The Object of the Atlantic is a wide-ranging study of the transition from a concern with sovereignty to a concern with things in Iberian Atlantic literature and art produced between 1868 and 1968. Rachel Price uncovers the surprising ways that concrete aesthetics from Cuba, Brazil, and Spain drew not only on global forms of constructivism but also on a history of empire, slavery, and media technologies from the Atlantic world. Analyzing Jose Marti’s notebooks, Joaquim de Sousandrade’s poetry, Ramiro de Maeztu’s essays on things and on slavery, 1920s Cuban literature on economic restructuring, Ferreira Gullar’s theory of the “non-object,” and neoconcrete art, Price shows that the turn to objects—and from these to new media networks—was rooted in the very philosophies of history that helped form the Atlantic world itself.
"Objectivist" writers, conjoined through a variety of personal, ideological, and literary-historical links, have, from the late 1920s to the present, attracted emulation and suspicion. Representing a nonsymbolist, postimagist poetics and characterized by a historical, realist, antimythological worldview, Objectivists have retained their outsider status. Despite such status, however, the formal, intellectual, ideological, and ethical concerns of the Objectivist nexus have increasingly influenced poetry and poetics in the United States.
Thus, argue editors Rachel Blau DuPlessis and Peter Quartermain, the time has come for an anthology that unites essential works on Objectivist practices and presents Objectivist writing as an enlargement of the possibilities of poetry rather than as a determinable and definable literary movement. The authors' collective aim is to bring attention to this group of poets and to exemplify and specify cultural readings for poetic texts--readings alert to the material world, politics, society, and history, and readings concerned with the production, dissemination, and reception of poetic texts.
The contributors consider Basil Bunting, Lorine Niedecker, George Oppen, Carl Rakosi, Charles Reznikoff, and Louis Zukofsky within both their historical milieu and our own. The essays insist on poetry as a mode of thought; analyze and evaluate Objectivist politics; focus on the ethical, spiritual, and religious issues raised by certain Objectivist affiliations with Judaism; and explore the dissemination of poetic texts and the vagaries of Objectivist reception. Running throughout the book are two related threads: Objectivist writing as generally a practice aware of its own historical and social contingency and Objectivist writing as a site of complexity, contestation, interrogation, and disagreement.
Obsessive Images was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
As Mark Schorer comments, this is "the last, unfinished work of a distinguished, well loved critic, poet, and professor." After the death of Joseph Warren Beach, his colleague and friend William Van O'Connor, professor of English at the University of Minnesota, prepared the unfinished manuscript of this work for publication and wrote the foreword.
The work is primarily a study of certain words, phrases, and images that turn up with unusual frequency in modern American poetry, especially that of the decades of the 1930's and 1940's, and which are used in unusual senses, to carry special symbolisms, or to imply peculiar philosophical attitudes. Since the study is concerned with such recurring images and themes, many poets of distinction, in whose work they are not to be found, are left out, but Professor Beach also discusses the significance of the absence of these poets.
Students and critics will gain insight through this work into the characteristic attitudes of a generation of poets. The book is, moreover, a delight to read, reflecting, as it does, Mr. Beach's own love for the study of poetry. As Professor O'Connor points out, the tone is much more personal than that of Mr. Beach's other books.
In her pathbreaking book, Ocean Passages, Erin Suzuki explores how movement through—and travel across—the ocean mediates the construction of Asian American and Indigenous Pacific subjectivities in the wake of the colonial conflicts that shaped the modern transpacific. Ocean Passages considers how Indigenous Pacific scholars have emphasized the importance of the ocean to Indigenous activism, art, and theories of globalization and how Asian American studies might engage in a deconstructive interrogation of race in conversation with this Indigenous-centered transnationalism.
The ocean passages that Suzuki addresses include the U.S. occupation and militarization of ocean space; refugee passage and the history and experiences of peoples displaced from the Pacific Islands; migratory circuits and the labors required to cross the sea; and the different ways that oceans inform postcolonial and settler colonial nationalisms. She juxtaposes work by Indigenous Pacific and Asian American artists and authors including James George, Maxine Hong Kingston, Kathy Jetñil-Kijiner, lê thi diếm thúy, Ruth Ozeki, and Craig Santos Perez. In Ocean Passages, Suzuki explores what new ideas, alliances, and flashpoints might arise when comparing and contrasting Asian and Pacific Islander passages across a shared sea.
A Times Higher Education Book of the Week
One of our foremost commentators on poetry examines the work of a broad range of nineteenth- and twentieth-century English, Irish, and American poets. The Ocean, the Bird, and the Scholar gathers two decades’ worth of Helen Vendler’s essays, book reviews, and occasional prose—including the 2004 Jefferson Lecture—in a single volume.
“It’s one of [Vendler’s] finest books, an impressive summation of a long, distinguished career in which she revisits many of the poets she has venerated over a lifetime and written about previously. Reading it, one can feel her happiness in doing what she loves best. There is scarcely a page in the book where there isn’t a fresh insight about a poet or poetry.”
—Charles Simic, New York Review of Books
“Vendler has done perhaps more than any other living critic to shape—I might almost say ‘create’—our understanding of poetry in English.”
—Joel Brouwer, New York Times Book Review
“Poems are artifacts and [Vendler] shows us, often thrillingly, how those poems she considers the best specimens are made…A reader feels that she has thoroughly absorbed her subjects and conveys her understanding with candor, clarity, wit.”
—John Greening, Times Literary Supplement
Gerry Canavan offers a critical and holistic consideration of Butler's career. Drawing on Butler's personal papers, Canavan tracks the false starts, abandoned drafts, tireless rewrites, and real-life obstacles that fed Butler's frustrations and launched her triumphs. Canavan departs from other studies to approach Butler first and foremost as a science fiction writer working within, responding to, and reacting against the genre's particular canon. The result is an illuminating study of how an essential SF figure shaped themes, unconventional ideas, and an unflagging creative urge into brilliant works of fiction.
Francesco Filelfo (1398–1481), one of the great scholar-poets of the Italian Renaissance, was the principal humanist working in Lombardy in the middle of the Quattrocento and served as court poet to the Visconti and Sforza dukes of Milan. His long life saw him as busy with politics, diplomacy, and intrigue as with literature and scholarship, leaving him very often on the run from rival factions—and even from hired assassins. The first Latin poet of the Renaissance to explore the expressive potential of Horatian meters, Filelfo adapted the traditions of Augustan literature to address personal and political concerns in his own day.
The Odes, completed in the mid-1450s, constitute the first complete cycle of Horatian odes since classical antiquity and are a major literary achievement. Their themes include war, just rule, love, exile, patronage, and friendship as well as topical subjects like the plague’s grim effects on Milan.
This volume is the first publication of the Latin text since the fifteenth century and the first translation into English.
Monumental verse.
The poetry of Horace (born 65 BC) is richly varied, its focus moving between public and private concerns, urban and rural settings, Stoic and Epicurean thought. The Loeb Classical Library edition of the great Roman poet’s Odes and Epodes boasts a faithful and fluid translation and reflects current scholarship.
Horace took pride in being the first Roman to write a body of lyric poetry. For models he turned to Greek lyric, especially to the poetry of Alcaeus, Sappho, and Pindar; but his poems are set in a Roman context. His four books of Odes cover a wide range of moods and topics. Some are public poems, upholding the traditional values of courage, loyalty, and piety; and there are hymns to the gods. But most of the Odes are on private themes: chiding or advising friends; speaking about love and amorous situations, often amusingly. Horace’s seventeen Epodes, which he called iambi, were also an innovation for Roman literature. Like the Odes they were inspired by a Greek model: the seventh-century iambic poetry of Archilochus. Love and political concerns are frequent themes; the tone is only occasionally aggressive. “In his language he is triumphantly adventurous,” Quintilian said of Horace; Niall Rudd’s translation reflects his different voices.
THIS EDITION HAS BEEN REPLACED BY A NEWER EDITION.
Horace (b. 65 B.C.) claims the lyric poetry of Sappho and Alcaeus as models for his celebrated odes. His four books cover a wide range of moods and topics: friendship is the dominant theme of about a third of the poems; a great many deal with love and amorous situations, often amusingly; others deal with patriotic and political themes. The seventeen epodes, which Horace called iambi, were also inspired by a Greek model: the seventh century iambic poetry of Archilochus. As in the odes, love and politics are frequent themes; some of the epodes also display mockery and ridicule, of a harsher variety than we find in Horace's satires.
Helen Vendler widens her exploration of lyric poetry with a new assessment of the six great odes of John Keats and in the process gives us, implicitly, a reading of Keats’s whole career. She proposes that these poems, usually read separately, are imperfectly seen unless seen together—that they form a sequence in which Keats pursued a strict and profound inquiry into questions of language, philosophy, and aesthetics.
Vendler describes a Keats far more intellectually intent on creating an aesthetic, and on investigating poetic means, than we have yet seen, a Keats inquiring into the proper objects of worship for man, the process of soul making, the female Muse, the function of aesthetic reverie, and the ontological nature of the work of art. We see him questioning the admissibility of ancient mythology in a post Enlightenment art, the hierarchy of the arts, the role of the passions in art, and the rival claims of abstraction and representation. In formal terms, he investigates in the odes the appropriateness of various lyric structures. And in debating the value to poetry of the languages of personification, mythology, philosophical discourse, and trompe l’oeil description, Keats more and more clearly distinguishes the social role of lyric from those of painting, philosophy, or myth.
Like Vendler’s previous work on Yeats, Stevens, and Herbert, this finely conceived volume suggests that lyric poetry is best understood when many forms of inquiry—thematic, linguistic, historical, psychological, and structural—are brought to bear on it at once.
The hero’s journey home from war.
Here is a new Loeb Classical Library edition of the resplendent epic tale of Odysseus’ long journey home from the Trojan War and the legendary temptations, delays, and perils he faced at every turn. Homer’s classic poem features Odysseus’ encounters with the beautiful nymph Calypso; the queenly but wily Circe; the Lotus-eaters, who fed his men their memory-stealing drug; the man-eating, one-eyed Cyclops; the Laestrygonian giants; the souls of the dead in Hades; the beguiling Sirens; the treacherous Scylla and Charybdis. Here, too, is the hero’s faithful wife, Penelope, weaving a shroud by day and unraveling it by night, in order to thwart the numerous suitors attempting to take Odysseus’ place.
The works attributed to Homer include the two oldest and greatest European epic poems, the Odyssey and Iliad. These texts have long stood in the Loeb Classical Library with a faithful and literate prose translation by A. T. Murray. George Dimock has brought the Loeb’s Odyssey up to date, with a rendering that retains Murray’s admirable style but is worded for today’s readers. The two-volume edition includes a new introduction, notes, and index.
The hero’s journey home from war.
Here is a new Loeb Classical Library edition of the resplendent epic tale of Odysseus’ long journey home from the Trojan War and the legendary temptations, delays, and perils he faced at every turn. Homer’s classic poem features Odysseus’ encounters with the beautiful nymph Calypso; the queenly but wily Circe; the Lotus-eaters, who fed his men their memory-stealing drug; the man-eating, one-eyed Cyclops; the Laestrygonian giants; the souls of the dead in Hades; the beguiling Sirens; the treacherous Scylla and Charybdis. Here, too, is the hero’s faithful wife, Penelope, weaving a shroud by day and unraveling it by night, in order to thwart the numerous suitors attempting to take Odysseus’ place.
The works attributed to Homer include the two oldest and greatest European epic poems, the Odyssey and Iliad. These texts have long stood in the Loeb Classical Library with a faithful and literate prose translation by A. T. Murray. George Dimock has brought the Loeb’s Odyssey up to date, with a rendering that retains Murray’s admirable style but is worded for today’s readers. The two-volume edition includes a new introduction, notes, and index.
Oedipus Rex is the greatest of the Greek tragedies, a profound meditation on the human condition. The story of the mythological king, who is doomed to kill his father and marry his mother, has resonated in world culture for almost 2,500 years. But Sophocles’ drama as originally performed was much more than a great story—it was a superb poetic script and exciting theatrical experience. The actors spoke in pulsing rhythms with hypnotic forward momentum, making it hard for audiences to look away. Interspersed among the verbal rants and duels were energetic songs performed by the chorus.
Offers a philosophical history of bridges—both literal bridges and their symbolic counterparts—and the acts of cultural connection they embody.
“Always,” wrote Philip Larkin, “it is by bridges that we live.” Bridges represent our aspirations to connect, to soar across divides. And it is the unfinished business of these aspirations that makes bridges such stirring sights, especially when they are marvels of ingenuity.
A rich compendium of myths, superstitions, and literary and ideological figurations, Of Bridges organizes a poetic and philosophical history of bridges into nine thematic clusters. Leaping in lucid prose between distant times and places, Thomas Harrison questions why bridges are built and where they lead. He probes links forged by religion between life’s transience and eternity as well as the consolidating ties of music, illustrated by the case of the blues. He investigates bridges in poetry, as flash points in war, and the megabridges of our globalized world. He illuminates real and symbolic crossings facing migrants each day and the affective connections that make persons and societies cohere. In readings of literature, film, philosophy, and art, Harrison engages in a profound reflection on how bridges form and transform cultural communities. Of Bridges is a mesmerizing, vertiginous tale of bridges both visible and invisible, both lived and imagined.
A fiercely independent thinker, colorful storyteller, and spirited teacher, David Grene devoted his life to two things: farming, which he began as a boy in Ireland and continued into old age; and classics, which he taught for several decades that culminated in his translating and editing, with Richmond Lattimore, of The Complete Greek Tragedies.
In this charming memoir, which he wrote during the years leading up to his death in 2002 at the age of eighty-nine, Grene weaves together these interests to tell a quirky and absorbing story of the sometimes turbulent and always interesting life he split between the University of Chicago—where he helped found the Committee on Social Thought—and the farm he kept back in Ireland.
Charting the path that took him from Europe to Chicago in 1937, and encompassing his sixty-five-year career at the university, Grene’s book draws readers into the heady and invigorating climate of his time there. And it is elegantly balanced with reflections stemming from his work on the farm where he hunted, plowed and regularly traveled on horseback to bring his cows home for milking. Grene’s form and humor are quite his own, and his brilliant storytelling will enthrall anyone interested in the classics, rural Ireland, or twentieth-century intellectual history, especially as it pertains to the University of Chicago.
An entertaining reworking of the most popular branch of the Old French tale of Reynard the Fox, the mid-thirteenth century Dutch epic Van den vos Reynaerde is one of the earliest long literary works in the Dutch vernacular. Sly Reynaert and a cast of other comical woodland characters find themselves again and again caught up in escapades that often provide a satirical commentary on human society.
This charmingly volume is the first bilingual edition of the tale, featuring facing pages with an English translation by Thea Summerfield, making the undisputed masterpiece of medieval Dutch literature accessible to a wide international audience. Accompanying the critical text and parallel translation are an introduction, interpretative notes, an index of names, a complete glossary, and a short introduction to Middle Dutch.
Two hundred years before Shakespeare observed that “all the world’s a stage,” another writer with a flair for drama realized the same fact. This writer was Geoffrey Chaucer.
Chaucer, however, presented his dramatic efforts through the medium of short stories, and he is regularly referred to as one of the world’s great storytellers. Yet there are certain questions which arise time and again in the minds of literary scholars. Most of the tales in the Canterbury collection are excellent, but why did Chaucer include such obviously poor recitals as the dull “Melibeus” and the lengthy “Parson’s Tale”? Did he fail to recognize their lack of literary merit? Or were those of his stories which seem so dull to modern readers really popular in fourteenth-century England?
Of Sondry Folk is Lumiansky’s answer to such questions. But it is more than that. It is the revelation of Chaucer as dramatic writer. Chaucer, says Lumiansky, did not intend primarily to tell a series of good tales. Instead, he chose tales which suited his purpose of dramatic exposition of character. And the characters, though drawn from many walks of life, are not stereotypes. Their tales not only disclose what the Pilgrims think of themselves but reveal these Pilgrims as they really are—dull, romantic, egotistical, pious, or lustful.
Not all readers will agree with Lumiansky’s conclusions in this book. But his scholarship, his clear, uninvolved prose, and his wit and frankness make of it an excellent handbook for the student of the Canterbury Tales. Of Sondry Folk will increase the enjoyment and understanding of Chaucer’s art for any reader, lay or scholarly.
Chicano/a fiction is often understood as a literature of resistance to the dominant U.S. Anglo culture and society. But reducing this rich literary production to a single, binary opposition distorts it in fundamental ways. It conflates literature with life, potentially substituting a literature of protest for social activism that could provoke real changes in society. And it overlooks the complex range of responses to Anglo society that actually animates Chicano/a fiction.
In this paradigm-shifting book, Patrick L. Hamilton analyzes works by Rudolfo Anaya, Ana Castillo, Denise Chávez, Rolando Hinojosa, Arturo Islas, John Rechy, Alfredo Véa, and Helena María Viramontes to expand our understandings of the cultural interactions within the United States that are communicated by Chicano/a fiction. He argues that the narrative ethics of "resistance" within the Chicano/a canon is actually complemented by ethics of "persistence" and "transformation" that imagine cultural differences within the United States as participatory and irreducible to simple oppositions. To demonstrate these alternative ethics, Hamilton adapts the methodology of cognitive mapping; that is, he treats the chosen fictional texts as mental maps that are constructed around and communicative of the narrative's ethics. As he reads these cognitive maps, which envision Chicano/a culture as being part of U.S. society rather than as "resistant" and separate, Hamilton asserts that the authors' conception of cultural difference speaks more usefully to current sociopolitical debates, such as those about gay marriage and immigration reform, than does the traditional "resistant" paradigm.
What is the connection between the United States' imbalance of trade with Japan and the imbalance of translation in the other direction? Between Western literary critics' estimates of Japanese fiction and Japanese politicians' "America-bashing"? Between the portrayal of East-West relations in the film Merry Christmas, Mr. Lawrence and the terms of the GATT trade agreements?
In this provocative study, Masao Miyoshi deliberately adopts an off-center perspective--one that restores the historical asymmetry of encounters between Japan and the United States, from Commodore Perry to Douglas MacArthur--to investigate the blindness that has characterized relations between the two cultures.
Both nations are blinkered by complementary forms of ethnocentricity. The United States--or, more broadly, the Eurocentric West--believes its culture to be universal, while Japan believes its culture to be essentially unique. Thus American critics read and judge Japanese literature by the standards of the Western novel; Japanese politicians pay lip service to "free trade" while supporting protectionist policies at home and abroad.
Miyoshi takes off from literature to range across culture, politics, and economics in his analysis of the Japanese and their reflections in the West; the fiction of Tanizaki, Mishima, Oe; trade negotiations; Japan bashing and America bashing; Emperor worship; Japanese feminist writing; the domination of transcribed conversation as a literary form in contemporary Japan. In his confrontation with cultural critics, Miyoshi does not spare "centrists" of either persuasion, nor those who refuse to recognize that "the literary and the economical, the cultural and the industrial, are inseparable."
Yet contentious as this book can be, it ultimately holds out, by its example, hope for a criticism that can see beyond the boundaries of national cultures--without substituting a historically false "universal" culture--and that examines cultural convergences from a viewpoint that remains provocatively and fruitfully off center.
In Off Whiteness: Place, Blood, and Tradition in Post-Reconstruction Southern Literature, Izabela Hopkins explores the remaking of whiteness in the Post-Reconstruction South as represented in literary fiction. To focus her study, she discusses the writings of four prominent figures: Thomas Nelson Page, Ellen Glasgow, Charles Waddell Chesnutt, and Alice Dunbar-Nelson, who contributed to discussions of racial and social identity during the post–Civil War South through poetry, journalism, essays, novels, and more.
Off Whiteness draws from both sides of the color line—as well as from both the male and female experience—to examine the ambivalence of Southern whiteness from three particular vantage points: place, ideality, and repeatability. Hopkins develops her analysis across nine chapters divided into three parts. In her exploration of these four writers with differing backgrounds and experiences, she utilizes both their well-known and lesser-known texts to argue against the superficial oversimplification that “whiteness requires blackness to define itself.”
Hopkins’s analysis not only successfully grapples with a wide range of post-structural theories; it also approaches the significance of language and religion with intention and sensitivity, thereby addressing areas that are typically ignored in whiteness studies scholarship. The interdisciplinary nature of Off Whiteness positions it as an engaging text relevant to the work and interests of scholars drawn to American and Southern history, cultural and social studies, literary studies, etymology, and critical race theory.
Simon Pokagon, the son of tribal patriarch Leopold Pokagon, was a talented writer, advocate for the Pokagon Potawatomi community, and tireless self-promoter.
In 1899, shorty after his death, Pokagon's novel Ogimawkwe Mitigwaki (Queen of the Woods)—only the second ever published by an American Indian—appeared. It was intended to be a testimonial to the traditions, stability, and continuity of the Potawatomi in a rapidly changing world. Read today, Queen of the Woods is evidence of the author's desire to mark the cultural, political, and social landscapes with a memorial to the past and a monument to a future that included the Pokagon Potawatomi as distinct and honored people.
This new edition offers a reprint of the original 1899 novel with the author's introduction to the language and culture of his people. In addition, new accompanying materials add context through a cultural biography, literary historical analysis, and linguistic considerations of the unusual text.
The Old English Boethius boldly refashions in Anglo-Saxon guise a great literary monument of the late-antique world, The Consolation of Philosophy. Condemned to death for treason around 525 ce, the Roman scholar Boethius turned to philosophy to transform his personal distress into a powerful meditation on fate, free will, and the human capacity for virtue in a flawed, fallen world. Boethius's Latin dialogues found a receptive audience in Anglo-Saxon England, where they were translated into Old English some time around 900. The translator (traditionally identified with King Alfred) freely adapts the Latin for a new audience: the Roman Fabricius, for example, becomes the Germanic weapon-smith Weland. The translation replicates Boethius’s alternation of prose and verse—only in this case Old English prose alternates with alliterative verse.
In later centuries Chaucer and Queen Elizabeth each turned The Consolation of Philosophy into English, but the Old English translation was the first to bring it to a wider vernacular audience. Verse prologues and epilogues for works traditionally associated with King Alfred fill out the volume, offering readers a fascinating glimpse of the moment when English confidently claimed its birthright as a literature capable of anything, from sublime ideas to subtle poetry.
In Old English Literature in its Manuscript Context, editor Joyce Tally Lionarons has developed a multifaceted collection examining the issues facing the textual transmission of Anglo-Saxon writings. Eight established scholars consider the ideas of textual identity, authorship and translation, and editorial standards and obligations. This work also features a scholarly exchange of ideas and photographs of the original Anglo-Saxon manuscripts, making this essential reading for anyone interested in the history of Old English literature. The essays published in this text were originally composed at an NEH summer seminar conducted by Paul Szarmach and Timothy Graham at the Parker Library of Corpus Christi College, Cambridge in 1997.
The Old English poems attributed to Cynewulf, who flourished some time between the eighth and tenth centuries, are unusual because most vernacular poems in this period are anonymous. Other than the name, we have no biographical details of Cynewulf, not even the most basic facts of where or when he lived. Yet the poems themselves attest to a powerfully inventive imagination, deeply learned in Christian doctrine and traditional verse-craft.
Runic letters spelling out the name Cynewulf appear in four poems: Christ II (or The Ascension), Juliana, The Fates of the Apostles, and Elene. To these a fifth can be added, Guthlac B, because of similarities in style and vocabulary, but any signature (if one ever existed) has been lost because its ending lines are missing. What characterizes Cynewulf’s poetry? He reveals an expert control of structure as shown from the changes he makes to his Latin sources. He has a flair for extended similes and dramatic dialogue. In Christ II, for example, the major events in Christ’s life are portrayed as vigorous leaps. In Juliana the force of the saint’s rhetoric utterly confounds a demon sent to torment her.
Old English Tradition contains eighteen new essays by leading scholars in the field of Old English literary studies. The collection is centered around five key areas of research—Old English poetics, Anglo-Saxon Christianity, Beowulf, codicology, and early Anglo-Saxon studies—on which the work of scholar J. R. Hall, the volume’s honorand, has been influential over the course of his career.
The volume’s contents range from fresh insights on individual Old English poems such as The Wife’s Lament and Beowulf; new studies in Old English metrics and linguistics; codicological examinations of individual manuscripts; fresh editions of understudied texts; and innovative examinations of the role of early antiquarians in shaping the field of Old English literary studies as we know it today.
Old Norse mythology is elusive: it is the label used to describe the religious stories of the pre-Christian North, featuring such well-known gods as Odin and Thor, yet most of the narratives have come down to us in manuscripts from the Middle Ages mainly written by Christians. Our view of the stories as they were transmitted in oral form in the pre-Christian era is obscured.
To overcome these limitations, this book assembles comparisons from a range of theoretical and analytical perspectives—across media, cultures, and disciplines. Fifteen scholars from a wide range of fields examine the similarities of and differences of the Old Norse mythologies with the myths of other cultures. The differences and similarities within the Old Norse corpus itself are examined to tease out the hidden clues to the original stories.
The Old Story, with a Difference: Pickwick’s Vision explores in radically different ways from most approaches to nineteenth-century studies the tropes and metaphors of vision in Dickens’ first novel, The Pickwick Papers. Julian Wolfreys provides a close reading of Dickens’ Pickwick Papers and argues that this novel is an exemplary text for the re-consideration of concepts such as literature, history, the novel, and the whole notion of Victorian studies. True to the purpose of the Victorian Critical Interventions Series, Wolfreys challenges scholars to rethink the use of a canonical text in Victorian literature.
Challenging the commonplaces of historicist criticism, and demonstrating the need for a return to close reading, The Old Story, with a Difference presents a reading of the novel grounded in the twinned rigors of materialist historiography and theoretical inflections tending toward attentiveness to epistemological and linguistic concerns. Through such an orientation, Wolfreys unpacks the relation between the tropes of visuality and matters of memory, history, and the necessity of fiction to bear witness to the cultures, past and present, from which literature becomes generated and which it mediates. In doing so, he situates an argument for rethinking Dickens’ novel as the inaugural novel of Victorian fiction par excellence, in that novel’s efforts to remain open to the traces of the past in particular ways.
The Old Story, with a Difference holds profound implications for the study not only of Dickens’ works but Victorian literature and culture in general. Provocative and inventive, this ambitious analysis will challenge, goad, and invite the reader to return to acts of materialist reading informed by ethical and ideological urgency, rather than relapsing into the commonplaces of humanist cliché.
The preeminent lyric poet of ancient Greece.
Of the Greek lyric poets, Pindar (ca. 518–438 BC) was “by far the greatest for the magnificence of his inspiration” in Quintilian’s view; Horace judged him “sure to win Apollo’s laurels.” The esteem of the ancients may help explain why a good portion of his work was carefully preserved. Most of the Greek lyric poets come down to us only in bits and pieces, but nearly a quarter of Pindar’s poems survive complete. William H. Race now brings us, in two volumes, a new edition and translation of the four books of victory odes, along with surviving fragments of Pindar’s other poems.
Like Simonides and Bacchylides, Pindar wrote elaborate odes in honor of prize-winning athletes for public performance by singers, dancers, and musicians. His forty-five victory odes celebrate triumphs in athletic contests at the four great Panhellenic festivals: the Olympic, Pythian (at Delphi), Nemean, and Isthmian games. In these complex poems, Pindar commemorates the achievement of athletes and powerful rulers against the backdrop of divine favor, human failure, heroic legend, and the moral ideals of aristocratic Greek society. Readers have long savored them for their rich poetic language and imagery, moral maxims, and vivid portrayals of sacred myths.
Race provides brief introductions to each ode and full explanatory footnotes, offering the reader invaluable guidance to these often difficult poems. His Loeb Pindar also contains a helpfully annotated edition and translation of significant fragments, including hymns, paeans, dithyrambs, maiden songs, and dirges.
Cultivated farming advice.
Cato (M. Porcius Cato) the elder (234–149 BC) of Tusculum, statesman and soldier, was the first important writer in Latin prose. His speeches, works on jurisprudence and the art of war, his precepts to his son on various subjects, and his great historical work on Rome and Italy are lost. But we have his De Agricultura; terse, severely wise, grimly humorous, it gives rules in various aspects of a farmer’s economy, including even medical and cooking recipes, and reveals interesting details of domestic life.
Varro (M. Terentius) of Reate (116–27 BC), renowned for his vast learning, was an antiquarian, historian, philologist, student of science, agriculturist, and poet. He was a republican who was reconciled to Julius Caesar and was marked out by him to supervise an intended national library. Of Varro’s more than seventy works involving hundreds of volumes we have only one on agriculture and country affairs (Rerum Rusticarum) and part of his work on the Latin language (De Lingua Latina; LCL 333, 334), though we know much about his Satires. Each of the three books on country affairs begins with an effective mise en scene and uses dialogue. The first book deals with agriculture and farm management, the second with sheep and oxen, the third with poultry and the keeping of other animals large and small, including bees and fish ponds. There are lively interludes and a graphic background of political events.
A Roman farmer on farming.
Columella (Lucius Iunius Moderatus) of Gades (Cadiz) lived in the reigns of the first emperors to about AD 70. He moved early in life to Italy where he owned farms and lived near Rome. It is probable that he did military service in Syria and Cilicia and that he died at Tarentum.
Columella’s On Agriculture (De re rustica) is the most comprehensive, systematic, and detailed of Roman agricultural works. Book 1 covers choice of farming site; water supply; buildings; staff. 2: Plowing; fertilizing; care of crops. 3–5: Cultivation, grafting, and pruning of fruit trees, vines, and olives. 6: Acquisition, breeding, and rearing of oxen, horses, and mules; veterinary medicine. 7: Sheep, goats, pigs, and dogs. 8: Poultry; fish ponds. 9: Bee-keeping. 10 (in hexameter poetry): Gardening. 11: Duties of the overseer of a farm; calendar for farm work; more on gardening. 12: Duties of the overseer’s wife; manufacture of wines; pickling; preserving. There is also a separate treatise, Trees (De arboribus), on vines and olives and various trees, perhaps part of an otherwise lost work written before On Agriculture.
The Loeb Classical Library edition of Columella is in three volumes.
A Roman farmer on farming.
Columella (Lucius Iunius Moderatus) of Gades (Cadiz) lived in the reigns of the first emperors to about AD 70. He moved early in life to Italy where he owned farms and lived near Rome. It is probable that he did military service in Syria and Cilicia and that he died at Tarentum.
Columella’s On Agriculture (De re rustica) is the most comprehensive, systematic, and detailed of Roman agricultural works. Book 1 covers choice of farming site; water supply; buildings; staff. 2: Plowing; fertilizing; care of crops. 3–5: Cultivation, grafting, and pruning of fruit trees, vines, and olives. 6: Acquisition, breeding, and rearing of oxen, horses, and mules; veterinary medicine. 7: Sheep, goats, pigs, and dogs. 8: Poultry; fish ponds. 9: Bee-keeping. 10 (in hexameter poetry): Gardening. 11: Duties of the overseer of a farm; calendar for farm work; more on gardening. 12: Duties of the overseer’s wife; manufacture of wines; pickling; preserving. There is also a separate treatise, Trees (De arboribus), on vines and olives and various trees, perhaps part of an otherwise lost work written before On Agriculture.
The Loeb Classical Library edition of Columella is in three volumes.
A Roman farmer on farming.
Columella (Lucius Iunius Moderatus) of Gades (Cadiz) lived in the reigns of the first emperors to about AD 70. He moved early in life to Italy where he owned farms and lived near Rome. It is probable that he did military service in Syria and Cilicia and that he died at Tarentum.
Columella’s On Agriculture (De re rustica) is the most comprehensive, systematic, and detailed of Roman agricultural works. Book 1 covers choice of farming site; water supply; buildings; staff. 2: Plowing; fertilizing; care of crops. 3–5: Cultivation, grafting, and pruning of fruit trees, vines, and olives. 6: Acquisition, breeding, and rearing of oxen, horses, and mules; veterinary medicine. 7: Sheep, goats, pigs, and dogs. 8: Poultry; fish ponds. 9: Bee-keeping. 10 (in hexameter poetry): Gardening. 11: Duties of the overseer of a farm; calendar for farm work; more on gardening. 12: Duties of the overseer’s wife; manufacture of wines; pickling; preserving. There is also a separate treatise, Trees (De arboribus), on vines and olives and various trees, perhaps part of an otherwise lost work written before On Agriculture.
The Loeb Classical Library edition of Columella is in three volumes.
Anger is an emotion that affects everyone regardless of culture, class, race, or gender—but at the same time, being angry always results from the circumstances in which people find themselves. In On Anger, Sue J. Kim opens a stimulating dialogue between cognitive studies and cultural studies to argue that anger is always socially and historically constructed and complexly ideological, and that the predominant individualistic conceptions of anger are insufficient to explain its collective, structural, and historical nature.
On Anger examines the dynamics of racial anger in global late capitalism, bringing into conversation work on political anger in ethnic, postcolonial, and cultural studies with recent studies on emotion in cognitive studies. Kim uses a variety of literary and media texts to show how narratives serve as a means of reflecting on experiences of anger and also how we think about anger—its triggers, its deeper causes, its wrongness or rightness. The narratives she studies include the film Crash, Maxine Hong Kingston’s The Woman Warrior, Tsitsi Dangarembga’s Nervous Conditions and The Book of Not, Ngugi wa Thiong’o’s Devil on the Cross and Wizard of the Crow, and the HBO series The Wire. Kim concludes by distinguishing frustration and outrage from anger through a consideration of Stéphane Hessel’s call to arms, Indignez-vous! One of the few works that focuses on both anger and race, On Anger demonstrates that race—including whiteness—is central to our conceptions and experiences of anger.
Occasionally zany zoological lore.
Aelian (Claudius Aelianus), a Roman born ca. AD 170 at Praeneste, was a pupil of the rhetorician Pausanias of Caesarea, and taught and practiced rhetoric. Expert in Attic Greek, he became a serious scholar and studied history under the patronage of the Roman empress Julia Domna. He apparently spent all his life in Italy where he died after AD 230.
Aelian’s On the Characteristics of Animals, in 17 books, is a collection of facts and beliefs concerning the habits of animals drawn from Greek authors and some personal observation. Fact, fancy, legend, stories, and gossip all play their part in a narrative that is meant to entertain. If there is any ethical motive, it is that the virtues of untaught yet reasoning animals can be a lesson to thoughtless and selfish mankind. The Loeb Classical Library edition of this work is in three volumes.
The Historical Miscellany (LCL 486) is of similar nature. In 14 books, it consists mainly of historical and biographical anecdotes and retellings of legendary events. Some of Aelian’s material is drawn from authors whose works are lost.
Aelian’s Letters—portraying the affairs and country ways of a series of fictitious writers—offer engaging vignettes of rural life. These are available in LCL 383.
Occasionally zany zoological lore.
Aelian (Claudius Aelianus), a Roman born ca. AD 170 at Praeneste, was a pupil of the rhetorician Pausanias of Caesarea, and taught and practiced rhetoric. Expert in Attic Greek, he became a serious scholar and studied history under the patronage of the Roman empress Julia Domna. He apparently spent all his life in Italy where he died after AD 230.
Aelian’s On the Characteristics of Animals, in 17 books, is a collection of facts and beliefs concerning the habits of animals drawn from Greek authors and some personal observation. Fact, fancy, legend, stories, and gossip all play their part in a narrative that is meant to entertain. If there is any ethical motive, it is that the virtues of untaught yet reasoning animals can be a lesson to thoughtless and selfish mankind. The Loeb Classical Library edition of this work is in three volumes.
The Historical Miscellany (LCL 486) is of similar nature. In 14 books, it consists mainly of historical and biographical anecdotes and retellings of legendary events. Some of Aelian’s material is drawn from authors whose works are lost.
Aelian’s Letters—portraying the affairs and country ways of a series of fictitious writers—offer engaging vignettes of rural life. These are available in LCL 383.
Occasionally zany zoological lore.
Aelian (Claudius Aelianus), a Roman born ca. AD 170 at Praeneste, was a pupil of the rhetorician Pausanias of Caesarea, and taught and practiced rhetoric. Expert in Attic Greek, he became a serious scholar and studied history under the patronage of the Roman empress Julia Domna. He apparently spent all his life in Italy where he died after AD 230.
Aelian’s On the Characteristics of Animals, in 17 books, is a collection of facts and beliefs concerning the habits of animals drawn from Greek authors and some personal observation. Fact, fancy, legend, stories, and gossip all play their part in a narrative that is meant to entertain. If there is any ethical motive, it is that the virtues of untaught yet reasoning animals can be a lesson to thoughtless and selfish mankind. The Loeb Classical Library edition of this work is in three volumes.
The Historical Miscellany (LCL 486) is of similar nature. In 14 books, it consists mainly of historical and biographical anecdotes and retellings of legendary events. Some of Aelian’s material is drawn from authors whose works are lost.
Aelian’s Letters—portraying the affairs and country ways of a series of fictitious writers—offer engaging vignettes of rural life. These are available in LCL 383.
The Renaissance man avant la lettre.
Vitruvius (Marcus V. Pollio), Roman architect and engineer, studied Greek philosophy and science and gained experience in the course of professional work. He was one of those appointed to be overseers of imperial artillery or military engines, and was architect of at least one unit of buildings for Augustus in the reconstruction of Rome. Late in life and in ill health he completed, sometime before 27 BC, De Architectura which, after its rediscovery in the fifteenth century, was influential enough to be studied by architects from the early Renaissance to recent times.
In On Architecture Vitruvius adds to the tradition of Greek theory and practice the results of his own experience. The contents of this treatise in ten books are as follows. Book 1: Requirements for an architect; town planning; design, cities, aspects; temples. 2: Materials and their treatment. Greek systems. 3: Styles. Forms of Greek temples. Ionic. 4: Styles. Corinthian, Ionic, Doric; Tuscan; altars. 5: Other public buildings (fora, basilicae, theaters, colonnades, baths, harbors). 6: Sites and planning, especially of houses. 7: Construction of pavements, roads, mosaic floors, vaults. Decoration (stucco, wall painting, colors). 8: Hydraulic engineering; water supply; aqueducts. 9: Astronomy. Greek and Roman discoveries; signs of the zodiac, planets, moon phases, constellations, astrology, gnomon, sundials. 10: Machines for war and other purposes.
The Renaissance man avant la lettre.
Vitruvius (Marcus V. Pollio), Roman architect and engineer, studied Greek philosophy and science and gained experience in the course of professional work. He was one of those appointed to be overseers of imperial artillery or military engines, and was architect of at least one unit of buildings for Augustus in the reconstruction of Rome. Late in life and in ill health he completed, sometime before 27 BC, De Architectura which, after its rediscovery in the fifteenth century, was influential enough to be studied by architects from the early Renaissance to recent times.
In On Architecture Vitruvius adds to the tradition of Greek theory and practice the results of his own experience. The contents of this treatise in ten books are as follows. Book 1: Requirements for an architect; town planning; design, cities, aspects; temples. 2: Materials and their treatment. Greek systems. 3: Styles. Forms of Greek temples. Ionic. 4: Styles. Corinthian, Ionic, Doric; Tuscan; altars. 5: Other public buildings (fora, basilicae, theaters, colonnades, baths, harbors). 6: Sites and planning, especially of houses. 7: Construction of pavements, roads, mosaic floors, vaults. Decoration (stucco, wall painting, colors). 8: Hydraulic engineering; water supply; aqueducts. 9: Astronomy. Greek and Roman discoveries; signs of the zodiac, planets, moon phases, constellations, astrology, gnomon, sundials. 10: Machines for war and other purposes.
Late antique architecture.
Procopius, born at Caesarea in Palestine late in the fifth century, became a lawyer. In AD 527 he was made legal adviser and secretary of Belisarius, commander against the Persians, and went with Belisarius again in 533 against the Vandals and in 535 against the Ostrogoths. Sometime after 540 he returned to Constantinople. He may have been that Procopius who was prefect of Constantinople in 562, but the date of his death (after 558) is unknown.
Procopius’ History of the Wars in 8 books recounts the Persian Wars of emperors Justinus and Justinian down to 550 (2 books); the Vandalic War and after-events in Africa 532–546 (2 books); the Gothic War against the Ostrogoths in Sicily and Italy 536–552 (3 books); and a sketch of events to 554 (1 book). The whole consists largely of military history, with much information about peoples and places as well, and about special events. He was a diligent, careful, judicious narrator of facts and developments and shows good powers of description. He is just to the empire’s enemies and boldly criticizes emperor Justinian. Other works by Procopius are the Anecdota or Secret History—vehement attacks on Justinian, Theodora, and others; and the Buildings of Justinian (down to AD 558) including roads and bridges as well as churches, forts, hospitals, and so on in various parts of the empire.
The Loeb Classical Library edition of Procopius is in seven volumes.
The highly esteemed literary critic and poet Sandra M. Gilbert is best known for her feminist literary collaborations with Susan Gubar, with whom she coauthored The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, as well as the three-volume No Man's Land: The Place of the Woman Writer in the Twentieth Century.
The essays assembled in On Burning Ground display Gilbert's astonishing range and explore poetics, personal identity, feminism, and modern and contemporary literature. Among the pieces gathered here are essays on D. H. Lawrence, Robert Lowell, Sylvia Plath, and Louise Glück, as well as reviews and previously unpublished articles.
Sandra M. Gilbert is Distinguished Professor of English Emerita at the University of California, Davis. She is the recipient of Guggenheim, Rockefeller, NEH, and Soros Foundation fellowships and is the author of seven collections of poetry, including Kissing the Bread: New and Selected Poems 1969-1999 and, most recently, Belongings.
Praise for Sandra M.Gilbert
"Sandra Gilbert's poems are beautifully situated at the intersection of craft and feeling. Belongings is a stellar collection by a virtuoso with heart."
---Billy Collins
". . . brilliantly combines literary and cultural criticism with the intimacy of memoir."
---Joyce Carol Oates
"An enduring contribution to the literature of grief."
---New York Times Book Review
Poets on Poetry 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.
The ethics of a statesman.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
Finalist, Sheikh Zayed Book Award
“With extraordinary linguistic range, Calderwood brings us the voices of Arabs and Muslims who have turned to the distant past of Spain to imagine their future.”
—Hussein Fancy, Yale University
How the memory of Muslim Iberia shapes art and politics from New York and Cordoba to Cairo and the West Bank.
During the Middle Ages, the Iberian Peninsula was home not to Spain and Portugal but rather to al-Andalus. Ruled by a succession of Islamic dynasties, al-Andalus came to be a shorthand for a legendary place where people from the Middle East, North Africa, and Europe; Jews, Christians, and Muslims lived together in peace. That reputation is not entirely deserved, yet, as On Earth or in Poems shows, it has had an enduring hold on the imagination, especially for Arab and Muslim artists and thinkers in Europe, the Middle East, and North Africa.
From the vast and complex story behind the name al-Andalus, Syrians and North Africans draw their own connections to history’s ruling dynasties. Palestinians can imagine themselves as “Moriscos,” descended from Spanish Muslims forced to hide their identities. A Palestinian flamenco musician in Chicago, no less than a Saudi women’s rights activist, can take inspiration from al-Andalus. These diverse relationships to the same past may be imagined, but the present-day communities and future visions those relationships foster are real.
Where do these notions of al-Andalus come from? How do they translate into aspiration and action? Eric Calderwood traces the role of al-Andalus in music and in debates about Arab and Berber identities, Arab and Muslim feminisms, the politics of Palestine and Israel, and immigration and multiculturalism in Europe. The Palestinian poet Mahmud Darwish once asked, “Was al-Andalus / Here or there? On earth … or in poems?” The artists and activists showcased in this book answer: it was there, it is here, and it will be.
The philosopher-statesman on Epicureanism, Stoicism, and the Old Academy.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician, and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension, and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
Though Wallace Stevens’ shorter poems are perhaps his best known, his longer poems, Helen Vendler suggests in this book, deserve equal fame and equal consideration. Stevens’ central theme—the worth of the imagination—remained with him all his life, and Mrs. Vendler therefore proposes that his development as a poet can best be seen, not in description—which must be repetitive—of the abstract bases of his work, but rather in a view of his changing styles.
The author presents here a chronological account of fourteen longer poems that span a thirty-year period, showing, through Stevens’ experiments in genre, diction, syntax, voice, imagery, and meter, the inventive variety of Stevens’s work in long forms, and providing at the same time a coherent reading of these difficult poems. She concludes, “Stevens was engaged in constant experimentation all his life in an attempt to find the appropriate vehicle for his expansive consciousness; he found it in his later long poems, which surpass in value the rest of his work.”
Walter Benjamin's posthumously published collection of writings on hashish is a detailed blueprint for a book that was never written--a "truly exceptional book about hashish," as Benjamin describes it in a letter to his friend Gershom Scholem. A series of "protocols of drug experiments," written by himself and his co-participants between 1927 and 1934, together with short prose pieces that he published during his lifetime, On Hashish provides a peculiarly intimate portrait of Benjamin, venturesome as ever at the end of the Weimar Republic, and of his unique form of thought.
Consciously placing himself in a tradition of literary drug-connoisseurs from Baudelaire to Hermann Hesse, Benjamin looked to hashish and other drugs for an initiation into what he called "profane illumination." At issue here, as everywhere in Benjamin's work, is a new way of seeing, a new connection to the ordinary world. Under the influence of hashish, as time and space become inseparable, experiences become subtly stratified and resonant: we inhabit more than one plane in time. What Benjamin, in his contemporaneous study of Surrealism, calls "image space" comes vividly to life in this philosophical immersion in the sensuous.
This English-language edition of On Hashish features a section of supplementary materials--drawn from Benjamin's essays, letters, and sketches--relating to hashish use, as well as a reminiscence by his friend Jean Selz, which concerns a night of opium-smoking in Ibiza. A preface by Howard Eiland discusses the leading motifs of Benjamin's reflections on intoxication.
Presented in order of their first appearance, the articles in each volume constitute a revealing record of developing insights and important shifts of critical emphasis. Each article has opened a fresh line of inquiry, established a fresh perspective on a familiar topic, or settled a question that engaged the interest of experts.
As writers of English from Australia to India to Sri Lanka command our attention, Salman Rushdie can state confidently that English fiction was moribund until the Empire wrote back, and few, even among the British, demur. A. S. Byatt does, and her case is persuasive. In a series of essays on the complicated relations between reading, writing, and remembering, the gifted novelist and critic sorts the modish from the merely interesting and the truly good to arrive at a new view of British writing in our time.
Whether writing about the renaissance of the historical novel, discussing her own translation of historical fact into fiction, or exploring the recent European revival of interest in myth, folklore, and fairytale, Byatt's abiding concern here is with the interplay of fiction and history. Her essays amount to an eloquent and often moving meditation on the commitment to historical narrative and storytelling that she shares with many of her British and European contemporaries. With copious illustration and abundant insights into writers from Elizabeth Bowen and Henry Green to Anthony Burgess, William Golding, Muriel Spark, Penelope Fitzgerald, Julian Barnes, Martin Amis, Hilary Mantel, and Pat Barker, On Histories and Stories is an oblique defense of the art Byatt practices and a map of the complex affiliations of British and European narrative since 1945.
Presented in order of their first appearance, the articles in each volume constitute a revealing record of developing insights and important shifts of critical emphasis. Each article has opened a fresh line of inquiry, established a fresh perspective on a familiar topic, or settled a question that engaged the interest of experts.
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