An expansive volume on Tejana identity and Tejanidad told through personal narratives, poetry, and essays.
Being Tejanx is different than just being from Texas. Being Tejanx means you are a border subject. Being Tejanx means living in and from a certain history of oppression, possibility, activism, and cultural-linguistic hybridity arising within the US-Mexico borderland that is home. And being Tejanx means something in particular if you are a woman.
In ¡Somos Tejanas!, editors Norma E. Cantú and Jody A. Marín assemble contemporary Tejanx writers who provide firsthand accounts of their experience of identity, enriching the field of Tejanx studies through an encounter with gender and sexuality. The contributions, including personal and scholarly essays, poems, criticism, and artworks, explore the heterogeneity of Tejana identity and the sociopolitical movements, stories, dances, music, and athletic feats that mark Tejanidad. Authors contemplate the history and memory of segregation in Texas, the struggles of surviving the unnatural disaster and blackouts of 2021 amid the global pandemic of COVID-19, and the drug-war violence and ever-tightening immigration restrictions that strangle a transborder way of life shared by millions. An unrepentant act of expression from women under attack by state policymakers, this collection dispels the silence imposed by colonial erasure.
"I believe every sunrise and I remember the smell of wet grass, the color of robins, and rustle of leaves on the big oaks that outlive nations, all this comes with each sunrise."
Sonata marks the sixth and final installment of Charles Bowden’s towering “Unnatural History of America” series. While his earlier volumes were suffused with violence and war, Bowden offers here a celebration of rebirth and regrowth. Rendered in Bowden's inimitable style, more prose poetry than reportage, he evokes panoramas that contain the potential for respite and offer a state of grace all but lost in the endless wars of man.
Bowden travels back in time to the worlds of artists Francisco Goya and Vincent van Gogh, the latter painting furiously against encroaching madness. “Van Gogh tries to dream a life of color,” writes Bowden. “Powder blue sheds, yellow stubble, pink skies—but the fears and dark things drag him down.” As Bowden’s vivid prose wrestles with the madness of the world, van Gogh’s paintings represent an act of resistance, ultimately unsuccessful, against depression and suicide.
Moving from the vibrant hues of van Gogh’s painted gardens to America’s southern border, Bowden returns once more to the Mexican asylum run by "El Pastor," Jose Antonio Galvan, who was first introduced to readers of the sextet in Jericho. Here, too, is the dream of a garden that will be planted in the desert, a promise of regeneration in a world gone mad. Poetic, elegiac, and elliptical, Sonata is the final, captivating book of Bowden’s monumental career.
This collection of new translations of eighty poems provides a pleasant, thought-provoking reminder of love’s vagaries as captured through the wit, charm, and insight of the master poets of antiquity.
All the emotions and experiences associated with love—rejection, infatuation, ecstasy, desperation, loneliness—are rendered accessible to contemporary readers through this lively, modern, yet faithful English translation of works that date from the seventh century B.C.to the sixth century A.D.Illustrations accompany the poetry of Plato, Sappho, Stratto, Meleagros, and others, capturing both the flavor of the age and the theme of the texts.
A collection of ancient Byzantine hymns featuring women as pivotal characters, now in a new translation.
At a time when Christianity was becoming the dominant religion in the Byzantine Roman Empire, Romanos the Melodist (ca. 485–565) was a composer of songs for festivals and rituals in late antique Constantinople. Most of his songs include dramatic dialogues or monologues woven with imagery from ordinary life, and his name became inseparably tied to the kontakion, a genre of dramatic hymn. Later Byzantine religious poets enthusiastically praised his creative virtuosity and a legend claimed that Romanos’s inspiration came directly from the Virgin Mary herself.
Songs about Women contains eighteen works related to the liturgical calendar that feature important female characters, many portrayed as models for Christian life. They appear as heroines and villains, saints and sinners, often as transgressive and bold. Romanos’s songs offer intriguing perspectives on gender ideals and women’s roles in the early Byzantine world.
This edition presents a new translation of the Byzantine Greek texts into English.
In the early nineteenth century, Vuk Karadzic, a Serb scholar and linguist, collected and eventually published transcriptions of the traditional oral poetry of the South Slavs. It was a monumental and unprecedented undertaking. Karadzic gathered and heard performances of the rich songs of Balkan peasants, outlaws, and professional singers and their rebel heroes. His four volumes constitute the classic anthology of Balkan oral poetry, treasured for nearly two centuries by readers of all literatures, and influential to such literary giants as Goethe, Merimee, Pushkin, Mickiewicz, and Sir Walter Scott.
This edition of the songs offers the most complete and authoritative translations ever assembled in English. Holton and Mihailovich, leading scholars of Slavic literature, have preserved here the unique meter and rhythm at the heart of Serbian oral poetry, as well as the idiom of the original singers. Extensive notes and comments aid the reader in understanding the poems, the history they record and the oral tradition that lies beneath them, the singers and their audience.
The songs contain seven cycles, identified here in sections titled: Songs Before History, Before Kosovo, the Battle of Kosovo, Marko Karadzic, Under the Turks, Songs of the Outlaws, and Songs of the Serbian Insurrection. The editors have selected the best known and most representative songs from each of the cycles. A complete biography is also provided.
The Speaking Stone: Stories Cemeteries Tell is a literary love letter to the joys of wandering graveyards. While working on a novel, author and longtime Cincinnati resident Michael Griffith starts visiting Spring Grove Cemetery and Arboretum, the nation’s third-largest cemetery. Soon he’s taking almost daily jaunts, following curiosity and accident wherever they lead. The result is this fascinating collection of essays that emerge from chance encounters with an interesting headstone, odd epitaph, unusual name, or quirk of memory. Researching obituaries, newspaper clippings, and family legacies, Griffith uncovers stories of race, feminism, art, and death.
Rather than sticking to the cemetery’s most famous, or infamous, graves, Griffith stays true to the principle of ramble and incidental discovery. The result is an eclectic group of subjects, ranging from well-known figures like the feminist icon and freethinker Fanny Wright to those much less celebrated— a spiritual medium, a temperance advocate, a young heiress who died under mysterious circumstances. Nearly ninety photos add dimension and often an element of playfulness.
The Speaking Stone examines what endures and what does not, reflecting on the vanity and poignancy of our attempt to leave monuments that last. In doing so, it beautifully weaves connections born out of the storyteller’s inquisitive mind.
An adversarial advocate.
Aeschines, orator and statesman of Athens, 390 or 389–314 BC, became active in politics about 350. In 348 he was a member of a mission sent to the Peloponnese to stir up feeling against the growing power of King Philip of Macedon; but in 347, when part of a peacemaking embassy to Philip, was won over to sympathy with the king, and became a supporter of the peace policy of the Athenian statesman Eubulus. On a second embassy in 346 to ratify a peace Aeschines’ delaying tactics caused the famous orator Demosthenes and Timarchus to accuse him of treason, a charge that he successfully rebutted in the strong extant speech Against Timarchus. In 344–343, when Demosthenes accused him again in a speech, Aeschines replied in the fine extant speech having the same title On the False Embassy and was again acquitted. In 336, when Ctesiphon proposed that Demosthenes should be awarded a crown of gold for state service, Aeschines accused him of proposing something that would violate existing laws. At the trial Aeschines’ extant speech Against Ctesiphon was answered by Demosthenes in his masterpiece On the Crown. Aeschines, discredited, left Athens and set up a school of rhetoric at Rhodes. He died in Samos.
As examples of Greek oratory the speeches of Aeschines rank next to those of Demosthenes, and are important documents for the study of Athenian diplomacy and inner politics.
In 1635, as directed by her confessor so that he might understand “the state of her soul,” Margaret Van Noort, a lay sister of the royal convent of Discalced Carmelite nuns in Brussels, composed her spiritual autobiography. This text was followed by two diaries in 1636 and 1637 recording the workings of her inner life and relation to God, and reflecting the cosmopolitan Catholic tradition of her homeland. Now gathered in this volume, these works illustrate Margaret’s development from a troubled young lay sister into a woman of spiritual experience and authority.
Today, the surprisingly elastic form of the memoir embraces subjects that include dying, illness, loss, relationships, and self-awareness. Writing to reveal the inner self—the pilgrimage into one’s spiritual and/or religious nature—is a primary calling. Contemporary memoirists are exploring this field with innovative storytelling, rigorous craft, and new styles of confessional authorship. Now, Thomas Larson brings his expertise as a critic, reader, and teacher to the boldly evolving and improvisatory world of spiritual literature.
In his book-length essay Spirituality and the Writer, Larson surveys the literary insights of authors old and new who have shaped religious autobiography and spiritual memoir—from Augustine to Thomas Merton, from Peter Matthiessen to Cheryl Strayed. He holds them to an exacting standard: they must render transcendent experience in the writing itself. Only when the writer’s craft prevails can the fleeting and profound personal truths of the spirit be captured. Like its predecessor, Larson’s The Memoir and the Memoirist,Spirituality and the Writer will find a home in writing classrooms and book groups, and be a resource for students, teachers, and writers who seek guidance with exploring their spiritual lives.
Honorable Mention, Carr P. Collins Award for Best Book of Nonfiction, 2006
Grover Lewis was one of the defining voices of the New Journalism of the 1960s and 1970s. His wry, acutely observed, fluently written essays for Rolling Stone and the Village Voice set a standard for other writers of the time, including Hunter S. Thompson, Joe Eszterhas, Timothy Ferris, Chet Flippo, and Tim Cahill, who said of Lewis, "He was the best of us." Pioneering the "on location" reportage that has become a fixture of features about moviemaking and live music, Lewis cut through the celebrity hype and captured the real spirit of the counterculture, including its artificiality and surprising banality. Even today, his articles on Woody Guthrie, the Allman Brothers, the Rolling Stones concert at Altamont, directors Sam Peckinpah and John Huston, and the filming of The Last Picture Show and One Flew over the Cuckoo's Nest remain some of the finest writing ever done on popular culture.
To introduce Grover Lewis to a new generation of readers and collect his best work under one cover, this anthology contains articles he wrote for Rolling Stone, Village Voice, Playboy, Texas Monthly, and New West, as well as excerpts from his unfinished novel The Code of the West and his incomplete memoir Goodbye If You Call That Gone and poems from the volume I'll Be There in the Morning If I Live. Jan Reid and W. K. Stratton have selected and arranged the material around themes that preoccupied Lewis throughout his life—movies, music, and loss. The editors' biographical introduction, the foreword by Dave Hickey, and a remembrance by Robert Draper discuss how Lewis's early struggles to escape his working-class, anti-intellectual Texas roots for the world of ideas in books and movies made him a natural proponent of the counterculture that he chronicled so brilliantly. They also pay tribute to Lewis's groundbreaking talent as a stylist, whose unique voice deserves to be more widely known by today's readers.
One journalist curious about life in the taverns along the stagecoach lines in Wisconsin and northern Illinois from the early 1800s until the 1880s was Harry Ellsworth Cole. While he could not sample strong ales at all of the taverns he wrote about, Cole did study newspaper accounts, wrote hundreds of letters to families of tavern owners, read widely in regional history, and traveled extensively throughout the territory. The result, according to Brunet, is a "nostalgic, sometimes romantic, well-written, and easily digested social history."
At Cole’s death, historian Louise Phelps Kellogg edited his manuscript, which in this case involved turning his notes and illustrations into a book and publishing it with the Arthur H. Clark Company in 1930.
The Stars, the Earth, the River contains an excellent introduction by the translators, grounding the stories in Le Minh Khue's personal history. You simultaneously feel the rage of the author and the narrator when Khue disparagingly notes that the conversations around her center on luxuries, motor scooters, and business deals. Of what use, these stories ask, is such suffering? How can a culture honor the losses of war?
"Richard Stern is a literary treasure."
---Scott Turow
"Stern's new miscellany reveals a literary mind of the first order, thinking in elegant prose about dozens of interesting subjects."
---Philip Roth
"Stern is a great virtuoso. . . . [I]n an ailing literary culture, we should be grateful for a work like this and a career, too, spanning the American half-century."
---New York Times Book Review
"Stern's skill gives vitality to everything he treats."
---Edmund White, Los Angeles Times
"Like a gifted dancer in a small space, Stern has tremendous grace and ease on the page, executing dynamic turns and dips with a fine economy of motion and without sacrificing nuance."
---Booklist
Still on Call is the sixth and final collection of critically acclaimed novelist and educator Richard Stern. "Orderly miscellany" is the author's term for this aggregation of reflections, essays, reviews, reportage, commentary, and observations on writing and fellow writers, life, and contemporary culture.
The collection's three sections, Coasting, Posting, and Hosting, contain pieces that range from reflections on becoming a writer in the 1940s to assessments of such major writers and close colleagues as Saul Bellow, and Donald Justice to topical offerings from Stern's popular blog for the New Republic.
This wide-ranging collection is intended as the culmination of sixty years of the writing life but, first and foremost, as provocative entertainment. Stern is a prolific writer, and this selection of some of his highest-quality writing both educates and enthralls.
Richard Stern is the Helen A. Regenstein Emeritus Professor of English and of the Humanities at the University of Chicago and the author of nineteen works of fiction and nonfiction. His books include the novels A Father's Words and Golk, and, most recently, the collection What Is What Was. Stern has been the subject of two books: The Writings of Richard Stern: The Education of an Intellectual Everyman by David Garret Izzo and Richard Stern by James Schiffer.
Throughout American history there has been an oddly close relationship between the seductive appeals of narrative fiction and those of political rhetoric and advocacy. The aim of Stories of Nation: Fictions, Politics, and the American Experience is to explore what political narratives and the cultural poetics behind them reveal about the way our personal and intimate lives are deeply connected with the public arena and the political process.
The first section of the book, “The Politics of Fictions,” contains essays focused on works of fiction consciously dramatizing the political realm. The second group of contributions, “The Fictions of Politics,” explores structures and motifs from the narrative arts in discourses of American political life, and the interactions of public institutions and policy with forms of fictional representation, from novels to popular music and TV drama.
The essays presented here broaden the conversation in American literary studies about what constitutes “the political” in literature and culture by reintroducing the dimension of institutional or representative politics. Likewise, Stories of Nation aims to repair the lines of communication between the idea that all fiction is political, and the view that political speech is a subgenre of literature all the more in need of examination in a highly polarized society.
The range of perspectives in Stories of Nation will engage students of literature, popular culture, and politics alike.
Uncovering the pernicious narratives white people create to justify white supremacy and sustain racist oppression
The police murders of two Black men, Philando Castile and George Floyd, frame this searing exploration of the historical and fictional narratives that white America tells itself to justify and maintain white supremacy. From the country’s founding through the summer of Black Lives Matter in 2020, David Mura unmasks how white stories about race attempt to erase the brutality of the past and underpin systemic racism in the present.
Intertwining history, literature, ethics, and the deeply personal, Mura looks back to foundational narratives of white supremacy (Jefferson’s defense of slavery, Lincoln’s frequently minimized racism, and the establishment of Jim Crow) to show how white identity is based on shared belief in the pernicious myths, false histories, and racially segregated fictions that allow whites to deny their culpability in past atrocities and current inequities. White supremacy always insists white knowledge is superior to Black knowledge, Mura argues, and this belief dismisses the truths embodied in Black narratives.
Mura turns to literature, comparing the white savior portrayal of the film Amistad to the novelization of its script by the Black novelist Alexs Pate, which focuses on its African protagonists; depictions of slavery in Faulkner and Morrison; and race’s absence in the fiction of Jonathan Franzen and its inescapable presence in works by ZZ Packer, tracing the construction of Whiteness to willfully distorted portraits of race in America. In James Baldwin’s essays, Mura finds a response to this racial distortion and a way for Blacks and other BIPOC people to heal from the wounds of racism.
Taking readers beyond apology, contrition, or sadness, Mura attends to the persistent trauma racism has exacted and lays bare how deeply we need to change our racial narratives—what white people must do—to dissolve the myth of Whiteness and fully acknowledge the stories and experiences of Black Americans.
These 17 original essays, written for the sixth Eaton Conference on Fantasy and Science Fiction, explore the uses, origins, and forms of future fiction. The contributors are George E. Slusser, Paul Alkon, Marie-Hélène Huet, Howard V. Hendrix, Bradford Lyau, Gregory Benford, José Manuel Mota, Frederik Pohl, George Hay, Colin Greenland, John Huntington, Elizabeth Maslen, W. M. S. and Claire Russell, T. A. Shippey, Kenneth V. Bailey, Gary Kern, and Frank McConnell.
The essays address the question “Do we call up images of future societies in order to prepare for them, or to forestall their ever coming into existence?”
The literary jewel of Telegu civilization, translated for the first time into any language.
Manucaritramu, or The Story of Manu, by the early sixteenth-century poet Allasani Peddana, is the definitive literary monument of Telugu civilization and a powerful embodiment of the imperial culture of Vijayanagara, the last of the great premodern south Indian states. It is the story of Svarochisha Manu, who ruled over the previous cosmic age and who serves here as prototype for the first human being. Peddana explores the dramatic displacements, imaginative projections, and intricate workings of desire necessary for Manu’s birth and formation. The Story of Manu is also a book about kingship and its exigencies at the time of Krishnadevaraya, the most powerful of the Vijayanagara rulers, who was a close friend and patron of the poet.
The Story of Manu, presented in the Telugu script alongside the first translation into any language, is a true masterpiece of early modern south Indian literature.
The Balkans have been so troubled by violence and misunderstanding that we have the verb “balkanize,” meaning to break up into smaller, warring components. While some of the region’s artists and thinkers have invariably fallen into nationalistic tendencies, the twenty-two prominent authors represented here, from the erstwhile Yugoslavia and its neighbors Albania and Bulgaria, have chosen to attempt to bridge these divides. The essays, biographical sketches, and stories in The Stranger Next Door form a project of understanding that picks up where politics fail. The English-language translation joins editions of the book that appeared concurrently in all of the participating countries.
Studies in Criticism and Aesthetics, 1660–1800 was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In this volume nineteen contributors, in as many essays, discuss various aspects of critical and aesthetic development in the late seventeenth and the eighteenth centuries, from the time of Dryden to Wordsworth. This was a period in which traditional literary criticism progressed in important new directions and which saw the rise of aesthetic theory. The book is published in honor of Samuel Holt Monk, professor of English at the University of Minnesota, and distinguished American scholar in the field of eighteenth century English literature, literary criticism, and aesthetics.
The essays, all of which were written for this volume, analyze the literary theories and assumptions of some of the most important artists and critics of the time, as well as the aesthetic theories which influenced painting and literature. During the period under discussion, the progress of social and philosophical thought stimulated an intensive examination of the nature and function of art. Although neoclassical ideals dominated Restoration criticism and continued to influence Pope and later critics like Johnson and Reynolds, other tendencies were gaining ground, and throughout the eighteenth century the effort to reconcile a growing interest in "the pleasing emotions" with the tenets of classicism created criticism and aesthetic theory of extraordinary complexity. These essays illuminate that complexity without oversimplifying it.
The book is illustrated with reproductions of works of art of the period. In addition to the essays, there is a bibliography of Professor Monk's writings.
In the spring of 1916, as the workers for woman suffrage were laying plans for another attack on the bastions of male supremacy, the idea for The Sturdy Oak was born. Based on the rules of an old parlor game, wherein one person begins a narrative, another continues it, and another follows, this collaborative effort by the leading writers of the day, such as Fannie Hurst, Dorothy Canfield, and Kathleen Norris, is a satiric look at the gender roles of the time.
There is much in The Sturdy Oak that reflects the New York campaign for suffrage of 1916–1917. The setting is the fictional city of Whitewater in upstate New York. Idealistic reformers are pitted against a ruthless political machine, and the traditional picture of man as “the sturdy oak” supporting woman, “the clinging vine,” is ridiculed in the portrayal of an engaging couple, George and Genevieve Remington. Nonetheless, the purpose of the book is not primarily ridicule but reform, and the reader is taken through the steps by which a confirmed anti-suffragist is gradually transformed into a supporter of the suffrage cause.
Beyond its historical interest, The Sturdy Oak is imbued with a political and social currency that makes it applicable even today. And because of the skill of the writers of this composite novel, even eight decades after its initial publication The Sturdy Oak is still, as the New York Times said in 1917, “irresistibly readable.”
A modern translation of verses by Bullhe Shah, the iconic eighteenth-century Sufi poet, treasured by readers worldwide to this day.
The poetry of Bullhe Shah (d. 1758) is considered one of the glories of premodern Panjabi literature. Born in Uch, Panjab, in present-day Pakistan, Bullhe Shah drew profoundly upon Sufi mysticism in his writings. His lyrics, famous for their vivid style and outspoken denunciation of artificial religious divisions, have long been held in affection by Hindus, Muslims, and Sikhs, and they continue to win audiences today across national boundaries and in the global Panjabi diaspora. Indeed, many young people in South Asia are already acquainted—albeit unknowingly at times—with the iconic eighteenth-century Panjabi poet’s words through popular musical genres of the twenty-first century.
The striking new translation in English is presented alongside the Panjabi text, in the Gurmukhi script, re-edited on the basis of the best modern Pakistani and Indian editions. Bullhe Shah’s Sufi Lyrics thus offers at once the most complete and most approachable version of this great poet’s works yet available.
A modern translation of verses by Bullhe Shah, the iconic eighteenth-century Sufi poet, treasured by readers worldwide to this day.
Bullhe Shah’s work is among the glories of Panjabi literature, and the iconic eighteenth-century poet is widely regarded as a master of mystical Sufi poetry. His verses, famous for their vivid style and outspoken denunciation of artificial religious divisions, have long been beloved and continue to win audiences around the world. This striking new translation is the most authoritative and engaging introduction to an enduring South Asian classic.
From an eminent scholar, a spirited introduction to one of the great polymaths in the history of Europe.
Blaise Pascal (1623–1662) is best known in the English-speaking world for his contributions to mathematics and physics, with both a triangle and a law in fluid mechanics named after him. Meanwhile, the classic film My Night at Maud’s popularized Pascal’s wager, an invitation to faith that has inspired generations of theologians. Despite the immensity of his reputation, few read him outside French schools. In A Summer with Pascal, celebrated literary critic Antoine Compagnon opens our minds to a figure somehow both towering and ignored.
Compagnon provides a bird’s-eye view of Pascal’s life and significance, making this volume an ideal introduction. Still, scholars and neophytes alike will profit greatly from his masterful readings of the Pensées—a cornerstone of Western philosophy—and the Provincial Letters, in which Pascal advanced wry theological critiques of his contemporaries. The concise, taut chapters build upon one another, easing into writings often thought to be forbidding and dour. With Compagnon as our guide, these works are not just accessible but enchanting.
A Summer with Pascal brings the early modern thinker to life in the present. In an age of profound existential doubt and assaults on truth and reason, in which religion and science are so often crudely opposed, Pascal’s sophisticated commitment to both challenges us to meet the world with true intellectual vigor.
In the decades between the two World Wars, Greek writers and artists adopted surrealism both as an avant-garde means of overturning the stifling traditions of their classical heritage and also as a way of responding to the extremely unstable political situation in their country. Despite producing much first-rate work throughout the rest of the twentieth century, Greek surrealists have not been widely read outside of Greece. This volume seeks to remedy that omission by offering authoritative translations of the major works of the most important Greek surrealist writers.
Nikos Stabakis groups the Greek surrealists into three generations: the founders (such as Andreas Embirikos, Nikos Engonopoulos, and Nicolas Calas), the second generation, and the Pali Group, which formed around the magazine Pali. For each generation, he provides a very helpful introduction to the themes and concerns that animate their work, as well as concise biographies of each writer. Stabakis anthologizes translations of all the key surrealist works of each generation—poetry, prose, letters, and other documents—as well as a selection of rarer texts. His introduction to the volume places Greek surrealism within the context of the international movement, showing how Greek writers and artists used surrealism to express their own cultural and political realities.
Spike Gillespie tells it like it is. Whether she's writing about men, mothering or money, she cuts to the chase, unabashedly recounting the exhilaration and uncertainty she is forever encountering along the odd path that is her life. Gillespie approaches her subjects with a keen eye for curious details and a readiness to ask hard questions and give honest, even brutal, answers. Her willingness to "put it all down—the painful, the funny, the mundane, the embarrassing" has won legions of readers for her print and online columns.
Surrender (But Don't Give Yourself Away) collects forty-six essays, which initially appeared in such publications as the Washington Post, Austin Chronicle, Dallas Morning News, Bust, Gargoyle, and thecommonspace.org. As Gillespie describes them, "There are odes to my good days and bad, to trips I've taken—both real and metaphorical, to holiness found in unexpected places, to men I have not slept with, to learning to live sober. Too, there are miscellaneous ruminations on my alter-ego, my inner-teen, the floor mat in my car, a dead squirrel in the road." Binding these pieces is the thread of hope: there are moments the thread slips out of view only to resurface in some unexpected location. Sometimes it takes awhile, but Gillespie always relocates hope, discovering even in her darkest times that life is full of an embarrassment of riches.
“John Stratton Hawley miraculously manages to braid the charged erotic and divine qualities of Krishna, the many-named god, while introducing us—with subtle occasional rhyme—to a vividly particularized world of prayers and crocodile earrings, spiritual longing and love-struck bees.”
—Forrest Gander, winner of the Pulitzer Prize for Poetry
An award-winning translation of Hindi verses composed by one of India’s treasured poets.
The blind poet Surdas has been regarded as the epitome of artistry in Hindi verse from the end of the sixteenth century, when he lived, to the present day. His fame rests upon his remarkable refashioning of the widely known narrative of the Hindu deity Krishna and his lover Radha into lyrics that are at once elegant and approachable. Surdas’s popularity led to the proliferation, through an energetic oral tradition, of poems ascribed to him, known collectively as the Sūrsāgar.
This award-winning translation reconstructs the early tradition of Surdas’s verse—the poems that were known to the singers of Surdas’s own time as his. Here Surdas stands out with a clarity never before achieved.
Now frequently anthologized, Zora Neale Hurston's short story "Sweat" was first published in Firell, a legendary literary magazine of the Harlem Renaissance, whose sole issue appeared in November 1926. Among contributions by Gwendolyn Bennett, Countee Cullen, Langston Hughes, and Wallace Thurman, "Sweat" stood out both for its artistic accomplishment and its exploration of rural Southern black life. In "Sweat" Hurston claimed the voice that animates her mature fiction, notably the 1937 novel Their Eyes Were Watching God; the themes of marital conflict and the development of spiritual consciousness were introduced as well. "Sweat" exemplifies Hurston's lifelong concern with women's relation to language and the literary possibilities of black vernacular.
This casebook for the story includes an introduction by the editor, a chronology of the author's life, the authoritative text of "Sweat," and a second story, "The Gilded Six-Bits." Published in 1932, this second story was written after Hurston had spent years conducting fieldwork in the Southern United States. The volume also includes Hurston's groundbreaking 1934 essay, "Characteristics of Negro Expression," and excerpts from her autobiography, Dust Tracks on a Road. An article by folklorist Roger Abrahams provides additional cultural contexts for the story, as do selected blues and spirituals. Critical commentary comes from Alice Walker, who led the recovery of Hurston's work in the 1970s, Robert Hemenway, Henry Louis Gates, Gayl Jones, John Lowe, Kathryn Seidel, and Mary Helen Washington.
The Sāmaveda contains the earliest tradition of music from India, which is largely Rigvedic textual material in a form arranged for singing in the solemn Srauta ritual. Since the first editions by Theodor Benfey (1848) and Satyavrata Samasrami (1874–1899), there has been no complete, accented edition that has also included all of its important commentaries.
In this work, B. R. Sharma presents an accented edition that is based on manuscripts collected from all over India and Europe. Its Padapāṭha and the commentaries of Madhava, Bharatasvāmin, and Sayana comprise three volumes totaling 2,500 pages.
These volumes contain the Purvarcika and Uttarārcika portions of the text. The third volume, complete with the indexes and a detailed introduction to the whole work, will be published soon.
This edition is based on new manuscripts of this important treatise on classical Sanskrit poetics. It was composed by the famous eleventh-century King Bhoja of Malwa (West India), a patron of traditional learning.
The text has never received a complete critical edition. It is important not only because of the theoretical treatment of the erotic sentiment (śṛṅgāra) in classical Sanskrit texts. It is also a mine of quotations from extant and also from lost Sanskrit and Prakrit poetical texts.
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