The Fate of Difficulty in the Poetry of Our Time offers original readings of poems composed in this century—poems that are challenging to follow, challenging to understand, challenging to discuss, and challenging to enjoy. Difficult poetry of the past relied on allusion, syntactic complexity, free association, and strange juxtapositions. The new poetry breaks with the old in its stunning variety; its questioning of inherited values, labels, and narratives; its multilingualism; its origin in and production of unnamed affects; and its coherence around critical and social theorists as much as other poets.

The essays in this volume include poets writing on the works of a younger generation (Lyn Hejinian on Paolo Javier, Bob Perelman on Rachel Zolf, Roberto Tejada on Rosa Alcalá), influential writers addressing the work of peers (Ben Lerner on Maggie Nelson, Michael W. Clune on Aaron Kunin), critics making imaginative leaps to encompass challenging work (Brian M. Reed on Sherwin Bitsui, Siobhan Philips on Juliana Spahr), and younger scholars coming to terms with poets who continue to govern new poetic experimentation (Joseph Jeon on Myung Mi Kim, Lytle Shaw on Lisa Robertson).

In pairings that are both intuitive (Marjorie Perloff on Craig Dworkin) and unexpected (Langdon Hammer on Srikanth Reddy), The Fate of Difficulty in the Poetry of Our Time illuminates the myriad pathways and strategies for exploring difficult poetry of the present.

Sovereignty unfolds over two parallel timelines. In present-day Oklahoma, a young Cherokee lawyer, Sarah Ridge Polson, and her colleague Jim Ross defend the inherent jurisdiction of Cherokee Nation in the U.S. Supreme Court when a non-Indian defendant challenges the Nation’s authority to prosecute non-Indian perpetrators of domestic violence. Their collaboration is juxtaposed with scenes from 1835, when Cherokee Nation was eight hundred miles to the east in the southern Appalachians. That year, Sarah’s and Jim’s ancestors, historic Cherokee rivals, were bitterly divided over a proposed treaty with the administration of Andrew Jackson, the Treaty of New Echota, which led to the nation’s removal to Oklahoma on the infamous Trail of Tears.
 
A direct descendant of nineteenth-century Cherokee leaders John Ridge and Major Ridge, Mary Kathryn Nagle has penned a play that twists and turns from violent outbursts to healing monologues, illuminating a provocative double meaning for the sovereignty of both tribal territory and women’s bodies. Taking as its point of departure the story of one lawyer’s passionate defense of the rights of her people to prosecute non-natives who commit crimes on reservations, Sovereignty opens up into an expansive exploration of the circular continuity of history, human memory, and the power of human relationships.

Medallions is a collection of eight documentary stories originally published in Poland in 1946 that recount Nazi war crimes under the German occupation of the country. The author, Zofia Nalkowska, was a member of a special committee for the investigation of Nazi crimes in Poland, and the stories reflect facts she learned from victims and witnesses to atrocities inflicted on Polish civilians.

Considered a masterpiece of antifascist world literature, Medallions stands as the culmination of Nalkowska's literary style, a style the Polish writer Witold Gombrowicz once described as "the iron capital of her art and one of the very few exportables in our national literature." More than mere historical record, Medallions offers the reader startling immediacy, the repetition of an event as it persists in the testimonial present, in the scars on the consciousness and conscience of individuals.

How We Learn Where We Live opens new avenues into thinking about one of the most provocative writers of the twentieth century, Thomas Bernhard. In one of the first English studies of his work, Fatima Naqvi focuses on the Austrian author’s critique of education (Bildung) through the edifices in which it takes place. She demonstrates that both literature and architecture are implicated in the concept of Bildung. His writings insist that learning has always been a life-long process that is helped—or hindered—by the particular buildings in which Bildung occurs. Naqvi offers close readings of Bernhard’s major prose works, from Amras (1964) to Old Masters (1985) and brings them into dialogue with major architectural debates of the times. She examines Bernard’s interrogation of the theoretical foundations underpinning the educational system and its actual sites.

Ibrahim Nasrallah is among the foremost Palestinian poets of his generation. In his fusion of historical anguish and personal insight, his poems are deceptively simple and direct, and informed by a generosity of spirit that is rare in any language. While his fiction has received acclaim throughout most of the world, his equally accomplished poetry is less well known. These selected poems, luminously translated by Omnia Amin and Rick London, present a mature poet writing at the height of his considerable powers. 

Featuring poems from earlier collections of Amjad Nasser’s work and many newer uncollected poems never made available in English, A Map of Signs and Scents introduces the work of an important Arabic poet to a broader contemporary Anglophone readership. This special annotation edition helps readers view the multifaceted contexts within which Nasser has created his award-winning poems.

Winner of the 1974 National Book Award

The product of many years of reflection on phenomenology, this book is a comprehensive and creative introduction to the philosophy of Edmund Husserl. Natanson uses Husserl's later work as a clue to the meaning of his entire intellectual career, showing how his earlier methodological work evolved into the search for transcendental roots and developed into a philosophy of the life-world. Phenomenology, for Natanson, emerges as a philosophy of origin, a transcendental discipline concerned with consciousness, history, and world rather than with introspection and traditional metaphysical warfare.

One of the best-known novels by prolific Romanian avant-garde writer Gelu Naum, Zenobia is the evocation of the singular quest of a Surrealist knight-errant who strives to be true to the gentle demands of his lady in a landscape of snares, desolation, incipient madness, and material poverty magically interrupted by moments of extreme beauty.

His wife, artist Lyggia Naum, was the inspiration for the title character. In this 1985 masterpiece, penned in the twilight of the totalitarian regime of Nicolae Ceausescu, love, in all its intimate, carnal communion, lights the path through the dark forest, the streets of Bucharest, and the desert swamps. The narrator, speaking from the depths of love and despair, invites the reader to share his quest. Highly praised now and then, Zenobia is an enduring avant-garde classic of twentieth-century Eastern European literature.

Poetic Investigations studies five contemporary writers whose radical engagements with poetic form and political content shed new light on issues of race, class, and gender. In a detailed reading of three American poets—Susan Howe, Nathaniel Mackey, and Lyn Hejinian—and two African-Caribbean poets, Kamau Brathwaite and M. Nourbese Philip, Paul Naylor argues that these writers have produced new forms of poetry that address the "holes," or erasures, in history that more traditional poetry neglects.

Muslims in Kenyan Politics explores the changing relationship between Muslims and the state in Kenya from precolonial times to the present, culminating in the radicalization of a section of the Muslim population in recent decades. The politicization of Islam in Kenya is deeply connected with the sense of marginalization that shapes Muslims’ understanding of Kenyan politics and government policies.

Kenya’s Muslim population comprises ethnic Arabs, Indians, and black Africans, and its status has varied historically. Under British rule, an imposed racial hierarchy affected Muslims particularly, thwarting the development of a united political voice. Drawing on a broad range of interviews and historical research, Ndzovu presents a nuanced picture of political associations during the postcolonial period and explores the role of Kenyan Muslims as political actors.

Teresa, first published in 1886, is set in Italy's Po Valley near Cremona. The story relates the life of Teresa Caccia, an eldest daughter whose primary responsibilities at age fifteen include taking care of her younger siblings. When she falls in love, the union is deemed financially unsuitable and she's forced to spend the remainder of her youth caring for her family. Only when her brothers and sisters have left home can she emerge from her bleak existence and create her own life.

Through Teresa and other women characters, Neera addressed the injustice of such societal restrictions in nineteenth-century Italy. Neera's narratives are noted for their subtle psychoanalytical presentation of feminine states of mind as well as for an unflinching examination of society.

At a time of great and increasing interest in the work of Emmanuel Levinas, this volume draws readers into what Levinas described as "philosophy itself"—"a discourse always addressed to another." Thus the philosopher himself provides the thread that runs through these essays on his writings, one guided by the importance of the fact of being addressed—the significance of the Saying much more than the Said. The authors, leading Levinas scholars and interpreters from across the globe, explore the philosopher's relationship to a wide range of intellectual traditions, including theology, philosophy of culture, Jewish thought, phenomenology, and the history of philosophy. They also engage Levinas's contribution to ethics, politics, law, justice, psychoanalysis and epistemology, among other themes.

In their radical singularity, these essays reveal the inalienable alterity at the heart of Levinas's ethics. At the same time, each essay remains open to the others, and to the perspectives and positions they advocate. Thus the volume, in its quality and diversity, enacts an authentic encounter with Levinas's thought, embodying an intellectual ethics by virtue of its style. Bringing together contributions from philosophy, theology, literary theory, gender studies, and political theory, this book offers a deeper and more thorough encounter with Levinas's ethics than any yet written.

A wide-ranging consideration of the nature and significance of Pushkin's African heritage

Roughly in the year 1705, a young African boy, acquired from the seraglio of the Turkish sultan, was transported to Russia as a gift to Peter the Great. This child, later known as Abram Petrovich Gannibal, was to become Peter's godson and to live to a ripe old age, having attained the rank of general and the status of Russian nobility. More important, he was to become the great-grandfather of Russia's greatest national poet, Alexander Pushkin. It is the contention of the editors of this book, borne out by the essays in the collection, that Pushkin's African ancestry has played the role of a "wild card" of sorts as a formative element in Russian cultural mythology; and that the ways in which Gannibal's legacy has been included in or excluded from Pushkin's biography over the last two hundred years can serve as a shifting marker of Russia's self-definition.

The first single volume in English on this rich topic, Under the Sky of My Africa addresses the wide variety of interests implicated in the question of Pushkin's blackness-race studies, politics, American studies, music, mythopoetic criticism, mainstream Pushkin studies. In essays that are by turns biographical, iconographical, cultural, and sociological in focus, the authors-representing a broad range of disciplines and perspectives-take us from the complex attitudes toward race in Russia during Pushkin's era to the surge of racism in late Soviet and post-Soviet contemporary Russia. In sum, Under the Sky of My Africa provides a wealth of basic material on the subject as well as a series of provocative readings and interpretations that will influence future considerations of Pushkin and race in Russian culture.

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

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

Modernist thinkers once presumed a progressive secularity, with the novel replacing religious texts as society’s moral epics. Yet religion—beginning with the Iranian revolution of 1979, through the collapse of communism, and culminating in the singular rupture of September 11, 2001—has not retreated quietly out of sight.

In Fiction Beyond Secularism, Justin Neuman argues that contemporary novelists who are most commonly identified as antireligious—among them Orhan Pamuk, Salman Rushdie, Ian McEwan, Margaret Atwood, Nadine Gordimer, Haruki Murakami, and J. M. Coetzee—have defied assumptions and have instead written some of the most trenchant critiques of secular ideologies, as well as the most exciting and rigorous inquiries into the legacies of the religious imagination. As a result, many readers (or nonreaders) on either side of the religious divide neglect the insights of works like The Satanic Verses, Disgrace, and Snow. Fiction Beyond Secularism serves as a timely corrective.

In The Servant Leader, Robert P. Neuschel makes the case that our leadership is experiencing a diminution in ethics and a loss of enduring values. These weakening factors are exacerbated by a preoccupation with the short term. As Neuschel puts it, "We are more concerned about achieving quick shareholder value than building an enduring organization that can increase its capacity to produce useful products or services more competitively and more effectively on an enduring basis." He lays the blame at the feet of our corporate leadership.

He asks: what steps might we take to revitalize the quality and strength of our leadership? He then forcefully and straightforwardly gives an outline of what he believes are the major changes in leadership we must bring about. As a professor of management and strategy, and earlier, as a director and senior partner at a major consulting firm, and as a captain in the U. S. Army, Neuschel observed the best of leadership, and practiced it. He shares his insights with us in The Servant Leader.

This history of environmental journalism looks at how the practice now defines issues and sets the public agenda evolving from a tradition that includes the works of authors such as Pliny the Elder, John Muir, and Rachel Carson. It makes the case that the relationship between the media and its audience is an ongoing conversation between society and the media on what matters and what should matter.

A groundbreaking study of the pastoral ideal in eighteenth- and nineteenth-century Russia.

Born in Monterrey, Nuevo León, Mexico in 1910, Josefina María Niggli was one of the first Latina writers to have her work published in the United States—and thus one of the first to introduce American audiences to the culture and people flourishing along the U.S.–Mexico border. Well ahead of what is now called Chicano literature, her writings—spanning a broad range of genres, subjects, and styles—offer an insider's view of the everyday lives little known or noted outside of their native milieu. In Niggli's plays, for instance, these often invisible working class Mexicans were literally elevated to the public stage, their hidden reality given expression.

A long-overdue gathering of Niggli's work, this volume showcases the writer's remarkable literary versatility, as well as the groundbreaking nature of her writing, which in many ways established a blueprint for future generations of writers and readers of Chicano literature. This collection includes Niggli's most famous and influential work, Mexican Village—a literary chronicle of Hidalgo, Mexico, which explores the distinct nature and tensions of Mexican life—along with her novel Step Down, Elder Brother, and five of her most well-known plays.

In How to Read a Moment, Mathias Nilges shows that time is inseparable from the stories we tell about it, demonstrating that the contemporary American novel offers new ways to make sense of the temporality that governs our present.
 
“Time is a thing that grows scarcer every day,” observes one of Don DeLillo’s characters. “The future is gone,” The Baffler argues. “Where’s my hoverboard!?” a meme demands. Contemporary capitalism, a system that insists that everything happen at once, creates problems for social thought and narrative alike. After all, how does one tell the time of instantaneity? In this moment of on-demand service and instant trading, it has become difficult to imagine the future. 
 
The novel emerged as the art form of a rapidly changing modern world, a way of telling time in its progress. Nilges argues that this historical mission is renewed today through works that understand contemporaneity as a form of time shaping that props up our material world and cultural imagination. But the contemporary American novel does not simply associate our present with a crisis of futurity. Through analyses of works by authors such as DeLillo, Jennifer Egan, Charles Yu, and Colson Whitehead, Nilges illustrates that the novel presents ways to make sense of the temporality that controls our purportedly fully contemporary world. In so doing, the novel recovers a sense of possibility and hope, forwarding a dazzling argument for its own importance today.

In one of the first scholarly book in English on Miron Białoszewski (1922–1983), Joanna Niżyńska illuminates the elusive prose of one of the most compelling and challenging postwar Polish writers. Niżyńska’s study, exemplary in its use of theoretical concepts, introduces English-language readers to a preeminent voice of Polish literature. Niżyńska explores how a fusion of seemingly irreconcilable qualities, such as the traumatic and the everyday, imbues Białoszewski’s writing with its idiosyncratic appeal. 

Białoszewski’s A Memoir of the Warsaw Uprising (1977, revised 1991) describes the Poles’ heroic struggle to liberate Warsaw from Nazi occupation in 1944 as harrowing yet ordinary. His later prose represents everyday life permeated by traces of the traumatic. Niżyńska closely examines the topic of autobiography and homosexuality, showing how Białoszewski discloses his homosexuality but, paradoxically, renders it inconspicuous by hiding it in plain sight.

Voices of the Diaspora offers, for the first time, representative works by major Jewish women writers from Austria, England, France, Germany, Italy, the Netherlands, Spain, and Russia. These stories and essays, written over the last twenty-five years, speak to the challenges confronting the post-Shoah generations of Jews living in Europe: a need to commemorate the lives extinguished in the camps; a desire to repair a ruptured culture; and a determination to reclaim a Jewish identity resistant to assimilation and the threats of anti-Semitism.

At the same time, these writers address themes specific to their national contexts. Berlin-born Barbara Honigmann questions the possibility of Jewish life in the country responsible for the "final solution." Maghreb-born Marlène Amar and Reina Roffé address the experiences of displacement and emancipation as Sephardic women in Western, post-colonial societies. Clara Sereni describes how Jews in post-Fascist Italy reemerged with a self-assertiveness that troubled a society that had found comfort in amnesia. Ludmila Ulitskaya portrays a Jewish girlhood on the eve of Stalin's death empowered by the religious traditions of Jewish resistance.

From the unique perspective of women's literary voices, this volume reveals to English-speaking readers the extraordinary vivacity and diversity of European Jewry, and introduces them to a new generation of women writers.

In Purple Heart, Carla, a Vietnam War widow deep in drink and depression, is living with a troubled son and her controlling mother. One day a stranger arrives at the door, a soldier with one hand who is seemingly connected to her late husband and comes to offer condolences to the grieving family. The soldier's mysterious visit is solved in graphic and bloody detail at the end of the play. Norris uses these quirky and flawed characters to provide a humorous yet very dark view of war and the human condition.

Loosely based on a true story, The Infidel tells of a charismatic and well-respected state Supreme Court justice who is faced with disciplinary action after his out-of-control affair with a young Latina junior staffer. He confers with his friend and attorney as he examines the consequences of his behavior and tries to judge the most difficult case of his life-his own. With dark irony and sharp, cutting dialogue, Bruce Norris explores sexual obsession and the legislation of human behavior.

Northwestern University Library presents the first monograph devoted to the architect Walter Netsch, an early partner in Skidmore, Owings & Merrill and chief designer of prestigious commissions, including the U.S. Air Force Academy and Cadet Chapel. This illustrated book includes a detailed chronology, biography, essays about his work and field theory design aesthetics, statements by Netsch from 1954 to 2006, and a comprehensive, annotated bibliography of more than four hundred primary and secondary sources.

The Virginal Mother in German Culture presents an innovative and thorough analysis of the contradictory obsession with female virginity and idealization of maternal nature in Germany from the late eighteenth to the early twentieth centuries. Lauren Nossett explores how the complex social ideal of woman as both a sexless and maternal being led to the creation of a unique figure in German literature: the virginal mother. At the same time, she shows that the literary depictions of virginal mothers correspond to vilified biological mother figures, which point to a perceived threat in the long nineteenth century of the mother’s procreative power.

Examining the virginal mother in the first novel by a German woman (Sophie von La Roche), canonical texts by Goethe, nineteenth-century popular fiction, autobiographical works, and Thea von Harbou’s novel Metropolis and Fritz Lang’s film by the same name, this book highlights the virginal mother at pivotal moments in German history and cultural development: the entrance of women into the literary market, the Goethezeit, the foundation of the German Empire, and the volatile Weimar Republic. The Virginal Mother in German Culture will be of interest to students and scholars of German literature, history, cultural and social studies, and women’s studies.

 

Thiahera Nurse’s Some Girls Survive on Their Sorcery Alone works as ode and requiem to document the precious narratives held inside the body of a black girl. Opening with declarations of self-love, beauty, eulogy, and Lil’ Kim rapping in the rain, the landscape of Nurse’s poetry functions equally as underworld and imagined heaven.

Some Girls Survive on Their Sorcery Alone sees Renisha McBride, Sandra Bland, Korrynn Gaines, and others not as ornamental nor does the book attempt to canonize the dead women as saints. The poems see them as they are: play-cousins, home-girls, the mirror. Line to line, there is an obsession with keeping all of the women in the poems safe and perhaps resurrectable. The black girl who is alive here lives to switch her waistline to a reggae beat. She is in the middle of the dance floor with a suicide note in her purse as a means of warding off bad juju. Always, she is chasing joy head-on, at warp speed.

Some Girls Survive on Their Sorcery Alone is a celebration that the black girl will always dance, in the church basement, a grandmother’s funeral repast—she dances until she hits the floor, in her joy . . . and her grief.