Baghdad, Mon Amour is a memoir by Salah Al Hamdani centered on his imprisonment under Saddam Hussein, his subsequent exile in France for more than thirty years, and his emotional return to Baghdad and seeing his family again after all those years with feelings of tremendous joy but also guilt for having “abandoned” them. The beauty of Al Hamdani’s prose and poetry is skillfully captured in Sonia Alland’s translation.

In the fall of 1928, thirty-five year-old Freya Stark set out on her first journey to the Middle East. She spent most of the next four years in Iraq and Persia, visiting ancient and medieval sites, and traveling alone through some of the wilder corners of the region.

In self-exile in Canada after the collapse of Yugoslavia and his mother's death, the narrator of Bait is listening to a series of tapes he recorded of his mother years before. As her story is told, he reflects on her life and their relationship, attempting to come to terms with his Jewishness and his own new life in a foreign culture.

The dimension of religion in the life and work of Bakhtin has been fiercely contested--and willfully ignored--by critics. Unique in its in-depth focus on this subject, Bakhtin and Religion brings together leading British, American, and Russian scholars to investigate the role of religious thought in shaping and framing Bakhtin's writings.

These essays provide an overview of Bakhtin's attitude toward religion in general and Russian Orthodoxy in particular, addressing topics ranging from how Bakhtin's religious ideas informed his linguistic and aesthetic theories to the idea of love in his secular and religious thought and to the religious component of Bakhtin's theory of laughter.

Mikhail Bakhtin's critical and theoretical experiments have inspired original work in the humanities and social sciences, but Bakhtin and the Classics is the first book to focus on the relationship between Bakhtin and classical studies, the discipline in which Bakhtin himself was trained. Clearly demonstrating the fundamental importance of classical literature in his work, Bakhtin and the Classics expands our understanding of both Bakhtin's thought and the literary and cultural history of antiquity. 

The authors, eminent classicists and distinguished critics of Bakhtin, put Bakhtin into dialogue with the classics--and classicists into dialogue with Bakhtin. Each essay offers a critical account of an important aspect of Bakhtin's thought and examines the value of his approach in the context of literary or cultural history. Beginning with an overview of Bakhtin's notion of carnival laughter, perhaps his central critical concept, the volume explores Bakhtin's thought and writing in relation to Homer's epic verse. Catullus's lyric poetry, ancient Roman novels, and Greek philosophy from Aristotle's theory of narrative to the work of Antiphon the Sophist. The results are of interest and importance to Bakhtinians, theorists, and classicists. 

The Russian critic M. M. Bakhtin has recently become a major figure in contemporary theory beyond his traditional influence in Slavic literary studies. Bakhtin in Contexts explores the revolutionary impact Bakhtin's ideas have carried in contemporary discussion of language, art, culture, and social science in recent years. The contributors represent a broad range of disciplines in the humanities and social sciences, epitomizing the views of Russian and American specialists in those fields Bakhtin often referred to as "the human sciences." The diversity of perspective and flexibility of approach make this a unique contribution to Bakhtin studies and to the ongoing dialogue between Western and Russian theorists.

Although Albanian literature dates back to the 1500s, creative prose in that nation is very much a twentieth-century phenomenon; and much as the early literature in Albanian was interrupted by Ottoman rule—and oppression—its later emergence was stymied and stunted by Stalinist politics and propaganda. What this volume documents is, then, a literature at once venerable and nascent, a tradition in the making, however deep its roots. In these stories representing the last three decades of Albanian writing—especially the burst of creativity in the newfound freedom of the 1990s—readers will encounter work that reflects the literary paradox of Eastern Europe in the late twentieth century: the startling originality of the new uneasily coupled with the strains of history; the sophistication and self-consciousness of late (or post-) modernity married to the simplicity of a literature first finding its voice; a refusal of political influence and pressure expressed through frankly political subject matter.

Albania's more established writers (including Dritëro Agolli, Ismail Kadare, Teodor Laço, and Eqrem Basha) appear here alongside newer talents (such as Ylljet Aliçka, Mimoza Ahmeti, Elivra Dones, Lindita Arapi, and Kim Mehmeti), providing English-speaking readers with an elucidating and entertaining overview of the recent history, and the future, of the nation's literature.

This collection first appeared as a special issue of Storm, the British literary journal of new eastern European writing. Joanna Labon has selected excellent, timely essays, stories, drama, and prose by exiled or silenced members of the Yugoslav intelligentsia.

Contributors: Dubravka Ugrešić, Bogdan Bogdanović, Dragan Velikić, Danilo Kiš, Drago Jančar, Mirko Kovač, Goran Stefanovski, Dževad Karahasan, and Slobodan Blagojević.

Martin and Tomas leave Prague on Christmas Day for "that other country." Although their destination is the mountains, their departure has been initiated by a search for their own identity—people in their country have become alike, losing their individuality and becoming products of a totalitarian regime. The pair become the guests of a high school teacher, but Martin falls in love with the teacher's daughter only to lose her in a police suppression, and the Other Country is revealed as a merciless machine of oppression that throws its people into despair.

Luis Montez—Denver attorney and part-time detective—has been getting his career and his life together. So how did he end up in a ditch, his car twisted and smoking nearby, a gun-wielding giant in a cowboy hat coming toward him?

The answer: his friend, Felix "Gato" Guerrero.

Trouble has always followed the larger-than-life Felix the Cat. Now it has jumped all over him. His girlfriend is the wife of a ruthless local crime lord and in spite of bullets and hit men he won't give her up. His former father-in-law blames him for a family tragedy and is bent on revenge. Worst of all, Felix is determined to remain unaware of the dangers. It's up to Montez-and not for the first time-to step in and save him.

As in his Edgar-nominated The Ballad of Rocky Ruiz, Manuel Ramos immerses readers not only in a thrilling mystery but also in the fascinating Chicano culture of the West. Fast-paced and richly textured, The Ballad of Gato Guerrero is an entertaining addition to the acclaimed Luis Montez mystery series.

This debut novel in the acclaimed Luis Montez series introduced a hero unique in detective fiction: a world-weary middle-aged lawyer steeped in the politics, history, and culture of the golden age of Chicano activism.

Twenty years ago, a gang attacked four Chicano student activists and shot down their leader, Rocky Ruiz. Now the survivors, Montez's former compatriots in the movement, are in danger. One is killed, another beaten, and a third driven into hiding. Enter Teresa Fuentes, a beautiful young lawyer determined to solve the mystery and just as determined to avoid becoming involved with Montez. To save his friends, Montez must reexamine the central event of their shared past-the murder of Rocky Ruiz. Just as difficult, he finds, may be to untangle his feelings for Teresa Fuentes.

The Hispanic Malcolm X. Writer. Activist. Civil rights attorney. Obese, dark-skinned, and angry. Man with a surplus of personality. Man of vision. All the above describe Oscar "Zeta" Acosta. El Paso-born, Acosta became a leading figure in the Chicano rights movement of the 1960s and 1970s, winning landmark decisions in civil rights cases as an attorney. As a tireless writer and activist, he had a profound influence on his contemporaries. He seemed to be everywhere at once, knowing everyone in "el movimiento" and involving himself in many of its key moments. Tumultuous and prone to excess, he is the Samoan in Hunter S. Thompson's Fear and Loathing in Las Vegas. In 1974, after a last phone call to his son, Acosta disappeared in the Mexican state of Mazatlán.

Hailed as "a fine, learned homage" (Kirkus), "a kaleidoscopic portrait" (Booklist), and "a game of mirrors" (The Washington Post), Bandido is a veritable tour de force. Through interviews and Acosta's writings (published and unpublished), Ilan Stavans reconstructs—even reinvents—the man behind the myth. Part biographical appraisal, part reflection on the legacy of the Civil Rights era, Bandido is an opportunity to understand the challenges and pitfalls Latinos face in finding a place of their own in America.

Colonel Kristian Barutanski, overlord of the mythical Baltic nation of Blitva, has freed his country from foreign oppression and now governs with an iron fist. He is opposed by Niels Nielsen, a melancholy intellectual who hurls invective at the dictator and the hypocrisy and moral bankruptcy of society. Barutanski himself despises the sycophants beneath him and recognizes in Nielsen a genuine foe; but Nielsen, haunted by his own lapses of conscience, struggles to escape both the regime and the role of opposition leader that is thrust upon him.

Miroslav Krleza is considered one of the most important Central European authors of the twentieth century. In his career he was a poet, playwright, screenwriter, novelist, essayist, journalist, and travel writer. He also suffered condemnation as a leftist and a practitioner of modernism and his books were proscribed in the 1930s. The first two books of the trilogy The Banquet in Blitva were written in the thirties and their comments on political, psychological, artistic, and ethical issues earned him the enmity of Yugoslavia's increasingly fascist government. He did not write and publish the third book in the trilogy until 1962.

In The Baroque Night, authorial idiosyncrasy hybridizes the concepts of "baroque" and "noir" across the fields of film, theater, literature, and philosophy, arguing for mental function as form, as an impossible object, a container in which the container itself is the thing contained. The book is an experiment in thinking difference and thinking differently, an ethics of otherness and the abstract. Spencer Golub inverts the unreality of the real and the reality of fiction, exposing the tropes of memory, identity, and authenticity as a scenic route through life that ultimately blocks the view.

The Baroque Night draws upon materials that have not previously been included in studies of either the baroque or film noir, while offering new perspectives on other, more familiar sources. Leibniz's concepts of the monad and compossibility provide organizing thought models, and death, fear, and mental illness cast their anamorphic images across surfaces that are deeper and closer than they at first appear. Key characters and situations in the book derive from the works of Alfred Hitchcock, Henri-Georges Clozot, Jean-Pierre Melville, Oscar Wilde, Georges Perec, Patricia Highsmith, William Shakespeare, Jean Racine, Pierre Corneille, and Arthur Conan Doyle, among many others.

This is virtuality and reality for the phobic, making it a fascinating and viable document of and episteme for the anxious age in which we (always) find ourselves living, though not yet fully alive. This performance of suspect evidence speaks to and in the ways we are organically inauthentic, the cause of our own causality and our own worst eyewitnesses to all that appears and disappears in space and time.

 

When it was first published in 1968, Michael Balint's The Basic Fault laid the groundwork for a far-ranging reformation in psychoanalytic theory. This reformation is still incomplete, for it remains true today that despite the proliferation of techniques and schools, we do not know which are more correct or more successful--and all psychoanalysts continue to encounter intractable cases of mental disorder. Balint argues that ordinary "rigid" techniques and theories are doomed to failure in such cases because of their emphasis on interpretation.

The Basic Fault continues to illuminate the crucial current issues in psychoanalysis and psychotherapy in general: the nature of self, the role of developmental defects, the value of empathy, and the central importance of the relationship between therapist and patient. This paperback edition includes a foreword by Paul H. Ornstein discussing the impact of Balint's work at the time of its publication and its continued importance now.

Borrowing from Romare Bearden’s aesthetic palette and inspired by his Odysseus series, Bearden’s Odyssey gathers, for the first time, poems from thirty-five of the most revered African diaspora poets in the United States. Poetic echoes come forth in themes of inspiration with historical intersections of one of the greatest visual artists of the twentieth century.
 
The award-winning editors, Kwame Dawes and Matthew Shenoda, assemble an esteemed literary congregation, with original poems by Chris Abani, Rita Dove, Lyrae Van Clief-Stefanon, Ed Roberson, Aracelis Girmay, Yusef Komunyakaa, and more. With a powerful foreword by Nobel laureate Derek Walcott and stunning visual reproductions of select Bearden masterpieces, this anthology fuses art and literature, standing as a testament to Romare Bearden’s power and influence in the contemporary artistic world.
 

Among the best-represented authors in Samuel Beckett’s library was Ludwig Wittgenstein, yet the philosopher’s relevance to the Nobel laureate’s work is scarcely acknowledged and seldom elucidated. Beckett after Wittgenstein is the first book to examine Beckett’s formative encounters with, and profound affinities to, Wittgenstein’s thought, style, and character.

While a number of influential critics, including the philosopher Alain Badiou, have discerned a transition in Beckett’s work beginning in the late 1950s, Furlani is the first to identify and clarify how this change occurs in conjunction with the writer’s sustained engagement with Wittgenstein’s thought on, for example, language, cognition, subjectivity, alterity, temporality, belief, hermeneutics, logic, and perception. Drawing on a wealth of Beckett’s archival materials, much of it unpublished, Furlani’s study reveals the extent to which Wittgenstein fostered Beckett’s views and emboldened his purposes.

Becoming French explores the geographical shift that occurs in French society during the first four decades of France's Third Republic government. Dana Kristofor Lindaman provides the historical context that led to the explosion of geographic interest at the end of the nineteenth century, exploring the ways that the work of the geographers Paul Vidal de la Blache and Élisée Reclus served as a conceptual basis for abstract notions of the nation such as la Patrie. Lindaman then uses Reclus's formulation of the earth as "une organisme terrestre" (terrestrial organism) to read Jules Verne's Voyage au centre de la terre (Journey to the Center of the Earth) as a journey to the center of the individual self. Finally, he traces the geographic narrative of G. Bruno's Tour de la France par deux enfants, in particular the way that Bruno's work incorporates the geographic thought of Vidal de la Blache, to discover the organic ties that bind readers through the shared experience of reading the text.

Mikhail Lermontov (1814-1841) is one of Russia's most prominent poets--and one of its most puzzling. In this radically new interpretation, David Powelstock reveals how the seeming contradictions in Lermontov's life and works can be understood as manifestations of a coherent worldview.

By bringing to light Lermontov's operative version of Romantic individualism, Powelstock is able to make sense of the poet's relationship to "romantic irony," his highly modern concept of the reader (both real, and implied in the text), and his vexed passion for his predecessor Alexander Pushkin--a relationship that is almost always treated sentimentally, but is here given its true competitive edge. Furthermore, Powelstock offers the most persuasive account ever given of Lermontov's exceptionally odd treatment of, and success with, women--both in real life and in fiction--and of his cruel overlapping of these two planes.

Clarifying what has remained perplexing for so long, and correcting what has been misinterpreted, Powelstock's work illuminates Lermontov's views of dignity, death, love, nature, society, and ethics--and, finally, gives us an intellectual biography that is deeper and more subtle than any written before.

A man of extraordinary and seemingly limitless talents—musician, inventor, composer, poet, and even amateur mycologist—John Cage became a central figure of the avant-garde early in his life and remained at that pinnacle until his death in 1992 at the age of eighty. Award-winning biographer Kenneth Silverman gives us the first comprehensive life of this remarkable artist. Silverman begins with Cage’s childhood in interwar Los Angeles and his stay in Paris from 1930 to 1931, where immersion in the burgeoning new musical and artistic movements triggered an explosion of his creativity. Cage continued his studies in the United States with the seminal modern composer Arnold Schoenberg, and he soon began the experiments with sound and percussion instruments that would develop into his signature work with prepared piano, radio static, random noise, and silence. Cage’s unorthodox methods still influence artists in a wide range of genres and media. Silverman concurrently follows Cage’s rich personal life, from his early marriage to his lifelong personal and professional partnership with choreographer Merce Cunningham, as well as his friendships over the years with other composers, artists, philosophers, and writers. 
 

Drawing on interviews with Cage’s contemporaries and friends and on the enormous archive of his letters and writings, and including photographs, facsimiles of musical scores, and Web links to illustrative sections of his compositions, Silverman gives us a biography of major significance: a revelatory portrait of one of the most important cultural figures of the twentieth century.

Behind the Red Mist gives us for the first time in English a wide range of stories from the most important writer of the post-war generation in Vietnam. The characters range from a party official who turns into a goat while watching porno movies, to an Indian who carries his mother's bones in his knapsack, to a war widow trying desperately to piece together her life through the fragments of debris she collects from her back yard. The title novella "Behind the Red Mist" is a Vietnamese "Back To the Future", a social satire in which a young man in the Hanoi of the eighties receives an electric shock and is transported back to his same apartment block in 1967 wartime Vietnam during the American bombing. He not only witnesses the war with the eyes of someone who knows its outcome, but participates in his parents' courtship and discovers some truths about the generation held up to his own as a role model.

As animals recede from our world, what tale is being told by literature’s creatures? Behold an Animal: Four Exorbitant Readings examines incongruous animals in the works of four major contemporary French writers: an airborne horse in a novel by Jean-Philippe Toussaint, extinct orangutans in Éric Chevillard, stray dogs in Marie NDiaye, vanishing (bits of) hedgehogs in Marie Darrieussecq. Resisting naturalist assumptions that an animal in a story is simply—literally or metaphorically—an animal, Thangam Ravindranathan understands it rather as the location of something missing. The animal is a lure: an unfinished figure fleeing the frame, crossing bounds of period, genre, even medium and language. Its flight traces an exorbitant (self-)portrait in which thinking admits to its commerce with life and flesh. It is in its animals, at the same time unbearably real and exquisitely unreal, that literature may today be closest to philosophy. 

This book’s primary focus is the contemporary French novel and continental philosophy. In addition to Toussaint, Chevillard, NDiaye, and Darrieussecq, it engages the work of Jean de La Fontaine, Eadweard Muybridge, Edgar Allan Poe, Lewis Carroll, Samuel Beckett, and Francis Ponge. 

Being and God argues that defensible philosophical theorization concerning the topic “God” is both possible and necessary within the framework of an adequate systematic philosophy—which must include a theory of Being—but is not possible in the absence of such a framework. The book provides critiques of philosophical approaches to this topic that have not relied on such frameworks; targets include the most important and influential treatments presented by historical, contemporary analytic, and contemporary continental philosophers. The book also further develops the systematic framework presented in Puntel’s Structure and Being (2008), extending a line of argumentation to show that the absolutely necessary dimension of Being is, when more fully explicated, appropriately named “God.”

With a new translation of the Duino Elegies

“Who, if I cried out, would hear me among the angels’/orders?” Rainer Maria Rilke’s Duino Elegies opens with one of the most powerful poetic expressions of the search for meaning in the modern world. Published in 1923, the Elegies would influence important philosophers on the Continent, including Heidegger. But with a few exceptions, Rilke’s poetry has not had an impact on philosophy in the Anglo-American world. In Being Here Is Glorious, James D. Reid offers a fresh translation of the Elegies, which hews to the form of the original and provides his own meditation on the place of poetry in philosophy. Reid makes a convincing case that poetry and philosophy can address the problem of finding things significant and worth affirming in light of various reasons to doubt the value of the world in which we find ourselves cast.

Bergson and Russian Modernism provides a portrait of the early twentieth-century intersection of literature, philosophy, and art, showing how the Russian reception of Bergsonian philosophy helped to define Russian Modernism. By drawing on various works of Russian religious thought, Symbolism, Post-Symbolism, and the absurd, Fink examines Bergson's appeal to Russian modernists interested in breaking free of traditional concepts of time and space and in reclaiming the direct link with reality that had been broken by nineteenth-century rationalism and empiricism.

In 1980, with the Sandinistas newly in power, tailor and pig farmer Bernardo Martinez witnesses an extraordinary thing: an otherworldly glow about the statue of the Virgin Mary in the church where he works as sacristán. Soon the Holy Virgin appears. She tells Bernardo to forget his money problems and fear of ridicule and spread her message of peace and faith to his neighbors. Though a work of fiction, Bernardo and the Virgin is based on actual events in Bernardo Martinez's life. The visitation of the Virgin Mary at Cuapa, Nicaragua, remains one of the few such events accepted by the Roman Catholic Church in the last sixty years.

Silvio Sirias' sweeping novel tells many stories: that of a humble man touched by the transcendent; that same man as a devout boy denied the priesthood because of poverty; and those in his orbit, past and present. It is also the stormy epic of Nicaragua through the long Somoza years to the Sandinista revolution. Sirias' beautiful language mixes English with Spanish and details of dusty village life with wondrous images of Catholic mysticism. His portrayal of the rich recent past of Central America resonates with the experiences of both the natives and the thriving communities of Nicaraguans, Salvadorans, and others putting down roots in the United States.

Within the relatively recent development of a tradition of African American playwriting, the Theodore Ward Prize has, over its twenty-year history, offered a rich reflection of the accomplishments of emerging and established black playwrights and their growing importance in shaping contemporary theater. This volume showcases three winners of the Theodore Ward Prize--plays that in their quality and subject matter aptly represent what is being written and produced by African American playwrights and theaters today.

Carefully selected by a director and educator who has been affiliated with the contest for eighteen of its twenty years, these three works have themes that range from the sordid shenanigans of a Depression-era "South Side Burial Society" (Leslie Lee's Sundown Names and Night-Gone Things) to a single mother's heartbreaking battle to save her children's souls (Mark Clayton Southers' Ma Noah) to a poignant and achingly funny reunion of three sisters after their parents' death (Kim Euell's The Diva Daughters DuPree). Their publication answers a growing demand for the work of African American playwrights even as it affords deep and varied insights into African American culture in our era.

At the height of the foreclosure crisis, single mother Crystal loses more than her house. She struggles to stay positive, though—with plenty of help from a roommate with conspiracy theories, a motivational speaker with a secret, and her colleagues at the local Saturn dealership. But optimism is no match for a bad economy, and before long Crystal’s desperate quest to regain what she’s lost turns into the fight of her life. This darkly comic thriller explores just how far we’ll go to get back what’s ours.

This book brings a central figure of the early German Romantic movement—the poet and philosopher Novalis—into dialogue with the work of Martin Heidegger. Looking beyond the question of direct influence, the book demonstrates that Novalis and Heidegger pursued complementary endeavors as thinkers of relation. Implicitly operative in their thinking, Peter Hanly argues, is an excavation of the Greek conception of harmonia found in the fragments of the pre-Socratic thinker Heraclitus. This is a conception that understands harmony not as concordance but as primal dissonance. It is this experience of harmonia, Hanly proposes, that allows both Novalis and Heidegger to think relation in terms of dynamic and contradictory energies of separation and convergence. Between Heidegger and Novalis thus is a study of the “in-between,” associated in Novalis with energies of fertility and productivity and in Heidegger with energies of agonistic difference.
 
An entirely new approach to both Novalis and Heidegger, this book will interest scholars and students engaged with continental philosophy and the legacy of German Romanticism.  
 

Dorothea Tanning, one of the twentieth-century's most original and provocative painters, delivers a vivid account of a fascinating life lived as an artist among artists. Tanning reveals not only her life story, but the irresistibly creative mind that propelled her to live it. From the small town of Galesburg, Illinois, to the art hubs of New York and Paris, Tanning traveled the world of Surrealism and went beyond it, with fellow explorers Virgil Thompson, George Balanchine, Alberto Giacometti, Dylan Thomas, Truman Capote, Joan Miró, James Merrill, and Max Ernst, to whom she was married for over thirty years. Their life together forms an important and moving part of her unforgettable story; a story which, spanning almost a century, magically unfolds through Tanning's incandescent prose.

“Hole torn in the language, / How shall we speak?” The first lines of the first poem in Paul Breslin’s artful second collection of poetry demand an answer, of both poet and reader, to the seemingly unspeakable tragedies of modern life. Between My Eye and the Light forms a beautifully insistent exercise in the power of language to engage experiences both mundane and profound. Breslin queries far-flung corners of experience for answers, engaging childhood, his longtime home of Chicago, small moments of life, and encounters with artists such Rainer Maria Rilke and Derek Walcott. The poems even query the volume’s opening question, How shall we speak? While pat answers elude us, poetry acts as a bulwark against cliché and cynicism, strengthening those who have the courage to question and explore.

Hans Georg-Gadamer is best known in the English-speaking world for his major work on philosophical hermeneutics, Truth and Method; he has also written extensively on the subject of Plato. Most commentators on Gadamer's work therefore view Gadamer either as a historian of philosophy or as a philosopher in his own right, critically engaged in the philosophical issues of our time.

In Beyond Being, Brice R. Wachterhauser contends that this perceived bifurcation in Gadamer's work oversimplifies and distorts important parts of Gadamer's thought. Wachterhauser argues that only by viewing Gadamer's contribution to philosophy as an integrated whole and by reading Gadamer's hermeneutical studies in light of his Plato studies are we able to avoid certain key misunderstandings of Gadamer, as well as to comprehend more clearly the radical implications of Gadamer's thought.

Challenging Theodor Adorno's famous statement that "writing poetry after Auschwitz is barbaric," Beyond Lament is a rich and varied anthology consisting of new and previously published poems about the atrocity of the Holocaust. While writing poetry about the Holocaust may be considered by some to be a futile attempt to express the inexpressible, for many the need to give voice to the anger and despair of the Holocaust is as essential as the need to come to grips with its unspeakable horror. 

Editor Marguerite M. Striar has arranged the nearly 300 poems in this volume to tell the story beginmning with the early premonitions of Nazi evil in 1933, through the course of the unthinkable violence that ended in 1945 with Hitler's demise, to the flourishing of concern for human rights in the aftermath of the Holocaust. These works by well-known poets such as Paul Celan, Nelly Sachs, Czeslaw Milosz, Dannie Abse, and Robert Pinsky, as well as many lesser-known or unknown poets, show how poetry makes history memorable, confirm the resiliance of the human spirit, and prove that even in the fact of great suffering, the flame of creation will not be extinguished. 

Although Emmanuel Levinas is widely respected as one of the classic thinkers of our century, the debate about his place within Continental philosophy continues. In Beyond: The Philosophy of Emmanuel Levinas, Adriaan Theodoor Peperzak shows Levinas's thought to be a persistent attempt to point beyond the borders of an economy where orderly interests and ways of reasoning make us feel at home--beyond the world of needs, beyond the self, beyond politics and administration, beyond logic and ontology, even beyond freedom and autonomy.

Peperzak's examination begins with a general overview of Levinas's life and thought, and shows how issues of ethics, politics, and religion are intertwined in Levinas's philosophy. Peperzak also discusses the development of Levinas's relations with Husserl and Heidegger, demonstrating thematically the evolution of both Levinas's anti-Heideggerian view of technology and his critical attitude toward nature.

Winner of 2006 Illinois State Historical Society Book Award-Certificate of Excellence

To some he was a humanitarian and builder. Others scorned him as a fake and friend of gangsters with "the carcass of a rhinoceros and the brain of a baboon." This rollicking history traces the rise of William Hale "Big Bill" Thompson, Chicago's famous reform mayor, from his upper class roots to his years as a teenaged cowboy, from his fame as a star athlete to the years as a master politician in a world where the ward boss ruled and whiskey for the voters cost a quarter a shot. Big Bill of Chicago profiles the whole brawling arena of city politics from the turn of the century to the Prohibition Era. It is a primer in the way American politics worked-and works-and a map along the countless winding ways even the dirtiest deal can lead to something great.

Awaiting a TV talk show appearance, John Townley is quaking with dread. He has published a best-selling memoir about the Iraq War, a page-turner climaxing in atrocity. In a green room beyond the soundstage, he braces himself to confront the charismatic soldier at the violent heart of it. But John has never actually seen the man before—nor served in Iraq, nor the military. Even so, and despite the deception, he knows his fabricated memoir contains stunning truths.

By turns comic, suspenseful, bitingly satirical, and emotionally potent, A Big Enough Lie pits personal mistruths against national ones of life-and-death consequence. Tracking a writer from the wilds of Florida to New York cubicles to Midwestern workshops to the mindscapes of Baghdad—and from love to heartbreak to solitary celebrity—Bennett’s novel probes our endlessly frustrated desire to grab hold of something (or somebody) true.

The Bilingual Muse analyzes the work of seven Russian poets who translated their own poems into English, French, German, or Italian. Investigating the parallel versions of self-translated poetic texts by Vladimir Nabokov, Joseph Brodsky, Andrey Gritsman, Katia Kapovich, Marina Tsvetaeva, Wassily Kandinsky, and Elizaveta Kul’man, Adrian Wanner considers how verbal creativity functions in different languages, the conundrum of translation, and the vagaries of bilingual identities.

Wanner argues that the perceived marginality of self-translation stems from a romantic privileging of the mother tongue and the original text. The unprecedented recent dispersion of Russian speakers over three continents has led to the emergence of a new generation of diasporic Russians who provide a more receptive milieu for multilingual creativity.

In this remarkable debut book of poems, winner of the Native Writers First Book Award, Suzanne S. Rancourt, presents her experience as a mixed-raced person seeking understanding through relationship with the natural world and dominant culture. Her family portraits are reminiscent of E. A. Robinson; her sensuous nature poems are imbued with love of earth as a "blessing."

Dance

my legs are explosions
expressions
of lustful wind
i converse through cracks in the walls
slipping in my true intention like a snow drift
on the inside
side of a door i pound
your chest
has become my wailing wall
i crave your tongue dusted
with words and implications
i have something you need

The gripping tale of a handsome and charismatic young sailor who runs afoul of his ship’s master-at-arms, is falsely accused of inciting a mutiny, and hung, Billy Budd, Sailor is often treated as a masterpiece, a canonical work. But that assessment is at least partly founded on the assumption that the story was complete and ready for publication when it was left among the manuscripts on Melville’s writing desk when he died in 1891. As Hershel Parker has pointed out, “It is a wonderfully teachable story—as long as it is not taught as a finished, complete, coherent, and totally interpretable work of art.” Furthering Melville’s goal of getting his last literary projects into print, even in their imperfect forms, this last volume in the edition presents the poetry and prose that Melville was unable to finish, his sometimes ineffectual, sometimes heroic purposes betrayed by death.

These unfinished writings include, besides Billy Budd, two projected volumes containing poems and prose pieces, Weeds and Wildings and Parthenope; three prose pieces, “Rammon,” “Story of Daniel Orme,” and “Under the Rose”; and some three dozen poems of varying lengths. Some of these pieces were surely composed late in Melville’s career, during his retirement, but others may date to as early as the 1850s. Except for Billy Budd, many of these works have not been readily available in reliable texts, when available at all.

This volume, the result of the editors’ meticulous study of the manuscripts, offers new reading texts, with significant corrections of words, phrases, and titles, the inclusion of heretofore unpublished lines of verse, and the return to their original locations of the two poems, “The Enviable Isles” and “Pausilippo,” that Melville had extracted for use in John Marr (1888) and Timoleon (1891). Hershel Parker’s Historical Note traces how these writings fit into the trajectory of Melville’s career, and the rest of the Editorial Appendix presents the scholarly evidence and decisions made in creating the reading texts. As a whole, the Northwestern-Newberry Edition of The Writings of Herman Melville, now complete in fifteen volumes, offers for the first time the total body of Melville’s extant writings in a critical text, faithful to his intentions.

In a provactive work that brings new tools to the history of philosophy, Karen S. Feldman offers an elegant account of how philosophical language appears to produce the very thing it claims to describe. She demonstrates that conscience can only be described and understood through tropes and figures of langugae. If description in literal terms is impossible, as Binding Words convincingly argues, perhaps there is no such thing. But if the word "conscience" has no tangible referent, then how can conscience be constructed as binding? Does our conscience move us to do things, or is this yet another figure of speech?

Hobbes's Leviathan, Hegel's Phenomenology of Spirit, and Heidegger's Being and Time dramatize conscience's relation to language and knowledge, morality and duty, and ontology. Feldman investigates how, within these works, conscience is described as binding upon us while at the same time asking how texts themselves may be read as binding. 

Binga is the definitive full-length biography of Jesse Binga, the first black banker in Chicago. Born into a large family in Detroit, Binga arrived in Chicago in 1892 in his late twenties with virtually nothing. Through his wits and resourcefulness, he rose to wealth and influence as a real estate broker, and in 1908 he founded the Binga Bank, the first black-owned bank in the city. But his achievements were followed by an equally notable downfall. Binga recounts this gripping story about race, history, politics, and finance.

The Black Belt, where Binga’s bank was located, was a segregated neighborhood on Chicago’s South Side—a burgeoning city within a city—and its growth can be traced through the arc of Binga’s career. He preached and embodied an American gospel of self-help and accrued wealth while expanding housing options and business opportunities for blacks. Devout Roman Catholics, he and his wife Eudora supported church activities and various cultural and artistic organizations; their annual Christmas party was the Black Belt’s social event of the year. But Binga’s success came at the price of a vicious backlash. After he moved his family into a white neighborhood in 1917, their house was bombed multiple times, his offices were attacked twice, and he became a lightning rod for the worst race riots in Chicago history, which took place in 1919. Binga persevered, but, starting with the stock market crash of October 1929, a string of reversals cost him his bank, his property, and his fortune.

A quintessentially Chicago story, Binga tells the history of racial change in one of the most segregated cities in America and how an extraordinary man stood as a symbol of hope in a community isolated by racial animosity.

Fiftieth Anniversary Edition

Originally published in 1966, Miguel Barnet’s Biography of a Runaway Slave provides the written history of the life of Esteban Montejo, who lived as a slave, as a fugitive in the wilderness, and as a soldier fighting against Spain in the Cuban War of Independence. A new introduction by one of the most preeminent Afro-Hispanic scholars, William Luis, situates Barnet’s ethnographic strategy and lyrical narrative style as foundational for the tradition of testimonial fiction in Latin American literature. Barnet recorded his interviews with the 103-year-old Montejo at the onset of the Cuban Revolution. This insurgent’s history allows the reader into the folklore and cultural history of Afro-Cubans before and after the abolition of slavery. The book serves as an important contribution to the archive of black experience in Cuba and as a reminder of the many ways that the present continues to echo the past.

Honorable Mention for the DAAD/GSA Book Prize for the Best Book in Germanistik or Cultural Studies

Biological Modernism identifies an intellectual current in the Weimar Republic that drew on biology, organicism, vitalism, and other discourses associated with living nature in order to redefine the human being for a modern, technological age. Contrary to the assumption that any turn toward the organic indicated a reactionary flight from modernity or a longing for wholeness, Carl Gelderloos shows that biology and other discourses of living nature offered a nuanced way of theorizing modernity rather than fleeing from it. Organic life, instead of representing a stabilizing sense of wholeness, by the 1920s had become a scientific, philosophical, and disciplinary problem. In their work, figures such as Alfred Döblin, Ernst Jünger, Helmuth Plessner, and August Sander interrogated the relationships between technology, nature, and the human and radically reconsidered the relationship between the disciplines as well as the  epistemological and political consequences for defining the human being. Biological Modernism will be of interest to scholars of German literature and culture, literary modernism, photography, philosophical anthropology, twentieth-century intellectual history, the politics of culture, and the history of science.

 

In her fourth book of fiction, award-winning American novelist Meredith Steinbach reimagines the life of the Greek seer Teiresias. Having outlived everyone he ever knew, the seer looks back at the most significant episodes in his life—a visit to the Delphic oracle, mediating arguments between Hera and Zeus, his experiences as both man and woman—as he confronts the traveler Odysseus in the Underworld. Narrated from shifting points of view with tremendous psychological acuity, Steinbach's novel intertwines time, event, and narrative.

Nietzsche's love affair with the theater was among the most profound and prolonged intellectual engagements of his life, but his transformational role in the history of the modern stage has yet to be explored. In this pathbreaking account, David Kornhaber vividly shows how Nietzsche reimagined the theatrical event as a site of philosophical invention that is at once ancestor, antagonist, and handmaiden to the discipline of philosophy itself. August Strindberg, George Bernard Shaw, and Eugene O'Neill— seminal figures in the modern drama's evolution and avowed Nietzscheans all—came away from their encounters with Nietzsche's writings with an impassioned belief in the philosophical potential of the live theatrical event, coupled with a reestimation of the dramatist's power to shape that event in collaboration with the actor. In these playwrights' reactions to and adaptations of Nietzsche's radical rethinking of the stage lay the beginnings of a new direction in modern theater and dramatic literature.

For the first time, Arnošt Lustig's short story collections Street of Lost Brothers and Indecent Dreams and his novel Dita Saxova are brought together in an omnibus edition. As with all of Lustig's works, these tales reverberate with themes of loss and contradiction, with the torments of suffering and survival. In The Bitter Smell of Almonds, Lustig asks questions as old and as universal as humankind's search for the meaning of existence; and his characters, often juxtaposed against people or situations they cannot comprehend, attempt to come to terms with the unthinkable and with life itself.

Black Freethinkers argues that, contrary to historical and popular depictions of African Americans as naturally religious, freethought has been central to black political and intellectual life from the nineteenth century to the present. Freethought encompasses many different schools of thought, including atheism, agnosticism, and nontraditional orientations such as deism and paganism. 

Christopher Cameron suggests an alternative origin of nonbelief and religious skepticism in America, namely the brutality of the institution of slavery. He also traces the growth of atheism and agnosticism among African Americans in two major political and intellectual movements of the 1920s: the New Negro Renaissance and the growth of black socialism and communism. In a final chapter, he explores the critical importance of freethought among participants in the civil rights and Black Power movements of the 1960s and 1970s. 

Examining a wealth of sources, including slave narratives, travel accounts, novels, poetry, memoirs, newspapers, and archival sources such as church records, sermons, and letters, the study follows the lives and contributions of well-known figures, including Frederick Douglass, Zora Neale Hurston, James Baldwin, and Alice Walker, as well as lesser-known thinkers such as Louise Thompson Patterson, Sarah Webster Fabio, and David Cincore. 

With faculty and alumni that included John Cage, Robert Creeley, Merce Cunningham, Buckminster Fuller, Charles Olson, Josef and Anni Albers, Paul Goodman, and Robert Rauschenberg, Black Mountain College ranked among the most important artistic and intellectual communities of the twentieth century. In his groundbreaking history, Martin Duberman uses interviews, anecdotes, and research to depict the relationships that made Black Mountain College what it was. Black Mountain documents the college’s twenty-three-year tenure, from its most brilliant moments of self-reinvention to its lowest moments of petty infighting. It records the financial difficulties that beleaguered the community throughout its existence and the determination it took to keep the college in operation. Duberman creates a nuanced portrait of this community so essential to the development of American arts and counterculture.

A mosaic of memories from a childhood in the Warsaw Ghetto and a life in hiding on the other side of the wall

When six-year-old Michal Glowinski first heard the adults around him speak of the ghetto, he understood only that the word was connected with moving-and conjured up a fantastical image of a many-storied carriage pulled through the streets by some umpteen horses. He was soon to learn that the ghetto was something else entirely. A half-century later, Glowinski, now an eminent Polish literary scholar, leads us haltingly into Nazi-occupied Poland. Scrupulously attentive to the distance between a child's experience and an adult's reflection, Glowinski revisits the images and episodes of his childhood: the emaciated violinist playing a Mendelssohn concerto on the ghetto streets; his game of chess with a Polish blackmailer threatening to deliver him to the Gestapo; and his eventual rescue by Catholic nuns in an impoverished, distant convent. In language at once spare and eloquent, Glowinski explores the horror of those years, the fragility of existence, and the fragmented nature of memory itself.

The Blackademic Life critically examines academic fiction produced by black writers. Lavelle Porter evaluates the depiction of academic and campus life in literature as a space for black writers to produce counternarratives that celebrate black intelligence and argue for the importance of higher education, particularly in the humanistic tradition. Beginning with an examination of W. E. B. Du Bois’s creative writing as the source of the first black academic novels, Porter looks at the fictional representations of black intellectual life and the expectations that are placed on faculty and students to be racial representatives and spokespersons, whether or not they ever intended to be. The final chapter examines blackademics on stage and screen, including in the 2014 film Dear White People and the groundbreaking television series A Different World.

Here is a necessary collection of poetry for admirers of words and treasurers of literary beauty. Spanning more than 30 years, this collection of literary masterpieces by the venerable Ms. Gwendolyn Brooks, arguably Illinois' most beloved Poet Laureate and Chicago's elder black literary stateswoman, Blacks includes all of Ms. Brooks' critically acclaimed writings. Within its covers is the groundbreaking "Annie Allen," which earned her the Pulitzer Prize in 1950. There is also the sweepingly beautiful and finely crafted "A Street in Bronzeville," a highly anticipated and lauded poetic treasure that spoke volumes for this great poet's love of black people, Chicago's Black community, and even the community of the world. Blacks includes a special treat, Maud Martha, Brooks' only novel.

Finalist for the Paterson Fiction Prize 2009

This collection includes the best of renowned Uruguayan writer Mario Benedetti's stories from over 40 years of publishing. In these stories of powerful sudden impact, Benedetti plumbs with deep psychological insight both the dreams and frustrations of the middle-class in a bureaucratic society, as well as the pain and disorientation of political exile. 

Winner of 2006 The Society of Midland Authors Adult Fiction Award

Children who anesthetize—and dress up—small wild animals in an ill-fated attempt to cheer their grieving mother; childhood friends who ritually return every year to the site of their near-kidnapping; an awkward teen trying to find his place among the cultural ruins of Greek Mythology Camp; brothers brought together, if not by mutual understanding, by a strange need to steal airport baggage: these are some of the characters who inhabit—and invariably tell—the stories in Joe Meno's Bluebirds Used to Croon in the Choir. Oddballs and charmers and would-be lovers, they are souls not so much lost as wandering, looking for something better, almost getting laid, trying to explain or, if all else fails, to entertain—and this they unfailingly do. Rarely has fiction so understated produced such hilarity and heartbreak.

Novelist, music journalist, and playwright Meno writes squarely in the American tradition of wringing large effects from small change, revealing the subtlety in the broad stroke, and conveying complexity with seeming simplicity. Celebrated for its "unflinching honesty" (Entertainment Weekly) and for its "poetic and visceral style" (Booklist), his work resonates with the unmistakable magic and curious mystery of modern life.

Winner, 2013 3rd Annual Latino Books Into Movies Award for Suspensee/Mystery
 
The sun, the sand, a young beauty named Rachel in a white bikini—there's no better way to recover from the aches and pains of your latest case. At least that's what attorney and part-time detective Luis Montez thinks until the woman gives him the manuscript of her novel and vanishes.

Montez just wants to rebuild his Denåver practice, but an aggressive young P.I. with an emotional attachment to Rachel draws him in. With the woman's powerful adopted family on one side and unexplained death of a writer friend on the other, Montez digs up a series of long-told lies and long-hidden ugly truths. He also finds himself confronting one of the great unsolved mysteries of recent Chicano history. What happened to Oscar "Zeta" Acosta, the iconic activist-writer presumed dead since 1974? More to the point, what made Rachel insist the legendary Brown Buffalo was alive-and that he was her real father?

Doug Anderson's "Blues For Unemployed Secret Police" dramatically reflects his experience of growing up in the sixties, serving as a field medical corpsman in Viet Nam, and confronting the modern era where "a good torturer can always find a job." With passion, humor, and strikingly original images, these poems illuminate everything from bad politics to love gone wrong.

This tale of a young woman's not-so-sentimental education is the story of fifteen-year-old Lolenka, who encounters an exiled radical named Veretitsyn and begins to question her education and life. Under his influence, Lolenka breaks with tradition and embarks upon a new life as a translator and an artist, but a chance meeting with Veretitsyn years later leads to a sobering reappraisal of her mentor's convictions.

This startling volume explores the traumas and possibilities of embodiment as it is lived in a political world. Unveiling the influence of phenomenology, particularly that of Maurice Merleau-Ponty, on contemporary thought. Bodies of Resistance cuts across the disciplines of philosophy, political theory, literature, and cultural studies to explore anew how we are at once produced by yet resistant to cultural norms.

In Bogotá, a taut, moving novel set in present-day Colombia, Wilfredo decides to uproot his family from their small town, where his ferry service on the river subjects him to the gruesome errands demanded by the local paramilitary. Moving in with relatives in a slum in Bogotá, the family tries desperately to achieve the smallest measure of comfort and hope in a world of almost total ruin, wracked by deprivation, fear, and ceaseless violence. 

Alan Grostephan depicts with startling immediacy an urban landscape of extreme harshness and oppressive instability. The tension between the desperate conditions surrounding his characters and their efforts to hold on to their humanity gives Bogotá a ferocious energy. As Wilfredo and his family fight to stay alive and stay together, their plight emerges as equally enraging and uplifting, constituting a portrait of a society always on the verge of disintegration.

Winner, 1998 PEN Center USA West Award for Translation

Josef Hiršal's experimental novel is a Dada-like romp through the life of a young man born into a Bohemian peasant family. Told in five parts, A Bohemian Youth begins with a word to the wise, moves on to the text, continues with notes and with notes to the note, and ends with a note on the notes to the notes.

More than just a tongue-in-cheek parody of a literary memoir, A Bohemian Youth is a glimpse of the First Czechoslovak Republic as seen through the eyes of a young peasant from the provinces. Abounding in intimate details--the manners of a servant girl, the habits of the town homosexual, the sounds of popular music; the way people eat in wartime—Hiršal's novel is a wrenching and hilarious tale of a young man's emotional and sexual awakening.

Anjali Nerlekar's Bombay Modern is a close reading of Arun Kolatkar's canonical poetic works that relocates the genre of poetry to the center of both Indian literary modernist studies and postcolonial Indian studies. Nerlekar shows how a bilingual, materialist reading of Kolatkar's texts uncovers a uniquely resistant sense of the "local" that defies the monolinguistic cultural pressures of the post-1960 years and straddles the boundaries of English and Marathi writing.

Bombay Modern uncovers an alternative and provincial modernism through poetry, a genre that is marginal to postcolonial studies, and through bilingual scholarship across English and Marathi texts, a methodology that is currently peripheral at best to both modernist studies and postcolonial literary criticism in India. Eschewing any attempt to define an overarching or universal modernism, Bombay Modern delimits its sphere of study to "Bombay" and to the "post-1960" (the sathottari period) in an attempt to examine at close range the specific way in which this poetry redeployed the regional, the national, and the international to create a very tangible yet transient local.

These unfinished novels were intended to follow her widely acclaimed Malina in a Proustian cycle to be entitled Todesarten, or Ways of Dying. Through the tales of two women in postwar Austria, Bachmann explores the ways of dying inflicted on women by men, and upon the living by history, politics, religion, family, and the self.

This is the first complete translation of Rainer Maria Rilke's The Book of Hours (Das Stunden-Buch) in more than forty years. This bilingual edition provides English-speaking readers with access to a critical work in the development of the most significant figure in twentieth-century German poetry. Kidder's delicately nuanced translation preserves Rilke's uncomplicated and melodic flow, his rhythm, and, where possible, his rhyme while remaining true to content.

Rilke penned The Book of Hours between 1899 and 1903 in three parts. Readers and experts alike consider the collection among Rilke's most important and enduring works.

Winner of the 2004 German Publishers and Booksellers Association Peace Prize
Named a New York Times Notable Book of 1994
Winner of 1995 The New York Times Review Notable Books

An elaborate, elegant homage to the great Czech storyteller Bohumil Hrabal (author of Closely Watched Trains), The Book of Hrabal is also a farewell to the years of communism in Eastern Europe and a glowing paean to the mixed blessings of domestic life. Anna, blues-singing housewife and mother of three, addresses her reminiscences and reflections to Hrabal. They swing from domestic matters, to accounts of the injustices suffered by her family during the Stalinist 1950s and the police harassment in subsequent years, to her husband's crazy ideas. He frets over his current project, a book celebrating Hrabal, but seems unable to write it. Meanwhile, two angels, undercover as secret policemen, shadow the household-communicating via walkie-talkie-to prevent Anna from aborting her fourth child. God himself (aka Bruno) enters the scene; he chats with Hrabal, takes saxophone lessons from an irreverent Charlie Parker (unfortunately even this doesn't cure his tone-deaf ear), and tries to play the saxophone to dissuade her from ending the pregnancy.

Winner of the 2017 Manfred Lautenschlaeger Award for Theological Promise

Winner of the 1993 Baltic Assembly Prize

An immediate sensation upon its 1993 publication in Europe, already translated into more than a dozen languages, Border State is a brilliantly realized account of a man in the grip of Western excess, emotionally crippled by a world that is subsuming his own and inhabiting a West in which "all countries have become imaginary deserts of ruins where crowds of nomads roam from one attraction to the other." His tale, in which disillusion and murder become inextricably linked, is a compelling exploration of scarcity, longing, and madness.

Informed, controversial, ranging from a melancholy study of rock and roll's descent into show business to a hilarious look at the spectacle that is the Jerry Lewis Telethon, these twenty essays offer an unusual and (ironically) entertaining study of American media by one of its foremost critics.

Written by a Czech Jewish boy, A Boy in Terezín covers a year of Pavel Weiner's life in the Theresienstadt transit camp in the Czech town of Terezín from April 1944 until liberation in April 1945. 

The Germans claimed that Theresienstadt was "the town the Führer gave the Jews," and they temporarily transformed it into a Potemkin village for an International Red Cross visit in June 1944, the only Nazi camp opened to outsiders. But the Germans lied. Theresienstadt was a holding pen for Jews to be shipped east to annihilation camps. 

While famous and infamous figures and historical events flit across the pages, they form the background for Pavel's life. Assigned to the now-famous Czech boys' home, L417, Pavel served as editor of the magazine Ne?ar. Relationships, sports, the quest for food, and a determination to continue their education dominate the boys' lives. Pavel's father and brother were deported in September 1944; he turned thirteen (the age for his bar mitzvah) in November of that year, and he grew in his ability to express his observations and reflect on them. A Boy in Terezín registers the young boy's insights, hopes, and fears and recounts a passage into maturity during the most horrifying of times.

Something old and something new mark Sayers's fifth novel (after The Distance Between Us), which will, sadly, leave most readers blue. Here, Sayers takes leave of Due East, S.C., the setting of her previous novels, but revisits schizophrenic Tim Rooney, the aging philosophy professor of How I Got Him Back. When narrator Rooney's 27-year-old girlfriend, Baptist-turned-atheist Mary Faith Rapple, insists on marrying him in a Catholic church, Rooney panics and heads for New York City in search of his first wife. Driving his father's car and fighting for sanity, the fugitive encounters Angela, a blonde hitchhiker fleeing her own date at the altar. With Rooney in the throes of a nervous breakdown, the pair wind up in an upscale Soho loft, house guests of artsy S.C. expatriates. As he roams the city in a sometimes hallucinatory state, Rooney meets a former student, finds his ex-wife and suffers a succession of burlesque sexual failures. Meanwhile, at the insistence of Due East's aging Catholic priest, Mary Faith heads north to save her lover. Sayers's prose is bracing as always here.