A SCHOLARLY BOOK REPOSITORY
Finalist, National Book Critics Circle Award
Finalist, National Book Award in Nonfiction
A New York Times Book Review “The Year in Reading” Selection
All wars are fought twice, the first time on the battlefield, the second time in memory. From the author of the Pulitzer Prize–winning novel The Sympathizer comes a searching exploration of the conflict Americans call the Vietnam War and Vietnamese call the American War—a conflict that lives on in the collective memory of both nations.
“[A] gorgeous, multifaceted examination of the war Americans call the Vietnam War—and which Vietnamese call the American War…As a writer, [Nguyen] brings every conceivable gift—wisdom, wit, compassion, curiosity—to the impossible yet crucial work of arriving at what he calls ‘a just memory’ of this war.”
—Kate Tuttle, Los Angeles Times
“In Nothing Ever Dies, his unusually thoughtful consideration of war, self-deception and forgiveness, Viet Thanh Nguyen penetrates deeply into memories of the Vietnamese war…[An] important book, which hits hard at self-serving myths.”
—Jonathan Mirsky, Literary Review
“Ultimately, Nguyen’s lucid, arresting, and richly sourced inquiry, in the mode of Susan Sontag and W. G. Sebald, is a call for true and just stories of war and its perpetual legacy.”
—Donna Seaman, Booklist (starred review)
Featuring new and revised recipes, photos, and bêtes noires, this culminating book of an illustrious career presents the favorite dishes and personal stories of the world’s foremost authority on traditional Mexican cooking and one of its most-celebrated food writers
Diana Kennedy is the world’s preeminent authority on authentic Mexican cooking and one of its best-known food writers. Renowned for her uncompromising insistence on using the correct local ingredients and preparation techniques, she has taught generations of cooks how to prepare traditional dishes from the villages of Mexico, and in doing so, has documented and helped preserve the country’s amazingly diverse and rich foodways. Kennedy’s own meals for guests are often Mexican, but she also indulges herself and close friends with the nostalgic foods in Nothing Fancy.
This acclaimed cookbook—now expanded with new and revised recipes, additional commentary, photos, and reminiscences—reveals Kennedy’s passion for simpler, soul-satisfying food, from the favorite dishes of her British childhood (including a technique for making clotted cream that actually works) to rare recipes from Ukraine, Norway, France, and other outposts. In her inimitable style, Kennedy discusses her addictions—everything from good butter, cream, and lard to cold-smoked salmon, Seville orange marmalade, black truffle shavings, escamoles (ant eggs), and proper croissants—as well as her bêtes noires—kosher salt, nonfat dairy products, cassia “cinnamon,” botoxed turkeys, and nonstick pans and baking sprays, among them. And look out for the ire she unleashes on “cookbookese,” genetically modified foods, plastic, and unecological kitchen practices! The culminating work of an illustrious career, Nothing Fancy is an irreplaceable opportunity to spend time in the kitchen with Diana Kennedy, listening to the stories she has collected and making the food she has loved over a long lifetime of cooking.
Charlotte Salomon's (1917-43) fantastical autobiography, Life? or Theater?, consists of 769 sequenced gouache paintings, through which the artist imagined the circumstances of the eight suicides in her family, all but one of them women. But Salomon's focus on suicide was not merely a familial idiosyncrasy. Nothing Happened argues that the social history of early-twentieth-century Germany has elided an important cultural and social phenomenon by not including the story of German Jewish women and suicide. This absence in social history mirrors an even larger gap in the intellectual history of deeply gendered suicide studies that have reproduced the notion of women's suicide as a rarity in history. Nothing Happened is a historiographic intervention that operates in conversation and in tension with contemporary theory about trauma and the reconstruction of emotion in history.
Margulies grounds her critical analysis in detailed discussions of Akerman’s work—from Saute ma ville, a 13-minute black-and-white film made in 1968, through Jeanne Dielman and Je tu il elle to the present. Focusing on the real-time representation of a woman’s everyday experience in Jeanne Dielman, Margulies brings the history of social and progressive realism and the filmmaker’s work into perspective. Pursuing two different but related lines of inquiry, she investigates an interest in the everyday that stretches from postwar neorealist cinema to the feminist rewriting of women’s history in the seventies. She then shows how Akerman’s “corporeal cinema” is informed by both American experiments with performance and duration and the layerings present in works by European modernists Bresson, Rohmer, and Dreyer. This analysis revises the tired opposition between realism and modernism in the cinema, defines Akerman’s minimal-hyperrealist aesthetics in contrast to Godard’s anti-illusionism, and reveals the inadequacies of popular characterizations of Akerman’s films as either simply modernist or feminist.
An essential book for students of Chantal Akerman’s work, Nothing Happens will also interest international film critics and scholars, filmmakers, art historians, and all readers concerned with feminist film theory.
How Western nations have consolidated their whiteness through the figure of the Muslim in the post-9/11 world
While much has been written about post-9/11 anti-Muslim racism (often termed Islamophobia), insufficient attention has been given to how anti-Muslim racism operates through law and is a vital part of law’s protection of whiteness. This book fills this gap while also providing a unique new global perspective on white supremacy. Sherene H. Razack, a leading critical race and feminist scholar, takes an innovative approach by situating law within media discourses and historical and contemporary realities. We may think of law as logical, but, argues Razack, its logic breaks down when the subject is Muslim.
Tracing how white subjects and majority-white nations in the post-9/11 era have consolidated their whiteness through the figure of the Muslim, Razack examines four sites of anti-Muslim racism: efforts by American evangelical Christians to ban Islam in the school curriculum; Canadian and European bans on Muslim women’s clothing; racial science and the sentencing of Muslims as terrorists; and American national memory of the torture of Muslims during wars and occupations. Arguing that nothing has to make sense when the subject is Muslim, she maintains that these legal and cultural sites reveal the dread, phobia, hysteria, and desire that mark the encounter between Muslims and the West.
Through the prism of racism, Nothing Has to Make Sense argues that the figure of the Muslim reveals a world divided between the deserving and the disposable, where people of European origin are the former and all others are confined in various ways to regimes of disposability. Emerging from critical race theory, and bridging with Islamophobia/critical religious studies, it demonstrates that anti-Muslim racism is a revelatory window into the operation of white supremacy as a global force.
In a terse, almost clinically exact style, Nothing in Sight distills the brutal essence of what it is to die alone. Much more than a story of war, this short novel presents the memories, dreams, and hallucinations of two soldiers as they drift toward death. With nothing in sight on the horizon, Jens Rehn directs our view inward, into the minds of both men as they question the meaning of life, the existence of God, and the possibility of enduring human relationships. As the drama unfolds, each man recalls fragments of his past through the delirium of thirst and pain. The American soldier, his arm severed, dies first of gangrene. The German dies in agony a week later. Their life raft sinks into the vastness of the ocean.
Reissued two years ago in Germany, Nothing in Sight was hailed by critics there as a singular achievement. The work is presented here in a crystalline English translation for the first time, given new life for generations of readers to come.
Ted Osius, former ambassador during the Obama administration, offers a vivid account, starting in the 1990s, of the various forms of diplomacy that made this reconciliation possible. He considers the leaders who put aside past traumas to work on creating a brighter future, including senators John McCain and John Kerry, two Vietnam veterans and ideological opponents who set aside their differences for a greater cause, and Pete Peterson—the former POW who became the first U.S. ambassador to a new Vietnam. Osius also draws upon his own experiences working first-hand with various Vietnamese leaders and traveling the country on bicycle to spotlight the ordinary Vietnamese people who have helped bring about their nation’s extraordinary renaissance.
With a foreword by former Secretary of State John Kerry, Nothing Is Impossible tells an inspiring story of how international diplomacy can create a better world.
Rabbi Ben Kamin has written a definitive personal expression about race, coming of age in the 1960s, a forbidden friendship, and his personal love for Dr. Martin Luther King Jr. This is a story that spans a four-decade search for a lost high school chum, a deep misunderstanding, and a coming to terms with an America painfully evolving from the blood of MLK to the promise of Barack Obama.
The book is a remembrance of Kamin's life at Cincinnati's notorious Woodward High School, a microcosm of the 1960s and of America itself, as well as detailing Kamin's search-for Clifton, for America, for the key to understanding what race relations really are in the United States. Simultaneously, it is the story of the emerging rabbi's search for the legacy of his spiritual mentor, Dr. Martin Luther King Jr., taking Kamin from Cincinnati to Cleveland to Memphis to New Orleans and other points, and constantly bringing him home to his friend Clifton and "the heaving hallways" of that high school.
September 19, 1985: A powerful earthquake hits Mexico City in the early morning hours. As the city collapses, the government fails to respond. Long a voice of social conscience, prominent Mexican journalist Elena Poniatowska chronicles the disintegration of the city's physical and social structure, the widespread grassroots organizing against government corruption and incompetence, and the reliency of the human spirit. As a transformative moment in the life of mexican society, the earthquake is as much a component of the country's current crisis as the 1982 debt crisis, the problematic economic of the last ten years, and the recent elections.
In masterfully weaving together a multiplicity of voices, Poniatowska has reasserted the inherent value and latent power of people working together. Punctuated by Poniatowska's own experiences and observations, these post disaster testimonies speak of the disruption of families and neighborhoods, of the destruction of homes and hospitals, of mutilation and death—the collective loss of a city. Drawing the reader dramatically into the scene of national horror through dozens of personal stories, Poniatowska demonstrates the importance of courage and self-reliance in redeeming life from chaos.
A critical look at the competing motivations behind one of modern architecture’s most widely known and misunderstood movements
Although “mid-century modern” has evolved into a highly popular and ubiquitous architectural style, this term obscures the varied perspectives and approaches of its original practitioners. In Nothing Permanent, Todd Cronan displaces generalizations with a nuanced intellectual history of architectural innovation in California between 1920 and 1970, uncovering the conflicting intentions that would go on to reshape the future of American domestic life.
Focusing on four primary figures—R. M. Schindler, Richard Neutra, and Charles and Ray Eames—Nothing Permanent demonstrates how this prolific era of modern architecture in California, rather than constituting a homogenous movement, was propelled by disparate approaches and aims. Exemplified by the twin pillars of Schindler and Neutra and their respective ideological factions, these two groups of architects represent opposing poles of architectural intentionality, embodying divergent views about the dynamic between interior and exterior, the idea of permanence, and the extent to which architects could exercise control over the inhabitants of their structures.
Looking past California modernism’s surface-level idealization in present-day style guides, home decor publications, films, and television shows, Nothing Permanent details the intellectual, aesthetic, and practical debates that lie at the roots of this complex architectural moment. Extracting this period from its diffusion into visual culture, Cronan argues that mid-century architecture in California raised questions about the meaning of architecture and design that remain urgent today.
Arthur M. Schlesinger (1888-1965) was one of America's mostdistinguished and influential historians. The basis of his conception of history, as he put it in anote found among his papers, isthat "nothing stands still," Themoral he drew from this was theneed for "a liberal, flexible attitude" on the part of both the historian and the citizen.
This volume, with an introduction by Arthur M. Schlesinger, Jr., brings together eleven ofProfessor Schlesinger's essays notpreviously collected in bookform. Written between 1929 and1965, they fall into two sections--"The Scholar," which includesessays dealing with historicalquestions, and "The Citizen,"which includes those dealingwith public affairs. Illustratingthe wide range of ProfessorSchlesinger's professional andhumane interests, these essaysset forth some of his views on thenature of the historical enterprise and record his own involvement in and hopes forAmerican democracy.
Carrine Gafkjen was, as her daughter remembers, at once the most liberated and unliberated of women. If she had considered the subject at all she would have thought it a waste of time. She firmly believed in destiny; what fate planned for her she dealt with head-on.
In the early 1900s the twenty-five-year-old Gafkjen boarded a train from Minneapolis to claim a homestead for herself on the western North Dakota prairies. She lived alone in her claim shack, barred her door at night against the coyotes, existed on potatoes and salt, and walked five miles to the nearest creek to wash her clothes. A decade later she had, by her own ingenuity, doubled her landholdings and became a secure women of property. Then, at an age when most other women would have been declared spinsters, Carrine Gafkjen married Sever Berg and had six children.
Nothing to Do but Stay tells the story of this uncommon woman with warmth and good humor. It gives testimony to the lasting spirit of our pioneer heritage and, in these uncertain times, to the staying power of family and tradition. This book will appeal to all those with an interest in the settlement of the West, the history of the Great Plains, women's studies, and the perseverance of the early-twentieth-century farmers.
Capitalism is a dynamic system, continually adapting itself to exploit workers in new ways. In Britain today, the gig economy is its newest form, expressed through precarious contracts and the supposed atomization of workers. In this book, Jane Hardy argues that despite capitalism’s best efforts to stop us, we can always find ways to fight it.
Through a range of case studies, from cleaners to university lecturers, Hardy looks at how workers are challenging employers’ assaults in the neoliberal workplace, comparing these new actions to a long history of British working class struggle. She explores the historic role of migrants in the British workforce, from the Windrush generation to more recent arrivals from the European Union, as well as placing womens’ collective action center stage. Analysing the rise of robotics and artificial intelligence, she refutes claims that we are entering a post-capitalist society.
Nothing to Lose But Our Chains is an optimistic exploration into the power of the working class, showing that no matter what tools capitalism uses, it can always be resisted.
Capitalism is a dynamic system, continually adapting itself to exploit workers in new ways. In Britain today, the gig economy is its newest form, expressed through precarious contracts and the supposed atomization of workers. In this book, Jane Hardy argues that despite capitalism’s best efforts to stop us, we can always find ways to fight it.
Through a range of case studies, from cleaners to university lecturers, Hardy looks at how workers are challenging employers’ assaults in the neoliberal workplace, comparing these new actions to a long history of British working class struggle. She explores the historic role of migrants in the British workforce, from the Windrush generation to more recent arrivals from the European Union, as well as placing womens’ collective action center stage. Analysing the rise of robotics and artificial intelligence, she refutes claims that we are entering a post-capitalist society.
Nothing to Lose But Our Chains is an optimistic exploration into the power of the working class, showing that no matter what tools capitalism uses, it can always be resisted.
Nothing to Read compares the information gathering and voting behavior of residents in Pittsburgh and Cleveland during the 1992 campaign season. Comparable in demographics and political behavior, the only significant difference between the two cities was the availability of local newspapers. Using a research design that combines elements of the opinion survey and the laboratory experiment, the author exploited this situation to produce an unusually sound and thorough examination of media effects on voters.
The results are startling. First and foremost, Nothing to Read reasserts the role of the newspaper in the dissemination of information acquisition. It is the only media source that can rival television in the electoral arena, and it is often more important to voters as a source for local information, including information about U.S. House races. Nothing to Read also shows that voters are more active in seeking out information than typically postulated. Indeed, many voters even differentiate between media sources for information about Senate and House contests and sources for the presidential campaign. Within limits, the electorate is clearly not a passive news audience. Nothing to Read provides a wealth of information on such related topics as the relationship between partisanship and media influence, the interplay between media exposure and interpersonal political conversations and other social interaction, and newspapers' effect on coattail voting. A unique book, Mondak's important study lays a solid foundation for all future work on the relationship between American media and politics.
Jeffery J. Mondak is Associate Professor of Political Science, University of Pittsburgh.
In this collection, the essays range from blistering manifesto to deep historical dives to gentle classroom guidance to considerations of the poets of James Merrill and Agha Shahid Ali, moving between the theoretical and the practical. Nothingism is both deeply personal and highly erudite, providing an engaging and scholarly account of reading, writing, and teaching poetry as our world continues its unsupervised lurch toward digital culture.
Originally published in 1966, this pivotal work of Mikel Dufrenne revises Kant’s notion of a priori, a concept previously given insufficient attention by philosophers, to realize a rich understanding that finally does justice to one of Kant’s most troubling cruxes. Following the Husserlian analytics of phenomenology, Dufrenne postulates a dualistic conception of the a priori as a structure that expresses itself outside the human subject, but also as a virtual knowledge that points to a philosophy of immediate apprehension or feeling. A friend of Paul Ricoeur, with whom he was detained as a prisoner of war during World War II, Dufrenne’s work until now has been sorely overlooked by American philosophers.
Much of the writing in film studies published today can be understood as genre criticism, broadly speaking. And even before film studies emerged as an academic discipline in the 1970s, cultural observers within and beyond the academy were writing about genre films and making fascinating attempts to understand their conventions and how they speak to, for, and about the culture that produces them. While this early writing on genre film was often unsystematic, impressionistic, journalistic, and judgmental, it nonetheless produced insights that remain relevant and valuable today.
Notions of Genre gathers the most important early writing on film genre and genre films published between 1945 and 1969. It includes articles by such notable critics as Susan Sontag, Dwight Macdonald, Siegfried Kracauer, James Agee, André Bazin, Robert Warshow, and Claude Chabrol, as well as essays by scholars in academic disciplines such as history, sociology, and theater. Their writings address major issues in genre studies, including definition, representation, ideology, audiences, and industry practices, across genres ranging from comedy and westerns to horror, science fiction, fantasy, gangster films, and thrillers. The only single-volume source for this early writing on genre films, Notions of Genre will be an invaluable resource for scholars and students of film genre, film history, film theory, cultural studies, and popular culture.
Although he received no formal medical education, Forman built a thriving practice. His success rankled the College of Physicians of London, who hounded Forman with fines and jail terms for nearly two decades. In addition to detailing case histories of his medical practice—the first such records known from London—as well as his run-ins with the College, Forman's manuscripts cover a wide variety of other matters, from astrology and alchemy to gardening and the theater. His autobiographical writings are among the earliest English examples of their genre and display an abiding passion for reworking his personal history in the best possible light, even though they show little evidence that Forman ever intended to publish them.
Fantastic as many of Forman's manuscripts are, it is their more mundane aspects that make them such a priceless record of what daily life was like for ordinary inhabitants of Shakespeare's London. Forman's descriptions of the stench of a privy, the paralyzed limbs of a child, a lost bitch dog with a velvet collar all offer tantalizing glimpses of a world that seems at once very far away and intimately familiar. Anyone who wants to reclaim that world will enjoy this book.
A dynamic figure in the pages of history, Major General William “Bull” Nelson played a formative role in the Union’s success in Kentucky and the Western theater of the Civil War. Now, Donald A. Clark presents a long-overdue examination of this irascible officer, his numerous accomplishments, and his grim fate. More popularly known for his temper than his intrepid endeavors on behalf of the North, Nelson nevertheless dedicated much of his life to his nation and the preservation of the Union.
The child of a privileged family, Nelson was one of the first officers to graduate from the newly formed U.S. Naval Academy. His years in the Navy imbued in him the qualities of bravery, loyalty, and fortitude; however, his term of service also seemed to breed an intolerance of others for which he became infamous, and that ultimately led to his violent downfall. Clark sheds new light upon Nelson’s pre–Civil War years as a naval officer, when he became a hardened veteran of battle, fighting at the siege of Veracruz and the capture of Tabasco during the Mexican War in the 1840s. On the basis of Nelson’s military experience, in 1861 President Lincoln sent him to Kentucky—which was considering secession—and Nelson rallied loyalists and helped the Union prepare to maintain control of the state during the next several years of war.
Nelson went on to prove instrumental in blocking Confederate attempts to subdue Kentucky and the West, serving important roles in the battle of Shiloh, General Henry W. Halleck’s advance against Corinth, and Brigadier General Don Carlos Buell’s movement toward Chattanooga. But while some viewed his bold maneuvers as the saving of the state, many others, including such notables as Ulysses S. Grant and William Tecumseh Sherman, argued that Nelson’s actions merited no praise. Unfortunately for the general, the question of his value to the Union abruptly became moot, as his achievements were shortly overshadowed by ignominious rumors of scandal and abuse.
His involvement in the defense of Louisville gave Nelson a chance to redeem himself and restore his military reputation, but the general’s famous temper soon robbed him of any potential glory. During September of 1862, in a crime that was never prosecuted, fellow Union general Jefferson C. Davis shot and killed Nelson after an argument. Clark explores this remarkable exception in military law, arguing that while the fact of the murder was indisputable, many considered Davis a hero for having dispatched the so-called tyrant. Although Nelson eventually received many posthumous honors for his indispensable role in the war, justice was never sought for his murder.
A comprehensive study of this well-known, yet misunderstood American figure, The Notorious “Bull” Nelson: Murdered Civil War General is an illuminating addition to the history of the Civil War. Through Clark’s impeccable research and richly layered narrative, William “Bull” Nelson springs from the pages as large and volatile as he was in life.
In The Notorious Edward Low: Pursuing the Last Great Villain of Piracy’s Golden Age, historian Len Travers reexamines this critical period through the career of Low, a complicated pirate leader, and his nemesis, Peter Solgard, captain of the Royal Navy warship HMS Greyhound. By the time Solgard, aboard Greyhound, was tracking Low in 1723, the era’s other notable pirates were gone—dead, captured, or disappeared. Drawing on previously unpublished Admiralty records and consulting both contemporary and modern chroniclers, Travers directs readers to much powerful testimony minimized in or excluded from histories of piracy’s “Golden Age,” leveling a critical eye at familiar sources too long accepted at face value. Travers demonstrates that, feared asthey certainly were, pirates were largely ordinary seamen trapped in desperate circumstances who, in the end, had little to show for their efforts. Contrary to popular portrayals, for pirates the second decade of the eighteenth century was a time of radically diminishing returns, scant treasure, buried or otherwise, and increasingly successful suppression by state authorities. One by one, safe havens shut out the sea-rovers, who with their depredations in America quickly squandered the sympathy and support they had once enjoyed among common folk. The Notorious Edward Lowputs individual actors, from colonial governors to captains to common seamen, at center stage, and reveals how British authorities used new anti-piracy laws to reclaim a measure of authority over their fractious North American colonies—a compelling and meaningful story with its own brand of true-life swashbuckling on the high seas.
Notorious Facts examines the sensationalistic confounding of persons and principles in the public life of Romantic England (1780–1830). Its purview is limited to five decades straddling the late eighteenth and early nineteenth centuries, but its trajectory, moving from a politics rendered in personal terms to a politics of personality, describes a shift still in process today. The study’s chapters draw on a motley body of literature (pamphlets, secret histories, and the like) that at first glance seems uncharacteristic of what literary historians call the English Romantic period. Viewed in the context of something called late Georgian England, these texts seem more indigenous, but if the canonical revisionism of the last few decades should teach us anything, it is that a Romanticism encompassing all romanticisms ideally excludes nothing.
In its heroic Enlightenment sense, publicity is concerned with exposing the workings of power for all to see. A good deal may be inferred about publicity in Romantic England from primary texts in which this salutary function is at once espoused and subverted. These texts—the mostly nameless or pseudonymous authors of the age’s pamphlet literature are the heroes and villains of the piece—almost invariably claim to speak from a disinterested conception of publicity while putting its methods of critical exposure to wholly self-interested purposes. This study examines well-known authors of the period like Jeremy Bentham, Samuel Taylor Coleridge, and William Hazlitt, as well as pamphleteers like John Horne Tooke, Philip Withers, and Nathaniel Jefferys. Other figures include authors of secret history like Thomas Ashe, Mary Anne Clarke, Lewis Goldsmith, and Joseph Haslewood in addition to notorious figures in their own right such as the Prince and Princess of Wales, Mrs. Fitzherbert, and the Reverend Edward Irving. Among the topics treated are treasonous libel, royal scandal, secret history, and celebrity.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
The irony is that Luke Short is best remembered for being the winning gunfighter in two of the most celebrated showdowns in Old West history: the shootout with Charlie Storms in Tombstone, Arizona, and the showdown against Jim Courtright in Fort Worth, Texas. He would have hated that. During his lifetime, Luke Short became one of the best known sporting men in the United States, and one of the wealthiest. He had been a partner in the Long Branch Saloon in Dodge City, as well as the White Elephant in Fort Worth. He became friends with other wealthy sporting men, such as William H. Harris, Jake Johnson, and Bat Masterson, who helped broaden his gaming interests to include thoroughbred horse racing and boxing.
Before he died he would become a familiar figure in Chicago, Memphis, New Orleans, and Saratoga Springs, where he raced his string of horses. He traveled with other wealthy sporting men in private railroad cars to attend heavyweight championship fights. Luke Short was always a little man dealing in big games. He married the beautiful Hattie Buck, who could turns heads at all the top resorts they visited as man and wife.
Jack DeMattos and Chuck Parsons have researched deeply into all records to produce the first serious biography of Luke Short, revealing in full the epitome of a sporting man of the Wild West.
Notorious New Jersey is the definitive guide to murder, mayhem, the mob, and corruption in the Garden State. With tabloid punch, Jon Blackwell tells riveting accounts of Alexander Hamilton falling mortally wounded on the dueling grounds of Weehawken; Dutch Schultz getting pumped full of lead in the men’s room of the Palace Chop House in Newark; and a gang of Islamic terrorists in Jersey City mixing the witch’s brew of explosives that became the first bomb to rock the World Trade Center. Along with these dramatic stories are tales of lesser-known oddities, such as the nineteenth-century murderer whose skin was turned into leather souvenirs, and the state senator from Jersey City who faked his death in a scuba accident in the 1970s in an effort to avoid prison.
Blackwell also sheds light on some historical whodunits—was Bruno Hauptmann really guilty of kidnapping the Lindbergh baby? Who was behind the anthrax attacks of 2001? Not forgotten either are notorious characters who may actually be innocent, including Rubin “Hurricane” Carter, and those who have never been convicted of wrongdoing although they left office in scandal, including Robert Torricelli and James McGreevey.
Through 100 historic true-crime tales that span over 300 years of history, Blackwell shows readers a side of New Jersey that would make even the Sopranos shudder.
In the first section of this book, Taylor discusses the question of the "not" in the religious thought of Anselm, Hegel, Derrida, and Nishitani. In the second part, he analyzes artistic efforts "to figure not" in the work of artists Arakawa and Madeline Gins, architect Daniel Libeskind, pop artist David Sallee, and pop icon Madonna. The final section consists of a deeply personal and scientifically informed chapter that discusses the workings of negativity in immunology and illness.
Taylor's essays work toward a sense of the not as unnameable as it is irrepressible—an "unthinkable third" that falls between being and nonbeing. Bringing together concerns that span Taylor's early investigations of Hegel and Kierkegaard and recent studies of art and architecture, Nots is an important contribution by one of the most original and distinctive voices now writing on the American scene.
Religion and Postmodernism series
In recent years U.S. public policy has focused on strengthening the nuclear family as a primary strategy for improving the lives of America's youth. It is often assumed that this normative type of family is an independent, self-sufficient unit adequate for raising children. But half of all households in the United States with young children have two employed parents. How do working parents provide care and mobilize the help that they need?
In Not-So-Nuclear Families: Class, Gender, and Networks of Care, Karen V. Hansen investigates the lives of working parents and the informal networks they construct to help care for their children. She chronicles the conflicts, hardships, and triumphs of four families of various social classes. Each must navigate the ideology that mandates that parents, mothers in particular, rear their own children, in the face of an economic reality that requires that parents rely on the help of others. In vivid family stories, parents detail how they and their networks of friends, paid caregivers, and extended kin collectively close the "care gap" for their school-aged children.
Hansen not only debunks the myth that families in the United States are independent, isolated, and self-reliant units, she breaks new theoretical ground by asserting that informal networks of care can potentially provide unique and valuable bonds that nuclear families cannot.
In Nourished Planet, the Barilla Center for Food & Nutrition offers a global plan for feeding ourselves sustainably. Drawing on the diverse experiences of renowned international experts, the book offers a truly planetary perspective. Essays and interviews showcase Hans Herren, Vandana Shiva, Alexander Mueller, and Pavan Suhkdev, among many others.
Together, these experts plot a map towards food for all, food for sustainable growth, food for health, and food for culture. With these ingredients, we can nourish our planet and ourselves.
A member of the generation of the 1770s that included Hegel, Hölderlin, and Schelling, Hardenberg was an avid follower of the French Revolution, a semiotician avant la lettre, and a prescient critic of religion. Yet in 1802, only a year after his death, the writer who had scandalized the Prussian court was marketed to a nation at war as a reactionary patriot, a sweet versifier of Idealism, and a morbid mystic. Identifying the break between Hardenberg’s own early Romanticism and the late Romanticism that falsified it, Novalis shows us a writer fully engaged in revolutionary politics and examines his semiotic readings of philosophy and of the political, scientific, and religious institutions of the day. Drawing on the full range of Novalis’s writings, including his poetry, notebooks, novels, and journals, O’Brien situates his semiotics between those of the eighteenth century and those of the twentieth and demonstrates the manner in which a concern for signs and language permeated all aspects of his thought.
The most extensive study of Hardenberg available in English, Novalis makes this revolutionary theoretician visible for the first time. Mining a crucial chapter in the history of semiotics and social theory, it suggests fruitful, sometimes problematic connections between semiotic, historical, "deconstructive," and philological practices as it presents a portrait of one of the most complex figures in literary history. Indispensable for scholars of German Romanticism, Novalis will also be of interest to students of comparative literature and European intellectual history.
A generous introduction to one of the key literary figures to emerge from Brazil in the second half of the twentieth century, this book offers English-speaking readers an ample selection of this prodigious writer's celebrated poetry and widely influential critical work. As a poet and as a cofounder of the renowned group Noigandres, Haroldo de Campos has made a unique and substantial contribution to the theory and practice of experimental writing, particularly the form known as concrete poetry, and to the Latin American avant-garde as a whole. These contributions, acclaimed worldwide by figures such as Umberto Eco, Jacques Derrida, Octavio Paz, and Guillermo Cabrera Infante, can be observed unfolding here, first in poetry selections ranging from de Campos' early work before concretism through his most recent production; then in theoretical texts that trace his evolution as a critic from an early interest in baroque and modernist writers to his development of an innovative model for reading, translating, and writing. This second, critical section of the book includes de Campos' encounters with the tasks of translating and reading some of the most important texts of Eastern and Western culture-from Ecclesiastes to the No play Hagoromo, from Dante to Paz-thus charting a genealogy of modern literature.
Together, these poems and critical writings afford English-speaking readers their first sustained exposure to a unique personality within the international avant-garde, a writer described by Brazilian poet João Cabral de Melo Neto as "that wonderful thing: / a poet and a translator who came to literature armed with an enviable / knowledge of the literary phenomenon."
The 700-year history of the novel in English defies straightforward telling. Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, Michael Schmidt does full justice to its complexity.
Like his hero Ford Madox Ford in The March of Literature, Schmidt chooses as his traveling companions not critics or theorists but “artist practitioners,” men and women who feel “hot love” for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.
Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliché—some irreducible quality that keeps readers coming back to its pages.
The influential essays collected in Novel and Film display a wide range of critical and analytic approaches to the narrative aspects of the two genres. For all the variety of their subjects, from constructional forms such as interior duplication and game play to intertextual parallels with mathematics and topology, these essays together define a unified critical perspective, one that has brought fresh precision to the analysis of narrative techniques and that continues to raise questions of prime importance to contemporary fiction. Included is a complete bibliography of Morrissette's scholarly works.
Contributors
Nancy Armstrong, Jane Elliott, Matthew Hart, Nathan Hensley, Nicholas Huber, Jeanne-Marie Jackson, John Marx, Tom McCarthy, Vaughn Rasberry, Deisdra Reber, Lily Saint, Emilio Sauri, Rachel Greenwald Smith, Paul Stasi
The first collection of critical essays to focus specifically on the fiction produced by American novelists of the Depression era, The Novel and the American Left contributes substantially to the newly emerging emphasis on twentieth-century American literary radicalism. Recent studies have recovered this body of work and redefined in historical and theoretical terms its vibrant contribution to American letters. Casey consolidates and expands this field of study by providing a more specific consideration of individual novels and novelists, many of which are reaching new contemporary audiences through reprints.
The Novel and the American Left focuses exclusively on left-leaning fiction of the Depression era, lending visibility and increased critical validity to these works and showing the various ways in which they contributed not only to theorizations of the Left but also to debates about the content and form of American fiction. In theoretical terms, the collection as a whole contributes to the larger reconceptualization of American modernity currently under way. More pragmatically, individual essays suggest specific authors, texts, and approaches to teachers and scholars seeking to broaden and/or complicate more traditional “American modernism” syllabi and research agendas.
The selected essays take up, among others, such “hard-core"” leftist writers as Mike Gold and Myra Page, who were associated with the Communist Party; the popular novels of James M. Cain and Kenneth Fearing, whose works were made into successful films; and critically acclaimed but nonetheless “lost” novelists such as Josephine Johnson, whose Now in November (Pulitzer Prize, 1936) anticipates and complicates the more popular agrarian mythos of Steinbeck’s The Grapes of Wrath.
This volume will be of interest not only to literary specialists but also to historians, social scientists, and those interested in American cultural studies.
"The Novel as Event brilliantly does two things: presents a strikingly new theory of the way novels have effect in the social world, and also presents original readings of five major Victorian novels as demonstrations of the way that theory may be exemplified in practice. No other book that I know of does either of these two things in at all the same way."
---J. Hillis Miller, University of California, Irvine
"I have no doubt that this book will become an important part of a renewed questioning of a certain unchallenged historicism prevalent in Victorian novel studies from the beginning."
---Kevin McLaughlin, Brown University
The Novel as Event is a timely reconsideration of the historical role of the Victorian novel from the perspective of its performativity. In a highly original application of the work of Jacques Derrida, Paul de Man, Pierre Bourdieu, Judith Butler, and other readers of J. L. Austin, Mario Ortiz Robles argues that the language of the novel is paramount and that the current emphasis on the representational and physical aspects of the novel tends to obscure this fact. He provides brilliant original readings of five major Victorian novels: Dickens's Our Mutual Friend, Brontë's Jane Eyre, George Eliot's Middlemarch, Thackeray's Vanity Fair, and Collins's The Woman in White, illustrating that it is impossible to fully grasp the cultural power of the novel, from its role in the cultivation of manners and the conduct of courtship to the consolidation of bourgeois ideology and the construction of the subject, without an adequate account of the performativity of its language. By considering the novel as a linguistic event, Ortiz Robles offers a new explanatory model for understanding how novels intervene materially in the reality they describe, and, in doing so, he seeks to reinvigorate critical debate on the historicity of the realist novel and current methods of cultural criticism. The Novel as Event serves as a well-timed corrective to the narrow historicist approach to the materiality of the novel that currently holds sway.
Mario Ortiz Robles is Assistant Professor of English at the University of Wisconsin, Madison.
Cover art: "Untitled page from Constance Sackville West Album." Courtesy of George Eastman House, International Museum of Photography and Film.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Through discussions of a diverse array of British, French, and American novels—including major canonical novels, best-sellers, children’s fiction, and science fiction—these essays explore queer worlds of taste, texture, joy, and ennui, focusing on such subjects as flogging, wizardry, exorcism, dance, Zionist desire, and Internet sexuality. Interpreting the works of authors as diverse as Benjamin Constant, Toni Morrison, T. H. White, and William Gibson, along with canonical queer modernists such as James, Proust, Woolf, and Cather, contributors reveal the wealth of ways in which selves and communities succeed in extracting sustenance from the objects of a culture whose avowed desire has often been not to sustain them. The dramatic reframing that these essays perform will make the significance of Novel Gazing extend beyond the scope of queer studies to literary criticism in general.
Contributors. Stephen Barber, Renu Bora, Anne Chandler, James Creech, Tyler Curtain, Jonathan Goldberg, Joseph Litvak, Michael Lucey, Jeff Nunokawa, Cindy Patton, Jacob Press, Robert F. Reid-Pharr, Eve Kosofsky Sedgwick, Melissa Solomon, Kathryn Bond Stockton, John Vincent, Maurice Wallace, Barry Weller
In thoughtful readings of Demons, The Adolescent, A Writer’s Diary, and The Brothers Karamazov, Holland delineates Dostoevsky’s struggle to adapt a genre to the reality of the present, with all its upheavals, while maintaining a utopian vision of Russia’s future mission.
Focusing on Stendhal, Gérard de Nerval, George Sand, Émile Zola, and Marcel Proust, The Novel Map: Mapping the Self in Nineteenth-Century French Fiction explores the ways that these writers represent and negotiate the relationship between the self and the world as a function of space in a novel turned map.
With the rise of the novel and of autobiography, the literary and cultural contexts of nineteenth-century France reconfigured both the ways literature could represent subjects and the ways subjects related to space. In the first-person works of these authors, maps situate the narrator within the imaginary space of the novel. Yet the time inherent in the text’s narrative unsettles the spatial self drawn by the maps and so creates a novel self, one which is both new and literary. The novel self transcends the rigid confines of a map. In this significant study, Patrick M. Bray charts a new direction in critical theory.
In contrast with studies that characterized the nineteenth-century U.S. novel as a consensus-generating form complicit with disciplinary culture, Funchion shows how novels shaped a series of culture wars by advancing antagonistic nostalgias. Southern slave owners and their slaves or industrial magnates and their union opponents alike enlisted the power of nostalgia to validate their rival visions of the nation as lost moments awaiting recovery. Antagonistic nostalgias legitimated the political claims of movements as diverse as abolitionism, sectionalism, populism, socialism, anarchism, and cosmopolitanism. Novel Nostalgias provides a deep cultural historical understanding of the nineteenth-century United States, but ultimately, it also allows for a better understanding of how twenty-first-century movements function.
The Novel of Human Rights defines a new, dynamic American literary genre. It incorporates key debates within the contemporary human rights movement in the United States, and in turn influences the ideas and rhetoric of that discourse.
In James Dawes’s framing, the novel of human rights takes as its theme a range of atrocities at home and abroad, scrambling the distinction between human rights within and beyond national borders. Some novels critique America’s conception of human rights by pointing out U.S. exploitation of international crises. Other novels endorse an American ethos of individualism and citizenship as the best hope for global equality. Some narratives depict human rights workers as responding to an urgent ethical necessity, while others see only inefficient institutions dedicated to their own survival. Surveying the work of Chris Abani, Susan Choi, Edwidge Danticat, Dave Eggers, Nathan Englander, Francisco Goldman, Anthony Marra, and John Edgar Wideman, among others, Dawes finds traces of slave narratives, Holocaust literature, war novels, and expatriate novels, along with earlier traditions of justice writing.
The novel of human rights responds to deep forces within America’s politics, society, and culture, Dawes shows. His illuminating study clarifies many ethical dilemmas of today’s local and global politics and helps us think our way, through them, to a better future. Vibrant and modern, the human rights novel reflects our own time and aspires to shape the world we will leave for those who come after.
In The Novel of the Future, Anaïs Nin explores the act of creation—in film, art, and dance as well as literature—to chart a new direction for the young artist struggling against what she perceived as the sterility, formlessness, and spiritual bankruptcy afflicting much of mid-twentieth-century fiction. Nin offers, instead, an argument for and synthesis of the poetic novel and discusses her own efforts in this genre as well as its influence on the development of such writers as D. H. Lawrence, Henry Miller, Lawrence Durrell, Marguerite Young, and Djuna Barnes. In chapters devoted to the pursuit of the hidden self, the genesis of fiction, and the relationship between the diary and fiction, she addresses the materials, techniques, and nourishment of the arts, and the functions of art itself.
Originally published in 1968, The Novel of the Future remains a classic among both creative writers and literary scholars. This new Swallow Press edition includes an introduction by Nin biographer Deirdre Bair.
2020 Choice Outstanding Academic Title
Marcie Frank’s study traces the migration of tragicomedy, the comedy of manners, and melodrama from the stage to the novel, offering a dramatic new approach to the history of the English novel that examines how the collaboration of genres contributed to the novel’s narrative form and to the modern organization of literature. Drawing on media theory and focusing on the less-examined narrative contributions of such authors as Aphra Behn, Frances Burney, and Elizabeth Inchbald, alongside those of Samuel Richardson, Henry Fielding, and Jane Austen, The Novel Stage tells the story of the novel as it was shaped by the stage.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
In Novel Subjects, Leah Milne offers a new way to look at multicultural literature by focusing on scenes of writing in contemporary works by authors with marginalized identities. These scenes, she argues, establish authorship as a form of radical self-care—a term we owe to Audre Lorde, who defines self-care as self-preservation and “an act of political warfare.”
In engaging in this battle, the works discussed in this study confront limitations on ethnicity and nationality wrought by the institutionalization of multiculturalism. They also focus on identities whose mere presence on the cultural landscape is often perceived as vindictive or willful. Analyzing recent texts by Carmen Maria Machado, Louise Erdrich, Ruth Ozeki, Toni Morrison, and more, Milne connects works across cultures and nationalities in search of reasons for this recent trend of depicting writers as characters in multicultural texts. Her exploration uncovers fiction that embrace unacceptable or marginalized modes of storytelling—such as plagiarism, historical revisions, jokes, and lies—as well as inauthentic, invisible, and unexceptional subjects. These works ultimately reveal a shared goal of expanding the borders of belonging in ethnic and cultural groups, and thus add to the ever-evolving conversations surrounding both multicultural literature and self-care.
Victorian novels, Garrett Stewart argues, hurtle forward in prose as violent as the brutal human existence they chronicle. In Novel Violence, he explains how such language assaults the norms of written expression and how, in doing so, it counteracts the narratives it simultaneously propels.
Immersing himself in the troubling plots of Charles Dickens, Anne Brontë, George Eliot, and Thomas Hardy, Stewart uses his brilliant new method of narratography to trace the microplots of language as they unfold syllable by syllable. By pinpointing where these linguistic narratives collide with the stories that give them context, he makes a powerful case for the centrality of verbal conflict to the experience of reading Victorian novels. He also maps his finely wrought argument on the spectrum of influential theories of the novel—including those of Georg Lukács and Ian Watt—and tests it against Edgar Allan Poe’s antinovelistic techniques. In the process, Stewart shifts critical focus toward the grain of narrative and away from more abstract analyses of structure or cultural context, revealing how novels achieve their semantic and psychic effects and unearthing, in prose, something akin to poetry.
Novelization offers a historical overview of the genre, focusing on the various formats that have been adopted since the first decades of the twentieth century until today: daily and weekly novelizations, cheap brochures, pocket books, and trade editions. It studies the specific features of the genre from various points of view: narrative style, illustrations, authorship, and marketing. By studying novelization from a broad historical perspective, Baetens reframes our understanding of adaptation and the relationship between cinema and literature. Rather than assume that cinematic adaptations either cannibalize or rejuvenate literature, Novelization ultimately offers the opportunity to rethink the adaptation paradigm of film and literary studies.
Twenty-first-century fiction and theory have taken a decidedly weird turn. They both show a marked interest in the nonhuman and in the preternatural moods that the nonhuman often evokes. Writers of fiction and criticism are avidly experimenting with strange, even alien perspectives and protagonists. Kate Marshall’s Novels by Aliens explores this development broadly while focusing on problems of genre fiction. She identifies three key generic hybrids that harness a longing for the nonhuman: the old weird, an alternative tradition within naturalism and modernism for the twenty-first century’s cowboys and aliens; cosmic realism, the reach for words legible only from space in otherwise terrestrial narratives; and pseudoscience fiction, which imagines speculative futures beyond human life on earth. Offering sharp and surprising insights about a breathtaking range of authors, from Edgar Rice Burroughs to Kazuo Ishiguro, Willa Cather to Maggie Nelson, Novels by Aliens tells the story of how genre became mood in the twenty-first century.
Using four works as case studies—Bernardo Carvalho’s Nove noites, Daniel Sada’s Porque parece mentira la verdad nunca se sabe, Zadie Smith’s White Teeth, and Mathias Énard’s Zone—Codebò investigates how globalization, displacement, and technology inform our understanding of subjectivity and one’s place in the world. Coming from different literary traditions––Brazilian-Portuguese, Spanish, English, and French–– Novels of Displacement traces the development of displacement caused by organized crime, migration, and war. Ultimately what emerges from this study is evidence of how cultures of untruth damage but do not destroy human agency.
Too often, Steinbeck’s work has been studied piecemeal, even when the intention was for a rounded view. In this study, Howard Levant analyzes the patterns in Steinbeck’s work, taking an approach that permits a judgment of each novel in the context of a greater appreciation of the shape of Steinbeck’s long career.
The Novels of Theodore Dreiser was first published in 1976. 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.
Relying heavily on the manuscripts and letters in the Dreiser Collection of the University of Pennsylvania Library, Professor Pizer seeks to establish the facts of the sources and composition of each of Dreiser's eight novels and to study the themes and form of the completed works. In this study he relates what can be discovered about the factual reality of a novel to its imaginative reality. His interpretation of the novels avoids the suggestion that there is a single overriding theme or direction in Dreiser's work and emphasizes that Dreiser deserves examination primarily on the basis of the individuality and worth of each of his novels. A separate chapter is devoted to each of the novels: Sister Carrie, Jennie Gerhardt, The "Genius," The Financier, The Titan, An American Tragedy, The Bulwark, and The Stoic.
Moss describes the nature of dialectical and rhetorical discourse in the period of the Copernican debate to shed new light on the argumentative strategies used by the participants. Against the background of Ptolemy's Almagest, she analyzes the gradual increase of rhetoric beginning with Copernicus's De Revolutionibus and Galileo's Siderius nuncius, through Galileo's debates with the Jesuits Scheiner and Grassi, to the most persuasive work of all, Galileo's Dialogue. The arguments of the Dominicans Bruno and Campanella, the testimony of Johannes Kepler, and the pleas of Scriptural exegetes and the speculations of John Wilkins furnish a counterpoint to the writings of Galileo, the centerpiece of this study.
The author places the controversy within its historical frame, creating a coherent narrative movement. She illuminates the reactions of key ecclesiastical and academic figures figures and the general public to the issues.
Blending history and rhetorical analysis, this first study to look at rhetoric as defined by sixteenth- and seventeenth-century participants is an original contribution to our understanding of the use of persuasion as an instrument of scientific debate.
In Novelty, Michael North takes us on a dazzling tour of more than two millennia of thinking about the problem of the new, from the puzzles of the pre-Socratics all the way up to the art world of the 1960s and ’70s. The terms of the debate, North shows, were established before Plato, and have changed very little since: novelty, philosophers argued, could only arise from either recurrence or recombination. The former, found in nature’s cycles of renewal, and the latter, seen most clearly in the workings of language, between them have accounted for nearly all the ways in which novelty has been conceived in Western history, taking in reformation, renaissance, invention, revolution, and even evolution. As he pursues this idea through centuries and across disciplines, North exhibits astonishing range, drawing on figures as diverse as Charles Darwin and Robert Smithson, Thomas Kuhn and Ezra Pound, Norbert Wiener and Andy Warhol, all of whom offer different ways of grappling with the idea of originality.
Novelty, North demonstrates, remains a central problem of contemporary science and literature—an ever-receding target that, in its complexity and evasiveness, continues to inspire and propel the modern. A heady, ambitious intellectual feast, Novelty is rich with insight, a masterpiece of perceptive synthesis.
In the first story, an elderly couple is told that delivery of their Thanksgiving dinner has been canceled due to an impending blizzard. Unwilling to have guests but nothing to serve them, they make a run to the grocery, hoping to get there and back before the snow, but crash their car into the last of their neighbors. In “The Receiving Line,” a male prostitute tricks a closeted suburban schoolteacher only to learn that the trick is on him. In “The Woman On The Road,” a twelve-year-old girl negotiates the competing demands of her faith and her family as she is bat mitzvahed in the feminist ferment of the 1980s. The lessons she learns are the lessons learned by a ten-year-old boy in “Fergus B. Fergus,” after which, in “Summer Friend,” two women and one man renegotiate their sixty-year intimacy when sadly, but inevitably, one of them gets ill. “The Home Of The Holy Assumption” offers a benediction. A quadriplegic goes missing at a nursing home. Was she assumed? In the process of finding out, all are reminded that caring for others, however imperfectly—even laughably—is the only shot at assumption we have.
In upstate New York, a November storm is one that comes early in the season. If it catches people off-guard, it can change them in the ways Oldshue’s characters are changed by different but equally surprising storms.
This book includes important work from Meadows’s groundbreaking projects, drawing on the archives now held at the Bodleian Library. It follows the maverick documentarian as he ran a free portrait studio in Manchester’s Moss Side in 1972 and then traveled 10,000 miles to make a national portrait from his converted double-decker, the Free Photographic Omnibus, a project he revisited a quarter-of-a-century later. The book goes on to show how, at the turn of the millennium, Meadows adopted new “kitchen table” technologies to make digital stories, which he dubbed “multimedia sonnets from the people.” Through the unique voices of his subjects, Meadows has made and continues to make moving and insightful commentaries on life in Britain.
“Professor Booth’s earnestness is graced by wit, irony, and generous humor.”—Louis Coxe, New Republic
Shaw uses the tools of social movement analysis, including the quantitative analysis of budgets, electoral data, and housing statistics, as well as historical research and personal interviews, to better understand the dilemmas, innovations, and dynamics of grassroots activism. He begins with a history of discriminatory housing practices and racial divisions that deeply affected Detroit following the Second World War and set the stage for the election of the city’s first black mayor, Coleman Young. By emphasizing downtown redevelopment, Mayor Young’s administration often collided with low-income housing advocates. Only through grassroots activism were those advocates able to delay or derail governmental efforts to demolish low-income housing in order to make way for more upscale development. Shaw then looks at present-day public housing activism, assessing the mixed success of the nationally sponsored HOPE VI project aimed at fostering home ownership in low-income areas. Descriptive and prescriptive, Now Is the Time! traces the complicated legacy of community activism to illuminate what is required for grassroots activists to be effective in demanding public accountability to poor and marginalized citizens.
“Now” Is the Time to Collect tells the fascinating story of the Chicago Field Museum of Natural History’s zoological expedition to Africa in 1896, the source of many of the museum’s foundational collections and an astounding episode in nineteenth-century science. After the well-publicized extinction of the dodo and Carolina parakeet and the collapse of the American bison population, late nineteenth-century naturalists expected many more vulnerable species to die out with spread of Western-style industrialization. This triggered a race to collect rare species of animals expected soon to be lost forever.
Established in 1893, Chicago’s ambitious Field Museum aimed to become a global center of study. Zoologist Daniel Giraud Elliot persuaded museum patrons to fund an immediate expedition to British Somaliland (contemporary Somalia). There, his team hunted and killed hundreds of animals for the growing collection. On the trip was groundbreaking taxonomist Carl Akeley. Back in Chicago, Akeley created captivating lifelike dioramas of rare animal groups that enhanced the museum’s fame and remain popular to this day.
Enriched with illuminated passages from Elliot’s journal, only recently rediscovered, “Now” Is the Time to Collect is the first book of its kind by an American museum and a case study in what author Paul D. Brinkman calls “salvage zoology”—the practice of aggressively collecting rare animal specimens for preservation just prior to the birth of the modern conservation movement. It is a riveting account of the expedition, the travelers’ experiences in Somalia during its colonial period, and the astonishing origins of one of Chicago’s classic museum experiences.
Over the course of his career, British writer Aldous Huxley (1894-1963) shifted away from elitist social satires and an atheistic outlook toward greater concern for the masses and the use of religious terms and imagery. This change in Huxley's thinking underlies the previously unpublished play Now More Than Ever.
Written in 1932-1933 just after Brave New World, Now More Than Ever is a response to the social, economic, and political upheavals of its time. Huxley's protagonist is an idealistic financier whose grandiose schemes for controlling the means of production drive him to swindling and finally to suicide. His fate allows Huxley to expose the evils he perceives in free-market capitalism while pleading the case for national economic planning and the rationalization of Britain's industrial base.
This volume contains the full text of Now More Than Ever, which was believed to be lost until 1976, when a copy was found at the Harry Ransom Humanities Research Center of the University of Texas at Austin. A "thinker's play" that has never been produced on stage, it is the last previously unpublished piece of Huxley's major writings and immensely important to understanding his development as a writer. The editors of this volume have annotated the play for contemporary readers. Their introduction sets the play in the context of Huxley's intellectual life.
Moving with quantum ease through the porous membranes of the past, present, and future, the speaker wonders: What is each moment but the swirling confluence (or shy first meeting) of past and future—of what happened, and what-has-not-yet-happened but will?
Such phenomenological questions are sparked by ordinary events: a friend's passion for jigsaw puzzles; an imagined conversation with a neighbor's dog; a meditation on the uses of modern poetry. Here, in language at once elegant and agile, intimate and universal, the author probes beneath the surface of happenstance, moving with depth, humor, and compassion into the heart of our shared predicament: that of loving what we cannot keep.
But if time in these poems is relative, it bends toward grace—even, as the title suggests, towards consolation. Taken together, the poems invite us to raise a glass to the way we're each "held light and golden in Time's mouth," and to savor something of the eternal—distilled, sparkling, already lost—inside every now.
Between poems that consider the disappearance of language in an age of digital/binary communication, and poems that mourn the disappearance of fellow poets and artists, this collection attempts to stand on a nano-second that looks both backward and forward in time: the ever-shifting "now."
Now through a Glass Darkly brings both traditional medievalist and postmodernist approaches to bear in its attempt to understand both the powers and the limits of verbal art. Nolan explores the ways medieval writers and their Roman predecessors used formal and thematic mirrors to examine the implications of alterity in the face of similarity, arguing that these preoccupations were as central to the medieval sensibility as they are to our own. Now through a Glass Darkly frames several of the key issues in the current debate over the continued viability (or not) of the inherited canon of Western culture, such as the question whether there is any meaning at all to be rescued from such notions as “coherence” or “tradition” in Western literature.
Now through a Glass Darkly will appeal to the educated generalist interested in the relationships between literature and its surrounding intellectual and cultural contexts as well as to those more specifically interested in medieval poetry and poetics. For medievalists and those who work at the intersection of critical theory and medieval literature, Now through a Glass Darkly will be of critical importance.
Now Voyager (1942) is appreciated today for a skillfully modulated performance by Bette Davis and a rare theme in American mass culture—the study of a woman's struggle for independence. This book includes the complete screenplay.
This is a book of sustenance, of fresh assurances that come to us—ready or not—out of the blue of this spirited poet’s most engaging work yet.
Jim Nichols was a lively, vigorous frontiersman who came to Texas about the time of its Revolution. As with many men of that day, Nichols' formal education was lacking, but he was a born writer with a vivid way of saying things. He had an abundance of exciting events to write about: fighting against Mexicans and Indians, Ranger activities, an attack by wolves, a buffalo stampede, and many other colorful episodes. Nichols' account is fast-moving, fascinating frontier history by a man who was really there.
Poised on the precipice of mystery and longing, each character in Now You Know It All also hovers on the brink of discovery—and decision. Set in small-town North Carolina, or featuring eager Southerners venturing afar, these stories capture the crucial moment of irrevocable change. A young waitress accepts an offer from a beguiling stranger; a troubled boy attempts to unleash the villain from an internet hoax on his party guests; a smitten student finds more than she bargained for in her favorite teacher’s attic; two adult sisters reconvene to uncover a family secret hidden in plain sight. With a sharp eye for rendering inner life, Joanna Pearson has a knack for creating both compassion and a looming sense of threat. Her stories peel back the layers of the narratives we tell ourselves in an attempt to understand the world, revealing that the ghosts haunting us are often the very shadows that we cast.
A family in the aftermath of violence These raw and powerful poems have at their heart the charged, archetypal figure of the mother. Conflicted by the twin desires of self-destruction and self-preservation, this mother is both terrible and beautiful. This compassionate, nervy collection of poems shows a family in the aftermath of violence. James Allen Hall explores themes of loss, the intersection of grief and desire, and the ways in which history, art, and politics shape the self. We meet the speaker's mother in many guises-she is the rogue Republic of Texas, the titular character of Rosemary's Baby, a nineteenth century artist's model, a fake entry in an encyclopedia, the lost queen of King Lear. With clarity, wit, and compassion, the speaker discovers the facets of his mother-her own abuse, her years of adultery, her struggle to remain independent-so that he may come to terms with his own sexuality. By seeing his mother in these guises, the speaker understands identity as it develops along and is reclaimed from the most repressive of social margins. Hall's poems twine the autobiographical impulse with a deeper emotional, somewhat surreal, temperament. This is a book as much about the way we tell our stories as it is about the stories we tell. Now You're the Enemy negotiates narrative in order to refashion the self-as a way to survive, to learn the redemptive power of love.
Kinga Pozniak shows how the remarkable political, economic, and social upheavals since the end of the Second World War have profoundly shaped the historical memory of these events in the minds of the people who lived through them. Through extensive interviews, she finds three distinct, generationally based framings of the past. Those who built the town recall the might of local industry and plentiful jobs. The following generation experienced the uprisings of the 1980s and remembers the repression and dysfunction of the socialist system and their resistance to it. Today’s generation has no direct experience with either socialism or Solidarity, yet as residents of Nowa Huta they suffer the stigma of lower-class stereotyping and marginalization from other Poles.
Pozniak examines the factors that lead to the rewriting of history and the formation of memory, and the use of history to sustain current political and economic agendas. She finds that despite attempts to create a single, hegemonic vision of the past and a path for the future, these discourses are always contested—a dynamic that, for the residents of Nowa Huta, allows them to adapt as their personal experience tells them.
Visit the Web site for the film at www.nowhereinafrica.com
In this short work, Elizabeth Boquet explores the line Lawrence Schall describes above, tracing the overlaps and intersections of a lifelong education around guns and violence, as a student, a teacher, a feminist, a daughter, a wife, a citizen and across the dislocations and relocations that are part of a life lived in and around school. Weaving narratives of family, the university classroom and administration, her husband’s work as a police officer, and her work with students and the Poetry for Peace effort that her writing center sponsors in the local schools, she recounts her efforts to respond to moments of violence with a pedagogy of peace. “Can we not acknowledge that our experiences with pain anywhere should render us more, not less, capable of responding to it everywhere?” she asks. “Compassion, it seems to me, is an infinitely renewable resource.”
At the chapbook's center are two long poems, titled "Phnom Penh Diptych: Wet Season" and "Phnom Penh Diptych: Dry Season," that examine the escapist narratives that draw tourists and expatriates to Cambodia, and the speaker’s own privileged positioning.
On a formal level, the poems in Nowhere to Arrive make room for the unsaid and that which cannot be articulated. Here, we have a vocabulary of silence alongside stark imagistic juxtapositions, poems that celebrate compression and the force of paratactic constructions. Attentiveness and concentration emerge as virtues, as the speaker surveys the vast territory of the present with a wakeful gaze.
The Noé Jitrik Reader showcases Jitrik’s reflections on marginality and the canon, exile and return, lack and excess, autobiography, Argentine nationalism, the state of literary criticism, the avant-garde, and the so-called Boom in Latin American literature. Among the writers whose work he analyzes in the essays collected here are Jorge Luis Borges, Esteban Echeverría, Domingo Faustino Sarmiento, José Martí, César Vallejo, José Bianco, Juan Carlos Onetti, José María Arguedas, Julio Cortázar, and Augusto Roa Bastos. The Noé Jitrik Reader offers English-language readers a unique opportunity to appreciate the rigor and thoughtfulness of one of Latin America’s most informed and persuasive literary critics.
For many years now John Clabeaux has been perfecting his technique for teaching New Testament Greek—using his classrooms at St. John’s Seminary College, Harvard Divinity School, and the Pontifical College Josephinum as language laboratories. The comprehensive, meticulous, and user-friendly text NT Greek: A Systems Approach is the fruit of these efforts.
NT Greek is designed to be used both as a classroom text and as a reference manual for those students pursuing degrees in theological and biblical studies. The text includes a Greek index, an English index, a Greek-to-English glossary, verb maps, noun and adjective declension charts, and a list of helpful hints and rules. A digitally mastered CD of Greek recitations comes with every book to assist students with their pronunciations.
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