A SCHOLARLY BOOK REPOSITORY
John Milton is regarded as the greatest English poet after Shakespeare. Yet for sublimity and philosophical grandeur, Milton stands almost alone in world literature. His peers are Homer, Virgil, Dante, Wordsworth, and Goethe: poets who achieve a total ethical and spiritual vision of the world. In this panoramic interpretation, the distinguished Milton scholar Gordon Teskey shows how the poet’s changing commitments are subordinated to an aesthetic that joins beauty to truth and value to ethics. The art of poetry is rediscovered by Milton as a way of thinking in the world as it is, and for the world as it can be.
Milton’s early poems include the heroic Nativity Ode; the seductive paired poems “L’Allegro” and “Il Penseroso”; the mythological pageant Comus, with its comically diabolical enchanter and its serious debate on the human use of nature; and “Lycidas,” perhaps the greatest short poem in English and a prophecy of vast human displacements in the modern world. Teskey follows Milton’s creative development in three phases, from the idealistic transcendence of the poems written in his twenties to the political engagement of the gritty, hard-hitting poems of his middle years. The third phase is that of “transcendental engagement,” in the heaven-storming epic Paradise Lost, and the great works that followed it: the intense intellectual debate Paradise Regained, and the tragedy Samson Agonistes.
The Poetry of John Tyndall contains annotated transcriptions of all 76 of Tyndall’s extant poems, the majority of which have not been published before. The poems are complemented by an extended introduction, which explores what the poems can tell us about Tyndall’s self-fashioning, his values and beliefs, and the role of poetry for him and his circle. More broadly, this introduction addresses the relationship between the scientific and poetic imaginations, and wider questions of the purpose of poetry in relation to science and religion in the nineteenth century.
Through subtle readings of elegies, self-elegies, war poems, and the blues, Ramazani greatly enriches our critical understanding of a wide range of poets, including Thomas Hardy, Wilfred Owen, Wallace Stevens, Langston Hughes, W. H. Auden, Sylvia Plath, and Seamus Heaney. He also interprets the signal contributions to the American family elegy of Robert Lowell, Allen Ginsberg, Anne Sexton, John Berryman, Adrienne Rich, Michael Harper, and Amy Clampitt. Finally, he suggests analogies between the elegy and other kinds of contemporary mourning art—in particular, the AIDS Memorial Quilt and the Vietnam Veterans Memorial.
Grounded in genre theory and in the psychoanalysis of mourning, Ramazani's readings also draw on various historical, formal, and feminist critical approaches. This book will be of interest to anyone concerned with the psychology of mourning or the history of modern poetry.
"Consists of full, intelligent and lucid exposition and close reading. . . . Poetry of Mourning is itself a welcome contribution to modern poetry's search for a 'resonant yet credible vocabulary of grief in our time."—Times Literary Supplement
“I undertook the greatest departure from myself: creation, wanting to illuminate words.” So wrote Chilean poet Pablo Neruda in 1924 at the start of a long and brilliant career that was to bring him international renown—and, in 1971, two years before his death, the Nobel Prize in Literature. This work, intended for the general reader as well as the specialist, explores the sensitive complexities of the varied, sometimes contradictory, and always exciting writings produced during fifty years. Neruda’s output throughout his long literary life was phenomenal, and certain volumes have already become modern-day classics; it is these that René de Costa concentrates on. After describing the reception of each book at the time of publication, he evaluates its importance among Neruda’s oeuvre and, through the use of carefully selected Spanish verses, all translated into English, makes the reader aware of the range and aesthetic significance of the poet’s work.
Midway through his career as poet-diplomat, Neruda joined the Communist Party and became a poet-politician, a fact that far too often has colored the reception of his literary efforts. Here, for perhaps the first time, is a book that rises above such tendentious criticism to give an impartial view of the poet’s political and nonpolitical writings. The discerning reader is left with a heightened respect for and appreciation of the man who believed that “Poetry is like bread, and it must be shared…by everyone in our vast, incredible, extraordinary family of man.”
Since then, more than three thousand original contributions by poets and artists from around the globe have been posted to the page. Poetry of Resistance offers a selection of these works, addressing a wide variety of themes, including racial profiling, xenophobia, cultural misunderstanding, violence against refugees, shared identity, and much more. Contributors include distinguished poets such as Francisco Aragón, Devreaux Baker, Sarah Browning, Lorna Dee Cervantes, Susan Deer Cloud, Sharon Dubiago, Martín Espada, Genny Lim, Pam Uschuk, and Alma Luz Villanueva.
Bringing together more than eighty writers, the anthology powerfully articulates the need for change and the primacy of basic human rights. Each poem shows the heartfelt dedication these writers and artists have to justice in a world that has become larger than borders. Poetry of Resistance is a poetic call for tolerance, reflection, reconciliation, and healing.
Deeply affecting and diverse in perspective, The Poetry of the American Civil War is the first comprehensive volume to focus entirely on poetry written and published during the Civil War. Of the nearly one thousand books of poetry published in the 1860s, some two hundred addressed the war in some way, and these collectively present a textured portrait of life during the conflict. The poets represented here hail from the North and the South, and at times mirror each other uncannily. Among them are housewives, doctors, preachers, bankers, journalists, and teachers. Their verse reflects the day-to-day reality of war, death, and destruction, and it contemplates questions of faith, slavery, society, patriotism, and politics. This is an essential volume for poetry lovers, historians, and Civil War enthusiasts alike.
Since the time of Blackstone's "Farewell," poetry has been seen as celestial, pastoral, solitary, and mellifluous; law as venerable, social, urban, and cacophonous. This perception has persisted even to the present, with the bourgeoning field of law and literature focusing almost exclusively on fiction and drama. Poetry of the Law, however, reveals the richness of poetry about the law.
Poetry of the Law is the first serious anthology of law-related poetry ever published in the United States. As the editors make clear, though, serious need not imply solemn. Instead, David Kader and Michael Stanford have assembled a surprisingly capacious collection of 100 poems from the 1300s to the present.
Set in courtrooms, lawyers’ offices, law-school classrooms, and judges’ chambers; peopled with attorneys, the imprisoned (both innocent and guilty), judges, jurors, witnesses, and law-enforcement officers; based on real events (think “Scottsboro”) or exploring the complexity of abstract legal ideas; the poems celebrate justice or decry the lack of it, ranging in tone from witty to wry, sad to celebratory, funny to infuriating. Poetry of the Law is destined to become an authoritative source for years to come.
Contributors Include:
W. H. Auden
Robert Burns
Lewis Carroll
John Ciardi
Daniel Defoe
Emily Dickinson
John Donne
Rita Dove
Ralph Waldo Emerson
Martín Espada
Thomas Hardy
Seamus Heaney
A. E. Housman
Langston Hughes
Ben Jonson
X. J. Kennedy
Yusef Komunyakaa
Ted Kooser
D. H. Lawrence
Edgar Lee Masters
W. S. Merwin
Edna St. Vincent Millay
Sir Walter Raleigh
Muriel Rukeyser
Carl Sandburg
William Shakespeare
Jonathan Swift
Mona Van Duyn
Oscar Wilde
William Carlos Williams
from “The Hanging Judge” by Eavan Boland
Come to the country where justice is seen to be done,
Done daily. Come to the country where
Sentence is passed by word of mouth and raw
Boys split like infinitives. Look, here
We hanged our son, our only son
And hang him still and still we call it law.
The poets of the era voiced their opinions on virtually every subject. They wrote about New Deal agencies, they praised and condemned Hoover and Roosevelt. They expressed their views about the Supreme Court, the third term, and the approaching war in Europe. The resulting study, arranged topically rather than chronologically, provides a unique perspective on American popular culture and American politics.
The Poetry of the Possible challenges the conventional image of modernism as a socially phobic formation, arguing that modernism’s abstractions and difficulties are ways of imagining unrealized powers of collective self-organization. Establishing a conceptual continuum between modernism and contemporary theorists such as Paulo Virno, Michael Hardt, Antonio Negri, and Alain Badiou, Joel Nickels rediscovers modernism’s attempts to document the creative potenza of the multitude.
By examining scenes of collective life in works by William Carlos Williams, Wyndham Lewis, Laura Riding, and Wallace Stevens, Nickels resurrects modernism’s obsession with constituent power: the raw, indeterminate capacity for reciprocal counsel that continually constitutes and reconstitutes established political regimes. In doing so, he reminds us that our own attempts to imagine leaderless networks of collective initiative are not so much breaks with modernist forms of knowledge as restagings of some of modernism’s most radical moments of political speculation.
Setting modernism’s individual and collective models of spontaneity in dialogue with theorists of political spontaneity such as Antonio Gramsci, Herbert Marcuse, and Theodor Adorno, Nickels retells the story of modernism as the struggle to represent powers of collective self-organization that lie outside established regimes of political representation.
In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book. Turning a critical lens on “drawing-room books” as both material objects and historical events, Kooistra reveals how the gift book’s visual/verbal form mediated “high” and popular art as well as book and periodical publication.
A composite text produced by many makers, the poetic gift book was designed for domestic space and a female audience; its mode of publication marks a significant moment in the history of authorship, reading, and publishing. With rigorous attention to the gift book’s aesthetic and ideological features, Kooistra analyzes the contributions of poets, artists, engravers, publishers, and readers and shows how its material form moved poetry into popular culture. Drawing on archival and periodical research, she offers new readings of Eliza Cook, Adelaide Procter, and Jean Ingelow and shows the transatlantic reach of their verses. Boldly resituating Tennyson’s works within the gift-book economy he dominated, Kooistra demonstrates how the conditions of corporate authorship shaped the production and receptionof the laureate’s verses at the peak of his popularity.
Poetry, Pictures, and Popular Publishing changes the map of poetry’s place—in all its senses—in Victorian everyday life and consumer culture.
This volume is organized into ten sections, grouping the madrigals around themes such as the anguish of passion, the asymmetry of desire, the incursions of jealousy, and the possibility of mutual bliss. Nicholas R. Jones renders Guarini’s poetry into accessible contemporary English verse that nevertheless stays true to the substance and form of the original texts, reflecting their roots in the Petrarchan poetic tradition and displaying the emotion and musicality that made these lyrics so popular from the start. A substantive introduction provides cultural context for the madrigals and their musical settings; brief commentaries follow each translation to illuminate aspects of poetic and rhetorical craft. An extensive appendix lists the madrigal compositions that set these lyrics for vocal performance.
The book fills a major gap in the scholarship on Guarini’s literary legacy. It will appeal to scholars of literature, Renaissance studies, and musicology, early-music performers, and general readers interested in poetry and classical music.
"The great pleasure of this book is the writing itself. Not only is it free of academic and ‘lit-crit' jargon, it is lively prose, often deliciously witty or humorous, and utterly contemporary. Poetry's Afterlife has terrific classroom potential, from elementary school teachers seeking to inspire creativity in their students, to graduate students in MFA programs, to working poets who struggle with the aesthetic dilemmas Stein elucidates, and to teachers of poetry on any level."
--- Beckian Fritz Goldberg, Arizona State University
"Kevin Stein is the most astute poet-critic of his generation, and this is a crucial book, confronting the most vexing issues which poetry faces in a new century."
---David Wojahn, Virginia Commonwealth University
At a time when most commentators fixate on American poetry's supposed "death," Kevin Stein's Poetry's Afterlife instead proposes the vitality of its aesthetic hereafter. The essays of Poetry's Afterlife blend memoir, scholarship, and personal essay to survey the current poetry scene, trace how we arrived here, and suggest where poetry is headed in our increasingly digital culture. The result is a book both fetchingly insightful and accessible. Poetry's spirited afterlife has come despite, or perhaps because of, two decades of commentary diagnosing American poetry as moribund if not already deceased. With his 2003 appointment as Illinois Poet Laureate and his forays into public libraries and schools, Stein has discovered that poetry has not given up its literary ghost. For a fated art supposedly pushing up aesthetic daisies, poetry these days is up and about in the streets, schools, and universities, and online in new and compelling digital forms. It flourishes among the people in a lively if curious underground existence largely overlooked by national media. It's this second life, or better, Poetry's Afterlife, that his book examines and celebrates.
Kevin Stein is Caterpillar Professor of English and Director of the Creative Writing Program at Bradley University and has served as Illinois Poet Laureate since 2003, having assumed the position formerly held by Gwendolyn Brooks and Carl Sandburg. He is the author of numerous books of poetry and criticism.
digitalculturebooksis an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
"The China of old, in Mr. van Gulik's skilled hands, comes vividly alive again."—Allen J. Hubin, New York Times Book Review
"If you have not yet discovered Judge Dee, I envy you that initial pleasure. . . . For the magistrate of Poo-yang belongs in that select group headed by Sherlock Holmes."—Robert Kirsch, Los Angeles Times
In the twentieth century, the pioneering work of such art historians as Erwin Panofsky and Edgar Wind heightened our awareness of the relationship between Renaissance literature and the visual arts. By focusing on that relationship in the work of such poets as Sir Philip Sidney, John Donne, Richard Crashaw, Edmund Waller, and Robert Herrick, Norman K. Farmer, Jr., convincingly shows that they and other writers of the late sixteenth and early seventeenth centuries in England wrote with a lively and creative sense of the visual—a sense richly informed by the theory and practice of Renaissance art.
Farmer begins by describing the powerful visual matrix that underlies the narrative structure of Sidney's New Arcadia. He compares the role of the visual in the poetry of Donne and Ben Jonson, and demonstrates how works by both Thomas Carew and Lord Herbert exhibit poetic invention according to familiar Renaissance pictorial themes. Herrick's Hesperides is shown to be the major seventeenth-century poetic application of the Horatian idea ut pictura poesis.
A special feature of this gracefully written and enlightening volume is Farmer's discussion of Lady Drury's oratory at Hawstead Hall. Published here for the first time are photographs of this uniquely decorated oratory, in which themes from a variety of English and Continental emblem books were painted on the walls of a room apparently designed for private meditation.
Praise for Annie Finch
“A self-proclaimed ‘postmodern poetess,’ Annie Finch lives up to the moniker, presenting a simultaneously thorough and mercurial array of musings on poetics focusing on form and meter, remaining three beats ahead of the rank-and-file herd of traditional prosodists.”
—Art New England
For beginning or advanced students of poetry focused on the art of structuring a poem, A Poet’s Ear serves as a handbook to writing in numerous fixed forms. Here, Annie Finch’s remarkably in-depth introduction to poetic form in English opens a new and exciting world to contemporary poets. From the basic meters and traditional European forms of the ballad and the sonnet to poetic forms brought to English from worldwide cultures and postmodern forms and techniques, A Poet’s Ear serves as both a survey and a guide to the exploration of poetic form. More diverse and comprehensive than any other form handbook, A Poet’s Ear will be essential to the serious student of poetry.
Why do we need new art? How free is the artist in making? And why is the artist, and particularly the poet, a figure of freedom in Western culture? The MacArthur Award–winning poet and critic Susan Stewart ponders these questions in The Poet’s Freedom. Through a series of evocative essays, she not only argues that freedom is necessary to making and is itself something made, but also shows how artists give rules to their practices and model a self-determination that might serve in other spheres of work.
The three parts of A Poet's Guide to Poetry lead the reader through a carefully planned introduction to the ways we understand poetry. The first section provides careful, step-by-step instruction to familiarize students with the formal elements of poems, from the most obvious feature through the most devious.
Part I presents the style, grammar, and rhetoric of poems with a wealth of examples from various literary periods.
Part II discusses the way the elements of a poem are controlled in time through a careful explanation and exploration of meter and rhythm. The "four freedoms" of free verse are also examined.
Part III closes the book with helpful practicum chapters on writing in form. Included here are writing exercises for beginning as well as advanced writers, a dictionary of poetic terms replete with poetry examples, and an annotated bibliography for further explanatory reading.
This useful handbook is an ideal reference for literature and writing students as well as practicing poets.
The three parts of A Poet’s Guide to Poetry lead the reader through a carefully planned introduction to the ways we understand poetry. The first section provides careful, step-by-step instruction to familiarize students with the formal elements of poems, from the most obvious feature through the most subtle. The second part carefully examines meter and rhythm, as well as providing a theoretical and practical overview of free verse. The final section offers helpful chapters on writing in form. Rounding out the volume are writing exercises for beginning and advanced writers, a dictionary of poetic terms, and a bibliography of further reading.
For this new edition, Kinzie has carefully reworked the introductory material and first chapter, as well as amended the annotated bibliography to include the most recent works of criticism. The updated guide also contains revised exercises and adjustments throughout the text to make the work as lucid and accessible as possible.
The office of the poet laureate of Britain was a highly prominent, relevant, and respectable institution throughout the long eighteenth century. First instituted for John Dryden in 1668, the laureateship developed from an honorific into a functionary office with a settled position in court, and in 1813 was bestowed upon Robert Southey, whose tenure transformed the office. Taking an interdisciplinary approach, this book examines the office’s institutional changes and public reception, the mechanics of each laureate’s appointment, and the works produced by the laureates before and after their appointments. It argues that the laureateship played a key part in some of the most vital trends in eighteenth-century culture.
At the core of the book is a new research paradigm that Leo Shipp calls the conceptual geography of culture. It shows that Britons routinely used spatial concepts to understand culture throughout the period, which became increasingly abstract over time. As part of this, Shipp shows, the court evolved from a concrete space in London to an abstract space capable of hosting the entire British public. The laureateship was a dynamic office positioned at the interface of court and public, evolving in line with its audiences. An important intervention in eighteenth-century historiography, this book presents a nuanced understanding of eighteenth-century culture and society, in which the laureateship exemplified the enduring centrality of the court to the British conceptual geography of culture.
Although many books deal individually with each of the major writers treated in Poets of Reality, none attempts through analyses of these particular men and their works, to identify the new directions taken by twentieth-century literature. J. Hillis Miller, challenging the assumption that modern poetry is merely the extension of an earlier romanticism, presents critical studies of the six central figures—Joseph Conrad, W. B. Yeats, T. S. Eliot, Dylan Thomas, Wallace Stevens, and William Carlos Williams—who played key roles in evolving a poetry in which “reality comes to be present to the senses, and present in the words of the poem which ratify this possession.”
A new kind of poetry has appeared in the twentieth century, the author claims, a poetry which, growing out of romanticism and symbolism, goes far beyond it. The old generalizations about the nature and use of poetry are no longer applicable, and it is the gradual emergence of new forms, culminating in the work of Williams, that Miller traces and defines.
Out to see America and satisfy his travel bug, W. T. Pfefferle resigned from his position as director of the writing program at Johns Hopkins University and hit the road to interview sixty-two poets about the significance of place in their work. The lively conversations that resulted may surprise with the potential meanings of a seemingly simple concept. This gathering of voices and ideas is illustrated with photo and word portraits from the road and represented with suitable poems.
The poets are James Harms, David Citino, Martha Collins, Linda Gregerson, Richard Tillinghast, Orlando Ricardo Menes, Mark Strand, Karen Volkman, Lisa Samuels, Marvin Bell, Michael Dennis Browne, David Allan Evans, David Romtvedt, Sandra Alcosser, Robert Wrigley, Nance Van Winckel, Christopher Howell, Mark Halperin, Jana Harris, Sam Hamill, Barbara Drake, Floyd Skloot, Ralph Angel, Carol Muske-Dukes, David St. John, Sharon Bryan, Donald Revell, Claudia Keelan, Alberto Rios, Richard Shelton, Jane Miller, William Wenthe, Naomi Shihab Nye, Peter Cooley, Miller Williams, Beth Ann Fennelly, Natasha Trethewey, Denise Duhamel, Campbell McGrath, Terrance Hayes, Alan Shapiro, Nikki Giovanni, Charles Wright, Rita Dove, Henry Taylor, Dave Smith, Nicole Cooley, David Lehman, Lucie Brock-Broido, Michael S. Harper, C. D. Wright, Mark Wunderlich, James Cummins, Frederick Smock, Mark Jarman, Carl Phillips, Scott Cairns, Elizabeth Dodd, Jonathan Holden, Bin Ramke, Kenneth Brewer, and Paisley Rekdal.
In response to a lack of source works for wide-ranging approaches to teaching poetry, award-winning poet Joshua Marie Wilkinson has gathered ninety-nine micro-essays for poets, critics, and scholars who teach and for students who wish to learn about the many ways poets think about how a poem comes alive from within—and beyond—a classroom. Not narrowly concerned with how to read poetry or how to write poetry, by virtue of their central concern with teaching poetry, the essays in this fresh and innovative volume address both reading and writing and give teachers and students useful tools for the classroom and beyond.
Divided into four sections—“Reflections / Poetics,” “Exercises / Praxis,” “New Approaches to Poetry Courses and Methodology,” and “Talks / Directives”—Poets on Teaching provides practical, intelligent advice. “Reflections / Poetics” encompasses the most expansive approaches to teaching poetry, where poets reflect variously on what teachers can cultivate in their classrooms. “Exercises / Praxis” consists of hands-on approaches to reading and, especially, writing poems. “New Approaches to Poetry Courses and Methodology” features essays on rethinking specific courses, offering new ideas for course design and pedagogy. “Talks / Directives” contains a series of more informal and conversational discussions geared toward becoming a stronger reader, writer, teacher, and student of poetry. Poets on Teaching will be required reading for new and experienced teachers alike.
Kazim Ali, Rae Armantrout, Hadara Bar-Nadav, Dan Beachy-Quick, Bruce Beasley, Claire Becker, Jaswinder Bolina, Jenny Boully, Joel Brouwer, Lily Brown, Laynie Browne, Stephen Burt, Julie Carr, Joshua Clover, Matthew Cooperman, Oliver de la Paz, Linh Dinh, Ben Doller, Sandra Doller, Julie Doxsee, Lisa Fishman, Graham Foust, John Gallaher, Forrest Gander, C. S. Giscombe, Peter Gizzi, Lara Glenum, Kenneth Goldsmith, Johannes Göransson, Noah Eli Gordon, Arielle Greenberg, Richard Greenfield, Sarah Gridley, Anthony Hawley, Terrance Hayes, Eric Hayot, Brian Henry, Brenda Hillman, Jen Hofer, Paul Hoover, Christine Hume, Brenda Iijima, Lisa Jarnot, Kent Johnson, Bhanu Kapil, Karla Kelsey, Aaron Kunin, Quraysh Ali Lansana, Dorothea Lasky, Sueyeun Juliette Lee, Ada Limón, Timothy Liu, Sabrina Orah Mark, Dawn Lundy Martin, Kristi Maxwell, Joyelle McSweeney, Christina Mengert, Albert Mobilio, K. Silem Mohammad, Fred Moten, Jennifer Moxley, Laura Mullen, Sawako Nakayasu, Aimee Nezhukumatathil, Hoa Nguyen, Jena Osman, D. A. Powell, Kristin Prevallet, Bin Ramke, Jed Rasula, Srikanth Reddy, Barbara Jane Reyes, Boyer Rickel, Elizabeth Robinson, Martha Ronk, Emily Rosko, Prageeta Sharma, Evie Shockley, Eleni Sikelianos, Richard Siken, Ron Silliman, Tracy K. Smith, Juliana Spahr, Sasha Steensen, Peter Streckfus, Cole Swensen, Michael Theune, Tony Trigilio, Spring Ulmer, Karen Volkman, Catherine Wagner, G. C. Waldrep, Mark Wallace, Tyrone Williams, Mark Yakich, Jake Adam York, Stephanie Young, Timothy Yu, Matthew Zapruder, Andrew Zawacki, and Rachel Zucker
Although best known as a master of the formal lyric poem, Louise Bogan (1897–1970) also published fiction and what would now be called lyrical essays. A Poet’s Prose: Selected Writings of Louise Bogan showcases her devotion to compression, eloquence, and sharp truths.
Louise Bogan was poetry reviewer for the New Yorker for thirty-eight years, and her criticism was remarkable for its range and effect. Bogan was responsible for the revival of interest in Henry James and was one of the first American critics to notice and review W. H. Auden. She remained intellectually and emotionally responsive to writers as different from one another as Caitlin Thomas, Dorothy Richardson, W. B. Yeats, André Gide, and Rainer Maria Rilke.
Bogan’s short stories appeared regularly in magazines during the 1930s, penetrating the social habits of the city as well as the loneliness there. The autobiographical element in her fiction and journals, never entirely confessional, spurred some of her finest writing. The distinguished poet and critic Mary Kinzie provides in A Poet’s Prose a selection of Bogan's best criticism, prose meditations, letters, journal entries, autobiographical essays, and published and unpublished fiction.
Louise Bogan won the Bollingen Prize in 1954 for her collected poems. She is the subject of the Pulitzer Prize-winning biography by Elizabeth Frank, Louise Bogan: A Portrait.
Poetry has often been considered an irrational genre, more expressive than logical, more meditative than given to coherent argument. And yet, in each of the four very different poets she considers here, Helen Vendler reveals a style of thinking in operation; although they may prefer different means, she argues, all poets of any value are thinkers.
The four poets taken up in this volume—Alexander Pope, Walt Whitman, Emily Dickinson, and William Butler Yeats—come from three centuries and three nations, and their styles of thinking are characteristically idiosyncratic. Vendler shows us Pope performing as a satiric miniaturizer, remaking in verse the form of the essay, Whitman writing as a poet of repetitive insistence for whom thinking must be followed by rethinking, Dickinson experimenting with plot to characterize life’s unfolding, and Yeats thinking in images, using montage in lieu of argument.
With customary lucidity and spirit, Vendler traces through these poets’ lines to find evidence of thought in lyric, the silent stylistic measures representing changes of mind, the condensed power of poetic thinking. Her work argues against the reduction of poetry to its (frequently well-worn) themes and demonstrates, instead, that there is always in admirable poetry a strenuous process of thinking, evident in an evolving style—however ancient the theme—that is powerful and original.
The interviews feature both established writers published as early as the 1960s and emerging artists, each of whom has enjoyed success in other literary forms also. As Bruce Dick's insightful questions reveal, the key threads linking these writers are their connections to their families and communities and their concern for civil rights—believing like Chicana writer Pat Mora that "the work of the poet is for the people." The interviews also reveal diversity among and within the three communities, from Victor Hernández Cruz, who traces Latino collective identity to Africa and claims that all Latinos are "swimming in olive oil," to Cuban writer Gustavo Perez Firmat, who considers nationality more important than ethnicity and says that "the term Latino erases [his] nationality."
The dialogues also offer new insights on the place of Chicano/a writings in the U.S.-Mexico borderlands, on the Puerto Rican/Nuyorican establishment, and on the anti-Castro stand of Cuban-born poets. As these writers answer questions about their work, background, ethnic identity, and political ideology, they provide a wealth of biographical, intellectual, and literary material collected here for the first time. A Poet's Truth is a provocative and revealing book that not only conveys the fire of these writers' passions but also sheds important light on a whole literary movement.
Interviews with:
Miguel Algarín
Martín Espada
Sandra María Esteves
Victor Hernández Cruz
Carolina Hospital and Carlos Medina
Demetria Martínez
Pat Mora
Judith Ortiz Cofer
Ricardo Pau-Llosa
Gustavo Pérez Firmat
Leroy Quintana
Aleida Rodríguez
Luis Rodríguez
Benjamin Alire Sáenz
Virgil Suárez
Born eighty years ago in Lithuania, Czeslaw Milosz has been acclaimed “one of the greatest poets of our time, perhaps the greatest” (Joseph Brodsky). This self-described “connoisseur of heavens and abysses” has produced a corpus of poems, essays, memoirs, and fiction of such depth and range that the reader's imagination is moved far beyond ordinary limits of consciousness. In The Poet's Work Leonard Nathan and Arthur Quinn follow Milosz's wanderings in exile from Poland to Paris to Berkeley as they chart the singular development of his art. Relating his life and his works to the unfolding of his thought, they have crafted a lucid reading of Milosz that far surpasses anything yet written on this often enigmatic poet.
The Poet's Work is not only a solid introduction to Milosz; it is also a unique record of the poet's own interpretations of his work. As colleagues of Milosz at Berkeley, Nathan and Quinn had long, detailed discussions with the poet. It is this spirit of collaboration that brings a sense of immediacy and authority to their seamless study. Nathan and Quinn reveal as never before why Milosz is a true visionary, a poet of ideas in history. And they show how the influence of Blake, Simone Weil, Dostoevsky, Lev Shestov, and Swedenborg, together with Henry Miller, Allen Ginsberg, and Robinson Jeffers, has enriched his vision. Milosz's lifelong experience of totalitarian regimes that exalt science and technology over individual needs and aspirations, his acute sense of alienation as an émigré, and his humanistic zeal and belief in the primacy of living have brought a prismatic quality to his poetry.
At seventy, Milosz spoke of himself as an “ecstatic pessimist.” In their sensitive mapping of his art, Nathan and Quinn skillfully demonstrate that Milosz's global influence has been achieved by the ever-shifting balance he strikes between ecstasy and pessimism. Irony and humor are never far from this book, which not only communicates Milosz's polyphonic message but also evokes his uniquely humane sensibility. The Poet's Work is an illuminating introduction to Milosz that will inform and engage scholars and general readers for years to come.
A follow-up to the highly praised Poets Teaching Poets, Daniel Tobin and Pimone Triplett's Poet's Work, Poet's Play gathers together essays by some of the most important voices in contemporary poetry: Carl Dennis, Stephen Dobyns, Tony Hoagland, Heather McHugh, Ellen Bryant Voigt, Eleanor Wilner, Dean Young, and the late Larry Levis and Agha Shahid Ali.
Lively, accessible, and erudite, the pieces range from discussions on syntax and the syllable to an exploration of the complexities of canon formation under the shadow of imperialism, race, and history. Exploring the work of John Donne, William Butler Yeats, Robert Frost, Philip Larkin, Charles Olsen, Ezra Pound, Anne Carson, Robert Herrick, Harryette Mullen, and many others, Poet's Work, Poet's Play---like its predecessor volume---will be an invaluable tool for teachers, students, and poets at every level.
"Much more than a set of essays on poetic craft or aesthetic understandings, this collection takes on two of the most prevalent anxieties about writing poetry in our time: the place of subjectivity in poetry, and how to make a significant shape in language while both affirming and interrogating the poetic I's authority. This is a book for anyone who wants to write better poems, who wants to read with greater passion, and who believes that poetry is an independent category of human consciousness that can be as capaciousness as the world, and as nuanced."
---Tom Sleigh, author of Space Walk and Far Side of the Earth
"Gathering together essays by unquestionably important poets, Poet's Work, Poet's Play has immense pedagogical value in the way it demonstrates how to discover in poetry resources of language and structure often overlooked in first, and ensuing, readings of complex texts."
---Laurence Goldstein, Professor of English, University of Michigan, and Editor, Michigan Quarterly Review
"A valuable document illuminating critical aspects of the contemporary American poetry scene."
---John Koethe, Distinguished Professor of Philosophy at the University of Wisconsin, Milwaukee, and author of Sally's Hair: Poems
Poggio Civitate in Murlo, Tuscany, is home to one of the best-preserved Etruscan communities of the eighth through the sixth centuries BCE. In this book, Anthony Tuck, the director of excavations, provides a broad synthesis of decades of data from the site.
The results of many years of excavation at Poggio Civitate tell a story of growth, urbanization, ancient industrialization, and dissolution. The site preserves traces of aristocratic domestic buildings, including some of the most evocative and enigmatic architectural sculpture in the region, along with remnants of non-elite domestic spaces, enabling illuminating comparisons across social strata. The settlement also features evidence of large-scale production systems, including tools and other objects that reflect the daily experiences of laborers. Finally, the site contains the story of its own destruction. Tuck finds in the data clear indications that Poggio Civitate was methodically dismantled, and he posits hypotheses concerning the circumstances around this violent social and political act.
McCall dramatizes some of the classic themes of the war memoir genre (war is hell, but memories fade!), but he sets riveting descriptions of decisive action against rarely seen views of mundane work and daily life, supported with maps, photographs, and fresh interpretations. Another distinction of this work is its attention to the action on Guam, a very unpleasant late-war “mopping up” that has received relatively little scholarly attention. In his portrait of the bitter island-hopping war in the Pacific, the author shows how both U.S. and Japanese soldiers were often eager innocents drawn to the cauldron of conflict and indoctrinated and trained by their respective governments. Reflecting on the action late in life, Jack (as well as several other Ninth veterans) came to a begrudging respect for the enemy.
In this study of Miles Poindexter, Insurgent Republican turned conservative, Howard W. Allen reaches beyond the traditional bounds of biography to present a history of the United States Congress during the Progressive era and the early years after World War I.
A congressman (1909–13)and a senator (1913–23), Miles Poindexter of Washington State was an outspoken, progressive reformer before World War I. He struggled to protect “the people” from “special interests,” particularly defending the interest of his section against eastern “colonialism.” A man with a penchant for absolute positions, Poindexter became caught up in the emotionalism of the Insurgent Republican revolt. At one time or another he championed Socialists, the IWW, the striking textile workers in Lawrence, Massachusetts—all unlikely causes for a middle-class lawyer from Spokane.
Regarding foreign policy, Poindexter was an uncompromising nationalist who, with Theodore Roosevelt, declared himself a member of the Progressive party in 1912.
After 1917 Poindexter actively tried to suppress opponents of the war. Following the war his targets were “Bolshevists” and other radicals. He also developed intense hostility toward Socialists, the IWW, and organized labor, fearing radicalism and labor. Reversing his former position, he allied himself with the eastern businessmen and regular Republicans in the Senate. Campaigning for the presidency in 1920, he appealed without success to the most conservative members of the party. He was defeated b a progressive Democrat in his 1922 bid for reelection to the Senate.
Allen examines the traditional sources—archival collections, newspaper files, and congressional reports. When he combines this material with a quantitative analysis of roll-call votes throughout Senator Poindexter’s years in Congress, he creates a remarkably useful method never before attempted in political biography.
The innocence and Keatsian beauty of Euclid's geometry become poignant from a perspective that encompasses all that is non-Euclidean as well as space, time, and the theory of matter. With rare wit and linguistic daring, Waldner opens resonant channels of communication that show there is indeed more than meets the eye—or the mind—in her poems.
Hand to Mouth (Twist and Shout)
Cold comes slow up out
of the darkness among the leaves
that smell so good when bruised
Do you, too, recognize me
god so soon?
Her First Reckoning
Pour wine into vessels the violet of woods,
wine of the reddening stars.
You are god, you can do it.
Your lover calls you St. John the Conqueror.
I have heard her.
This is the name of a root.
Asperge the thousands and thousands of rooms
in which photosynthesis promises sun
to the acolyte cells. Rain yourself on a leaf.
Birch. The bark is malleable as mushroom flesh.
Show that you know me. Scratch out my name
with this tree. My name of trees.
On the day I arrive at the door of my death,
myself now hard to tell
from the trees that had hid it from me,
I will demand that you love me.
You made me like this.
Why did you make me like this?
Transitive, Intransitive: Extemporary Measures
Two crows above the marsh: sew.
Stitch the seventeen sleek shades of blue
to the shadow-patterned greens below.
See fit to make me a suitable view who
having nowhere to else to go
might as well wear this world well.
Llama necks periscope the view:
yonder, across the water, you
testing the air now a crow
chases a redwing blackbird through.
What can I show you who sees
I don't believe? For now,
what the eye of the needle sees:
through through through:
clouds, birds, me, trees;
soon: in, out, with, to;
something moving, something moved:
a stitch in time's an avenue,
future's sutures' revenue—
“the shining hour” improved.
A preeminent critic maps the frontier of contemporary poetry.
In this book, Jerome McGann argues that contemporary language-oriented writing implies a marked change in the way we think about our poetic tradition on one hand and in the future of criticism on the other. He focuses on Walter Benjamin and Gertrude Stein as important intellectual resources because both see the history of poetry as a crisis of the present rather than as a legacy of the past. The crisis appears as a poetic deficit in contemporary culture, where values of politics and morality are judged prima facie more important than aesthetic values. McGann argues for the fundamental relevance of the aesthetic dimension and the contemporary relevance of cultural works of the past.
McGann moves through several broad categories in his examination of contemporary poetry, including the ways in which poetry must be abstract, change, and give pleasure. The author draws on sources ranging from the poetry of Bruce Andrews and Robert Duncan to Looney Tunes cartoons. The experimental move in contemporary poetry, McGann contends, is an emergency signal for readers and critics as much as it is for writers and poets, a signal that calls us to rethink the aesthetics of criticism. The interpretation of literary works has been dominated by enlightenment models—the expository essay and monograph—for almost two hundred years. With the emergence of new media, especially digital culture, the limitations of those models have grown increasingly apparent.
The Point Is To Change It explores alternative critical methods and provides a powerful call to reinvent our modes of investigation in order to escape the limitations of our inherited academic models. The goal of this process is to widen existing cracks or create new ones because, as McGann points out via the lyrics of Leonard Cohen, "That's how the light gets in."
Through essays, letters and journal entries, Andaiye's thinking on the intersections of gender, race, class and power are profoundly articulated, Caribbean histories emerge, and stories from a life lived at the barricades are revealed. We learn about the early years of the Working People's Alliance, the meaning and impact of the murder of Walter Rodney and the fall of the Grenada Revolution. Throughout, we bear witness to Andaiye's acute understanding of politics rooted in communities and the daily lives of so-called ordinary people.
Featuring forewords by Clem Seecharan and Robin DG Kelley, these texts will become vital tools in our own struggles to 'overturn the power relations which are embedded in every unequal facet of our lives'.
University of Utah Anthropological Papers No. 133
Point of Pines Pueblo has long been the center of theoretical debates in southwestern archaeology, yet detailed descriptions of the site have been lacking. Located on the San Carlos Apache Reservation in central Arizona, this large Mountain Mogollon village (about 800 rooms) dates from AD 1200 to 1400. For the first 100 years of occupation it was a multiethnic community and is often referenced in discussions of aggregation, community organization, migration, and ethnic interaction. In Point of Pines Pueblo Tammy Stone details the architectural structures and cultural materials at the site, providing a body of information never before published.
From 1947 to 1960, Point of Pines Pueblo was excavated by the University of Arizona field school under the direction of Emil Haury. Data from that work were housed at the Arizona State Museum Archives. Stone draws from those original excavation notes to present detailed descriptions of each architectural structure and extramural feature along with information on the associated artifacts, dated dendrochronology samples, and ethnobotanical samples unearthed at the site. A rich source of raw data, this book will serve as a valuable resource for years to come.
Tens of millions of people sew for necessity or pleasure every day, yet the craft is surprisingly under-appreciated. The Point of the Needle redresses the balance: this is a book that argues for sewing’s place in our lives. It celebrates not only sewing’s recent resurgence but sewists’ creativity, well-being, and community. Barbara Burman chronicles new voices of people who sew today, by hand or machine, to explore what they sew, what motivates them, what they value, and why they mend things, revealing insights into sewing’s more intimate stories. In our age of superfast fashion with its environmental and social injustices, this eloquent book makes a passionate case for identity, diversity, resilience, and memory—what people create for themselves as they stitch and make.
A small child looks at a dripping faucet and says that it is drooling." Another calls a centipede a "comb." An older child notices the mess in his younger brother's room and says, "Wow, it sure is neat in here." Children's spontaneous speech is rich in such creative, nonliteral discourse. How do children's abilities to use and interpret figurative language change as they grow older? What does such language show us about the changing features of children's minds?
In this absorbing book, psychologist Ellen Winner examines the development of the child's ability to use and understand metaphor and irony. These, she argues, are the two major forms of figurative language and are, moreover, complementary. Metaphor, which describes and sometimes explains, highlights attributes of a topic. As such, it serves primarily a cognitive function. Irony highlights the speaker's attitude toward the subject arid presupposes an appreciation of that attitude by the listener. In contrast to metaphor, irony serves primarily a social function. Winner looks in detail at the ways these forms of language differ structurally and at the cognitive and social capacities required for each.
The book not only draws on the author's own empirical studies but also offers a valuable synthesis of research in the area: it is the first account that spans the realm of figurative language. Winner writes clearly and engagingly and enlivens her account with many vivid examples from children's speech. The book will appeal to developmental psychologists, educators, psychologists of language, early-language specialists, students of literature, indeed, anyone who is delighted by the fanciful utterances of young children.
As president of Harvard University, Neil Rudenstine has enjoyed a unique perspective on the state of higher learning, while exerting a significant influence on its recent and future course. Published to commemorate his decade-long tenure, this selection of Rudenstine’s talks and writings illuminates many of the ideas and issues that animate higher education today.
In a collection of more than fifty speeches and writings, Rudenstine eloquently explores topics both timely and timeless, from the educational importance of diversity to the enduring value of the humanities; from the teaching potential of new technologies to the profound benefits of basic research; from developments in the professions and public service to the singular power of education to transform lives.
Specially designed and printed in a limited edition, Pointing Our Thoughts features a foreword by Hanna Holborn Gray, President Emeritus of the University of Chicago and a member of the Harvard Corporation. As Gray remarks, “To read [Rudenstine’s] thoughtful and beautifully crafted speeches is to hear the voice of a teacher deeply committed to the vocation of opening minds to reflection and insight, listening intensely to his colleagues and entering with them into a continuing process of intellectual dialogue, sharing the convictions and perplexities of the search for understanding.” This volume is testament to that commitment. It represents an invaluable addition to the literature on higher education in America and around the world.
The collection covers a broad range of subjects and concerns that lie at the intersection of disability and the arts, including fetal alcohol syndrome, education, and identity; representations of disability in the visual arts and the complicated position of the disabled spectator; the impact of cancer on the patient and the caregiver; the similarities between beauty pageants and freak shows; Alzheimer's disease; prosthetic devices; the mechanized disabled body; disability and performance; and profiles of Helen Keller and Annie Sullivan, Christopher Reeve, Franklin Roosevelt, and sado-masochistic performance artist Bob Flanagan.
Points of Contact: Disability, Art, and Culture was originally published as a special double issue of the well regarded literary magazine, the Michigan Quarterly Review. Now available in a single, convenient paperback volume, its broad range of perspectives on disability and its entertaining and engaging selections will appeal to general readers, scholars, and students alike.
Susan Crutchfield is lecturer in English, University of Michigan. Marcy Epstein teaches literature at The Roeper School and women's studies at Henry Ford Community College.
The contributors offer methodologies, techniques, and suggestions for research that move beyond decontextualized guides to grapple with the messiness of research-in-process, as well as design, development, and expansion. Serviss and Jamieson’s model of RAD writing studies research is transcontextual and based on hybridized or mixed methods. Among these methods are citation context analysis, research-aloud protocols, textual and genre analysis, surveys, interviews, and focus groups, with an emphasis on process and knowledge as contingent. Chapters report on research projects at different stages and across institution types—from pilot to multi-site, from community college to research university—focusing on the methods and artifacts employed.
A rich mosaic of research about research, Points of Departure advances knowledge about student writing and serves as a guide for both new and experienced researchers in writing studies.
Contributors: Crystal Benedicks, Katt Blackwell-Starnes, Lee-Ann Kastman Breuch, Kristi Murray Costello, Anne Diekema, Rebecca Moore Howard, Sandra Jamieson, Elizabeth Kleinfeld, Brian N. Larson, Karen J. Lunsford, M. Whitney Olsen, Tricia Serviss, Janice R. Walker
Points of Honor: Short Stories of the Great War by a US Combat Marine is based on author Thomas Alexander Boyd’s personal experiences as an enlisted Marine. First published in 1925 and long out of print, this edition rescues from obscurity a vivid, kaleidoscopic vision of American soldiers, US Marines mostly, serving in a global conflict a century ago. It is a true forgotten masterpiece of World War I literature.
The stories in Points of Honor deal almost entirely with Marines in the midst of battle—or faced with the consequences of military violence. The eleven stories in this collection offer a panoramic view of war experience and its aftermath, what Boyd described as “a mass of more human happenings.” The themes are often antiheroic: dehumanization, pettiness, betrayal by loved ones at home, and the cruelty of military justice. But Boyd’s vision also accommodates courage and loyalty. Like all great works of war literature, this collection underscores the central paradox of armed conflict—its ability to bring out both the best and worst in human beings.
This reissue of Points of Honor is edited, annotated, and introduced by Steven Trout. Trout provides an overview of Thomas Boyd’s war experience and writing career and situates the stories within the broader context of World War I American literature.
Points of Honor received strong reviews at the time of its initial publication and remains an overwhelming reading experience today. While each of the stories is a freestanding work of art, when read together they carry the force of a novel.
At a time when there were few women directors in commercial films, the postwar avant-garde movement offered an opportunity. Rabinovitz argues that avant-garde cinema, open to women because of its marginal status in the art world, included women as filmmakers, organizers, and critics.
Focusing on Maya Deren, Shirley Clarke, and Joyce Wieland, Rabinovitz illustrates how women used bold physical images to enhance their work and how each provided entrée to her subversive art while remaining culturally acceptable. She combines archival materials with her own interviews to show how the women’s labor and films, even their identities as women filmmakers, were produced, disseminated, and understood. With a new preface and an updated bibliography, Points of Resistance simultaneously demonstrates the avant-garde’s importance as an organizational network for women filmmakers and the processes by which women remained marginal figures within that network.
Spanish speakers can learn Brazilian Portuguese much more rapidly than any other language, and thousands of students have used Antônio Simões's text/workbook Com licença: Brazilian Portuguese for Spanish Speakers to make the transition between the two languages. Recognizing the need for a text that incorporates current cultural references and the latest language pedagogy, Simões now offers Pois não: Brazilian Portuguese Course for Spanish Speakers, with Basic Reference Grammar.
Pois não contrasts Portuguese and Spanish, which accomplishes two main goals. It teaches the equivalent of one year of college Portuguese in one semester, three times a week, to Spanish speakers who also have a solid understanding of English. Additionally, the book serves as a basic reference guide to Brazilian Portuguese for the same audience.
Pois não can be used by students in the classroom or by independent learners. Users of the book may focus on the drills alone, concentrate on both the explanations and drills, or use the book as a reference for consultation only. Answers to all of the exercises are included in the book. Audio and video recordings by native Brazilian speakers of dialogues that appear in the book can be downloaded at https://utexas.box.com/v/PoisNaoAudio.
Biological warfare is a menacing twenty-first-century issue, but its origins extend to antiquity. While the recorded use of toxins in warfare in some ancient populations is rarely disputed (the use of arsenical smoke in China, which dates to at least 1000 BC, for example) the use of "poison arrows" and other deadly substances by Native American groups has been fraught with contradiction. At last revealing clear documentation to support these theories, anthropologist David Jones transforms the realm of ethnobotany in Poison Arrows.
Examining evidence within the few extant descriptive accounts of Native American warfare, along with grooved arrowheads and clues from botanical knowledge, Jones builds a solid case to indicate widespread and very effective use of many types of toxins. He argues that various groups applied them to not only warfare but also to hunting, and even as an early form of insect extermination. Culling extensive ethnological, historical, and archaeological data, Jones provides a thoroughly comprehensive survey of the use of ethnobotanical and entomological compounds applied in wide-ranging ways, including homicide and suicide. Although many narratives from the contact period in North America deny such uses, Jones now offers conclusive documentation to prove otherwise.
A groundbreaking study of a subject that has been long overlooked, Poison Arrows imparts an extraordinary new perspective to the history of warfare, weaponry, and deadly human ingenuity.
Poison in the Ivy challenges popular beliefs about the importance of cross-racial interactions as an antidote to racism in the increasingly diverse United States. He shows that it is the context and framing of such interactions on college campuses that plays an important role in shaping students’ beliefs about race and inequality in everyday life for the future political and professional leaders of the nation. Poison in the Ivy is an eye-opening look at race on elite college campuses, and offers lessons for anyone involved in modern American higher education.
In the early 1990s, Russian President Boris Yeltsin revealed that for the previous thirty years the Soviet Union had dumped vast amounts of dangerous radioactive waste into rivers and seas in blatant violation of international agreements. The disclosure caused outrage throughout the Western world, particularly since officials from the Soviet Union had denounced environmental pollution by the United States and Britain throughout the cold war.
Poison in the Well provides a balanced look at the policy decisions, scientific conflicts, public relations strategies, and the myriad mishaps and subsequent cover-ups that were born out of the dilemma of where to house deadly nuclear materials. Why did scientists and politicians choose the sea for waste disposal? How did negotiations about the uses of the sea change the way scientists, government officials, and ultimately the lay public envisioned the oceans? Jacob Darwin Hamblin traces the development of the issue in Western countries from the end of World War II to the blossoming of the environmental movement in the early 1970s.
This is an important book for students and scholars in the history of science who want to explore a striking case study of the conflicts that so often occur at the intersection of science, politics, and international diplomacy.
It’s falling from the sky and in the air we breathe. It’s in our food, our clothes, and our homes. It’s microplastic and it’s everywhere—including our own bodies. Scientists are just beginning to discover how these tiny particles threaten health, but the studies are alarming.
In A Poison Like No Other, Matt Simon reveals a whole new dimension to the plastic crisis, one even more disturbing than plastic bottles washing up on shores and grocery bags dumped in landfills. Dealing with discarded plastic is bad enough, but when it starts to break down, the real trouble begins. The very thing that makes plastic so useful and ubiquitous – its toughness – means it never really goes away. It just gets smaller and smaller: eventually small enough to enter your lungs or be absorbed by crops or penetrate a fish’s muscle tissue before it becomes dinner.
Unlike other pollutants that are single elements or simple chemical compounds, microplastics represent a cocktail of toxicity: plastics contain at least 10,000 different chemicals. Those chemicals are linked to diseases from diabetes to hormone disruption to cancers.
A Poison Like No Other is the first book to fully explore this new dimension of the plastic crisis, following the intrepid scientists who travel to the ends of the earth and the bottom of the ocean to understand the consequences of our dependence on plastic. As Simon learns from these researchers, there is no easy fix. But we will never curb our plastic addiction until we begin to recognize the invisible particles all around us.
At a time when poison was widely feared, the urgent need for effective cures provoked intense excitement about new drugs. As doctors created, performed, and evaluated poison trials, they devoted careful attention to method, wrote detailed experimental reports, and engaged with the problem of using human subjects for fatal tests. In reconstructing this history, Rankin reveals how the antidote trials generated extensive engagement with “experimental thinking” long before the great experimental boom of the seventeenth century and investigates how competition with lower-class healers spurred on this trend.
The Poison Trials sheds welcome and timely light on the intertwined nature of medical innovations, professional rivalries, and political power.
Based on the lives and crimes of no less than twenty real women, dokufu (poison women) narratives emerged as a powerful presence in Japan during the 1870s. During this tumultuous time, as the nation moved from feudalism to oligarchic government, such accounts articulated the politics and position of underclass women, sexual morality, and female suffrage. Over the next century, the figure of the oversexed female criminal, usually guilty of robbery or murder, became ubiquitous in modern Japanese culture.
In Poison Woman, Christine L. Marran investigates this powerful icon, its shifting meanings, and its influence on defining women’s sexuality and place in Japan. She begins by considering Meiji gesaku literature, in which female criminality was often medically defined and marginalized as abnormal. She describes the small newspapers (koshinbun) that originally reported on poison women, establishing journalistic and legal conventions for future fiction about them. She examines zange, or confessional narratives, of female and male ex-convicts from the turn of the century, then reveals how medical and psychoanalytical literature of the 1920s and 1930s offered contradictory explanations of the female criminal as an everywoman or a historical victim of social circumstances and the press. She concludes by exploring postwar pulp fiction (kasutori), film and underground theater of the 1970s, and the feminist writer Tomioka Taeko’s take on the transgressive woman.
Persistent stories about poison women illustrate how a few violent acts by women were transformed into myriad ideological, social, and moral tales that deployed notions of female sexual desire and womanhood. Bringing together literary criticism, the history of science, media theory, and gender and sexuality studies, Poison Woman delves into genre and gender in ways that implicate both in projects of nation-building.
Christine L. Marran is associate professor of Japanese literature and cultural studies at the University of Minnesota.
This work examines the introduction of grape juice into the celebration of Holy Communion in the late 19th century Methodist Episcopal Church and reveals how a 1,800-year-old practice of using fermented communion wine became theologically incomprehensible in a mere forty years. Through study of denominational publications, influential exegetical works, popular fiction and songs, and didactic moral literature, Jennifer Woodruff Tait charts the development of opposing symbolic associations for wine and grape juice. She argues that 19th century Methodists, steeped in Baconian models of science and operating from epistemological presuppositions dictated by common-sense realism, placed a premium on the ability to perceive reality accurately in order to act morally. They therefore rejected any action or substance that dulled or confused the senses (in addition to alcohol, this included “bad” books, the theatre, stimulants, etc., which were all seen as unleashing unchecked, ungovernable thoughts and passions incompatible with true religion).
Then in clear, understandable language, he describes an alternative, precautionary approach to making decisions under uncertainty. Once a mere theory, the precautionary principle has now been applied in practice through the European Union’s REACH protocol. Citing major studies, many of which he has directed, he shows that the precautionary approach has not only worked, but has been relatively cheap.
Poisoned for Pennies shows how the misuse of cost-benefit analysis is impeding efforts to clean up and protect our environment, especially in the case of toxic chemicals. According to Ackerman, conservatives—in elected office, in state and federal regulatory agencies, and in businesses of every size—have been able to successfully argue that environmental clean-up and protection are simply too expensive. But he proves, that is untrue in case after case.
Ackerman is already well known for his carefully reasoned attacks on the conventional wisdom about the costs of environmental regulation. This new book, which finds Ackerman ranging from psychological research to risk analysis to the benefits of aggressive pesticide regulation, and from mad cow disease to lead paint, will further his reputation as a thought leader in environmental protection. We can’t afford not to listen to him.
The Poisoned Well offers vital strategies for citizens, community organizations, and public officials who want to fight the battle against pollutants.
The highly toxic PBB poisoning of Michigan remains the most widespread chemical contamination known in U.S. history. The Poisoning of Michigan is an investigative journalist's account of the contamination of Michigan's dairy cattle with the highly toxic chemical PBB (polybrominated biphenyl) in 1973. A near relation of PCB, this now-banned substance, designed as a fire retardant, was mistaken for a nutritional supplement at a chemical plant. It ended up in cattle feed that was distributed to farms throughout the state. By the time the error was discovered, virtually all nine million residents of Michigan had been ingesting contaminated milk and meat for almost a year.
A new introduction by the author and an afterword by three distinguished environmental scientists explain how the legacy of Michigan's poisoning lives on—and how equally toxic substitutes for PBB still invade our homes and lives. This new edition of Egginton's environmental classic—first published in 1980 and long out of print—tells how the tragedy affected both the farm community and the wider populace, and how federal and state authorities failed to respond. "We were mired in a swamp of ignorance," one state official admitted.
This difference in outcome doesn’t mean that poisonous women didn’t preoccupy Americans. In the decades following Andrew Jackson’s first presidential bid, Americans buzzed over women who used poison to kill men. They produced and devoured reams of ephemeral newsprint, cheap trial transcripts, and sensational “true” pamphlets, as well as novels, plays, and poems. Female poisoners served as crucial elements in the literary manifestos of writers from Nathaniel Hawthorne and Edgar Allan Poe to George Lippard and the cheap pamphleteer E. E. Barclay, but these characters were given a strangely positive spin, appearing as innocent victims, avenging heroes, or engaging humbugs.
The reason for this poison predilection lies in the political logic of metaphor. Nineteenth-century Britain strove to rein in democratic and populist movements by labeling popular print “poison” and its providers “poisoners,” drawing on centuries of established metaphor that negatively associated poison, women, and popular speech or writing. Jacksonian America, by contrast, was ideologically committed to the popular—although what and who counted as such was up for serious debate. The literary gadfly John Neal called on his fellow Jacksonian writers to defy British critical standards, saying, “Let us have poison.” Poisonous Muse investigates how they answered, how they deployed the figure of the female poisoner to theorize popular authorship, to validate or undermine it, and to fight over its limits, particularly its political, gendered, and racial boundaries.
Poisonous Muse tracks the progress of this debate from approximately 1820 to 1845. Uncovering forgotten writers and restoring forgotten context to well-remembered authors, it seeks to understand Jacksonian print culture from the inside out, through its own poisonous language.
Poisoning occurs in over half of Agatha Christie's many novels and stories. In fact, she used a larger number and broader selection of poisons and medicines, for a wider variety of purposes, with greater frequency, ingenuity, and scientific accuracy than any other detective fiction writer. Yet very little has been written on the use of drugs, poisons, and chemicals in Christie's fiction.
The Poisonous Pen of Agatha Christie entertainingly and authoritatively fills this gap. Michael Gerald explores the use of poisons and drugs in Christie's fiction not only to commit murder and suicide but also to incapacitate a victim, alter behavior, treat disease, or support addiction. He also analyzes her views, as expressed in her fiction and autobiography, on drug addiction, the health professions, the value of medicines, and scientific discoveries.
Especially valuable is Gerald's exhaustive listing of all drugs, poisons, and chemicals mentioned in Christie's novels and stories, with references to the work(s) in which each appears and the ways in which each is used. Other tables list all the novels and short stories and the chemicals that are used in each. Throughout, the properties of all drugs are clearly explained so that the reader needs no special scientific or medical knowledge.
The Poisonous Pen of Agatha Christie illuminates the fictional uses Christie made of her real-life experiences as a hospital drug dispenser and as a provider of nursing care. It will be of interest to fans and scholars alike.
The identification of acid rain in the 1960s changed scientific and popular understanding of fossil fuel pollution’s potential to cause regional—and even global—environmental harms. It showed scientists that the problem of fossil fuel pollution was one that crossed borders—it could travel across vast stretches of the earth’s atmosphere to impact ecosystems around the world. This unprecedented transnational reach prompted governments, for the first time, to confront the need to cooperate on pollution policies, transforming environmental science and diplomacy. Studies of acid rain and other pollutants brought about a reimagining of how to investigate the natural world as a complete entity, and the responses of policy makers, scientists, and the public set the stage for how societies have approached other prominent environmental dangers on a global scale, most notably climate change.
Grounded in archival research spanning eight countries and five languages, as well as interviews with leading scientists from both government and industry, Poisonous Skies is the first book to examine the history of acid rain in an international context. By delving deep into our environmental past, Rothschild hopes to inform its future, showing us how much is at stake for the natural world as well as what we risk—and have already risked—by not acting.
Poker is an extraordinary worldwide phenomenon with major social, cultural, and political implications, and Poker: The Parody of Capitalism investigates the game of poker as a cultural expression of significance not unlike art, literature, film, or music. Tracing the history of poker and comparing the evolution of the game to the development of capitalism, Ole Bjerg complicates prevalent notions of “casino capitalism” and correspondingly facile and simplistic comparisons of late capitalism and poker. By employing Slavoj Žižek’s threefold distinction between imaginary-symbolic-real as a philosophical framework to analyze poker and to understand the basic strategies of the game, Bjerg explores the structural characteristics of poker in relation to other games, making a clear distinction between poker and other gambling games of pure chance such as roulette and craps. With its combination of social theory and empirical research, Poker offers an engaging exploration of a cultural trend.
"Poker is a theoretically sophisticated, highly original and innovative treatment of a contemporary social phenomenon, and contributes greatly to our understanding of the nature of contemporary capitalism."
—Charles Livingstone, Monash University Australia
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press