From Second Draft:
What other people learn
From birth,
Betrayal,
I learned late.
My soul perched
On an olive branch
Combing itself,
Waving its plumes. I said
Being mortal,
I aspire to
Mortal things.
I need you,
Said my soul,
If you’re telling the truth.
Draft of a Letter is a book about belief—not belief in the unknowable but belief in what seems bewilderingly plain. Pondering the bodies we inhabit, the words we speak, these poems discover infinitude in the most familiar places. The revelation is disorienting and, as a result, these poems talk to themselves, revise themselves, fashioning a dialogue between self and soul that opens outward to include other voices, lovers, children, angels, and ghosts. For James Longenbach, great distance makes the messages we send sweeter. To be divided from ourselves is never to be alone. “If the kingdom is in the sky,” says the body to the soul, “Birds will get there before you.” “In time,” says the awakening soul, “I liked my second / Body better / Than the first.” To live, these poems insist, is to arise every day to the strange magnificence of the people and places we thought we knew best. Draft of a Letter is an unsettled and radiant paradiso, imagined in the death-shadowed, birth-haunted middle of a long life.
Praise for Fleet River
“A sensibility this cogent, this subtle and austere is rare; even rarer is its proof that poetry still flows through all things and transforms all things in the process.”—Carol Muske-Dukes, Los Angeles Times Book Review
Epistolary Responses explores the transformative nature of epistolary fiction and criticism in letter form from a largely feminist perspective. While most scholarly work to date has focused on 17th- and 18th-century manifestations of this genre, Bower's study concentrates on epistolary fiction by contemporary American writers published between 1912 and 1988. The novels discussed, all featuring women letter writers, include: Lee Smith's Fair and Tender Ladies, John Barth's LETTERS, Alice Walker's The Color Purple, John Updike's S., Jean Webster's Daddy-Long-Legs, Upton Sinclair's Another Pamela, and Ana Castillo's The Mixquiahuala Letters.
Bower explores the influence letters have on the act of writing and writing as act, their encoded desire for reply, their incompleteness as units of narrative information, their play on ideas of absence and presence, their apparently personal and private nature, and their foregrounding of the writer's agency and authority, all of which make letters a most useful genre both for novelists and for scholars. Several of the book's "fiction" chapters include a letter from the author of the text (sometimes a critic) that complements and supplements Bower's analysis. The final part of the book explores how seven scholars--men and women--have applied letters to their own critical writing, finding that this formal move allows them to question issues of public and private discourse, the authority of signature, and the "feminine" location.
This volume provides a detailed transcription of the 1948 film. Notes appended to the film's continuity script detail all the significant differences between the finished film and the shooting script.
Wexman's introductions to each of the book's sections discuss the history of the film's reception and provide an overview of the central issues the film has raised. A cross section of commentary by well-known critics attests to the film's enduring position as a central text for cinema study. These essays acknowledge the film's significance as a preeminent example of Ophuls's art, as an important woman's film, and as a representative of the classic Hollywood style. A biographical sketch of Ophuls, the entire Zweig novella, a bibliography and other background materials are also included.
"Sixty-seven members of my family—my mother, her father, my three sisters, three of my brothers, aunts, uncles, and cousins—were murdered at Auschwitz."
As Rudolph Tessler's mother stepped from the train in Auschwitz, shortly before she was sent to the gas chamber, she heard "Hello, Esther." In a polite tone, a young German SS officer greeted her as he would any old friend. His family lived down the road from the Tessler family in Viseu, their hometown in northern Romania. They, like the rest of the town, admired Esther for her wonderful cooking, particularly the delicious cakes she brought them each Christmas. Now he ushered her and six of her children to their deaths.Throughout Letter to My Children, Tessler offers vivid glimpses of the senselessness that surrounded him during World War II. Of the thousands packed in trains and transported from Viseu to Auschwitz, just a small group survived to see liberation. Among the survivors were Tessler, his father, and two of his brothers. This is the amazing story of their experiences as Hasidic Jews caught in the chaos and terror of the Holocaust.
Tessler's upbringing had emphasized community and family devotion—traits not forgotten in the concentration camps, where he and his family members often rescued one another from certain death. Few fathers and sons survived the concentration camps together. In spite of the odds, Tessler and his brother Buroch managed to stick together, sharing their father's labor assignments to protect him from death, preserving not only their family bond but also their spirituality. Tessler's father, always a source of strength and guidance to his family, provided counsel to many prisoners in the camp and eventually assumed the role of rabbi.
Despite an environment in which their captors tried to reduce them to animals, Tessler's remaining family and seven other Jews from Viseu made a special effort to observe their faith. Bending rules in ways that risked their lives, they worked together to smuggle wheat, grind it into flour, and bake matzos to distribute for Passover. The group also secretly gathered to pray on the eve of Rosh Hashanah. These religious observances offered some comfort in the camp.
In addition to vividly portraying the daily struggles of camp life, Letter to My Children follows Tessler beyond liberation, recounting his days as a displaced person struggling for a new life in the midst of the devastation of postwar Europe, as an American immigrant striving to rebuild his family and succeed in business, and as a philanthropist for education and health care. Recalling the age-old way of life in Viseu that was erased by the Holocaust, this inspiring story conveys the hope, determination, and perseverance that made Tessler a survivor.
When Pedro Salinas’s 1933 collection of love poems, La voz a ti debida, was introduced to American audiences in Willis Barnstone’s 1975 English translation, it was widely regarded as the greatest sequence of love poems written by a man or a woman, in any language, in the twentieth century. Now, seventy-five years after its publication, the reputation of the poems and its multifaceted writer remains untarnished. A portrait of their era, the poems, from a writer in exile from his native civil war–torn Spain, now reemerge in our time.
In this new, facing-page bilingual edition, Barnstone has added thirty-six poems written in the form of letters from Salinas to his great love, Katherine Whitmore. Discovered years later, these poems were written during and after the composition of La voz and, though disguised as prose, have all the rhythms and sounds of lineated lyric poetry. Taken together, the poems and letters are a history, a dramatic monologue, and a crushing and inevitable ending to the story of a man consumed by his love and his art.
Bolstered by an elegant foreword by Salinas’s contemporary, the poet Jorge Guillén, and a masterly afterword by the Salinas scholar, Enric Bou, that considers the poet and his legacy for twenty-first century world poetry, Love Poems by Pedro Salinas will be cause for celebration throughout the world of verse and beyond.
The emergence of the alphabet in ancient Greece, usually heralded as the first step in the inexorable march toward reason and progress, in fact signaled the introduction of a chance technology that hijacked the future, with devastating consequences for humanity. By investigating an array of cultural artifacts, ranging from Kubrick's 2001: A Space Odyssey to the Oracle at Delphi to Luther's challenge to the Church, this book demonstrates how the apparently benign emergence of writing made possible far-ranging systems of organized domination and unprecedented levels of violence. The Violence of the Letter considers how a twenty-six-letter code changed the face of the world, and not always for the better.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press