including an insightful interview with Naylor
and focusing on her first four novels, the book situates various acts of insurgency throughout her work within a larger framework of African American opposition to hegemonic authority. But what truly distinguishes this volume is its engagement with African American vernacular forms and twentieth-century political movements.
In her provocative analysis, Maxine Lavon Montgomery argues that Naylor constantly attempts to reconfigure the home and homespace to be more conducive to black self-actualization, thus providing a stark contrast to a dominant white patriarchy evident in a broader public sphere. Employing a postcolonial and feminist theoretical framework to analyze Naylor’s evolving body of work, Montgomery pays particular attention to black slave historiography, tales of conjure, trickster lore, and oral devices involving masking, word play, and code-switching—the vernacular strategies that have catapulted Naylor to the vanguard of contemporary African American letters.
Montgomery argues for the existence of home as a place that is not exclusively architectural or geographic in nature. She posits that in Naylor’s writings, home exists as an intermediate space embedded in cultural memory and encoded in the vernacular. Home closely resembles a highly symbolic, signifying system bound with vexed issues of racial sovereignty as well as literary authority. Through a reinscription of the subversive, frequently clandestine acts of resistance on the part of the border subject—those outside the dominant
culture—Naylor recasts space in such a way as to undermine reader expectation and destabilize established models of dominance, influence, and control.
Thoroughly researched and sophisticated in its approach, The Fiction of Gloria Naylor will be essential reading for scholars and students of African American, American, and Africana Literary and Cultural studies.
Fidelities is the first collection of eighteen short stories to be published by this multi-faceted author. The stories in Fidelities, which are mostly set in West Virginia, are both heartrending and beautiful. Nieman published her first novel, Neena Gathering, a post-apocalyptic science fiction novel, in 1988. She has also published two poetry chapbooks, Slipping out of Old Eve and How We Live. Her second fictional work, Survivors, was published in 2000.
In any age, humans wrestle with apparently inexorable forces. Today, we face the threat of global terrorism. In the aftermath of September 11, few could miss sensing that a great evil was at work in the world. In Flannery O’Connor’s time, the threats came from different sources—World War II, the Cold War, and the Korean conflict—but they were just as real. She, too, lived though a “time of terror.” The first major critical volume on Flannery O’Connor’s work in more than a decade, Flannery O’Connor in the Age of Terrorism explores issues of violence, evil, and terror—themes that were never far from O’Connor’s reach and that seem particularly relevant to our present-day setting.
The fifteen essays collected here offer a wide range of perspectives that explore our changing views of violence in a post-9/11 world and inform our understanding of a writer whose fiction abounds in violence. Written by both established and emerging scholars, the pieces that editors Avis Hewitt and Robert Donahoo have selected offer a compelling and varied picture of this iconic author and her work. Included are comparisons of O’Connor to 1950s writers of noir literature and to the contemporary American novelist Cormac McCarthy; cultural studies that draw on horror comics of the Cold War and on Fordism and the American mythos of the automobile; and pieces that shed new light on O’Connor’s complex religious sensibility and its role in her work.
While continuing to speak fresh truths about her own time, O’Connor’s fiction also resonates deeply with the postmodern sensibilities of audiences increasingly distant from her era—readers absorbed in their own terrors and sense of looming, ineffable threats. This provocative new collection presents O’Connor’s work as a touchstone for understanding where our culture has been and where we are now. With its diverse approaches, Flannery O’Connor in the Age of Terrorism will prove useful not only to scholars and students of literature but to anyone interested in history, popular culture, theology, and reflective writing.
With his mastery of modernist technique and his depictions of characters obsessed with the past, Nobel laureate William Faulkner raised the bar for southern fiction writers. But the work of two later authors shows that the aesthetic of memory is not enough: Confederate thunder fades as they turn to an explicitly religious source of meaning.
According to John Sykes, the fiction of Flannery O’Connor and Walker Percy provides occasions for divine revelation. He traces their work from its common roots in midcentury southern and Catholic intellectual life to show how the two adopted different theological emphases and rhetorical strategies—O’Connor building to climactic images, Percy striving for dialogue with the reader—as a means of uncovering the sacramental foundation of the created order.
Sykes sets O’Connor and Percy against the background of the Southern Renaissance from which they emerged, showing not only how they shared a distinctly Christian notion of art that led them to see fiction as revelatory but also how their methods of revelation took them in different directions. Yet, despite their differences in strategy and emphasis, he argues that the two are united in their conception of the artist as “God’s sharp-eyed witness,” and he connects them with the philosophers and critics, both Christian and non-Christian, who had a meaningful influence on their work.
Through sustained readings of key texts—particularly such O’Connor stories as “The Artificial Nigger” and “The Geranium” and Percy’s novels Love in the Ruins and The Second Coming—Sykes focuses on the intertwined themes of revelation, sacrament, and community. He views their work in relation to the theological difficulties that they were not able to overcome concerning community. For both writers, the question of community is further complicated by the changing nature of the South as the Lost Cause and segregation lose their holds and a new form of prosperity arises.
By disclosing how O’Connor and Percy made aesthetic choices based on their Catholicism and their belief that fiction by its very nature is revelatory, Sykes demonstrates that their work cannot be seen as merely a continuation of the historical aesthetic that dominated southern literature for so long. Flannery O’Connor, Walker Percy, and the Aesthetic of Revelation is theoretically sophisticated without being esoteric and is accessible to any reader with a serious interest in these writers, brimming with fresh insights about both that clarify their approaches to art and enrich our understanding of their work.
Runner-up, Best Historical Fiction in English, Latino Book Awards Competition, 2010
This literary adventure takes place in nineteenth-century Texas and follows the story of a Tejana lesbian cowgirl after the fall of the Alamo. Micaela Campos, the central character, witnesses the violence against Mexicans, African Americans, and indigenous peoples after the infamous battles of the Alamo and of San Jacinto, both in 1836. Resisting an easy opposition between good versus evil and brown versus white characters, the novel also features Micaela's Mexican-Anglo cousin who assists and hinders her progress. Micaela's travels give us a new portrayal of the American West, populated by people of mixed races who are vexed by the collision of cultures and politics. Ultimately, Micaela's journey and her romance with a black/American Indian woman teach her that there are no easy solutions to the injustices that birthed the Texas Republic.
This novel is an intervention in queer history and fiction with its love story between two women of color in mid-nineteenth-century Texas. Pérez also shows how a colonial past still haunts our nation's imagination. The battles of the Alamo and San Jacinto offered freedom and liberty to Texans, but what is often erased from the story is that common people who were Mexican, Indian, and Black did not necessarily benefit from the influx of so many Anglo immigrants to Texas. The social themes and identity issues that Pérez explores—political climate, debates over immigration, and historical revision of the American West—are current today.
Greg Rappleye’s Figured Dark is a collection of contemporary lyric and narrative poems, set in an American landscape, which takes as its implicit theme the journey of the soul from darkness into light.
The voices in the collection call across a vast landscape of myth, memory, and horrific wreckage. In the title poem, speaking of the phenomenon of fireflies rising at night from a southern field, he writes, “I could read this down to a million tiny bodies, / blazing the midnight trees,” but the reader is left to wonder whether any extravagant numbering can account for the massed starlings, dreamy raptors, dome-lighted Firebirds, flaming bodies, junk cars, and deadly archangels that come to ground in Rappleye’s world, where the spiritual exhaustion of Odysseus is visited upon Brian Wilson, and the young John Berryman seeks recompense from a wily family in northern Michigan.
These poems are by turns wise, elegiac, ironic, and wickedly funny. This is a poet who refuses easy categories. If these poems are anything, they are affidavits of a heart at work, building out of darkness a kind of wild redemption, hard-earned in the real world.
Figured Dark is part of the University of Arkansas’s Poetry Series, edited by Enid Shomer.
Friendly Fallout 1953 is a hybrid work of literature that combines the actual history of aboveground atomic testing in the Nevada desert in 1953 with fictional vignettes that explore the impact of the tests on the people who participated in them and on civilian "downwinders." The book brings to life a turbulent era when Cold War fears, patriotic enthusiasm, scientific progress, and unacknowledged political agendas often collided with the welfare of ordinary citizens and the environment.
Grace Schulman's acclaimed poetry is often about joy, the celebration of the miraculous, and the birth of beauty from adversity. In her new prose collection, she explores the passion for reading and other disciplines that led her to exult in her craft.
In First Loves and Other Adventures Schulman explores how she became a writer; her wide-ranging influences; and some of the many writers and works that have enchanted her over the years, ranging from Genesis and Song of Songs in the King James Bible to T. S. Eliot to Walt Whitman. These reflections on her art and career touch on a variety of other disciplines, including science, the novel, music, and art, and their relation to poetry as a field. Her belief that art transcends formal boundaries is a recurring theme throughout her discussion of these influences, as well as in her own work.
Grace Schulman is the author of six books of poems. Among her honors are the Aiken Taylor Award for poetry, the Delmore Schwartz Memorial Award, a Guggenheim Fellowship, and New York University's Distinguished Alumni Award. Her poems have won three Pushcart Prizes, and her collection Days of Wonder was selected by Library Journal as one of the best poetry books of 2002. Schulman is the former director of the Poetry Center and former poetry editor of the Nation and currently is Distinguished Professor of English at Baruch College, City University of New York.
A volume in the POETS ON POETRY series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.
This collection of new and selected poems by the former poet laureate of Alaska, Tom Sexton, opens a door on the essence of life in Alaska and Maine. Sexton divides his year between the two states, and he captures here the small but powerful sensual details of day-to-day life in these contrasting, yet similar, environs. His carefully crafted verse distills the birch and aspen, lynx and ptarmigan, and the snow on high peaks. Through his poems we thrill to experience encounters with the wild, the seasons, and the sublime landscape.
“His language is clear, without tricks or fancy moves, yet his directness is powerful, and the effects are human”—Paul Zimmer, Georgia Review
Poet Roberto Tejada uses lyrical poems to explore and give a voice to the troubles of global citizenship, US–Mexico relations, Latino identity, and the political emotion of queer sexualities. His collection provides a holistic ground-level view of pivotal world events from the mid 1990s to a more recent present.
Tejada’s innovative work dramatically widens the scope of Latina/o literature, showing us exactly what it can accomplish. The poems move very much like a three-act play, in which the first act is one of origins; the second, a staging of desire; and the third, a symbiosis. These acts magnify one another when unified. Each poem within the collection positions itself within the avant-garde, in which the artful use of language aims to dazzle, surprise, and enliven. The poems dance by, preserving a tension between hurry and delay, momentum and stasis, and every line is like a newly launched firecracker, sending out startling patterns of spark and flare.
Tejada’s exuberant language stretches the limits of selfhood and the way it is represented in poetry. He illuminates the tangled webs that are woven when identities are linked to sexuality, nationality, privilege, and temporality. The concerns and obsessions voiced here turn the construction of desire on its head, forcing us to ask ourselves what is worthy of our attentions.
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