In Call Her by Her Name, the poet and performance artist Bianca Lynne Spriggs creates a twenty-first-century feminist manifesto suffused with metaphoric depth. This collection is a call-and-response of women—divine and domestic, legend and literal—who shape-shift and traverse generations. Through these narratives and cinematic poems, a chorus emerges of stories and lives rarely told.
Call Her by Her Name seeks to give voice to the voiceless, including lynched black women, the biblical "Potiphar’s wife," and women who tread the rims of phenomenal worlds—the goddess, the bird-woman, the oracle. While these poems reflect an array of women and women’s experiences, each piece could be considered a hue of the same woman, whether home-wrecker, Madonna, or midwife. The woman who sees dragons was perhaps once the roller-skating girl-child. The aging geisha may also be the roots woman next door. The woman who did not speak for ten years could have ended up sinking to the ocean floor. Spriggs gives each one life and limb, breath and voice, in a collection that adds up unequivocally to a poetic celebration of women.
Lorraine López (author of Soy la Avon Lady and Other Stories) has created a vivid picture of barrio life, filled with honesty, insight, and humor for young adults. She paints a balanced and detailed landscape of Enrique's world. Although Enrique is confused and angered by his mother's refusal to stand up for him against the abuse of his stepfather, he also draws strength from the supportive and loving family of his friend Francisco. While some of his teachers are uncaring or inept, others provide help and encouragement at critical moments in his life.
When Enrique witnesses his friend Horacio gunned down in a drive-by shooting and is seen by the assailants, gang members set out to kill him. As the novel reaches its climax, Enrique must make some agonizing decisions.
Although specifically about barrio life, this novel is universal in its themes—the drive for success, the desire for love and family support, and the need for true friendship. López's fully delineated characters provide a rich and credible mural of our human comedy.
Can one be happy and free, and nonetheless be moral? This question occurs at the core of daily life and is, as well, a question as old as philosophy itself. In Can Virtue Make Us Happy? The Art of Living and Morality, Otfried Höffe, one of Europe’s most well-known philosophers, offers a far-reaching and foundational work in philosophical ethics.
As long as one understands "happiness" purely as a feeling of subjective well-being, Höffe argues, there is at best only an accidental unity between it and morality. However, if one means by "happiness" the quality of doing well in the sense of one’s own successful existence, then one must include actions that undoubtedly have a moral character and are named virtues. He uses clear and general language to present what one understands by "happiness" and "freedom" while illuminating the blind alleys in the history of philosophy as well as the difficulties raised by the issues themselves. What has priority: good ends or right action? Is freedom always anarchy? Is it possible to think of a freedom enhanced by morality? Is "morality" only a pretty word for stupidity? Does humanity have a good or a bad character? Is there such a thing as evil? Höffe offers us enlightened philosophical reflection and foundational orientation but no simple formulas; this is precisely what is at stake because anyone who wishes to live a self-determined life rejects any and all formulas.
Winner of the 2021 Found in Translation Award
First published in Polish in 1932, The Career of Nicodemus Dyzma was Tadeusz Dołęga-Mostowicz’s breakout novel. Dyzma is an unemployed clerk who crashes a swanky party, where he makes an offhand crass remark that sets him on a new course. Soon high society—from government ministers to drug-fueled aristocrats—wants a piece of him. As Dyzma’s status grows, his vulgarity is interpreted as authenticity and strength. He is unable to comprehend complicated political matters, but his cryptic responses are celebrated as wise introspection. His willingness to do anything to hold on to power—flip-flopping on political positions, inventing xenophobic plots, even having enemies assaulted—only leads to greater success.
Dołęga-Mostowicz wrote his novel in a newly independent Poland rampant with political corruption and populist pandering. Jerzy Kosinski borrowed heavily from the novel when he wrote Being There, and readers of both books will recognize similarities between their plots. This biting political satire—by turns hilarious and disturbing, contemptuous and sympathetic—is an indictment of a system in which money and connections matter above all else, bluster and ignorance are valorized, and a deeply incompetent man rises to the highest spheres of government.
This seventh volume in the "Voices from Vietnam" series introduces U. S. readers to another major figure in modern Vietnamese letters: Doan Le. Noted for her versatility of style and her originality, she writes tales that are intensely human and universal, exploring such subjects as greed, marriage, divorce, aging and human rights. For the scholar, these stories give insight into Vietnamese culture after the "renovation". For the general reader, these are stories that explore all the subtle enigmas of the human heart.
As Wayne Karlin notes in his introduction, "[She] is a master of allegory and gently complex satire...her stories can often be fantastical—Sholom Aleichem's village of Helm channeled by Kafka through Our Town—or they can be deeply personal and realistic. In both cases they grow unabashedly from the real vicissitudes of her life."
Makris engages the tumbura devotees of the area of Greater Khartoum in an animated discussion of their understanding of themselves and their world. Using oral histories, songs associated with the various spirits, and accounts of ceremonies he witnessed, he shows tumbura to be a response to victimization first in slavery and later by subordination. It functions as a counterdiscourse challenging the dominant discourse of the ex-slaveholding classes and enables its practitioners to assert a separate, alternative identity. This assertion, embodied in the idiom of possession, is achieved through a continuous reworking of meaning as it is imparted by religion, descent, and historical consciousness.
This lavishly illustrated, bilingual art book presents drawings by Ramón Casas in the Charles Deering McCormick Library of Special Collections at the Northwestern University Library and oil paintings by Casas from private collections and the Art Institute of Chicago.
Charles Deering and Ramón Casas follows the development and dramatic dissolution of a three-way friendship that connected the Spanish painter Ramón Casas (1866–1932); the Chicago industrialist Charles Deering (1852–1927), who was a collector and admirer of Casas’s work as well as a patron of Northwestern University; and the Spanish artist Miguel Utrillo (1862–1934), Casas’s lifelong friend and the father of the French painter Maurice Utrillo.
Casas introduced Deering to Sitges, a beach town near Barcelona, Spain, where the latter created a palatial estate with a museum to house his art collection. Miguel Utrillo served as director of the museum. The text explores the treasures housed at Maricel and what happened among the three men that led Casas to abandon Utrillo and Deering to depart Spain, taking his art collection with him.
Charles Gates Dawes: A Life is the first comprehensive biography of an American in whose fascinating story contemporary readers can follow the struggles and triumphs of early twentieth-century America and Europe.
Dawes is most known today as vice president of the United States under Calvin Coolidge, but he also distinguished himself and his hometown of Evanston, Illinois, on the world stage with the 1925 Nobel Peace Prize. This engrossing biography traces how, when the punitive armistice that ended the First World War resulted in a disabled, restive Germany, Dawes’s diplomatic legerdemain averted war through a renegotiation of Germany’s debt repayments.
Dawes’s diplomatic and political achievements, however, were only the illustrious capstones to a multifaceted career that included military service, law, finance, and business on the local, state, national, and global stages. In every arena of his life, he combined the social graces of the Gilded Age with the spirit of service of the Progressive Era.
Despite his life of disciplined service, Dawes was an ebullient and irrepressible figure. Dawes’s salty language was often colorful fodder for tabloid and magazine writers of his era. In this captivating biography, Annette B. Dunlap recounts the story of an original American who enlightened and enlivened his world.
This book was published in cooperation with the Evanston History Center and with generous support from the Tawani Foundation.
Charlie Chaplin was one of the cinema’s consummate comic performers, yet he has long been criticized as a lackluster film director. In this groundbreaking work—the first to analyze Chaplin’s directorial style—Donna Kornhaber radically recasts his status as a filmmaker. Spanning Chaplin’s career, Kornhaber discovers a sophisticated "Chaplinesque" visual style that draws from early cinema and slapstick and stands markedly apart from later, "classical" stylistic conventions. His is a manner of filmmaking that values space over time and simultaneity over sequence, crafting narrative and meaning through careful arrangement within the frame rather than cuts between frames. Opening up aesthetic possibilities beyond the typical boundaries of the classical Hollywood film, Chaplin’s filmmaking would profoundly influence directors from Fellini to Truffaut. To view Chaplin seriously as a director is to re-understand him as an artist and to reconsider the nature and breadth of his legacy.
Chasing Dragonflies: A Natural, Cultural, and Personal History is an engaging, beautifully illustrated introduction to these remarkable insects. Drawing on her experiences as a natural history instructor, dragonfly monitor, cancer survivor, grandmother, and steward, Crosby tells the stories of dragonflies: their roles in poetry and art, their fascinating sex life—unique within the animal kingdom—and their evolution from dark-water dwellers to denizens of the air. We follow Crosby and other citizen-scientists into the prairies, wetlands, and woodlands of the Midwest, where they observe the environment and chronicle dragonfly populations and migration to decipher critical clues about our changing waterways and climate.
Woven throughout are personal stories: reflections on the author’s cancer diagnosis and recovery, change, loss, aging, family, joy, and discovering what it means to be at home in the natural world. Crosby draws an intimate portrait of a landscape teeming with variety and mystery, one that deserves our attention and conservation. As warm as it is informative, this book will interest gardeners, readers of literary nonfiction, and anyone intrigued by transformation, whether in nature or our personal lives.
In powerful poetry of epic proportions, which Harold Bloom has called his best work, Smith paints a stark and vivid picture of this ordeal and its principal participants, among them Sequoyah, the inventor of the Cherokee alphabet, and Osceola, the Seminole chief.
Formed in 1890, during the heady days before the 1893 World’s Columbian Exposition, the Chicago Horticultural Society boasted members with names deeply rooted in Chicago history: Buckingham, McCormick, and Palmer, among others. Today, as it leads the Garden in a model public-private partnership with the Forest Preserves of Cook County, the Society’s horticultural practices have exceeded the vision of its founders.
Chicago and Its Botanic Garden: The Chicago Horticultural Society at 125 is a lushly illustrated and thoughtful history of the Society and its evolution from a producer of monumental flower and botanical shows, through a fallow period, to the opening in 1972 of the Chicago Botanic Garden, a living museum and world leader in horticulture, plant science and conservation, education, and urban agriculture. Author Cathy Jean Maloney combines meticulous scholarship with a flair for storytelling in a narrative that will delight everyone from casual strollers of the grounds to the volunteers, professionals, and scientists who compose the influential society.
This remarkable memoir of immigration and assimilation provides a rare view of urban life in Chicago in the late 1800s by a newcomer to the city and the Midwest, and the nation as well. Francis O’Neill left Ireland in 1865. After five years traveling the world as a sailor, he and his family settled in Chicago just shortly before the Great Fire of 1871.
As O’Neill looked back on his life, writing in Chicago at the age of 83, he could give first-hand accounts of the Pullman strike of 1894, the railway strike of 1903, and the packing-house strike of 1904. He could also reflect on the corruption that kept him, in spite of his innovations, extremely high exam scores, and performance, subject to powerful aldermen who prevented his advance as a member of the Chicago Police Department. Despite these obstacles, O’Neill eventually rose to be chief of police—a position from which he could enact much-needed civil service reform. In addition to his professional success, O’Neill is also remembered and beloved for his hobby, preserving traditional Irish music.
O’Neill’s story offers perspective on the inner workings of the police department at the turn of the twentieth century. His memoir also brings to life the challenges involved in succeeding in a new land, providing for his family, and integrating into a new culture. Francis O’Neill serves as a fine documentarian of the Irish immigrant experience in Chicago.
In this book, Thomas J. Connelly draws on a number of key psychoanalytic concepts from the works of Jacques Lacan, Slavoj Žižek, Joan Copjec, Michel Chion, and Todd McGowan to identify and describe a genre of cinema characterized by spatial confinement. Examining classic films such as Alfred Hitchcock's Rope and Stanley Kubrick's The Shining, as well as current films such as Room, Green Room, and 10 Cloverfield Lane, Connelly shows that the source of enjoyment of confined spaces lies in the viewer's relationship to excess.
Cinema of Confinement offers rich insights into the appeal of constricted filmic spaces at a time when one can easily traverse spatial boundaries within the virtual reality of cyberspace.
When a self-proclaimed "lazy scholar" embarks on a trip through his life's influences--as diverse as girl-group doo-wop, Yeats, and Van Gogh--readers are in for an illuminating ride. This collection of essays from cultural critic Di Piero veers from his early years as the son of immigrants in Philadelphia to his working life in art, film, music, and poetry. Along with a few choice essays reprinted from out-of-print collections, Di Piero's new work shows him to be insightful about himself and his work despite his protestations against the "boosterism" of autobiography. Through the lens of his sharp artistic analysis, readers see his story--an immigrant story filled with the music and mystery of a multilingual family, the men of his neighborhood wearing so many hats as they worked--as the auspicious beginning for his life of observation and revelation. His prose sings along, tripping across slang, poetry, and painters with the same precision that allows him to nearly dance about architecture. Though Di Piero would claim that his life's path "lurches and swerves," his essays prove that he has wandered expansively and with purpose--a city dog trotting across continents, along pages, and through galleries.
As if convinced that all divination of the future is somehow a re-visioning of the past, Kwame Dawes reminds us of the clairvoyance of haunting. The lyric poems in City of Bones: A Testament constitute a restless jeremiad for our times, and Dawes’s inimitable voice peoples this collection with multitudes of souls urgently and forcefully singing, shouting, groaning, and dreaming about the African diasporic present and future.
As the twentieth collection in the poet’s hallmarked career, City of Bones reaches a pinnacle, adding another chapter to the grand narrative of invention and discovery cradled in the art of empathy that has defined his prodigious body of work. Dawes’s formal mastery is matched only by the precision of his insights into what is at stake in our lives today. These poems are shot through with music from the drum to reggae to the blues to jazz to gospel, proving that Dawes is the ambassador of words and worlds.
Melville’s long poem Clarel: A Poem and Pilgrimage in the Holy Land (1876) was the last full-length book he published. Until the mid-twentieth century even the most partisan of Melville’s advocates hesitated to endure a four-part poem of 150 cantos and almost 18,000 lines about a naive American named Clarel, on pilgrimage through the Palestinian ruins with a provocative cluster of companions.
But modern critics have found Clarel a much better poem than was ever realized. Robert Penn Warren called it a precursor of The Waste Land. It abounds with revelations of Melville’s inner life. Most strikingly, it is argued that the character Vine is a portrait of Melville’s friend Nathaniel Hawthorne. Clarel is one of the most complex theological explorations of faith and doubt in all of American literature, and this edition brings Melville’s poem to new life.
Closed for Repairs is a series of eleven vignettes that depict Cuban ingenuity in the face of urban problems. Each solution is framed with humor and irony and gives a glimpse of life on the island today.
In a clever fashion, Nancy Alonso shows us the spirit of resolve on the part of Cubans when faced with such issues as transportation problems, lack of water, and the shortage of consumer goods and construction materials caused by the embargo.
Illuminating the endurance and resilience of the Cuban people, these stories will make you chuckle. Alonso's sly wit is compelling as she satirizes the bureaucracy—an element of her work that will resonate universally.
Northwestern University Press is honored to inaugurate the Drinking Gourd Chapbook Poetry Prize series with Ed Roberson’s Closest Pronunciation. Here is a teacher of poets studying his own assignments, questioning and seeking the generative capacity in looking at and seeing things that ends in the realization of a poem. In a line from the brief poem "Night Writing," from which the chapbook draws its title, he writes, "The word closest in pronunciation / To an ambulance’s siren is ‘wrong.’" The collection as a whole gives voice, often quiet but always profound, to many things overlooked and neglected in culture, nature, and everyday life.
Max Scheler’s Cognition and Work (Erkenntnis und Arbeit) first appeared in German in 1926, just two years before his death. The first part of the book offers one of the earliest critical analyses of American pragmatism, an analysis that would come to have a significant impact on the reception of pragmatism in Germany and western Europe. The second part of the work contains Scheler’s phenomenological account of perception and the experience of reality, an account that is as original as both Husserl’s and Merleau-Ponty’s phenomenologies of perception. Scheler aims to show that the modern mechanistic view of nature fails to account for the dynamic relation that not only the human being but all living beings have to the environment they inhabit.
Available in English translation for the first time, Cognition and Work pushes the boundaries of phenomenology as it is traditionally understood and offers insight into Scheler’s distinct metaphysics. This book is essential reading for those interested in phenomenology, pragmatism, perception, and living beings in their relation to the natural world.
The first book of poetry by Matthias Göritz to be available in English, in a translation by a renowned writer
Very few books of poetry by contemporary German writers are available to English-speaking readers. In Colonies of Paradise, acclaimed poet and translator Mary Jo Bang introduces the poems of novelist, poet, and translator Matthias Göritz, one of the most exciting German writers publishing today. The poems in this book, which originally appeared in German under the title Loops, take the reader on a tour of Paris, Chicago, Hamburg, and Moscow as they explore childhood, travel, and the human experience. Unsettling our expectations about adulthood, the book permeates the quotidian with a disquieting strangeness that leads us deeper into our own lives and histories. Göritz’s sly humor, keen insight, and artistry are brought to the fore in Bang’s careful and innovative translation, allowing an English-language audience to enter fully the intricate interiority of Göritz’s work.
Winner of the 2023 Association for Ethnic Studies Outstanding Book Award
A study of anti-Blackness and white supremacy across four continents demonstrates that colorblindness is neither new nor a subtype of racist ideology, but a constitutive technology of racism
In Colorblind Tools, Marzia Milazzo offers a transnational account of anti-Blackness and white supremacy that pushes against the dominant emphasis on historical change pervading current racial theory. This emphasis on change, she contends, misses critical lessons from the past.
Bringing together a capacious archive of texts on race produced in Brazil, Cuba, Mexico, Panama, the United States, and South Africa from multiple disciplines and genres, Milazzo uncovers transnational continuities in structural racism and white supremacist discourse from the inception of colonial modernity to the present. In the process, she traces the global workings of what she calls colorblind tools: technologies and strategies that at once camouflage and reproduce white domination. Whether examining Rijno van der Riet’s defense of slavery in the Cape Colony, discourses of racial mixture in Latin American eugenics and their reverberations in contemporary scholarship, the pitfalls of white “antiracism,” or Chicana indigenist aesthetics, Milazzo illustrates how white people collectively disavow racism to maintain power across national boundaries, and how anti-Black and colonial logics can be reproduced even in some decolonial literatures. Milazzo’s groundbreaking study proves that colorblindness is not new, nor is it a subtype of racist ideology or a hallmark of our era. It is a constitutive technology of racism—a tool the master cannot do without.
What could be more painful than a missing child? And how might the community better support families—especially young, single mothers and their children? In Comfort Stew, acclaimed Chicago poet and playwright Angela Jackson addresses these questions in what she has called “a meditation on motherhood and what it means to love. It is a call to community to renew its vows to the ancestors and to children so that no child is ever truly lost.”
Hillary Robinson Clay, a self-reliant schoolteacher, is the first to notice when four-year-old Enjoli is absent from her preschool class. Guided by the memory of her mother and with support from Jake, a tough man who is capable of tenderness, Hillary parents her teenage daughter, Sojourner, who is the same age as Enjoli’s mother, Patrice. Jake is a storyteller and a “good cop” who follows Hillary’s intuition and goes looking for Enjoli.
As their stories weave together, Jackson explores parenting, generational conflict, and tradition in the context of contemporary African American family life. Maternal wisdom is embodied by succeeding generations of black women in the recipe for an African stew, a dish Hillary learns to honor while adding a spice that makes it her own.
The fall of communism in Eastern Europe in 1989 marked, in one famous formulation, the "end of history." In his apocalyptic novel Coming from an Off-Key Time, Bogdan Suceavă satirizes the events in his native Romania since the violent end of the Ceauşescu regime that fateful year.
Suceavă uses three interrelated narratives to illustrate the destructive power of Romanian society’s most powerful mythologies. He depicts madness of all kinds but especially religious beliefs and their perversion by all manner of outrageous sects. Here horror and humor reside impossibly in the same time and place, and readers experience the vertiginous feeling of living in the middle of a violent historical upheaval.
Even as Coming from an Off-Key Time suggests the influence of such writers as Mikhail Bulgakov, the fantastic satirist of the early Soviet Union, Suceavă engages the complexities of a quickly changing country in search of its bearings and suspicious of its past. Bogdan Suceavă is an associate professor of mathematics at California State University, Fullerton. One of Romanian literature’s most promising and original young writers, he is the author of four novels, two books of short stories, and several collections of poems.
Alistair Ian Blyth’s previous translations include Filip Florian, Little Fingers (2009); Lucian Dan Teodorovici, Our Circus Presents (2009); and Catalin Avramescu’s An Intellectual History of Cannibalism (2009).
From the first story about the discovery of gold in California in 1848 to features on today’s western boomtowns, western expansion and journalism have had a symbiotic relationship. By examining this relationship along its entire timeline, this book argues that newspapers played a crucial role in pushing aside both wildlife and Native Americans to make room for the settlers who would become their readers. The western news sheets not only shaped reader attitudes but also undertook innovations in content and appearance that would affect newspapers nationwide.
The chapters in this book were presented at a conference held at the Kellogg School of Management in June 2005 entitled Conflict in Organizational Groups: New Directions in Theory and Practice. The Kellogg Team and Group Research Center (KTAG) and the Kellogg School of Management cosponsored the conference. The goal of the conference was to bring together both junior and senior scholars from a variety of disciplines to discuss their newest ideas and current trends in group conflict research. The chapters in this book represent perspectives from the fields of business, political science, sociology, and psychology.
The idea to organize a conference about conflict in organizational groups arose from three interrelated and exciting opportunities for theory and practice--both the academic and business press have focused growing attention on the management challenges of organizational groups; the academic community has begun to integrate various disciplinary perspectives, as evidenced by a growing number of cross-disciplinary coauthorships and thematic conferences; and several statistical and methodological advances have allowed scholars to better model variables across levels of analysis.
Taken together, these three reasons inspired the assembling of the interdisciplinary mix of seasoned and newly minted authors who in this volume tackle important and complex questions about group conflict. Their chapters represent cutting-edge advances in theory, methodology, and challenges to dominant perspectives.
In this innovative new study, Sean Franzel charts the concurrent emergence of German Romantic pedagogy, the modern research university, and modern visions of the politically engaged scholar. At the heart of the pedagogy of Immanuel Kant, Johann Gottlieb Fichte, K. P. Moritz, A. W. Schlegel, Adam Müller, and others was the lecture, with its ability to attract listeners and to model an ideal discursive community, reflecting an era of revolution, reform, and literary, philosophical, and scientific innovation.
Along with exploring the striking preoccupation of Romantic thinkers with the lecture and with its reverberations in print, Franzel argues that accounts of scholarly speech from this period have had a lasting impact on how the pedagogy, institutions, and medial manifestations of modern scholarship continue to be understood.
"Sean Franzel’s archaeology illuminates both the bourgeois public sphere and discourse network 1800 by showing the romantic lecture to be the key cultural form in a pivotal moment of German intellectual history, a history long obsessed with the mediation of oral discourse and written text."—John Durham Peters, author of Speaking into the Air
The publication of Hans-Georg Gadamer’s magnum opus Truth and Method in 1960 marked the arrival of philosophical hermeneutics as a dominant force in philosophy and the humanities as a whole. Consequences of Hermeneutics celebrates the fiftieth anniversary of the publication of one of the most important philosophical works of the twentieth century with essays by most of the leading figures in contemporary hermeneutic theory, including Gianni Vattimo and Jean Grondin.
These essays examine the achievements of hermeneutics as well as its current status and prospects for the future. Gadamer’s text provides an important focus, but the ambition of these critical reappraisals extends to hermeneutics more broadly and to a range of other thinkers, such as Heidegger, Ricoeur, Derrida, and Rorty. Forcefully demonstrating the continuing relevance and power of hermeneutics, Consequences of Hermeneutics is a fitting tribute to Gadamer and the legacy of his thought.
Consumers of American media find themselves in a news world that has shifted toward more conservative reporting. This book takes a measured, historical view of the shift, addressing factors that include the greater skill with which conservatives have used the media, the media’s gradual trend toward conservatism, the role of religion, and the effects of media conglomeration. The book makes the case that the media have managed to not only enable today’s conservative resurgence but also ignore, largely, the consequences of that change for the American people.
A token of the world’s instability and of human powerlessness, chance is inevitably a crucial literary theme. It also presents formal problems: Must the artist struggle against chance in pursuit of a flawless work? Or does chance have a place in the artistic process or product? This book examines the representation and staging of chance in literature through the study of a specific case—the work of the twentieth-century French writer Georges Perec (1936–82).
In Constraining Chance, James explores the ways in which Perec’s texts exploit the possibilities of chance, by both tapping into its creative potential and controlling its operation. These works, she demonstrates, strive to capture essential aspects of human life: its "considerable energy" (Perec’s phrase), its boundless possibilities, but also the constraints and limitations that bind it. A member of the Ouvroir de littérature potentielle (known as Oulipo), Perec adopted the group’s dictum that the literary work should be "anti-chance"—a product of fully conscious creative processes. James shows how Perec gave this notion a twist, using Oulipian precepts both to explore the role of chance in human existence and to redefine the possibilities of literary form. Thus the investigation of chance links Perec’s writing methods, which harness chance for creative purposes, to the thematic exploration of causality, chance, and fate in his writings.
Constraining Chance has received early praise from scholars in the field. Warren F. Motte calls it "an erudite, engaging, intellectually intrepid reflection on the ways in which one of the most powerful authors of the twentieth century grappled with the notion of chance. [James] writes with both elegance and authority, inviting us to see Georges Perec's work through a new lens, one where chance may be viewed as a positive potential, fully enlisted in the service of ‘intentional’ literature."
Mariano Siskind’s groundbreaking debut book redefines the scope of world literature, particularly regarding the place of Latin America in its imaginaries and mappings. In Siskind’s formulation, world literature is a modernizing discursive strategy, a way in which cultures negotiate their aspirations to participate in global networks of cultural exchange, and an original tool to reorganize literary history. Working with novels, poems, essays, travel narratives, and historical documents, Siskind reads the way Latin American literary modernity was produced as a global relation, from the rise of planetary novels in the 1870s and the cosmopolitan imaginaries of modernism at the turn of the twentieth century, to the global spread of magical realism. With its unusual breadth of reference and firm but unobtrusive grounding in philosophy, literary theory, and psychoanalysis, Cosmopolitan Desires will have a major impact in the fields of Latin American studies and comparative literature.
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