What differentiates emigration from exile? This book delves theoretically and practically into this core question of population movements. Tracing the shifts of Africans into and out of Equatorial Guinea, it explores a small former Spanish colony in central Africa. Throughout its history, many inhabitants of Equatorial Guinea were forced to leave, whether because of the slave trade of the early nineteenth century or the political upheavals of the twentieth century. Michael Ugarte examines the writings of Equatorial Guinean exiles and migrants, considering the underlying causes of such moves and arguing that the example of Equatorial Guinea is emblematic of broader dynamics of cultural exchange in a postcolonial world.
Based on personal stories of people forced to leave and those who left of their own accord, Africans in Europe captures the nuanced realities and widespread impact of mobile populations. Ugarte illustrates the global material inequalities that occur when groups and populations migrate from their native land of colonization to other countries and regions that are often the lands of the former colonizers. By focusing on the geographical, emotional, and intellectual dynamics of Equatorial Guinea's human movements, readers gain an inroad to "the consciousness of an age" and an understanding of the global realities that will define the cultural, economic, and political currents of the twenty-first century.
Anne Carson: Ecstatic Lyre
Joshua Marie Wilkinson, editor University of Michigan Press, 2015 Library of Congress PS3553.A7667Z54 2015 | Dewey Decimal 811.54
Anne Carson’s works re-think genre in some of the most unusual and nuanced ways that few writers ever attempt, from her lyric essays, enigmatic poems, and novels in verse to further forays into video and comics and collaborative performance. Carson’s pathbreaking translations of Ancient Greek poetry and drama, as well as her scholarship on everything from Sappho to Celan, only continue to demonstrate the unique vision she has for what’s possible for a work of literature to become.
Anne Carson: Ecstatic Lyre is the first book of essays dedicated to the breadth of Anne Carson’s works, individually, spanning from Eros the Bittersweet through Red Doc. With contributions from Kazim Ali, Dan Beachy-Quick, Julie Carr, Harmony Holiday, Cole Swensen, Eleni Sikelianos, and many others (including translators, poets, essayists, scholars, novelists, critics, and collaborators themselves), we learn from Carson’s greatest admirers and closest readers about the books that moved and inspired them.
In his memoir, David Sorensen explores his identity as a coda, or a child of Deaf adults. He describes his experiences with the roles often placed on codas at a young age, such as interpreter, confidant, and decision-maker. His story reveals a person seeking acceptance and belonging while straddling the Deaf and hearing worlds, and shows how he found reconciliation within himself and with both worlds.
Sorensen relays the dynamics of his family life; he had a strained relationship with his father, who was an active leader and role model in the Deaf community and the Mormon Church, yet struggled to bond with his own son. Sorensen rebelled as a youth and left home as a teenager, completely detaching from the Deaf community. After struggling to establish himself as an independent adult, he discovered that he wanted to return to the Deaf world and use his ASL fluency and cultural understanding as a mental health therapist and community advocate. Now he considers himself an ambassador between the Deaf and hearing worlds, as well as between the older and younger generations of Deaf people. Between Two Worlds: My Life as a Child of Deaf Adults shares the unique experiences of a coda and passes on the rich cultural past shared by the American Deaf community.
A Companion Text forLike Water for Chocolate provides exercises and activities for ESL students who are reading the English translation of the novel by Laura Esquivel (published by Doubleday). Set during the late nineteenth and early twentieth centuries, Like Water for Chocolate is a story about an extended Mexican family and what happens when one daughter is not permitted to marry the man she loves. Cooking and food are central to the story line and help thread the story together. A Companion TextforLike Water for Chocolate is made up of six units, each covering two chapters in the novel. Every unit contains a preview section, free writing exercises, a short glossary (to help with Spanish words), comprehension quizzes, vocabulary exercises and summarizing exercises, a section devoted to response journals, and topics for discussion. The "Beyond the Novel" section includes facts about U.S. and Mexican history and folk tales. Illustrations throughout the book help to engage students and offer visual support for reading comprehension.
Changing Paths: Travels and Meditations inAlaska’s Arctic Wilderness is an autobiographical exploration of author Bill Sherwonit’s relationship with the Alaska wilderness. Written in three parts, it first describes Sherwonit’s introduction to the Brooks Range and his years as an exploration geologist. Taking a step back, the author then takes us into the past to explore his childhood roots in rural Connecticut and his recognition of wild nature as a refuge. He concludes with his emergence as a nature writer and wilderness advocate.
An engrossing, fascinating, and eye-opening tale of one man’s life and of wilderness conceptions, this vivid description of an area of Alaska that few people get to experience is authentic and enlightening. It is an extraordinary contribution to the literature of place from one of Alaska’s most accomplished nature writers.
In this riveting true story of coming of age in the Chicago Mob, Charles “Charley” Hager is plucked from his rural West Virginia home by an uncle in the 1960s and thrown into an underworld of money, cars, crime, and murder on the streets of Chicago Heights.
Street-smart and good with his hands, Hager is accepted into the working life of a chauffeur and “street tax” collector, earning the moniker “Little Joe College” by notorious mob boss Albert Tocco. But when his childhood friend is gunned down by a hit man, Hager finds himself a bit player in the events surrounding the mysterious, and yet unsolved, murder of mafia chief Sam Giancana.
Chicago Heights is part rags-to-riches story, part murder mystery, and part redemption tale. Hager, with author David T. Miller, juxtaposes his early years in West Virginia with his life in crime, intricately weaving his own experiences into the fabric of mob life, its many characters, and the murder of Giancana.
Fueled by vivid recollections of turf wars and chop shops, of fix-ridden harness racing and the turbulent politics of the 1960s, Chicago Heights reveals similarities between high-level organized crime in the city and the corrupt lawlessness of Appalachia. Hager candidly reveals how he got caught up in a criminal life, what it cost him, and how he rebuilt his life back in West Virginia with a prison record.
Based on interviews with Hager and supplemented by additional interviews and extensive research by Miller, the book also adds Hager’s unique voice to the volumes of speculation about Giancana’s murder, offering a plausible theory of what happened on that June night in 1975.
Are the humanities still relevant in the twenty-first century? In the context of pervasive economic liberalism and shrinking budgets, the importance of humanities research for society is increasingly put into question. This volume claims that the humanities do indeed matter by offering empirically grounded critical reflections on contemporary cultural practices, thereby opening up new ways of understanding social life and new directions in humanities scholarship. The contributors argue that the humanities can regain their relevance for society, pose new questions and provide fresh answers, while maintaining their core values: critical reflection, historical consciousness and analytical distance.
In Contemporary Irish Poetry and the Pastoral Tradition, Donna L. Potts closely examines the pastoral genre in the work of six Irish poets writing today. Through the exploration of the poets and their works, she reveals the wide range of purposes that pastoral has served in both Northern Ireland and the Republic: a postcolonial critique of British imperialism; a response to modernity, industrialization, and globalization; a way of uncovering political and social repercussions of gendered representations of Ireland; and, more recently, a means for conveying environmentalism’s more complex understanding of the value of nature.
Potts traces the pastoral back to its origins in the work of Theocritus of Syracuse in the third century and plots its evolution due to cultural changes. While all pastoral poems share certain generic traits, Potts makes clear that pastorals are shaped by social and historical contexts, and Irish pastorals in particular were influenced by Ireland’s unique relationship with the land, language, and industrialization due to England’s colonization.
For her discussion, Potts has chosen six poets who have written significant collections of pastoral poetry and whose work is in dialogue with both the pastoral tradition and other contemporary pastoral poets. Three poets are men—John Montague, Seamus Heaney, Michael Longley—while three are women—Eavan Boland, Medbh McGuckian, Nuala Ní Dhomhnaill. Five are English-language authors, while the sixth—Ní Dhomhnaill—writes in Irish. Additionally, some of the poets hail from the Republic, while others originate from Northern Ireland. Potts contends that while both Irish Republic and Northern Irish poets respond to a shared history of British colonization in their pastorals, the 1921 partition of the country caused the pastoral tradition to evolve differently on either side of the border, primarily because of the North’s more rapid industrialization; its more heavily Protestant population, whose response to environmentalism was somewhat different than that of the Republic’s predominantly Catholic population; as well the greater impact of the world wars and the Irish Troubles.
In an important distinction from other studies of Irish poetry, Potts moves beyond the influence of history and politics on contemporary Irish pastoral poetry to consider the relatively recent influence of ecology. Contemporary Irish poets often rely on the motif of the pastoral retreat to highlight various environmental threats to those retreats—whether they be high-rises, motorways, global warming, or acid rain. Potts concludes by speculating on the future of pastoral in contemporary Irish poetry through her examination of more recent poets—including Moya Cannon and Paula Meehan—as well as other genres such as film, drama, and fiction.
One day in the dentist's office journalist Walt Harrington heard a casual racist joke that left him enraged. Married to a black woman, Harrington is the father of two biracial children. His experience in the dentist's office made him realize not only that the joke was about his own children but also that he really knew very little about what it was like to be a black person in America.
After this rude awakening, Harrington set off on a twenty- five-thousand-mile journey through black America, talking with scores of black and white people along the way, including an old sharecropper, a city police chief, a jazz trumpeter, a convicted murderer, a welfare mother, and a corporate mogul. In Crossings, winner of the Gustavus Myers Award for the Study of Human Rights, he relates what he learned as he listened.
Enchanted by Prairie
Bill Witt University of Iowa Press, 2009 Library of Congress TR721.W58 2009 | Dewey Decimal 779.36777
June grass at sunset, Indian grass at sunrise, hawk moths and monarch butterflies nectaring on purple fringed orchids and rough blazing star, little bluestem and saw-tooth sunflowers and butterfly milkweed in hill prairies and sand prairies, and blue skies and one bright rainbow arching over them all. Bill Witt has been photographing Iowa’s wild places for more than thirty years, and the result is this collection of splendid images that reveal the glorious beauty and diversity of the state’s prairie remnants.
Witt gives us close-ups of pasque flower shoots covered with ice in spring, coneflowers dancing in a summer breeze, and prairie dropseed in its autumn colors as well as such prairie companions as sandhill cranes, northern harriers, and bison. His panoramic visions of prairie landscapes in all seasons focus on the personal pleasure and spiritual sustenance that connecting with prairies, even small and neglected ones, can bring us. Osha Davidson’s essay compares today’s prairie remnants with yesterday’s expanses and calls for us to restore balance to this damaged landscape. Altogether, Enchanted by Prairie celebrates today’s prairie landscape and encourages us, in Davidson’s words, to restore its “beauty and scents and textures and sounds.”
Over the course of the past four decades Stephen J. Tonsor, professor emeritus of European intellectual history at the University of Michigan, has made a reputation within the conservative intellectual movement as a trenchant thinker, forceful writer, and witty, sometimes caustic, lecturer. But without a book to introduce his thought to the wider public, Tonsor has remained largely unknown outside conservative circles. For many readers, then, this generous collection, edited by historian Gregory Schneider, will serve as an enlightening introduction to the work of a man who is among the most penetrating of conservative thinkers. Equality, Decadence, and Modernity features substantial excerpts from Tonsor?s two book-length unpublished manuscripts, "Decadence" and "Equality," as well as insightful essays on conservative thought and politics. Among other pieces, this volume includes Tonsor?s controversial polemic, "Why I Too Am Not a Neoconservative." "Halfway from modernity is not far enough" , asserted Tonsor in this essay. Yet Tonsor?s critique of modernity, and much else, is complex and always intelligent. With the publication of Equality, Decadence, and Modernity, readers may now share in, and profit from, that intelligence.
After World War II and well beyond the Black Arts Movement, African American novelists struggled with white literary expectations imposed upon them. Aesthetics as varied as New Criticism and Deconstruction fueled these struggles, and black writers—facing these struggles— experienced an ethical crisis. Analyzing prizewinning, creative fellowship, and artistic style, this book considers what factors ended that crisis.
The Ethics of Swagger explores how novelists who won major prizes between 1977 and 1993 helped move authors of black fiction through insecurity toward autonomy. Identifying these prizewinners—David Bradley, Ernest Gaines, Charles Johnson, Toni Morrison, Gloria Naylor, Alice Walker, and John Edgar Wideman—as a literary class, this book focuses on how they achieved imaginative freedom, recovered black literary traditions, and advanced the academic study of African American writing.
The post–Civil Rights era produced the most accomplished group of novelists in black literary history. As these authors worked in an integrating society, they subjected white narrative techniques to the golden mean of black cultural mores. This exposure compelled the mainstream to acknowledge fresh talent and prodded American society to honor its democratic convictions. Shaping national dialogues about merit, award-winning novelists from 1977 to 1993, the Black Archivists, used swagger to alter the options for black art and citizenship.
The relationship between Western democracies and Islam, rarely entirely comfortable, has in recent years become increasingly tense. A growing immigrant population and worries about cultural and political assimilation—exacerbated by terrorist attacks in the United States, Europe, and around the world—have provoked reams of commentary from all parts of the political spectrum, a frustrating majority of it hyperbolic or even hysterical.
In The Fear of Barbarians, the celebrated intellectual Tzvetan Todorov offers a corrective: a reasoned and often highly personal analysis of the problem, rooted in Enlightenment values yet open to the claims of cultural difference. Drawing on history, anthropology, and politics, and bringing to bear examples ranging from the murder of Theo van Gogh to the French ban on headscarves, Todorov argues that the West must overcome its fear of Islam if it is to avoid betraying the values it claims to protect. True freedom, Todorov explains, requires us to strike a delicate balance between protecting and imposing cultural values, acknowledging the primacy of the law, and yet strenuously protecting minority views that do not interfere with its aims. Adding force to Todorov's arguments is his own experience as a native of communist Bulgaria: his admiration of French civic identity—and Western freedom—is vigorous but non-nativist, an inclusive vision whose very flexibility is its core strength.
The record of a penetrating mind grappling with a complicated, multifaceted problem, The Fear of Barbarians is a powerful, important book—a call, not to arms, but to thought.
When Carolyn Ellis, a graduate student, and Gene Weinstein, her Professor, fell in love, he was experiencing the first stages of emphysema. As he became increasingly disabled and immobile, these two intensely connected partners fought to maintain their love and to live a meaningful life. They learned to negotiate their daily lives in a way that enabled each of them to feel sufficiently autonomous—him not always like a patient and her not always like a caretaker. Writing as a sociologist, Ellis protrays their life together as a way to understand the complexities of romance, of living with a progressive illness, and, in the final negotiation and reversal of positions, of coping with the loss of a loved one.
This rare memoir full of often raw details and emotions becomes an intimate conversation about the intricacies of feeling and relating in a relationship. What Ellis calls experimental ethnography is a finely crafted, forthright, and daring story framed by the author's reflections on writing about and analyzing one's own life. Casting off the safe distance of most social science inquiry, she surrenders the private shroud of a complex relationship to bring sociology closer to literature.
In this revised and expanded edition of Final Negotiations—a personal account of caring for her partner, Gene Weinstein, and then coping with losing him to chronic emphysema— Ellis reflects back on her experiences as a caregiver, focusing on identity, vulnerability, emotions, and the aging process of an engaged academic. Now, decades later, she reconsiders who she was then, and how she has continued to be affected both by these events and by writing about them. She contemplates how she might act, think, and feel if she were going through the caregiving process again, now.
Taking an autoethnographic perspective, Ellis focuses on her feeling and thinking self in relationships, narrating particular lived experiences that offer a gateway into understanding interpersonal and cultural life. In her new epilogue, “From New Endings to New Beginnings,” Ellis describes her changed identity and how Final Negotiations informs her life and her understanding of how she and her current partner grow older together. She hopes her book provides companionship and comfort to readers who also will suffer loss in their lives.
It would be difficult to find a more perceptive description of Western man and the world he now inhabits than that provided by Chantal Delsol in Icarus Fallen: The Search for Meaning in an Uncertain World. With style and lucidity, Delsol likens contemporary Western man to the mythical figure Icarus, fallen back to earth after trying to reach the sun, alive but badly shaken and confused. During the twentieth century, Delsol argues, man flew too closely to the sun of utopian ideology. Having been burned, he is now groping for a way to orient himself. But the ideas he once held so dear—inevitable progress, the possibility of limitless social and self-transformation—are no longer believable, and he has, for the most part, long since rejected the religious tradition that might now have provided an anchor.
Delsol's portrait is engrossing. She explains how we have come simultaneously to embrace the "good" but reject the "true"; how we have sacralized rights and democracy; and how we have lost our sense of the tragic and embraced the idea of "zero risk." Already a well-known political thinker in her native France, this is Delsol's first book to appear in English. Icarus Fallen should establish her as one of the most insightful social and cultural writers working on either side of the Atlantic.
"This is simply the best book about the problems of modern man since Christopher Lasch's Culture of Narcissism. It is so crammed with truth and insight that, as someone once said of Chesterton, every line deserves a review." —The American Conservative
"An extensive evaluation of the pitfalls of modern times and the strict limits on human virtues, Icarus Fallen, is strongly recommended reading for students of 20th Century Philosophy, Politics, and History." —Wisconsin Bookwatch
This book is a thought-provoking view of the progress of humankind in the last century. In spite of the pessimism that prevails in the media, people are better fed, better clothed, better housed, and better educated than at any previous time.
The facts within the book provide documentation for a positive outlook toward our nutrition and health, living standards and working conditions, political and economic freedoms, educational facilities, ability to communicate, ease of movement, increasing leisure, and, most important, our ability to get along with one another and with our Creator. The statistics, charts, and photographs that illustrate this book enhance the reassuring and uplifting view of the state of the world and where it is going.
“His analysis gives us a refreshing balance to the negative, sometimes cynical, views in the media that tend to portray the worst rather than the best in human civilization.” —Jimmy Carter
“After reading Sir John Templeton's latest book, I believe more than ever that we are living in the most exciting time in history. Despite the challenges we face, his demonstration of mankind's progress gives all of us great hopes and high expectations for our next century and the new millennium.” —Jack Kemp, former HUD secretary, director of Empower America
Jorie Graham is one of the most important American poets now writing. This first book-length study brings together thirteen previously published essays and review essays by many of the major critics currently interested in her work and five new essays commissioned for this volume. Commenting on each of Graham's eight poetry collections, these essays encompass the range of critical thought that her work has attracted, both surveying it broadly and engaging closely with individual poems.
These essays identify three broad concerns that run through each of her strikingly different volumes of poems: the movement of the mind in action, the role of the body in experiencing the world, and the pressures of material conditions on mind and body alike. Gardner both shows how Graham is being read at the moment and charts new areas of investigation likely to dominate thinking about her over the next decade. This collection is sure to become the crucial first step for all future work on Graham and on American poetry of the last two decades.
This captivating and illuminating book is a memoir of a young black man moving from rural Georgia to life as a student and teacher in the Ivy League as well as a history of the changes in American education that developed in response to the civil rights movement, the war in Vietnam, and affirmative action. Born in 1950, Horace Porter starts out in rural Georgia in a house that has neither electricity nor running water. In 1968, he leaves his home in Columbus, Georgia—thanks to an academic scholarship to Amherst College—and lands in an upper-class, mainly white world. Focusing on such experiences in his American education, Porter's story is both unique and representative of his time.
The Making of a Black Scholar is structured around schools. Porter attends Georgia's segregated black schools until he enters the privileged world of Amherst College. He graduates (spending one semester at Morehouse College) and moves on to graduate study at Yale. He starts his teaching career at Detroit's Wayne State University and spends the 1980s at Dartmouth College and the 1990s at Stanford University.
Porter writes about working to establish the first black studies program at Amherst, the challenges of graduate study at Yale, the infamous Dartmouth Review, and his meetings with such writers and scholars as Ralph Ellison, Tillie Olsen, James Baldwin, and Henry Louis Gates, Jr. He ends by reflecting on an unforeseen move to the University of Iowa, which he ties into a return to the values of his childhood on a Georgia farm. In his success and the fulfillment of his academic aspirations, Porter represents an era, a generation, of possibility and achievement.
My Way: Speeches and Poems
Charles Bernstein University of Chicago Press, 1998 Library of Congress PS3552.E7327M9 1999 | Dewey Decimal 818.5408
"Verse is born free but everywhere in chains. It has been my project to rattle the chains." (from "The Revenge of the Poet-Critic")
In My Way, (in)famous language poet and critic Charles Bernstein deploys a wide variety of interlinked forms—speeches and poems, interviews and essays—to explore the place of poetry in American culture and in the university. Sometimes comic, sometimes dark, Bernstein's writing is irreverent but always relevant, "not structurally challenged, but structurally challenging."
Addressing many interrelated issues, Bernstein moves from the role of the public intellectual to the poetics of scholarly prose, from vernacular modernism to idiosyncratic postmodernism, from identity politics to the resurgence of the aesthetic, from cultural studies to poetry as a performance art, from the small press movement to the Web. Along the way he provides "close listening" to such poets as Charles Reznikoff, Laura Riding, Susan Howe, Ezra Pound, Allen Ginsberg, and Gertrude Stein, as well as a fresh perspective on L=A=N=G=U=A=G=E, the magazine he coedited that became a fulcrum for a new wave of North American writing.
In his passionate defense of an activist, innovative poetry, Bernstein never departs from the culturally engaged, linguistically complex, yet often very funny writing that has characterized his unique approach to poetry for over twenty years. Offering some of his most daring work yet—essays in poetic lines, prose with poetic motifs, interviews miming speech, speeches veering into song—Charles Bernstein's My Way illuminates the newest developments in contemporary poetry with its own contributions to them.
"The result of [Bernstein's] provocative groping is more stimulating than many books of either poetry or criticism have been in recent years."—Molly McQuade, Washington Post Book World
"This book, for all of its centrifugal activity, is a singular yet globally relevant perspective on the literary arts and their institutions, offered in good faith, yet cranky and poignant enough to not be easily ignored."—Publishers Weekly
"Bernstein has emerged as postmodern poetry's sous-chef of insouciance. My Way is another of his rich concoctions, fortified with intellect and seasoned with laughter."—Timothy Gray, American Literature
In Old Blue’s Road, historian James Whiteside shares accounts of his motorcycle adventures across the American West. He details the places he has seen, the people he has met, and the personal musings those encounters prompted on his unique journeys of discovery.
In 2005, Whiteside bought a Harley Davidson Heritage Softail, christened it “Old Blue,” and set off on a series of far-reaching motorcycle adventures. Over six years he traveled more than 15,000 miles. Part travelogue and part historical tour, this book takes the reader along for the ride. Whiteside’s travels to the Pacific Northwest, Yellowstone, Dodge City, Santa Fe, Wounded Knee, and many other locales prompt consideration of myriad topics—the ongoing struggle between Indian and mainstream American culture, the meaning of community, the sustainability of the West's hydraulic society, the creation of the national parks system, the Mormon experience in Utah, the internment of Japanese Americans during World War II, and more.
Delightfully funny and insightful, Old Blue’s Road links the colorful history and vibrant present from Whiteside’s unique vantage point, recognizing and reflecting on the processes of change that made the West what it is today. The book will interest the general reader and western historian alike, leading to new appreciation for the complex ways in which the American West's past and present come together.
Within popular culture studies, one finds discussions about quantitative sociology, Marxism, psychoanalysis, myth criticism, feminism, and semiotics, but hardly a word on the usefulness of phenomenology, the branch of philosophy concerned with human experience. In spite of this omission, there is a close relationship between the aims of phenomenology and the aims of popular culture studies, for both movements have attempted to redirect academic study toward everyday lived experience.
The fifteen essays in this volume demonstrate the way in which phenomenological approaches can illuminate popular culture studies, and in so doing they take on the entire range of popular culture.
Charles Bernstein Harvard University Press, 1992 Library of Congress PS3552.E7327P64 1992 | Dewey Decimal 811.54
This rich collection is far more than an important work of criticism by an extraordinary poet; it is a poetic intervention into criticism. "Artifice of Absorption," a key essay, is written in verse, and its structures and rhythms initiate the reader into the strength and complexity of the argument. In a wild variety of topics, polemic, and styles, Bernstein surveys the current poetry scene and addresses many of the hot issues of poststructuralist literary theory. "Poetics is the continuation of poetry by other means," he writes. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, not merely in argument but in form-a poetic language that resists being easily absorbed into the conventions of our culture.
Insisting on the vital need for radical innovation, Bernstein traces the traditions of modern poetry back to Stein and Wilde, taking issue with those critics who see in the "postmodern" a loss of political and aesthetic relevance. Sometimes playful, often hortatory, always intense, he joins in the debate on cultural diversity and the definition of modernism. We encounter Swinburne and Morris as surprising precursors, along with considerations of Wittgenstein, Khlebnikov, Adorno, Jameson, and Pac-Man. A Poetics is both criticism and poetry, both tract and song, with no dull moments.
Table of Contents:
1. State of the Art 2. Artifice of Absorption 3. In the Middle of Modernism in the Middle of Capitalism on the Outskirts of New York 4. Time Out of Motion: Looking Ahead to See Backward 5. Pounding Fascism (Appropriating Ideologies- Mystification, Aestheticization, and Authority in Pound's Poetic Practice) 6. Play It Again, Pac-Man 7. Professing Stein / Stein Professing 8. Optimism and Critical Excess (Process) 9. Censers of the Unknown-Margins, Dissent, and the Poetic Horizon 10. The Second War and Postmodern Memory 11. Comedy and the Poetics of Political Form
Charles Bernstein's critical prose is the extension of his increasingly important poetic oeuvre. In their theoretical sophistication, their radical formal construction, and, above all, their great boldness and originality, many of the essays in this book have already become underground classics, providing us with a roadmap for how to come to terms with the verbal/visual art and culture of our own time. Part manifesto, part critique, part stringent analysis, A Poetics carries on the tradition of Pound's ABC of Reading and Stein's Lectures in America. --Marjorie Perloff, Stanford University
Beginning in the spring of 1969, Huckleberry Finn inspired a question: Could you build a raft, float down the Mississippi River to New Orleans, and on the way learn something about America and its peoples? Will Bagley, a vagrant longhair and future prize-winning western historian, and his friends could, and did. Now, a half century after the adventure, Bagley tells his story.
In this lively study of both modern film and stage productions of Shakespeare, Samuel Crowl provides fascinating insights into the ways in which these productions have been influenced by one another as well as by contemporary developments in critical approaches to Shakespeare's plays.
Crowl’s study demonstrates the surprising resonances between Roman Polanski's 1971 film of Macbeth and Adrian Noble's heralded recent production of the play for The Royal Shakespeare Company; argues that Orson Welles's films of Othello and Cabins at Midnight are not only brilliant remaining of Shakespeare in another art form but make a powerful contribution to our contemporary understanding of performance as interpretation; and chronicles the impact of Peter Hall's creation of the Royal Shakespeare Company in 1960 on performance approaches to Shakespeare in the past thirty years.
Shakespeare Observed provides full interpretative readings of key recent Shakespeare productions in England and includes an intimate behind-the-scenes glimpse into the rehearsal process which produced Ron Daniels's emotionally charged version of Romeo and Juliet for the RSC in 1980. The final chapter uses Kenneth Branagh's highly successful film of Henry V as a summary example of the trends and influences Crowl's study traces, seeing the film as gathering its interpretative energies from both Olivier's famous film version of the play and Adrian Noble's stage production featuring Branagh as the king.
Written in a style which places a premium on capturing the vivid and often dazzling moments of stage and film performances of Shakespeare, Crowl's study will be of interest to the avid film and theatergoer as well as to the scholar and student. Shakespeare Observed joins a growing list of recent critical works which have significantly expanded and redefined the boundaries of Shakespeare studies in our time.
Utopia Limited is an original, engaging account of how postmodernism emerged from the political and cultural upheaval of the 1960s. Marianne DeKoven argues that aspects of sixties radical politics and culture simultaneously embodied the full, final flowering of the modern and the beginning of the postmodern. Analyzing classic sixties texts, DeKoven shows where the utopian master narratives underlying the radical and countercultural movements gave way to the “utopia limited” of the postmodern as a range of competing political values and desires came to the fore. She identifies the pivots where the modern was superseded by the nascent postmodern: where modern mass culture was replaced by postmodern popular culture, modern egalitarianism morphed into postmodern populism, and modern individualism fragmented into postmodern politics and cultures of subjectivity.
DeKoven rigorously analyzes a broad array of cultural and political texts important in the sixties—from popular favorites such as William S. Burroughs’s Naked Lunch to political manifestoes including The Port Huron Statement, the founding document of SDS (Students for a Democratic Society). She examines texts that overtly discuss the conflict in Vietnam, Black Power, and second-wave feminism—including Frances FitzGerald’s Fire in the Lake, James Baldwin’s The Fire Next Time, and Shulamith Firestone’s The Dialectic of Sex; experimental pieces such as The Living Theatre’s Paradise Now; influential philosophical works including Roland Barthes’s Mythologies and Herbert Marcuse’s One-Dimensional Man; and explorations of Las Vegas, the prime location of postmodernity. Providing extensive annotated bibliographies on both the sixties and postmodernism, Utopia Limited is an invaluable resource for understanding the impact of that tumultuous decade on the present.