Blanche Lazzell went from Maidsville, West Virginia, to the leading edge of twentieth-century American art. A member of the prominent art communities of Paris and Provincetown, MA during the '20s and '30s, Lazzell was always on the fringe of important developments in the modern art world. Her studies in Paris led her to adopt the techniques of modernism as well as other emerging styles. Among her groundbreaking works were some of the first examples of abstraction in America. Blanche Lazzell: The Life and Work of an American Modernist is a significant contribution to the history of twentieth-century American art.

Know primarily as a Provincetown printmaker, Lazzell’s full life and career are presented here, generously accompanied by color reproductions of her work, showing the breadth of her accomplishment in painting, printmaking, and hooked rugs. Lazzell's true contribution to American art history was never fully appreciated during her lifetime. A renewed interest in the artist has developed over the past fifteen years, due mostly to the critical appreciation of her color wood block prints. She is worth remembering not only for her own work, but also for her role as a translator of the achievements of the European modernists for her colleagues in America. In Blanche Lazzell: The Life and Work of an American Modernist, nine essays and hundreds of full-color illustrations bring this incredibly talented and influential artist's work to life.

In Narratives Unsettled, Samuel Frederick proposes a new conception of narrativity that can accommodate unwieldy forms of digression. By way of close readings of three German-language writers from different historical periods, Frederick demonstrates that digression, far from being a non- or anti-narrative interruption, contributes to what makes these writers' works fundamentally narrative. In the process, the author counters several foundational assumptions of classical narratology, including the conviction—rooted in Aristotle—that narrative without plot is logically impossible, and that anything deviating from narrative's teleological imperative is either destructive or insignificant.

Frederick's readings of the narrative experiments, utopian moments, and obsessions with the trivial in works by Walser, Bernhard, and Stifter point to new ways of approaching the ostensibly antinarrative as a productive element of narrativity. As a work that explores the often neglected crossroads of German studies and postclassical narratology, Narratives Unsettled will be of great interest to scholars in both of these fields, as well as to those working on literature and theory in general.