Airline Highway is a rollicking play that, with great insight, humor, and subtlety, examines a tight knit community of "outsiders" over the course of a single, legendary day. The Hummingbird Hotel is the figurative or literal home for a group of strippers, French Quarter service workers, hustlers, and poets who are bound together by their bad luck, bad decisions, and complete lack of pretense. Presiding over them is Miss Ruby, a beloved former burlesque performer who has requested a funeral before she dies. As the people whose lives she has touched gather to celebrate her, they must face themselves, each other, and the consequences of the choices they have made. Airline Highway shows us the tenuous hold that community, authenticity, and real-time ritual have on a rapidly gentrifying New Orleans.

Winner of 2005 Grammy Award for Best Instrumental Composition
Winner of 2005 National Medal of Arts

My Sax Life is the award-winning memoir of famed Cuban musician Paquito D'Rivera. A best-selling artist with more than thirty solo albums to his credit, D'Rivera has performed at the White House and the Blue Note, and with orchestras, jazz ensembles, and chamber groups around the world. Propelled by jazz-fueled high spirits, D'Rivera's story soars and spins from memory to memory in a collage of his remarkable life. D'Rivera recalls his early nightclub appearances as a child, performing with clowns and exotic dancers, as well as his search for artistic freedom in communist Cuba and his hungry explorations of world music after his defection. Opinionated but always good-humored, My Sax Life is a fascinating statement on art and the artist's life.

When Washington Post columnist Edward Hirsch reprinted Lâm Thị Mỹ Dạ's "Garden Fragrance" and "Night Harvest" (from Six Vietnamese Poets), he gave special praise to the simultaneous clarity and complexity of Dạ's poetry. Now, for the first time in English, readers can enjoy a full, bilingual volume of her selected work. While many of her poems deal with her experiences during the Vietnam War, they are grounded in her intimate involvement with the landscape, flora, and fauna of her country, and explore love, motherhood, women's issues, and the sometimes difficult movement into middle age.

Speculation: Politics, Ideology, Event develops Hegel’s radical perspective of speculative thought as a way of reclaiming and revitalizing the sense of the future and its possibilities. Engaging with such figures as Alain Badiou, Quentin Meillassoux, Ernesto Laclau, Slavoj Žižek, and Fredric Jameson, Glyn Daly articulates the distinctness of speculative philosophy and draws its implications for new debates in areas of science, politics, capitalism, ideology, ethics, and the event. 

In a confrontation with today’s fatalistic milieu, principal emphasis is given to Hegel’s idea of infinity as the intrinsic dimension of negativity within all finitude. Against the modern era’s paradigmatic tendency to externalize social problems in the form of antagonism and Otherness, Daly argues for a renewal of utopian thought based on Hegelian reconciliation and the affirmation of excess as the essence of all being. On these grounds, he advances a new kind of political imagination that in speculative terms centers on uncompromising notions of truth and reason. 
 

For decades Continental theorists from Derrida to Deleuze have engaged in provocative, penetrating, and often extensive examinations of modern philosophers-studies that have opened up new ways to think about figures such as Descartes, Spinoza, Leibniz, Locke, Hume, Rousseau, and Kant. This volume, for the first time, gives this work its due. A systematic rereading of early modern philosophers in the light of recent Continental philosophy, it exposes overlooked but critical aspects of sixteenth- through eighteenth-century philosophy even as it brings to light certain historical assumptions that have colored-and distorted-our understanding of modernist thought. This volume thus retrieves modern thinkers from the modernistic ways in which they have been portrayed since the nineteenth century; at the same time, it enhances our view of the roots and concerns of current Continental thought.

What claims does the early modern period have on contemporary philosophy? How have recent theorists engaged this material, and why? In answer, some of these essays explore how major Continental theorists such as Derrida, Deleuze, Le Doeuff, Irigaray, Kristeva, and Althusser explicate the ideas of classical modern thinkers; others draw on recent Continental insights to examine the doctrines of modern philosophers beginning with Machiavelli and ending with Kant. Together they show how current Continental theory reinvigorates the study of the history of modern philosophers by transforming not only how we interpret their answers to certain questions, but also how we understand the very nature of these questions.

A poet’s final barbed compilation that pierces the inherited and self-inflicted experiences of masculinity
 
The keen and jagged blade that is Kyle Dargan’s eye is drawn in Panzer Herz: A Live Dissection, the final poetic compilation of a lived and inherited masculinity.
 
Dargan targets the armored heart, or “panzer herz”—a site where desire, violence, family, politics, blackness, and capitalism all intertwine with gender. Pierced with the question—What if the heart, in the aforementioned capacity, was not a constricting vessel, struggling to withstand internal and external pressures, but instead was a space of release?—the collection opens a cishet masculinity to the inquiries and explorations that the traditional conscription of gender discourages and often vilifies.
 
I long to abandon this violent / vagrancy, but the roads . . .  teem with other men who know / no training, who see upon me / my teachers’ marks and ache / for the elicitation of drawn steel.
 
The denser blades of compassion and accountability are Dargan’s arms of choice to carry, and not conceal, the weapons he uses to probe his own heart and the hearts of the men and women who shaped him into a man that has been . . . and is unbecoming. The poetic paring of layered lines, the nicking of the process, these poems crimson the page—and not for scarlet spectacle. These versed incisions and sutures are the oeuvre dedicated to the outgrowing of the writer and the “man” that began it.

Marking a return of literary study from the remote reaches of abstraction to the realm of the immediate, the particular, and the real in which language and literature truly live, the essays in this volume articulate a productive, new critical approach: ordinary language criticism. With roots in the ordinary language philosophy derived especially from Wittgenstein in the early twentieth century, and in the ideas of American pragmatic philosophy propounded and extended by Stanley Cavell, this approach seeks to return criticism to its grounds in the natural language we all speak; to expose the terms of our engagement with narratives, arguments, and concepts-what Wittgenstein and Cavell call the "criteria" of our writing and reading.

Resisting master formulations and overarching theories, Ordinary Language Criticism does not so much dismiss the excitement of the last two decades of literary theorizing as it reminds us of the excitement of the shared common enterprises to which theory may still contribute. In this, the volume and the model it offers have wide implications for the academy, in which a widespread ersatz-sophistication has shorted the circuit between literary works and the real lives of those reading and teaching them.

With a definitive introduction by editors Kenneth Dauber and Walter Jost, and elaborations and practical examples by major figures such as Cavell himself, Martha Nussbaum, Marjorie Perloff, Anthony Cascardi, and Charles Altieri, among others, this volume clearly shows and explains how ordinary language criticism differs from current trends and what it exactly it can accomplish in theory and practice. These essays prove that by attending more faithfully to what we actually do when we read, we can make reading more productive--can reveal how extraordinary and rich, how really sophisticated, the ordinary actually is.

From beginning to end, the philosophy of Michel Henry offers an original and profound reflection on life. Henry challenges the conventional understanding of life as a set of natural processes and a general classification of beings. Maintaining that our access to the meaning of life has been blocked by naturalism as well as by traditional philosophical assumptions, Henry carries out an enterprise that can rightfully be called “radical.” His phenomenology leads back to the original dimension of life—to a reality that precedes and conditions the natural sciences and even objectivity as such.
 
The Michel Henry Reader is an indispensable resource for those who are approaching Henry for the first time as well as for those who are already familiar with his work. It provides broad coverage of the major themes in his philosophy and new translations of Henry’s most important essays. Sixteen chapters are divided into four parts that demonstrate the profound implications of Henry’s philosophy of life: for phenomenology; for subjectivity; for politics, art, and language; and for ethics and religion.

The songs, carols, and poems of medieval England evoke a people whose principal literary preoccupations were their passions, religious and otherwise. This comprehensive collection presents 187 poems, earthy and ethereal, from this tradition.

All too often, this great body of poetry is represented in anthologies by a scattering of all-too-well-known poems, or by one or two unfamiliar ones for which there are often inadequate linguistic and critical notes. R.T. Davis, Lecturer in English Literature at the University of Liverpool, has incorporated extensive linguistic and critical notes on the lyrics in this collection, and even the student without experience with Middle English will be able to read and appreciate the works. In addition to being the first critical anthology of medieval English lyrics ever published, it is a revealing portrait of a people far removed from us in time, but very much like ourselves.

In Horizon, Sea, Sound: Caribbean and African Women’s Cultural Critiques of Nation, Andrea Davis imagines new reciprocal relationships beyond the competitive forms of belonging suggested by the nation-state. The book employs the tropes of horizon, sea, and sound as a critique of nation-state discourses and formations, including multicultural citizenship, racial capitalism, settler colonialism, and the hierarchical nuclear family.
 
Drawing on Tina Campt’s discussion of Black feminist futurity, Davis offers the concept future now, which is both central to Black freedom and a joint social justice project that rejects existing structures of white supremacy. Calling for new affiliations of community among Black, Indigenous, and other racialized women, and offering new reflections on the relationship between the Caribbean and Canada, she articulates a diaspora poetics that privileges our shared humanity. In advancing these claims, Davis turns to the expressive cultures (novels, poetry, theater, and music) of Caribbean and African women artists in Canada, including work by Dionne Brand, M. NourbeSe Philip, Esi Edugyan, Ramabai Espinet, Nalo Hopkinson, Amai Kuda, and Djanet Sears. Davis considers the ways in which the diasporic characters these artists create redraw the boundaries of their horizons, invoke the fluid histories of the Caribbean Sea to overcome the brutalization of plantation histories, use sound to enter and reenter archives, and shapeshift to survive in the face of conquest. The book will interest readers of literary and cultural studies, critical race theories, and Black diasporic studies.
 

The problem of the will has long been viewed as central to Heidegger's later thought. In the first book to focus on this problem, Bret W. Davis clarifies key issues from the philosopher's later period—particularly his critique of the culmination of the history of metaphysics in the technological "will to will" and the possibility of Gelassenheit or "releasement" from this willful way of being in the world—but also shows that the question of will is at the very heart of Heidegger's thinking, a pivotal issue in his path from Being and Time (1926) to "Time and Being" (1962).

Moreover, the book demonstrates why popular critical interpretations of Heidegger's relation to the will are untenable, how his so-called "turn" is not a simple "turnaround" from voluntarism to passivism. Davis explains why the later Heidegger's key notions of "non-willing" and "Gelassenheit" do not imply a mere abandonment of human action; rather, they are signposts in a search for an other way of being, a "higher activity" beyond the horizon of the will. While elucidating this search, his work also provides a critical look at the ambiguities, tensions, and inconsistencies of Heidegger's project, and does so in a way that allows us to follow the inner logic of the philosopher's struggles. As meticulous as it is bold, this comprehensive reinterpretation will change the way we think about Heidegger's politics and about the thrust of his philosophy as a whole.

This book gathers French writer Michel Butor's essays on his travel in the Mediterranean. Included are pieces on Cordova, Istanbul, Salonica, Delphi, Crete, and northern Italy, as well as an extended essay on Egypt--where, when he was 24, Butor spent a year teaching French in a secondary school. Michel Butor is one of the leading exponents of the avant-garde writing that emerged in France in the 1950s .

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.

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.
 

Global Corporate Citizenship looks at issues of corporate responsibility globally, not just at multinational corporations operating worldwide, but at companies in developing countries facing important challenges within their own countries.

Featuring impressive original field research by Kellogg School of Management graduate students in the Global Initiatives in Management program, individual sections of the book are dedicated to issues of corporate citizenship in a wide range of countries including China, Vietnam, Thailand, Argentina, and South Africa. An introduction by Kellogg professor Daniel Diermeier sets the book in context as corporations come to terms with the complex issues facing the significance and limits of global corporate citizenship.

An in-depth look at how to do business in China as it becomes a global economic power

Since 1979, when China emerged from its long isolation and launched the first of its economic reforms, the country has gone from producing low-quality exports to making sophisticated high-technology goods and is now a major player in the world economy. China has become the new engine of global growth.

As China continues to implement its commitments agreed upon with membership into the World Trade Organization (WTO), the environment for multinational corporations is changing rapidly. This book examines some of the changes WTO accession is bringing to the market environment and different sectors of the economy, and the resulting challenges and opportunities for companies doing business in China.

The book draws on extensive field research with Chinese corporate executives, government officials, and representatives of nongovernmental organizations. Based on the findings from these interviews, the authors provide insights and strategies for companies seeking to establish a sustainable competitive advantage in the country's evolving marketplace. Kellogg on China is the outgrowth of a collaborative student-faculty effort through the Global Initiatives in Management program at the Kellogg School of Management.

Africa South presents a history and description of southern Africa from the arrival of Europeans until the creation of the Republic of South Africa in 1961. Harm J. de Blij provides a portrait of the landscape and the internal policies and struggles within the region. The work serves as a historical travel guide and an introduction to the history of southern Africa. All the maps in Africa South were prepared by the author.

The first full-scale English translation of one of Brazil's-and the world's-most influential avant-garde literary voices

A generous introduction to one of the key literary figures to emerge from Brazil in the second half of the twentieth century, this book offers English-speaking readers an ample selection of this prodigious writer's celebrated poetry and widely influential critical work. As a poet and as a cofounder of the renowned group Noigandres, Haroldo de Campos has made a unique and substantial contribution to the theory and practice of experimental writing, particularly the form known as concrete poetry, and to the Latin American avant-garde as a whole. These contributions, acclaimed worldwide by figures such as Umberto Eco, Jacques Derrida, Octavio Paz, and Guillermo Cabrera Infante, can be observed unfolding here, first in poetry selections ranging from de Campos' early work before concretism through his most recent production; then in theoretical texts that trace his evolution as a critic from an early interest in baroque and modernist writers to his development of an innovative model for reading, translating, and writing. This second, critical section of the book includes de Campos' encounters with the tasks of translating and reading some of the most important texts of Eastern and Western culture-from Ecclesiastes to the No play Hagoromo, from Dante to Paz-thus charting a genealogy of modern literature.

Together, these poems and critical writings afford English-speaking readers their first sustained exposure to a unique personality within the international avant-garde, a writer described by Brazilian poet João Cabral de Melo Neto as "that wonderful thing: / a poet and a translator who came to literature armed with an enviable / knowledge of the literary phenomenon."

This book provides a critical analysis of Hegel’s Anthropology, a long-neglected treatise dedicated to the psyche, or “soul,” that bridges Hegel’s philosophy of organic nature with his philosophy of subjective spirit. Allegra de Laurentiis recuperates this overlooked text, guiding readers through its   essential arguments and ideas. She shows how Hegel conceives of the “sublation” of natural motion, first into animal sentience and then into the felt presentiment of selfhood, all the way to the threshold of self-reflexive thinking. She discusses the Anthropology in the context of Hegel’s mature system of philosophy (the Encyclopaedia) while also exposing some of the scientific and philosophical sources of his conceptions of unconscious states, psychosomatism, mental pathologies, skill formation, memorization, bodily habituation, and the self-conditioning capacities of our species. This treatise on the becoming of anthropos, she argues, displays the power and limitations of Hegel’s idealistic “philosophy of the real” in connecting such phenomena as erect posture, a discriminating hand, and the forward gaze to the emergence of the human ego, or the structural disintegration of the social world to the derangement of the individual mind.
 
A groundbreaking contribution to scholarship on Hegel and nineteenth-century philosophy, this book shows that the Anthropology is essential to understanding Hegel’s concept of spirit, not only in its connection with nature but also in its more sophisticated realizations as objective and absolute spirit. Future scholarship on this subject will recount—and build upon—de Laurentiis’s innovative study.

De Muralt's ambition is to carry out such 'historical' inquiries in the form of a structural analysis of philosophy, which he regards as a rigorous philosophical discipline—that is, as a science.

Chekhov and Russian Religious Culture is an innovative study of the Virgin Mary and the "saintly harlots"–Mary of Egypt and Mary Magdalene–as a cultural paradigm encoded in Chekhov's prose. De Sherbinin establishes the authority of the Marian paradigm in nineteenth-century Russian culture with a comprehensive overview of salient religious and literary texts, then offers critical readings of more than fifteen Chekhov stories, including key works such as "Peasants," "Peasant Women," and "My Life." De Sherbinin argues that Chekhov inverts and displaces the Christian meanings of Marian texts in order to reveal a vast array of problematized relationships to the canonized figures. This illuminating semiotic reading of Chekhov explores questions of female identity as it probes the mindset of Russian Orthodox popular culture.

This bilingual edition introduces readers to the sixteenth century poet Jean de Sponde, considered one of the most important poets of the Renaissance period and a precursor to Donne, in his poetry Sponde reflects the tensions–both stylistic and philosophical-of his time. This collection of sonnets, abounding in metaphor, paradox, antithesis, and hyperbole, is a restless personal exploration of the body and the spirit, of the concrete and the abstract, of passion and anguish.

Hidden Tapestry reveals the unforgettable story of Flemish American artist Jan Yoors—childhood vagabond, wartime Resistance fighter, and polyamorous New York bohemian. At the peak of his fame in the 1970s, Yoors’s photographs and vast tapestries inspired a dedicated following in his adopted Manhattan and earned him international acclaim. Though his intimate friends guessed the rough outline of his colorful life, Hidden Tapestry is first to detail his astonishing secrets.

At twelve, Jan’s life took an extraordinary and unexpected turn when, lured by stories of Gypsies, he wandered off with a group of Roma and continued to live on-and-off with them and with his own family for several years. As an adult in German-occupied France, Yoors joined the Resistance and persuaded his adoptive Roma family to fight alongside him. Defying repeated arrests and torture by the Gestapo, he worked first as a saboteur and later escorted Allied soldiers trapped behind German lines across the Pyrenees to freedom.

After the war, he married childhood friend Annabert van Wettum and embarked on his career as an artist. When a friend of Annabert’s, Marianne Citroen, modeled for Yoors, the two began an affair, which led the three to form a polyamorous family that would last for the rest of their lives. Moving to New York, the trio became part of the bohemian life of Greenwich Village in the 1950s.

Told in arresting detail by Debra Dean, best-selling author of The Madonnas of Leningrad, Yoors’s story is a luminous and inspiring account of resilience, resourcefulness, and love.

The Universal Jew analyzes literary images of the Jewish nation and the Jewish national subject at Zionism’s formative moment. In a series of original readings of late nineteenth-century texts—from George Eliot’s Daniel Deronda to Theodor Herzl’s Altneuland to the bildungsromane of Russian Hebrew and Yiddish writers—Mikhal Dekel demonstrates the aesthetic and political function of literary works in the making of early Zionist consciousness. More than half a century before the foundation of the State of Israel and prior to the establishment of the Zionist political movement, Zionism emerges as an imaginary concept in literary texts that create, facilitate, and naturalize the transition from Jewish-minority to Jewish-majority culture. The transition occurs, Dekel argues, mainly through the invention of male literary characters and narrators who come to represent "exemplary" persons or "man in general" for the emergent, still unformed national community. 

Such prototypical characters transform the symbol of the Jew from a racially or religiously defined minority subject to a "post-Jewish," particularuniversal, and fundamentally liberal majority subject. The Universal Jew situates the "Zionist moment" horizontally, within the various intellectual currents that make up the turn of the twentieth century: the discourse on modernity, the crisis in liberalism, Nietzsche’s critique of the Enlightenment, psychoanalysis, early feminism, and fin de siècle interrogation of sexual identities. The book examines the symbolic roles that Jews are assigned within these discourses and traces the ways in which Jewish literary citizens are shaped, both out of and in response to them. Beginning with an analysis of George Eliot’s construction of the character Deronda and its reception in Zionist circles, the Universal Jew ends with the self-fashioning of male citizens in fin de siècle and post-statehood Hebrew works, through the aesthetics oftragedy. Throughout her readings, Dekel analyzes the political meaning of these nascent images of citizens, uncovering in particular the gendered arrangements out of which they are born.

This collection of poems emerges as a work of unusual emotional and spiritual clarity and beauty. Before his death Timothy Dekin fashioned a contemporary style based on the pentameter line and the song forms of the English Renaissance poets, and his confessional tone and range of experience from thoughts on mortality and self-worth, struggles with alcoholism, and failings of family love to a Buddhist-like oneness with nature make for a striking combination.

The University of Hip-Hop is a love letter to the city of Chicago, or, more specifically, to Chicago at a particular moment in the poet's life. It is a meditation on movement and migration that asks what it means to leave home, how to take home with you, and how to build a new home elsewhere. These poems invoke nostalgia tempered with the knowledge that one cannot return to the past. They employ tonal and structural variations that account for said nostalgia without risking naïveté, taking all the influence of that time (hope, youth, love, music, art, and engagement) as a formal device, yet one filtered through the condensation of a current, more mature and nuanced understanding. The worldview learned then is employed in the now and frames the approach to the work, moving through formal registers that include spoken word, American lyric and narrative traditions, experimental thrusts, and documentary honed with the edge of hip-hop.                      
 

In Auschwitz, memory meant life: remembering the humanity extinguished by the death camps and hoping to survive to tell what had been endured. Charlotte Delbo, a non-Jew sent to Auschwitz for being a member of the French resistance movement, recalls the poems, vignettes, and meditations that fed her companions' spirits, interweaving her experiences with the sufferings of others and depicting dignity and decency in the face of inhumanity.

This definitive translation is by Delbo's close friend, the author and theater critic Rosette Lamont, an expert on the works of Ionesco and Beckett. Lamont wrote that Delbo was, like Beckett, "a minimalist of infinite pain, a voice of conscience."

The novel begins with Costantino Ledda's conviction and sentencing for the murder of his cruel uncle. Though innocent of the crime, he accepts the guilty verdict as punishment for marrying Giovanna Era through a civil ceremony rather than an expensive church wedding. When her husband is taken away, Giovanna has no way to provide for herself, her mother, and her son, who soon dies of malnutrition. Out of desperation she divorces Costantino, according to a new law for wives of convicts, and marries a wealthy but brutish landowner. When the true murderer confesses and Costantino returns, he and Giovanna begin a forbidden and ultimately destructive affair.

Deleda's tragic story of poverty, passion, and guilt portrays the primitive and remote world of the church, pre-Christian superstitions, and laws dictated from the mainland, in her native Sardinia, where society hangs in a delicate balance. Once this order is disrupted, none of these characters can escape the spiral of destruction dictated by fate, God, and society.

Winner of the 1926 Novel Prize for Literature

After serving time in mainland Italy for a minor theft, Elias Portolu returns home to Nuoro, in rural Sardinia. Lonely and vulnerable after his prison exile, he falls in love with his brother's fiancée. But he finds himself trapped by social and religious strictures, his passion and guilt winding into a spiral of anguish and paralyzing indecision. For guidance he turns first to the village priest, who advises him to resist temptation; then he turns to the pagan "father of the woods," who recognizes the weakness of human will and urges him to declare his love before it is too late.

Limited Inc is a major work in the philosophy of language by the celebrated French thinker Jacques Derrida. The book's two essays, "Limited Inc" and "Signature Event Context," constitute key statements of the Derridean theory of deconstruction. They are the clearest exposition to be found of Derrida's most controversial idea, that linguistic meaning is fundamentally indeterminate because the contexts that fix meaning are never stable. Limited Inc includes an important new afterword by the author.

Published in 1967, when Derrida is 37 years old, Voice and Phenomenon appears at the same moment as Of Grammatology and Writing and Difference. All three books announce the new philosophical project called “deconstruction.” Although Derrida will later regret the fate of the term “deconstruction,” he will use it throughout his career to define his own thinking. While Writing and Difference collects essays written over a 10 year period on diverse figures and topics, and Of Grammatology aims its deconstruction at “the age of Rousseau,” Voice and Phenomenon shows deconstruction engaged with the most important philosophical movement of the last hundred years: phenomenology. 

Only in relation to phenomenology is it possible to measure the importance of deconstruction. Only in relation to Husserl’s philosophy is it possible to understand the novelty of Derrida’s thinking. Voice and Phenomenon therefore may be the best introduction to Derrida’s thought in general. To adapt Derrida’s comment on Husserl’s Logical Investigations, it contains “the germinal structure” of Derrida’s entire thought. Lawlor’s fresh translation of Voice and Phenomenon brings new life to Derrida’s most seminal work.

In Yeats's Shakespeare, the first full-length study of Yeats’s interest in Shakespeare, Rupin W. Desai explores how Shakespearean works influenced Yeats’s poetry and mythological drama. Exploring Shakespeare’s sonnets and Yeats’s poetry, Desai illustrates the deep degree to which Yeats identifies with Shakespeare, even to the extent of including some of Shakespeare’s heroes in his own late poetry. Yeats’s Shakespeare also includes an appendix that lists in detail all of Yeats’s references to Shakespeare’s works.

Winner, 2006 Illinois State Historical Society Book Award
Winner, 2007 The Hyde Park Historical Society Paul Cornell Award

Political war stories from a thorn in the side of Chicago's famous Boss

In 1955, south-sider Leon Despres was elected to the Chicago City Council-the same year that Paddy Bauler famously uttered that "Chicago ain't ready for reform." Ready or not, Chicago got twenty years of reform efforts from Despres, one of the few independents in the council and the most liberal alderman in the city. His demand to cut out the corrupt sale of city driveway permits made him enemies from the very beginning. Over the years his crusades to ban discrimination, preserve Chicago landmark buildings, and gain equality for African-Americans-when Daley-beholden African-American council members refused to help-threw wrench after wrench into the Machine. And, not incidentally, changed the city.

But Challenging the Daley Machine is more than a memoir. It's a historical portrait of the way things were done under the Boss, when changing times and a changing city forced the Machine to confront the problems Despres championed. His battles against the seemingly monolithic Machine are also an inspiration to anyone who is facing long odds, but is convinced he/she is on the side of right.

Alan C. Dessen's Johnson's Moral Comedy asks the question about the character of Ben Jonson’s comedies: were they sentimental or were they didactic and moralistic comedies? Dessen’s groundbreaking text remains significant for its contribution to early conversations about Jonsonian comedy, as well as its contribution to the practice of ethical criticism of literature. In his close readings of Jonson’s plays, he offers a model of engaging in such critical practice.
 

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.

 

In Smart People, Lydia R. Diamond shows that no matter how well we think we understand the influence of race on human interaction, it still manages to get in the way of genuine communication and connection. This funny and thought-provoking play gives us four characters all associated with Harvard: a young African American actress cleaning houses and doing odd jobs to pay the bills until her recently earned M.F.A. starts to pay off; a Chinese and Japanese American psychology professor studying race and identity in Asian American women; an African American surgical intern; and a white professor of neuroscience with a shocking hypothesis, researching the way that our racial perceptions are formed. As their relationships evolve, the four discover that their motivations and interpretations are not as pure as their wealth of knowledge would have them believe. As in all of her work, Diamond brings a sharp wit and a subtle intelligence to bear on questions that never cease to trouble us as individuals and as a society.

Adept at capturing the experience of the upper-middle-class African-American, Diamond lays out two families' worth of secrets in this precise play. With only six characters, she constructs a vivid weekend of crossed pasts and uncertain but optimistic futures. On Martha's Vineyard, an affluent African-American family gathers in their vacation home, joined by the housekeeper's daughter, who is filling in for her mother. The family patriarch is a philandering physician; one of his sons has followed in his footsteps, while the other, after numerous false starts in a variety of careers, is a struggling novelist. Both bring along their current girlfriends, to meet the family for the first time. With such highly--perhaps over--educated vacationers, the conversation and the barbs fly, on subjects ranging from race to economics to politics. But there is also more than enough human drama, which reaches its climax when an old family secret comes out. Through lively exchanges and simmering wit, the family tackles a history filled with complications both within the family and in the outer world.

Restructuring Architectural Theory addresses the impact of contemporary critical theory, from poststructuralism to deconstruction and beyond, on architecture. This unique collection of essays will be invaluable to students and scholars as well as to architects and art historians for the range of issues it covers and the depth of analysis it provides.

Diasporic Intimacies: Queer Filipinos and Canadian Imaginaries is the first edited volume of its kind, featuring the works of leading scholars, artists, and activists who reflect on the contributions of queer Filipinos to Canadian culture and society.

Addressing a wide range of issues beyond the academy, the authors present a rich and under-studied archive of personal reflections, in-depth interviews, creative works, and scholarly essays. Their trandsdisciplinary approach highlights the need for queer, transgressive, and utopian practices that render visible histories of migration, empire building, settler colonialism, and globalization.

Timely, urgent, and fascinating, Diasporic Intimacies offers an accessible entry point for readers who seek to pursue critically engaged community work, arts education, curatorial practice, and socially inflected research on sexuality, gender, and race in this ever-changing world.

In these two novellas, Volodymyr Dibrova tells the story of how the Soviet system was sustained by individuals who never truly believed in it, but simply lacked the courage to oppose it.

Peltse portrays the formation of an average apparatchik. Both funny and alarming, it provides a psychological portrait of an individual trapped in a system he simultaneously dislikes and depends upon for survival. Pentameron tells the story of one day in the life of five colleagues at a Soviet research institute. Each is dissatisfied, yet all are trapped in and by a system that has taken away their ability to act decisively.

Wilhelm Dichter's autobiographical novels, God's Horse and The Atheists' School, have been translated into English for the first time and are presented here in a single volume. From the gradually maturing perspective of the narrator, a Polish Jewish youngster, they recount the harrowing tale of his family's struggle to survive the Holocaust and their privileged post-Holocaust lives as members of Poland's political elite. God's Horse depicts the sudden reversal of victim status that occurred when, in the postwar period, the hidden Jewish child became a little Red prince, thanks to his stepfather, a Jewish rising star in the communist regime. The Atheists' School, the sequel, follows the narrator through the years of high Stalinism into young adulthood and depicts the tensions between dedicated Jewish communists, some of whom join the elite, and Jews who are convinced that the Jews in Poland will inevitably be victimized again. 

In spare, precise prose, Dichter brings to life the tensions between ideologues and pragmatists, Polish patriots and their Soviet masters. These evocative novels also provide a psychologically persuasive and profoundly moving portrait of the narrator. The author's alter ego, supported by his stalwart and overly indulgent mother, possesses the tenacity to transform himself from an awkward, traumatized child survivor into an unsettled but eventually independent-minded young man.

In the courtroom and the classroom, in popular media, public policy, and scholarly pursuits, the Holocaust-its origins, its nature, and its implications-remains very much a matter of interest, debate, and controversy. Arriving at a time when a new generation must come to terms with the legacy of the Holocaust or forever lose the benefit of its historical, social, and moral lessons, this volume offers a richly varied, deeply informed perspective on the practice, interpretation, and direction of Holocaust research now and in the future. In their essays the authors-an international group including eminent senior scholars as well those who represent the future of the field-set the agenda for Holocaust studies in the coming years, even as they give readers the means for understanding today's news and views of the Holocaust, whether in court cases involving victims and perpetrators; international, national, and corporate developments; or fictional, documentary, and historical accounts.

Several of the essays-such as one on nonarmed "amidah" or resistance and others on the role of gender in the behavior of perpetrators and victims-provide innovative and potentially significant interpretive frameworks for the field of Holocaust studies. Others; for instance, the rounding up of Jews in Italy, Nazi food policy in Eastern Europe, and Nazi anti-Jewish scholarship, emphasize the importance of new sources for reconstructing the historical record. Still others, including essays on the 1964 Frankfurt trial of Auschwitz guards and on the response of the Catholic Church to the question of German guilt, bring a new depth and sophistication to highly charged, sharply politicized topics. Together these essays will inform the future of the Holocaust in scholarly research and in popular understanding.

Originally published in 1988, M.C. Dillon's classic study of Merleau-Ponty is now available in a revised second edition containing a new preface and a new chapter on "Truth in Art." Dillon's thesis is that Merleau-Ponty has developed the first genuine alternative to ontological dualism seen in Western philosophy. From his early work on the philosophical significance of the human body to his later ontology of flesh, Merleau-Ponty shows that the perennial problems growing out of dualistic conceptions of mind and body, subject and object, immanence and transcendence can be resolved within the framework of a new way of thinking based on the exemplar of the worldly embodiment of thought.

No other novel has been used to describe the "Russian mentality" or "Russian soul" as frequently as Ivan Goncharov's Oblomov, first published in 1859. This guide will enable readers to appreciate fully the remarkable talent of the writer and his masterpiece.

All the essays were written specifically for this volume and are published here for the first time. The book also includes an introduction, autobiographical materials, an annotated bibliography, and letters never before translated into English.

Contributors: Galya Diment, John Givens, Beth Holmgren, Karl D. Kramer, Ronald D. LeBlanc, Alexandar Mihailovic, and Brian Thomas Oles.

Also available: Antelme's The Human Race

This provocative work takes issue with the idea that Socialist Realism was mainly the creation of party leaders and was imposed from above on the literati who lived and worked under the Soviet regime. Evgeny Dobrenko, a leading expert on Soviet literature, argues instead--and offers persuasive evidence--that the aesthetic theories underpinning Socialist Realism arose among the writers themselves, born of their proponents' desire for power in the realm of literary policymaking. Accordingly, Dobrenko closely considers the evolution of these theories, deciphering the power relations and social conditions that helped to shape them.

In chapters on Proletkult, RAPP, LEF, and Pereval, Dobrenko reexamines the theories generated by these major Marxist literary groupings of the early Soviet Union. He shows how each approached the problems of literature's response to the presumed social mandate of the young communist society, and how Socialist Realism emerged as a conglomerate of these earlier, revolutionary theories. With extensive and detailed reference to supporting testimony and documents, Dobrenko clearly demonstrates how Socialist Realism was created from within the revolutionary culture, and how this culture and its disciples fully participated in this creative process. His work represents a major breakthrough in our current understanding of the complex sources that contributed to early Soviet culture.

This study traces how the environmental effects of industrialization reverberated through the cinema of Germany’s Weimar Republic. In the early twentieth century, hygiene encompassed the myriad attempts to create healthy spaces for life and work amid the pollution, disease, accidents, and noise of industrial modernity. Examining classic films—including The Last Laugh, Faust, and Kuhle Wampe—as well as documentaries, cinema architecture, and studio practices, Paul Dobryden demonstrates how cinema envisioned and interrogated hygienic concerns about environmental disorder.
 
Framing hygiene within the project of national reconstruction after World War I, The Hygienic Apparatus explores cinema’s material contexts alongside its representations of housework, urban space, traffic, pollution, disability, aging, and labor. Reformers worried about the health risks associated with moviegoing but later used film to popularize hygienic ideas, encouraging viewers to see the world and themselves in relation to public health objectives. Modernist architecture and design fashioned theaters into regenerative environments for fatigued spectators. Filmmakers like F. W. Murnau and Slatan Dudow, meanwhile, explored the aesthetic and political possibilities of dirt, contagion, intoxication, and disorder. Dobryden recovers a set of ecological and biopolitical concerns to show how the problem of environmental disorder fundamentally shaped cinema’s relationship to modernity. As accessible as it is persuasive, the book adds to a growing body of scholarship on biopolitics within German studies and reveals fresh ways of understanding the apparatus of Weimar cinema.

In 1994 Russian writer Victor Erofeyev proclaimed Leonid Dobychin "one of the main heroes of twentieth-century Russian literature." Obscure for many years, Dobychin is now celebrated as a modernist master. His short stories are hailed as a sort of Soviet version of Joyce's Dubliners-subtle and tightly constructed miniatures linked by recurring themes and full of ironic juxtaposition, context, allusion, and style.

For Dobychin early Soviet society was an absurdist wonderland. He was not anti-Soviet but trans-Soviet, practicing realism but looking at reality from jarring angles. A typical day for a Dobychin hero includes participation in character-building sports, witnessing a parade, attending a funeral, and memorial to fallen communists-and finally reflecting at the end of the day that he almost met a pretty young sick-nurse. Dobychin's stories reveal a Brave New World where idealism rubs shoulders with heartless ambition and political denunciation, and ubiquitous acronyms and revolutionary cliché maul the language. But he also describes the absurdities of a place where office girls pray for the arrest of disliked co-workers and prisoner work gangs are made to spell out beautiful but empty platitudes in beds of sand. This collection includes all of the stories published in Dobychin's lifetime, plus two stories that remained unpublished until the late 1980s.

Leonid Dobychin's The Town of N, an unrecognized masterpiece of the Soviet 1930s, virtually vanished, together with its author, following its publication in 1935 and the subsequent vilification of Dobychin by Leningrad's cultural authorities. It portrays a fallen provincial world reminiscent of the town of N found in Gogol's Dead Souls, a place populated with characters who are petty, grasping, perfidious, and cruel, quite unlike the positive heroes of socialist realist novels.

The Ultimate Chicago Pizza Guide is your comprehensive guide to the history of the styles, locales, and people that make the Windy City a prime destination for slices and pies. Most locals have strong opinions about whether thin, tavern-style, or deep-dish takes the crown, which toppings are essential, and who makes the best pie in town—and in Chicago, there's a destination for every preference. During the COVID-19 pandemic, Chicago saw an unprecedented number of new pizzerias opening their doors, very few of which focused on the proverbial deep-dish. Several high-end chefs made the pivot to pizza, and in many cases, brought new ideas and styles, like East Coast Sicilians and thin, crispy (and cheeseless) Roman pies. With so many slices to try in the city’s seventy-seven neighborhoods, it would seem impossible to find the best of the best.
 
Enter renowned food journalist Steve Dolinsky. He embarked on a memorable quest for his first book, Pizza City, USA: 101 Reasons Why Chicago Is America’s Greatest Pizza Town, tasting more than 185 pizzas all over the region. For his follow-up, Dolinsky focuses on the city’s pizzerias, while still honoring a few suburban stalwarts.
 
This user-friendly guide is organized by pizza style—including thin, tavern, artisan, Neapolitan, deep-dish, stuffed, by-the-slice, Roman, and Detroit—so you can find the right recommendation for every family member, visitor, and occasion. Dolinsky highlights his favorites, offers a pizza lover’s glossary so you can order like a pro, and shows you every pie he ate, so you can compare notes and cook up your next pizza night. With recipes, local beer pairings, gluten-free options, and more, The Ultimate Chicago Pizza Guide is an essential resource both for locals and for visitors in search of a serious pizza getaway.

There are few things that Chicagoans feel more passionately about than pizza. Most  have strong opinions about whether thin crust or deep-dish takes the crown, which ingredients are essential, and who makes the best pie in town.

And in Chicago, there are as many destinations for pizza as there are individual preferences. Each of the city's seventy-seven neighborhoods is home to numerous go-to spots, featuring many styles and specialties. With so many pizzerias, it would seem impossible to determine the best of the best.

Enter renowned Chicago-based food journalist Steve Dolinsky! In Pizza City, USA: 101 Reasons Why Chicago Is America's Greatest Pizza Town, Dolinsky embarks on a pizza quest, methodically testing more than a hundred different pizzas in Chicagoland. Zestfully written and thoroughly researched, Pizza City, USA is a hunger–inducing testament to Dolinsky's passion for great, unpretentious food.

This user-friendly guide is smartly organized by location, and by the varieties served by the city's proud pizzaioli–including thin, artisan, Neapolitan, deep-dish and pan, stuffed, Sicilian, Roman, and Detroit-style, as well as by-the-slice. Pizza City also includes Dolinsky's "Top 5 Pizzas" in several categories, a glossary of Chicago pizza terms, and maps and photos to steer devoted foodies and newcomers alike.

Winner of the 2012 PEN Center USA Literary Award for Translation

José Donoso was the leading Chilean representative of the Latin American “Boom” of the sixties and seventies that included Gabriel García Márquez, Mario Vargas Llosa, and Manuel Puig, among others. Written as a draft in 1973, set aside, and forgotten, The Lizard’s Tale was discovered among Donoso’s papers at Princeton University by his daughter after his death. Edited for publication by critic and poet Julio Ortega, it was published posthumously in Spanish under the title Lagartija sin cola in 2007. Suzanne Jill Levine, who knew Donoso and translated two of his earlier works, brings the book to an English-language audience for the first time. 

Defeated and hiding in his Barcelona apartment, painter Antonio Muñoz-Roa—Donoso’s alter ego—relates the story of his flight with Luisa, his cousin, lover, and benefactor, after his scandalous desertion from the “Informalist” movement (a witty reference to a contemporary Spanish art movement and possibly an allusion to the Boom as well), in which he had been a member of a certain standing. Frustrated, old, and alone, the artist looks back on his years in the small town of Dors, a place he unsuccessfully tried to rescue from the crushing advance of modernity, and on the decline of his own family, also threatened by the changing times. In Levine’s able hands, Donoso’s clear prose shines through, forming a compact, powerful, and still-relevant meditation on the commercialization of art and the very places we inhabit.

In Gadamer’s Hermeneutics Robert J. Dostal provides a comprehensive and critical account of Hans-Georg Gadamer’s hermeneutical philosophy, arguing that Gadamer’s enterprise is rooted in the thesis that “being that can be understood is language.” He defends Gadamer against charges of linguistic idealism and emphasizes language’s relationship to understanding, though he criticizes Gadamer for too often ignoring the role of the prelinguistic in our experience. Dostal goes on to explain the concept of the "inner word" for Gadamer’s account of language.  
 
The book situates Gadamer’s hermeneutics in three important ways: in relation to the contestability of the legacy of the Enlightenment project; in relation to the work of his mentor, Martin Heidegger; and in relation to Gadamer’s reading of Plato and Aristotle. Dostal explores both Gadamer’s claim on the Enlightenment and his ambivalence toward it. He considers Gadamer’s dependence on Heidegger’s accomplishment while pointing out the ways in which Gadamer charted his own course, rejecting his teacher’s reading of Plato and his antihumanism. Dostal points out notable differences in the philosophers’ politics as well. Finally, Dostal mediates between Gadamer’s hermeneutics and what might be called philological hermeneutics. His analysis defends the civic humanism that is the culmination of the philosopher’s hermeneutics, a humanism defined by moral education, common sense, judgment, and taste. Supporters and critics of Gadamer’s philosophy will learn much from this major achievement. 

This is the second volume of the complete collection of writings that has been called Dostoevsky's boldest experiment with literary form; it is a uniquely encyclopedic forum of fictional and nonfictional genres. The Diary's radical format was matched by the extreme range of its contents. In a single frame it incorporated an astonishing variety of material: short stories; humorous sketches; reports on sensational crimes; historical predictions; portraits of famous people; autobiographical pieces; and plans for stories, some of which were never written while others appeared in the Diary itself.

Winner of the AATSEEL Outstanding Translation Award

This is the first paperback edition of the complete collection of writings that has been called Dostoevsky's boldest experiment with literary form; it is a uniquely encyclopedic forum of fictional and nonfictional genres. The Diary's radical format was matched by the extreme range of its contents. In a single frame it incorporated an astonishing variety of material: short stories; humorous sketches; reports on sensational crimes; historical predictions; portraits of famous people; autobiographical pieces; and plans for stories, some of which were never written while others appeared in the Diary itself.

This classic collection of articles, sketches, and letters spans thirty-three years in Fyodor Dostoevsky's writing career: from 1847, just after the publication of his first novel, until 1880, a year before his death. The writings show the scope of his artistic development and the changes that occurred as a result of such cataclysmic events as his arrest and trial for treason, and his subsequent imprisonment and exile in Siberia.

Winter Notes on Summer Impressions (Зимние заметки о летних впечатлениях) is an early book-length essay by Russian author Fyodor Dostoevsky which he composed while traveling in western Europe. Many commentators believe that in the themes it explores, the essay anticipates his later work Notes from the Underground.

In June 1862, Dostoevsky left Petersburg on his first excursion to Western Europe. Ostensibly making the trip to consult Western specialists about his epilepsy, he also wished to see firsthand the source of the Western ideas he believed were corrupting Russia. Over the course of his journey he visited a number of major cities, including Berlin, Paris, London, Florence, Milan, and Vienna. He recorded his impressions in Winter Notes on Summer Impressions, which were first published in the February 1863 issue of Vremya (Time), the periodical of which he was the editor.

Among other themes, Dostoevsky reveals his Pan-Slavism, rejecting European culture as corrupt and exhorting Russians to resist the temptation to emulate or adopt European ways of life.

First published in 1915, Old Calabria is a comprehensive and exciting account of adventure travel. Captivated by the pagan quality of the mezzogiorno, Norman Douglas plunged into Calabria, the southernmost and most backward part of Italy (a province that was still largely devoid of any form of modern amenity). He endured extremes of climate, scaled mountains, rode in carriages driven by villainous coachmen, and traversed remote stretches of country where murderous groups of banditti were known to roam. As Jon Manchip White points out in his introduction, it "makes good reading, but it must have constituted a protracted and frightening ordeal--frightening, that is, to anyone except someone like Douglas, possessed of a more than normal share of guts and fortitude."

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.

Dragan Dragojlović's poetry captures the horror of the civil war and acts of genocide that ravaged his native Yugoslavia. He tells the truth in startling images and expresses the resilience of the human spirit even in the midst of despair. As he asks in one poem, "What are we to do with so much grief?"

Set in the summer of 1979 at the height of the movement to free Soviet Jewry, Farewell, Mama Odessa is an autobiographical novel whose intertwined storylines follow a variety of people—dissidents, victims of ethnic discrimination, and black marketeers among them—as they bid farewell to their beloved hometown of Odessa, Ukraine, and make their way to the West. At the book’s center is Boris, a young writer thwarted by state censorship and antisemitism. With an Angora kitten for his companion and together with other émigrés, he puts the old country in his rear-view mirror and sets out on a journey that will take him to Bratislava, Vienna, Rome, and New York on his way to Los Angeles. Will Boris be able to rekindle his creative passion and inspiration in the West? Will other Jewish émigrés fit into the new society, so much different than the one they left behind? With humor and compassion, Farewell, Mama
Odessa describes the émigrés’ attempts at adjustment to the free world. 

Andrew M. Drozd reexamines the misunderstood Russian novel, insisting it was misread by both detractors (who dismissed it as propaganda) and admirers (who overlooked its satire and criticism of revolutionary politics).

This volume offers two of Druzhinin's essential works in their first English translations. Polinka Saks, his most essential short novel, is an epistolary tale of a romantic triangle involving an older man, his young wife, and a dashing young prince. The husband attempts to introduce his wife to literature, art, and music, but his efforts run counter to the dominant trend of society, which "forces women to become little children." The wife falls victim to the prince and realizes too late the value of the education provided by her husband.

A far different tale, The Story of Aleksei Dmitrich is a complex social and psychological study of poverty, family disharmony, precocious children, and destructive self-sacrifice.

A bilingual edition of one of the finest sonnet sequences of the Renaissance

As a member of the mid-sixteenth-century literary group La Pléiade, Joachim du Bellay sought to elevate his native French to the level of the classical languages—a goal pursued with great spirit, elegance, irony, and wit in the poems that comprise The Regrets. Widely viewed as one of the finest sonnet sequences in all of French literature, this Renaissance masterpiece wryly echoes the homesickness and longing of Ovid's poetry written in exile—because du Bellay finds himself lost in Rome, the very home Ovid longed for. In this translation by David R. Slavitt, these brilliant performances retain their original formal playfulness as well as their gracefully rendered but nonetheless moving melancholy. In decadent Rome, among hypocrites, thieves, and snobs, du Bellay uses his poetry as an opportunity for social satire and caustic self-criticism-it becomes a salvation of sorts, an approach peculiarly modern in its blending of the classical, the social, and the personal.

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.

Finalist, 2008 Pulitzer Prize

Lincoln Kirstein was a tireless champion of the arts in America. Working behind the scenes to provide artists with money, space, audiences, and, at times, emotional support, he helped found such landmark cultural institutions as the New York City Ballet, the School of American Ballet, New York’s Lincoln Center and Stratford's American Shakespeare Festival.

 

Duberman's biography sheds light on this lamentably neglected cultural figure. Though best known as a benefactor of the arts, Kirstein was also an adept critic, poet and novelist who published some fifteen books in his lifetime. From his undergraduate years at Harvard, where he established the influential literary magazine Hound and Horn, as well as the Harvard Society for Contemporary Art (precursor to the Modern Museum of Art), to his complex and historically significant relationship with George Balanchine, Kirstein's contributions were indespensible to the development of the arts in America.

 

Authoritative and elegant, Duberman's biography utilizes previously unavailable documents, including Kirstein's diaries, to reveal the keen eye, incessant self-doubt, and enormous ambition that drove Kirstein's relentless advocacy. The Worlds of Lincoln Kirstein brings attention to an important, but until-now unappreciated figure whose individual contribution to the arts was one of the greatest of the twentieth century.