The thrilling new collection from the Pushcart Prize-winning poet

"I will say beauty," Carol Frost boldly says in one of her new lyrical poems, beauty being for her and all of us elusive-in and out of nature. The phrase is meant as a cri de coeur, and the poems are arranged to offer a fresh way to look at--and exist within--nature. For Frost, beauty is a far cry from the decorous and social.

Frost sets many of these poems in Florida's Cedar Keys, amidst the nesting areas of birds, cottonmouth snakes, wetlands, and tidal rhythms. The reader undertakes a journey through a tropical summer, where strange scents and sounds are signs of the transient beauties the imagination may possess for a moment. Drawing brilliantly from nature and from art, from the rhythms of life and the furies of emotion, Frost rejects standard responses and dares to ask: how do we perceive the world? When is beauty not enough? Can we imagine Paradise? And, when nature ordains that death must come, and we weaken, how do we die?

With the introduction of the printing press in England in 1476, a struggle over its control--and its potential for interrupting power--was joined. The written word, once the domain of the upper levels of society that controlled politics, economics, and religion, could be seen passing into the hands of anyone throughout the social strata who wished to voice opinions on any topic of interest or importance. How the advent of printing led to the idea of a free press is the story told by David Copeland in this book, which traces a confrontation that began with issues of religion and gradually expanded into the realm of political freedom.

The rise of a free press was, in many ways, a legacy of the Reformation and Enlightenment. Copeland describes a discourse centered on questions of religion--a discussion that the government, with all its religious authority, could not suppress because of the belief that the ability to reason for oneself was God-given. In this account we see how the debate moved from religion to the purely political sphere, and how, through the increased use of the printing press, it was opened to a multiplicity of voices and opinions. Spanning nearly four centuries in Britain and America, Copeland's book reveals how the tension between government control and the right to debate public affairs openly ultimately led to the idea of a free press; in doing so, it documents an intellectual development of unparalleled relevance and importance to the history of journalism.

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.

In Identity, Mediation, and the Cunning of Capital, Ani Maitra urgently calls for a reevaluation of identity politics as an aesthetic maneuver regulated by capitalism. A dominant critical trend in the humanities, Maitra argues, is to dismiss or embrace identity through the formal properties of a privileged aesthetic medium such as literature, cinema, or even the performative body. In contrast, he demonstrates that identity politics becomes unavoidably real and material only because the minoritized subject is split between multiple sites of mediation—visual, linguistic, and sonic—while remaining firmly tethered to capitalism’s hierarchical logic of value production. Only in the interstices of media can we track the aesthetic conversion of identitarian difference into value, marked by the inequities of race, class, gender, and sexuality.
 
Maitra’s archive is transnational and multimodal. Moving from anticolonial polemics to psychoanalysis to diasporic experimental literature to postcolonial feminist and queer media, he lays bare the cunning by which capitalism produces and fragments identity through an intermedial “aesthetic dissonance” with the commodity form. Maitra’s novel contribution to theories of identity and to the concept of mediation will interest a wide range of scholars in media studies, critical race and postcolonial studies, and critical aesthetics.

 

In a 1994 American Scholar article, Andrew Wachtel wrote of Ivan Bunin: "[He] is undoubtedly the greatest Russian writer whom no one reads." With the collapse of communism, however, Bunin's works are undergoing a revival in both Russia and the West. As enthusiastic as readers and publishers have been, scholarship has not kept pace with this "rediscovery," in part due to the many contradictions in Bunin's writing, in part because much past criticism has been used to advanced the critic's own view of what they love or hate about "modern" life.

In If You See the Buddha, Thomas Gaiton Marullo begins addressing the lack of scholarship by establishing that Bunin was a thoroughly modern writer whose images and ideas were rooted more in the twentieth century than in the nineteenth. But beyond that point, Marullo states that, of all the systems of belief that Bunin adopted and adapted throughout his career, it was his interest in Buddhism that best elucidates the dynamics of his writing. Key Buddhistic concepts figured prominently in Bunin's work. These ideas enabled him to make sense of his world and serves as the catalyst for an ars poetica that tempered his philosophical and aesthetic restiveness and contributed a sense of timelessness to work from both his prerevolutionary and émigré periods.

Winner, 2002 PEN Open Book Award
Recipient, 2008 Guggenheim Fellowship

Meena Alexander's poetry emerges as a consciousness moving between the worlds of memory and the present, enhanced by multiple languages. Her experience of exile is translated into the intimate exploration of her connections to both India and America. In one poem the thirteenth-century Persian poet Rumi visits with her while she speaks on the phone in her New York apartment, and in another she evokes fellow-poet Allen Ginsberg in the India she herself has left behind. Drawing on the fascinating images and languages of her dual life, Alexander deftly weaves together contradictory geographies, thoughts, and feelings.

Rafael Guillén's poems paint vivid portraits of the land and people of his native Andalusia. In sharp-edged words tinged with a certain tender grief, Guillén presents the harshness and beauty of his country-the calm seashore and the violent revolutions, the wheat fields and the famine, the children and the laborers toiling under the oppressive Spanish sun. Behind the imagery and language a quiet force builds as Guillén reflects on coming of age during the Spanish Civil War and on love, life, death, and faith in modern-day Granada, Paris, and the United States.

By conducting "imagined dialogues" between selected literary works--Eastern Europeans like Kiš and Borowski on one hand, American and English writers like Cage and Ishiguro on the other--this book proposes an effective new way of reading literature, one that goes beyond the narrowing categories of contemporary critical trends. A new perspective on each of the works emerges, as well as a heightened sense of the liberating power of literature.

Andrew Cutrofello's book performs a psychoanalytic inversion of transcendental philosophy, taking Kant's synthetic a prior judgments and reading them in terms of a foreclosed Kantian category—that of the analytic a posteriori. Working primarily out of Freudian and Lacanian problematics, Cutrofello not only subjects Kantian thought to psychoanalytic questioning, but also develops a systematic critique of metapsychology itself, disclosing and assessing its own paralogisms, antinomies, ideal, and ethics. This is a provocative reflection on the tensions between the Enlightenment project of critique and psychoanalytic theory.

Gertrude Hoffmann made her name in the early twentieth century as an imitator, copying highbrow performances staged in Europe and popularizing them for a broader American audience. Born in San Francisco, Hoffmann started working as a ballet girl in pantomime spectacles during the Gay Nineties. She performed through the heyday of vaudeville and later taught dancers and choreographed nightclub revues. After her career ended, she reflected on how vaudeville’s history was represented in film and television.

Drawn from extensive archival research, Imitation Artist shows how Hoffmann’s life intersected with those of central gures in twentieth-century popular culture and dance, including Florenz Ziegfeld, George M. Cohan, Isadora Duncan, and Ruth St. Denis. Sunny Stalter-Pace discusses the ways in which Hoffmann navigated the complexities of performing gender, race, and national identity at the dawn of contemporary celebrity culture. This book is essential reading for those interested in the history of theater and dance, modernism, women’s history, and copyright.

Immanuel Kant: The Very Idea of a Critique of Pure Reason is a study of the background, development, exposition, and justification of Kant's Critique of Pure Reason. Instead of examining Kant's arguments for the transcendental ideality of space and time, his deduction of the pure concepts of the understanding, or his account of the dialectic of human reason, J. Colin McQuillan focuses on Kant's conception of critique. By surveying the different ways the concept of critique was used during the eighteenth century, the relationship between Kant's critique and his pre-critical experiments with different approaches to metaphysics, the varying definitions of a critique of pure reason Kant offers in the prefaces and introductions to the first Critique, and the way Kant responds to objections, McQuillan is able to highlight an aspect of Kant's critical philosophy that is too often overlooked—the reason that philosophy is critical.

In this innovative study, Jenny Sharpe moves beyond the idea of art and literature as an alternative archive to the historical records of slavery and its aftermath. Immaterial Archives explores instead the intangible phenomena of affects, spirits, and dreams that Caribbean artists and writers introduce into existing archives. Through the works of Frantz Zéphirin, Edouard Duval-Carrié, M. NourbeSe Philip, Erna Brodber, and Kamau Brathwaite, Immaterial Archives examines silences as black female spaces, Afro-Creole sacred worlds as diasporic cartographies, and the imaginative conjoining of spirits with industrial technologies as disruptions of enlightened modernity.

All writers risk their identities, some with each sentence. But abroad, writing about a life that can't help but seem elusive, the charlatan in oneself may feel all too exposed. Limited to the surface, to the most fortuitous of impressions, how can a foreign pair of eyes hope to pen anything that can vie with something an insider, born there, carrying that landscape in his bones, might write?

For more than four decades, poet Robin Magowan has journeyed in search of ecstatic spiritual experiences. Hitchhiking and walking, by bus or boat or when necessary by horse, he has explored lands as exotic as Nepal and New Guinea, as classic as Italy or France, and as forgotten as Persia and pre-Castro Cuba. All the while he has submerged himself, whether in the mysteries of Haitian voodoo or the simples pleasures of Burgundian peasant life. Known for the beauty, wit, and expressive power of his prose, Magowan's writing vibrates with the intensity of an outsider who crawls into the skin of a country--and emerges transformed.

 

Alan Shapiro is not only a much-lauded poet but also one of America's most intelligent and clearheaded thinkers about poetry. In Praise of the Impure collects his passionate, rigorously argued essays on the situation of poetry in American culture today.

The Black Arts Movement (1965–76) consisted of artists across the United States deeply concerned with the relationship between politics and the black aesthetic. In Search of Our Warrior Mothers examines the ways in which black women playwrights in the movement advanced feminist and womanist perspectives from within black nationalist discourses. La Donna L. Forsgren recuperates the careers, artistic theories, and dramatic contributions of four leading playwrights: Martie Evans-Charles, J.e. Franklin, Sonia Sanchez, and Barbara Ann Teer. Using original interviews, production recordings, playbills, and unpublished manuscripts, she investigates how these women, despite operating within a context that equated the collective well-being of black people with black male agency, created works that validated black women's aspirations for autonomy and explored women's roles in the struggle for black liberation.

In Search of Our Warrior Mothers demonstrates the powerful contributions of women to the creation, interpretation, and dissemination of black aesthetic theory, thus opening an interdisciplinary conversation at the intersections of theater, performance, feminist, and African American studies and identifying and critiquing the gaps and silences within these fields.

From February 1942 to July 1944, Oskar Rosenfeld served in the statistics department of the Lodz ghetto. A playwright and journalist, he kept his own notes on life and conditions in the ghetto for a fictionalized account he hoped to write one day. Though Rosenfeld eventually perished at Auschwitz, In the Beginning Was the Ghetto projects his voice at last to the wider world.

In this highly original study of the nature of performance, Spencer Golub uses the insights of Ludwig Wittgenstein into the way language works to analyze the relationship between the linguistic and the visual in the work of a broad range of dramatists, novelists, and filmmakers, among them Richard Foreman, Mac Wellman, Peter Handke, David Mamet, and Alfred Hitchcock. Like Wittgenstein, these artists are concerned with the limits of language’s representational capacity. For Golub, it is these limits that give Wittgenstein’s thought a further, very personal significance—its therapeutic quality with respect to the Obsessive Compulsive Disorder from which he suffers.

Underlying what Golub calls “performance behavior” is Wittgenstein’s notion of “pain behavior”—that which gives public expression to private experience. Golub charts new directions for exploring the relationship between theater and philosophy, and even for scholarly criticism itself.

In his book Incarnation: A Philosophy of the Flesh, Michel Henry starts with the opposition of the sensible and living flesh, as we experience it permanently from the inside, to our inert and material body, as we can see it from the outside, similar to the other objects we can find in the world. The flesh doesn’t fit at all in his terminology with the soft part of our material and objective body, by opposition to the bones for example, but to what he called in his previous books our subjective body. For Michel Henry, an object doesn’t possess interiority, it is not living, it doesn’t feel itself and doesn’t feel that it is touched; it doesn’t do the subjective experience of being touched.

After having placed the difficult problem of the incarnation in an historical perspective going back to the thought of the Fathers of the Church, he makes in this book a critical review of the phenomenological tradition that leads to the reversal of phenomenology. He then proposes to elaborate a phenomenology of the flesh which leads to the notion of a not constituted original flesh given in the "Arch-revelation" of Life, as well as a phenomenology of Incarnation.

Although the flesh is traditionally understood as the place of sin, it is also in Christianity the place of salvation, which consists in the deification of man, that’s to say in the fact of becoming Son of God, to come back to the eternal and absolute Life we had forgotten getting lost in the world, caring only about things and ourselves. In the fault, we make the tragic experience of our powerlessness to do the good we would like to do and of our inability to avoid the evil. In this way in front of the magic body of the other, that’s the anguished desire to meet the life in it that leads to the fault. In the night of the lovers, the sexual act couples two impulsive movements, but the erotic desire fails to reach the pleasure of the other where it is experienced, in a total loving fusion. The erotic relation is however doubled by a pure affective relation, foreign to the carnal coupling, a relation made of mutual gratitude or of love. That’s this affective dimension that is denied in this way of violence that is pornography, which extracts the erotic relation from the pathos of life to abandon it to the world, and which consists in a real profanation of life.

 

One of Latin America's most important and prolific writers, Griselda Gambaro has focused on the dynamics of repression, complicity, and violence--specifically, the terror of violent regimes and their devastating effects on the moral framework of society. Information for Foreigners is a drama of disappearance, an experimental work dealing with the theme of random and meaningless punishment in which the audience is led through darkened passageways to a series of nightmarish tableaux. The collection also includes The Walls and Antigona Furiosa.

Since 1988, J. Hillis Miller has traveled to China to lecture on literary theory, especially the role of globalization in literary theory. Over time, he has assisted in the development of distinctively Chinese forms of literary theory, Comparative Literature, and World Literature. The fifteen lectures gathered in An Innocent Abroad span both time and geographic location, reflecting his work at universities across China for more than twenty-five years. More important, they reflect the evolution of Miller’s thinking and of the lectures’ contexts in China as these have markedly changed over the years, especially on either side of Tiananmen Square and in light of China’s economic growth and technological change. A foreword by the leading theorist Fredric Jameson provides additional context.

The Inordinance of Time develops an account of the experience of time at the intersection of three approaches: phenomenology, cognitive science, and post-structuralism. Using insights developed in both the phenomenological and cognitive traditions Gallagher explores the inadequacies of the existing models, the limitations imposed by introspective reflection, concepts of intentionality and embodied existence, and the extra-intentional processes that govern the operations of consciousness and memory.

Witkiewicz's 1927 masterpiece, made famous in Polish dissident and Nobel laureate Czesław Miłosz's The Captive Mind, is one of the most unforgettable depictions of the tensions and trade-offs between ideological loyalty and individual conscience in world literature. Futuristic, experimental, and remarkably prophetic, Insatiability traces the choices of a young Pole as his divided nation both opposes and welcomes a communitarian invasion from the east offering a narcotic that both removes anxieties and induces obedience. An anti-Utopian classic, it foretold the irresoluble and sometimes deadly choices that faced Eastern European thinkers, writers, and politicians during the years of Soviet domination.
 

Positioning itself within the Continental tradition, Inscriptions is an interwoven set of investigations into the differences between phenomenology and structuralism, and a cohesive and thoroughgoing inquiry into the contemporary status of Continental philosophy.

In Inscriptions, Hugh J. Silverman investigates two divergent yet related philosophical movements: phenomenology from the later Husserl through Sartre and Heidegger to Merleau-Ponty, and structuralism from de Saussure through Levi-Strauss and Lacan to Barthes. This reading of the tradition culminates in an assessment of Derrida and Foucault. From this foundation, Silverman moves beyond structuralism and phenomenology, and develops his own philosophical position in the context of semiotics, hermeneutics, and deconstruction. A new preface by the author updates this classic text.

Institution and Passivity is based on course notes for classes taught at the Bibliothèque Nationale de Paris. Philosophically, this collection connects the issue of passive constitution of meaning with the dimension of history, furthering discussions and completing arguments started in The Visible and the Invisible and Signs (both published by Northwestern). Leonard Lawlor and Heath Massey’s translation makes available to an English-speaking readership a critical transitional text in the history of phenomenology.

Shortlist, 2021 Waterloo Centre for German Studies Book Prize
2022 Outstanding Book Award Finalist from the Association for Theater in Higher Education (ATHE)

In a city struggling to determine just how neoliberal it can afford to be, what kinds of performing arts practices and institutions are necessary—and why?

Since the fall of the Berlin Wall, political and economic agendas in the reunified German capital have worked to dismantle long-standing traditions of state‑subsidized theater even as the city has redefined itself as a global arts epicenter. Institutional Theatrics charts the ways theater artists have responded to these shifts and crises both on- and offstage, offering a method for rethinking the theater as a vital public institution.  
 
What is the future of the German theater, grounded historically in large ensembles, extensive repertoires, and auteur directors? Examining the restructuring of Berlin’s theatrical landscape and most prominent performance venues, Brandon Woolf argues that cultural policy is not simply the delegation and distribution of funds. Instead, policy should be thought of as an artistic practice of institutional imagination. Woolf demonstrates how performance can critique its patron institutions in order to transform the relations between the stage and the state, between the theater and the infrastructures of its support. Bold, nuanced, and rigorously documented, Institutional Theatrics offers new insights about art, its administration, and the forces that influence cultural production.

The Institutions of Russian Modernism illuminates the key role of Symbolism as the earliest form of modernism in Russia, emerging seemingly ex nihilo at the end of the nineteenth century. Combining book history, periodical studies, and reception theory, Jonathan Stone examines the poetry and theory of Russian Symbolism within the framework of the institutions that organized, published, and disseminated the works to Russian readers. Surveying a wealth of examples of books, journals, and almanacs, Stone traces how publishers of Symbolist works marketed the movement and fashioned a Symbolist reader. His persuasive argument that after its eclipse Symbolism's legacy remained embedded in the heart of Russian modernism will be of interest to scholars and general readers.

In one of the poems in Instructions for Folding, Willie Lin writes, “it seemed you were away but not beyond language.” And accordingly, the voice in these poems is sometimes fervid, sometimes wry, moved to speech by the specific desire to speak to someone. The poems often progress associatively, following a kind of lyric logic of involution, disruption, and juxtaposition. They rehearse the work of learning the heft and shape of memories. They revel in failures and take pleasure in mourning. They bristle with narrative suggestiveness, weaving an austere music against a scrim of love, loneliness, secrets, and elation.

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Internal Evidence and Elizabethan Dramatic Authorship provides one the earliest attempts to write a theoretical method for evidence within plays to help determine authorship or to help distinguish the work of one author from another. Samuel Schoenbaum’s study remains valuable, for the attempt to attribute unattributed plays to one or another author remains an ongoing conversation within early modern scholarship today.
 

From the Preface:

"Contemporary theory has usefully analyzed how alternative modes of interpretation produce different meanings, how reading itself is constituted by the variable perspectives of readers, and how these perspectives are in turn defined by prejudices, ideologies, interests, and so forth. Some theorists gave argued persuasively that textual meaning, in literature and in literary interpretation, is structured by repression and forgetting, by what the literary or critical text does not say as much as by what it does. All these claims are directly relevant to legal hermeneutics, and thus it is no surprise that legal theorists have recently been turning to literary theory for potential insight into the interpretation of law. This collection of essays is designed to represent the especially rich interactive that has taken place between legal and literary hermeneutics during the past ten years."

Intimate Relations remaps the discussion on gender and the nation in South Asia through a close study of the domestic novel as a literary genre and a tool for social reform. As a product of the intersection of literary and social reform movements, in the late nineteenth century the domestic novel became a site for literary innovation and also for rethinking women’s roles in society and politics. Krupa Shandilya focuses primarily on social reform movements that negotiated the intimate relations between men and women in Hindu and Muslim society, namely, the widow remarriage act in Bengal (1856) and the education of women promoted by the Aligarh movement (1858–1900). Both movements were invested in recovering woman as a “respectable” subject for the Hindu and Muslim nation, where respectability connoted asexual spirituality. While most South Asian literary scholarship has focused on a normative Hindu woman, Intimate Relations couples discussion of the representation of the widow in bhadralok (upper-caste, middle-class) society with that of the courtesan of sharif (upper-class, Muslim, feudal) society in Bengali and Urdu novels from the 1880s to the 1920s. By drawing together their disparate histories in the context of contemporaneous social reform movements, Shandilya reflects on the similarities of Hindu and Islamic constructions of the gendered nation.

In this first study in English of a master of Polish cinema, Annette Insdorf explores Has’s thirteen feature films with the same deep insight of her groundbreaking book on Krzysztof Kieslowski, Double Lives, Second Chances (Northwestern, 2013).
 
Wojciech Has’s films are still less known outside of his native Poland than those of his countrymen Andrzej Wajda, Krzysztof Zanussi, and Krzysztof Kieslowski. Yet thanks to his singular vision, many critics rank Has among the masters of world cinema. Some of his movies have developed a cult following, notably The Saragossa Manuscript, the favorite film of the Grateful Dead’s Jerry Garcia, which has been praised by directors such as Luis Buñuel, Francis Ford Coppola, and Roman Polanski.
 
Has’s films reveal the inner lives of his characters, which he portrays by giving free rein to his own wildly creative imagination. In addition toThe Saragossa Manuscript, his diverse and innovative filmography includes The Hourglass Sanatorium, a vividly surreal depiction of Hassidic life in Poland between the world wars; The Noose, a stark poetic drama about a lucid alcoholic who knows he will not be able to kick the habit; and How to Be Loved, in which an actress remembers her wartime past.
 
Has made disparate but formally striking movies infused with European strains of existentialism and the avant-garde. With many of his films being restored and rereleased, new generations of film lovers are discovering his artistic genius. Intimations: The Cinema of Wojciech Has is the definitive guide in English to his work.
 

This comprehensive study of Husserl's phenomenology concentrates on Husserl's emphasis on the theory of knowledge. The authors develop a synthetic overview of phenomenology and its relation to logic, mathematics, the natural and human sciences, and philosophy. The result is an example of philology at its best, avoiding technical language and making Husserl's thought accessible to a variety of readers.

In the looming shadow of dictatorship and imminent war, George Seferis and George Katsimbalis welcomed Henry Miller and Lawrence Durrell to their homeland. Together, as they spent evenings in tavernas, explored the Peloponnese, and considered the meaning of Greek life and freedom and art, they seemed to be inventing paradise. This blend of memoir, criticism, and storytelling takes readers on a journey into the poetry, friendships, and politics of an extraordinary time.

Ingeborg Hecht's father, a prosperous Jewish attorney, was divorced from his titled German wife in 1933—two years before the promulgation of the Nuremberg Laws—and so was deprived of what these laws termed "privileged mixed matrimony." He died in Auschwitz. His two children, called "half-Jews," were stripped of their rights, prevented from earning a living, and forbidden to marry.

In Invisible Walls, Hecht writes of what it was like to live under these circumstances, sharing heartbreaking details of her personal life, including the loss of her daughter's father on the Russian front; the death of her own father after his deportation in 1944; and her fears of perishing coupled with the shame of faring better than most of her family and friends. This new volume adds the first translation of part of Hecht's second book, To Remember is to Heal, a collection of vignettes of encounters and experiences that resulted from the publication of the first.

At the heart of Iphigenia’s enduring story are an ambitious, opportunistic, and indecisive leader and the daughter whose life he is willing to sacrifice. In The Iphigenia Plays, poet Rachel Hadas offers a new generation of readers a graceful, clear, and powerful translation of Euripides’s two spellbinding (and very different) plays drawn from this legend: Iphigenia in Aulis and Iphigenia among the Taurians.

Even for readers unfamiliar with Greek mythology or drama, these plays are suspenseful, poignant, and haunting. Euripides’s ability to evoke emotion and raise difficult questions has long engaged viewers and readers alike. Taken together, the two plays illuminate timeless human conflicts, showcasing individuals and families ensnared by the fury of war, of politics, of religion, and of ambition. Euripidean characters are always second-guessing themselves; now new readers can also ponder their dilemmas.

Poet and translator Rachel Hadas highlights the lyricism, emotion, and sheer humanity of Euripides’s plays. Mordant humor is here; so are heartbreak and tenderness. Hadas offers an Iphigenia story that resonates with our own troubled times and demonstrates anew the genius of one of the world’s supreme dramatists.

Irony’s Antics marks a major intervention into the underexplored role of the comic and its relationship to irony in German letters.
Combining theoretical breadth with close textual analysis, Erica Weitzman shows how irony, a key term for the German romantics, reemerged in the early twentieth century from a postromantic relegation to the nonsensical and the nihilistic in a way that both rethought romantic irony and dramatically extended its reach.
Through readings of works by Robert Walser, Franz Kafka, and Joseph Roth against the rich history of comic theory (particularly Hegel and Freud), Weitzman traces the development of a specifically comic irony in modern German-language literature and philosophy, a play with the irony that is itself the condition for all play. She thus provides a crucial reevaluation of German literary history and offers new insights into the significance of irony and the comic from the Enlightenment to the present day.

Drawing attention to the vexed relationship between feminist theory and philosophy, Is Feminist Philosophy Philosophy? demonstrates the spectrum of significant work being done at this contested boundary. The volume offers clear statements by seventeen distinguished scholars as well as a full range of philosophical approaches; it also presents feminist philosophers in conversation both as feminists and as philosophers, making the book accessible to a wide audience.

In what marks an exciting new critical direction, Rebecca Stanton contends that the city of Odessa—as a canonical literary image and as a kaleidoscopic cultural milieu—shaped the narrative strategies developed by Isaac Babel and his contemporaries of the Revolutionary generation. Modeling themselves on the tricksters and rogues of Odessa lore, Babel and his fellow Odessans Val­entin Kataev and Yury Olesha manipulated their literary personae through complex, playful, and often subversive negotiations of the boundary between autobiography and fiction. In so doing, they cannily took up a place prepared for them in the Russian canon and fostered modes of storytelling that both reflected and resisted the aesthetics of Socialist Realism. Stanton concludes with a rereading of Babel’s “autobiographical” stories and examines their leg­acy in post-Thaw works by Kataev, Olesha, and Konstantin Paustovsky.

Isaac Rosenberg was among the greatest poets of the First World War. The British-born son of impoversihed Russian Jews, Rosenberg fought as a private in the trenches of the Great Was and died on the Western Front in 1918 as the age of 27. In Isaac Rosenberg, Wilson examines the influence of Rosenberg's class and heritage on his writings, as well as the development of his poetic technique. She traces his maturation from his childhood in Bristol and the Jewish East End of London to art school, his travels to South Africa, and finally his harrowing service as a private in the British Army.

 

Rosenberg was also a gifted painter and this beautifully illustrated volume oncludes some hitherto inseen self-portraits, along with photogrpahs of Rosenberg and his family. Wilson's biogrpahy brings together all known Rosenberg material with a mass of important new discoveries. Isaac Rosenberg is a long-overdue consideration of a remarkable war poet.

Islamic Africa is a peer-reviewed, multidisciplinary, academic journal published by Northwestern University Press in collaboration with the Institute for the Study of Islamic Thought in Africa (ISITA), based at Northwestern University, Evanston. The journal incorporates Sudanic Africa, retaining its focus on historical sources, bibliographies, and methodologies.

Islamic Africa promotes interaction between scholars of Islam and Africa across all continents and across historical periods. We welcome papers on any aspect of Islam and Muslim life pertaining to Africa and/or Africans from the humanities and the social sciences, especially those originating from the African continent.

An Islamic Alliance uses non-European sources to portray the defense, by devoutly Islamic leaders, of some of the last parts of the African continent to be conquered during the imperial European "scramble for Africa" that ended with the First World War. These surviving pieces of diplomatic correspondence concentrate on the alliance between Ali Dinar, prince of the sultanate of Dar Fur in the western Sudan, and the leaders of the Sanusi brotherhood then based in southern Libya. In contrast to the European view of the alliance as ephemeral, the documents indicate a sincere, passionate attempt to join--despite immense physical difficulties--an ancient monarchist tradition to a more modern, trade-based sociopolitical organization.

The 1970s and 1980s were times of political and religious turmoil in Nigeria, characterized by governmental upheaval, and aggressive confrontations between the Sufi brotherhoods and the Izala movement. In Islamic Reform and Political Change in Northern Nigeria, Roman Loimeier explores the intermeshing of religion in the struggle for political influence and preservation of the interests of Nigerian Muslims.

Loimeier's careful scholarship combines astute readings of the work of previous scholars--both published and unpublished--with archival material and the findings of his own fieldwork in Nigeria. His work fills a substantial gap in contemporary Nigerian studies. This book provides invaluable and essential reading for serious students of Nigerian politics and of Islamic movements in Africa.

Unique among Melville's works, Israel Potter was the author's only historical novel, presuming to offer the life history of Revolutionary War figure Israel Potter--based on Potter's own obscure narrative Life and Remarkable Adventures of Israel R. Potter--and featuring characters such as Benjamin Franklin and Ethan Allen. In offering the manuscript to his publisher, Melville assured him, "I engage that the story shall contain nothing of any sort to shock the fastidious. There will be very little reflective writing in it; nothing weighty. It is adventure." This came as a relief, for his previous novel, Pierre, had shocked readers and brought down universal castigation.

This edition is an Approved Text of the Center for Editions of American Authors (Modern Language Association of America).

Unique among Melville's works, Israel Potter was the author's only historical novel, presuming to offer the life history of Revolutionary War figure Israel Potter--based on Potter's own obscure narrative Life and Remarkable Adventures of Israel R. Potter--and featuring characters such as Benjamin Franklin and Ethan Allen. In offering the manuscript to his publisher, Melville assured him, "I engage that the story shall contain nothing of any sort to shock the fastidious. There will be very little reflective writing in it; nothing weighty. It is adventure." This came as a relief, for his previous novel, Pierre, had shocked readers and brought down universal castigation.

This edition is an Approved Text of the Center for Editions of American Authors (Modern Language Association of America).

2015 PEN Open Book Award Finalist

Angela Jackson’s latest collection of poetry borrows its title from a lyric in Barbara Lewis’s 1963 hit single “Hello Stranger,” recorded at Chess Records in Chicago. Like the song, Jackson’s poems are a melodic ode to the African American experience, informed by both individual lives and community history, from the arrival of the first African slave in Virginia in 1619 to post-Obama America.

It Seems Like a Mighty Long Time reflects the maturity of Jackson’s poetic vision. The Great Migration, the American South, and Chicago all serve as signposts, but it is the complexity of individual lives—both her own and those who have gone before, walk beside, and come after—that invigorate this collection. Upon surveying so vast a landscape, Jackson finds that sorrow meets delight, and joy lifts up anger and despair. And for all this time, love is the agent, the wise and just rule and guide.

In It Will Return, her most recent volume of poems, Julia Hartwig is in dialogue with other great artists—Keats, Rimbaud, Milosz, Beethoven, Ravel, Van Gogh—considering the implications of greatness. Alongside this expansive perspective, we find attention to the smallest details, composing quotidian moments that open out into unexpected meaning. For Hartwig, close attention to the material world is a kind of spiritual undertaking. Like her Nobel Prize–winning contemporary Wislawa Szymborska, she writes poems that appear simple but are somehow all the more capable of yielding profound insights.

It Will Return reflects Hartwig’s firsthand involvement in Polish history and culture, and its poems are sensitive to the calamities of Poland’s tumultuous twentieth century. But It Will Return is a human collection before it is a national one, and these political motifs form the backdrop for more universal dramas.

The Baroque period was crucial for the development of art theory and the advancement of the artistic academy. This collection of primary sources brings this important period to life with significant documents and texts. It conveniently assembles major texts, which are otherwise available only in scattered publications. The lives of leading artists--Caravaggio, El Greco, among others---are discussed by their contemporaries, while Bellori, Galileo, Pascoli, and others write on art theory and practice. The documents provide fascinating glimpses of the period's artistic self-image.

Creighton E. Gilbert captures the spirit of the early Renaissance in this remarkable collection of primary texts by and about artists of the fifteenth century. Italian Art makes a valuable contribution not only to the field of art history, but also to social and intellectual history. Almost all aspects of the life of the period—war, fashion, travel, communication—are documented. Revealing significant aspects of the practice of art, the process of patronage, and the way of life and social position of early Renaissance artists, Italian Art brings this fascinating period to life for students and scholars.

Italian Art, 1500–1600 provides a unique view of the development of the literature on art in Italy during the Cinquecento. The selections bring out the close relationship between art theories and the actuality of art and chart a trend from a humanistic orientation to a more technical and professorial one. The documents and commentary reveal the effects that humanistic circles, the courts, and the Church—during the Renaissance and the Counter-Reformation—had on the way people wrote and thought about art.

In An Italian Journey, Jean Giono describes his journey to the land of his father's people. A reluctant traveler (he rarely left Provence), Giono discovers a strange beauty not only in the palazzi and canals of Venice but also in wistful waiters, suspicious hairdressers, pugnacious men of God, recalcitrant coffeemakers, umbrellas, and field machinery. In Giono's world a stamp collectors' market can appear to verge on revolution and inept municipal musicians suddenly offer Mozartian joys.

The linked stories in this powerful debut by Michael Alenyikov swirl around the titular fraternal twins and their father, Louie, as they make their way from the oppressive world of Soviet-era Kiev to the frenetic world of New York City in the late nineties and early aughts. Ivan, like his father, is a natural seducer and gambler who always has a scheme afoot between fares in his cab and stints in Bellevue for his bipolar disorder. Misha, more haunted than his brother by the death of their mother after their birth, is ostensibly the voice of reason. 

Socially adrift, father and sons search for meaning in their divergent romantic relationships. Louie embarks on a traditional heterosexual dating relationship late in life, while Ivan is sexually opportunistic and omnivorous, and Misha,a young gay man, is torn between his family and the prospect of a committed relationship. The brothers’ search for connection leads them through a multitude of subcultures, all depicted in vivid detail. An evocative and frank exploration of identity, loss, dislocation, and sexuality, Ivan and Misha marks the arrival of a unique, authentic voice.