How did ancient peoples experience, view, and portray the night? What was it like to live in the past when total nocturnal darkness was the norm? Archaeology of the Night explores the archaeology, anthropology, mythology, iconography, and epigraphy of nocturnal practices and questions the dominant models of daily ancient life. A diverse team of experienced scholars uses a variety of methods and resources to reconstruct how ancient peoples navigated the night and what their associated daily—and nightly—practices were.
This collection challenges modern ideas and misconceptions regarding the night and what darkness and night symbolized in the ancient world, and it highlights the inherent research bias in favor of “daytime” archaeology. Numerous case studies from around the world (including Oman, Mesoamerica, Scandinavia, Rome, Great Zimbabwe, Indus Valley, Peru, and Cahokia) illuminate subversive, social, ritual, domestic, and work activities, such as witchcraft, ceremonies, feasting, sleeping, nocturnal agriculture, and much more. Were there artifacts particularly associated with the night? Authors investigate individuals and groups (both real and mythological) who share a special connection to nighttime life.
Reconsidering the archaeological record, Archaeology of the Night views sites, artifacts, features, and cultures from a unique perspective. This book is relevant to anthropologists and archaeologists and also to scholars of human geography, history, astronomy, sensory studies, human biology, folklore, and mythology.
Contributors: Susan Alt, Anthony F. Aveni, Jane Eva Baxter, Shadreck Chirikure, Minette Church, Jeremy D. Coltman, Margaret Conkey, Tom Dillehay, Christine C. Dixon, Zenobie Garrett, Nancy Gonlin, Kathryn Kamp, Erin Halstad McGuire, Abigail Joy Moffett, Jerry D. Moore, Smiti Nathan, April Nowell, Scott C. Smith, Glenn R. Storey, Meghan Strong, Cynthia Van Gilder, Alexei Vranich, John C. Whittaker, Rita Wright
The captivity narrative of Mary Rowlandson, The Soveraignty and Goodness of God, published in 1682, is often considered the first “best seller” to be published in North America. Since then, it has long been read as a first-person account of the trials of Indian captivity. After an attack on the Puritan town of Lancaster, Massachusetts, in February 1676, Rowlandson was held prisoner for more than eleven weeks before eventually being ransomed. The account of her experiences, published six years later, soon took its place as an exemplar of the captivity narrative genre and a popular focal point of scholarly attention in the three hundred years since.
In this groundbreaking new book, Billy J. Stratton offers a critical examination of the narrative of Mary Rowlandson. Although it has long been thought that the book’s preface was written by the influential Puritan minister Increase Mather, Stratton’s research suggests that Mather was also deeply involved in the production of the narrative itself, which bears strong traces of a literary form that was already well established in Europe. As Stratton notes, the portrayal of Indian people as animalistic “savages” and of Rowlandson’s solace in Biblical exegesis served as a convenient alibi for the colonial aspirations of the Puritan leadership.
Stratton calls into question much that has been accepted as fact by scholars and historians over the last century, and re-centers the focus on the marginalized perspective of Native American people, including those whose land had been occupied by the Puritan settlers. In doing so, Stratton demands a careful reconsideration of the role that the captivity narrative—which was instrumental in shaping conceptions of “frontier warfare”—has played in the development of both American literary history and national identity.
Chicago by Day and Night: The Pleasure Seeker’s Guide to the Paris of America is an actual guidebook to Chicago for visitors to the World’s Columbian Exposition of 1893. This unauthorized handbook to the rowdy city outside the elegant fairgrounds explores pleasures high and low. The theaters and music, architectural glories, parks and boulevards, churches and synagogues, and other elevated pursuits the authors included in 1893 gave the book a veneer of high culture. But the book owed its popularity to its insider tips about Chicago's lurid and louche entertainments—drink, gambling, and sex. With a wink and tongue firmly in cheek, the original authors condemned Gilded Age vice while offering curious travelers precise directions to the dubious, decadent, and debauched quarters of the Windy City.
To introduce this compulsively readable, gift-quality journey through the Chicago of 1893, Chicago writers and humorists Paul Durica and Bill Savage have added an expert introduction to Gilded Age Chicago and the World's Columbian Exposition. Showcasing the first Ferris wheel, dazzling new electrification technologies, and exhibits from around the world, the Exposition was Chicago’s chance to prove it had risen from the ashes of the Great Fire and would claim a place among the world’s great cities.
Both a perfect keepsake or gift for Chicago travelers as well as an invaluable text for readers interested in the history of Chicago, the Midwest, or Gilded Age urban life, Chicago by Day and Night is a beloved classic of Chicago writing.
On an unusually cold January night in 1943, Martha James was murdered on a train in rural Oregon, near the Willamette Valley town of Albany. She was White, Southern, and newly-married to a Navy pilot. Despite inconsistent and contradictory eyewitness accounts, a young Black cook by the name of Robert Folkes, a trainman from South Central Los Angeles, was charged with the crime. The ensuing investigation and sensational murder trial captured national attention during a period of intense wartime fervor and extensive Black domestic migration. Folkes’ trial and controversial conviction—resulting in his execution by the state of Oregon—reshaped how Oregonians and others in the West thought about race, class, and privilege.
In this deeply researched and detailed account, Geier explores how race, gender, and class affected the attitudes of local town-folk, law officers, and courtroom jurors toward Black trainmen on the West Coast, at a time when militarization skewed perceptions of virtue, status, and authority. He delves into the working conditions and experiences of unionized Black trainmen in their “home and away” lives in Los Angeles and Portland, while illuminating the different ways that they, and other residents of Oregon and southern California, responded to news of “Oregon’s murdered war bride.” Reporters, civil rights activists, and curiosity seekers transformed the trial and appeals process into a public melodrama.
The investigation, trial, and conviction of Robert Folkes galvanized civil rights activists, labor organizers, and community leaders into challenging the flawed judicial process and ultimately the death penalty in Oregon, serving as a catalyst for civil rights activism that bridged rural and urban divides. The Color of Night will appeal to “true crime” aficionados, and to anyone interested in the history of race and labor relations, working conditions, community priorities, and attitudes toward the death penalty in the first half of the 20th century.
Working with the complete collection of Tender is the Night manuscripts in the Princeton University Library, Matthew J. Bruccoli reconstructs seventeen drafts and three versions of the novel to answer questions about F. Scott Fitzgerald’s major work that have long puzzled critics of modern literature.
In 1934, nine years after the appearance of The Great Gatsby, Fitzgerald permitted publication of Tender is the Night. Disappointed by its critical reception, Fitzgerald suggested that the structure of the novel should be drastically rearranged. In 1951, eleven years after his death, Charles Scribner’s Sons brought out an edition that incorporated Fitzgerald’s changes. Controversy arose over the merits of the two published versions and over the “nine lost years” in Fitzgerald’s life between his two great novels, years of rewriting before publication of Tender is the Night that resulted in six cartons of notes and drafts. After analyzing this wealth of material, Bruccoli reconstructs every working stage in the novel and reaches his own conclusions about which edition is the most valid.
Demons of the Night is a trove of haunting fiction—a gathering, for the first time in English, of the best nineteenth-century French fantastic tales. Featuring such authors as Balzac, Mérimée, Dumas, Verne, and Maupassant, this book offers readers familiar with the works of Edgar Allan Poe and E. T. A. Hoffman some of the most memorable stories in the genre. With its aura of the uncanny and the supernatural, the fantastic tale is a vehicle for exploring forbidden themes and the dark, irrational side of the human psyche.
The anthology opens with "Smarra, or the Demons of the Night," Nodier's 1821 tale of nightmare, vampirism, and compulsion, acclaimed as the first work in French literature to explore in depth the realm of dream and the unconscious. Other stories include Balzac's "The Red Inn," in which a crime is committed by one person in thought and another in deed, and Mérimée's superbly crafted mystery, "The Venus of Ille," which dramatizes the demonic power of a vengeful goddess of love emerging out of the pagan past. Gautier's protagonist in "The Dead in Love" develops an obsessive passion for a woman who has returned from beyond the grave, while the narrator of Maupassant's "The Horla" imagines himself a victim of psychic vampirism.
Joan Kessler has prepared new translations of nine of the thirteen tales in the volume, including Gérard de Nerval's odyssey of madness, "Aurélia," as well as two tales that have never before appeared in English. Kessler's introduction sets the background of these tales—the impact of the French Revolution and the Terror, the Romantics' fascination with the subconscious, and the influence of contemporary psychological and spiritual currents. Her essay illuminates how each of the authors in this collection used the fantastic to articulate his own haunting obsessions as well as his broader vision of human experience.
Good Morning and Good Night
David Wagoner University of Illinois Press, 2005 Library of Congress PS3545.A345G66 2005 | Dewey Decimal 811.54
By continually discovering what's new in each day without forgetting yesterday's surprises, David Wagoner has succeeded in constantly expanding his range in a career that spans more than fifty years. In Good Morning and Good Night, this range includes his usual rich forays into nature and personalities, and poetry for all ages, young and old, amidst a vivid array of memories and explorations. Readers will find homages to the poets that have inspired him, as well as the bountiful lyricism that has made Wagoner's poetry one of our most enduring sources of delight and joy.
Good Morning and Good Night features poems previously published in American Poetry Review, The American Scholar, Atlantic Monthly, Hudson Review, The Kenyon Review, New Letters, The New Republic, Poetry, Shenandoah, Southern Review, The Yale Review, and other leading literary journals.
Horses into the Night
Baltasar Porcel University of Arkansas Press, 1994 Library of Congress PC3941.P63C313 1995 | Dewey Decimal 849.9354
Belonging with the work of Gabriel Garcia Márquez, Carlos Fuentes, and Julio Cortázar, this richly drawn story runs the gamut from lyrical to violent to pastoral. Originally published in 1975, Cavalls cap a la fosca was hailed by the public and critics alike as perhaps the most incisive Catalan novel since the Spanish Civil War. It was honored with four prestigious literary prizes, including the 1976 Spanish Literary Critics’ Award
In Horses into the Night, the narrator’s search for his roots—especially for his father—among the myths, stories, lies, and truths of his family and hometown, strikes a universal chord. As the plot becomes increasingly textured with piracy, smuggling, the Inquisition, morbid familial relationships, eroticism, and occult occurrences, it is all but impossible to resist this epic story described by El Pais as a “Mediterranean novel flooded with light and bathed in darkness.”
House of Day, House of Night
Olga Tokarczuk Northwestern University Press, 2003 Library of Congress PG7179.O37D6613 2003 | Dewey Decimal 891.85373
The English translation of the prize-winning international bestseller
Winner of the Gunter Grass Prize
Nowa Ruda is a small town in Silesia, an area that has been a part of Poland, Germany, and the former Czechoslovakia in the past. When the narrator moves into the area, she and discovers everyone-and everything-has its own story. With the help of Marta, her enigmatic neighbor, the narrator accumulates these stories, tracing the history of Nowa Ruda from the founding of the town to the lives of its saints, from the caller who wins the radio quiz every day to the tale of the man who causes international tension when he dies on the border, one leg on the Polish side, the other on the Czech side. Each of the stories represents a brick and they interlock to reveal the immense monument that is the town. What emerges is the message that the history of any place--no matter how humble--is limitless, that by describing or digging at the roots of a life, a house, or a neighborhood, one can see all the connections, not only with one's self and one's dreams but also with all of the universe.
Richly imagined, weaving in anecdote with recipes and gossip, Tokarczuk's novel is an epic of a small place. Since its original publication in 1998 it has remained a bestseller in Poland. House of Day, House of Night is the English-language debut of one of Europe's best young writers.
Gazing up at the heavens from our backyards or a nearby field, most of us see an undifferentiated mess of stars—if, that is, we can see anything at all through the glow of light pollution. Today’s casual observer knows far less about the sky than did our ancestors, who depended on the sun and the moon to tell them the time and on the stars to guide them through the seas. Nowadays, we don’t need the sky, which is good, because we’ve made it far less accessible, hiding it behind the skyscrapers and the excessive artificial light of our cities.
How We See the Sky gives us back our knowledge of the sky, offering a fascinating overview of what can be seen there without the aid of a telescope. Thomas Hockey begins by scanning the horizon, explaining how the visible universe rotates through this horizon as night turns to day and season to season. Subsequent chapters explore the sun’s and moon’s respective motions through the celestial globe, as well as the appearance of solstices, eclipses, and planets, and how these are accounted for in different kinds of calendars. In every chapter, Hockey introduces the common vocabulary of today’s astronomers, uses examples past and present to explain them, and provides conceptual tools to help newcomers understand the topics he discusses.
Packed with illustrations and enlivened by historical anecdotes and literary references, How We See the Sky reacquaints us with the wonders to be found in our own backyards.
Before skyscrapers and streetlights glowed at all hours, American cities fell into inky blackness with each setting of the sun. But over the course of the nineteenth and early twentieth century, new technologies began to light up streets, sidewalks, buildings, and public spaces. Peter C. Baldwin’s evocative book depicts the changing experience of the urban night over this period, visiting a host of actors—scavengers, newsboys, and mashers alike—in the nocturnal city.
Baldwin examines work, crime, transportation, and leisure as he moves through the gaslight era, exploring the spread of modern police forces and the emergence of late-night entertainment, to the era of electricity, when social campaigns sought to remove women and children from public areas at night. While many people celebrated the transition from darkness to light as the arrival of twenty-four hours of daytime, Baldwin shows that certain social patterns remained, including the danger of street crime and the skewed gender profile of night work. Sweeping us from concert halls and brothels to streetcars and industrial forges, In the Watches of the Night is an illuminating study of a vital era in American urban history.
From 1947 to 1949, William Styron twice attempted to write a novel under the working title Inheritance of Night. On the third attempt he produced the award-winning Lie Down in Darkness, which when published in September 1951 established him as one of the most promising writers of his generation. Duke University Press is proud to publish, in facsimile form, the long-lost drafts of Styron's earliest versions of Lie Down in Darkness. Although Styron began the narrative twice, he realized both times that his writing was derivative and his characters not yet fully conceived. These drafts show young Stryon feeling his way into the story with various narrative voices and strategies, and attempting to work out his plot. Influence from William Faulkner, F. Scott Fitzgerald, and Robert Penn Warren is apparent in the text, and there is a character present named Marcus Bonner who is an early rendition of Stingo in Sophie's Choice. The typescript drafts of Inheritance of Night for many years were thought to have been lost, but in 1980 were discovered in the files of one of Styron's former literary agents. These drafts, eventually made their way to the archive of Styron's papers assembled at Duke University Library. This facsimile is published here in two different limited editions for collectors: a lettered, signed, and boxed edition (26 copies) and a numbered, signed edition (250). A general interest trade volume is also available. With a preface by Styron and an introduction by James L. W. West III, these drafts afford much insight into the creation of Lie Down in Darkness and the writing of a major twentieth-century American writer.
This entertaining collection of essays from professional scientists and naturalists provides an enlightening look at the lives of field biologists with a passion for the hidden world of nocturnal wildlife. Into the Night explores the harrowing, fascinating, amusing, and largely unheard personal experiences of scientists willing to forsake the safety of daylight to document the natural history of these uniquely adapted animals.
Contributors tell of confronting North American bears, cougars, and rattlesnakes; suffering red ctenid spider bites in the tropical rain forest; swimming through layers of feeding-frenzied hammerhead sharks in the Galapagos; evading the wrath of African bull elephants in South Africa; and delighting in the curious and gentle nature of foxes and unconditional acceptance by a family of owls. They describe “fire in the sky” across a treeless tundra, a sea ablaze with bioluminescent algae, nighttime earthquakes on the Pacific Rim, and hurricanes and erupting volcanoes on a Caribbean island.
Into the Night reveals rare and unexpected insights into nocturnal field research, illuminating experiences, discoveries, and challenges faced by intrepid biologists studying nature’s nightly marvels across the globe. This volume will be of interest to scientists and general readers alike.
The development of the modern world has brought with it rampant light pollution, destroying the ancient mystery of night and exacting a terrible price--wasted energy, damage to human health, and the sometimes fatal interruption of the life patterns of many species of wildlife. In Let There Be Night, twenty-nine writers, scientists, poets, and scholars share their personal experiences of night and help us to understand what we miss when dark skies and nocturnal wildness vanish. They also propose ways by which we might restore the beneficence of true night skies to our cities and our culture. Let There Be Night is an engaging examination, both intimate and enlightening, of a precious aspect of the natural world. The diverse voices and perceptions gathered here provide a statement of hope that he ancient magic of night can be returned to our lives.
The language of Molly Brodak’s first full-length collection, A Little Middle of the Night, is ever shifting, brightly sonic, and disarming while exploring the margin between nature and art, darkness and beauty, dreams and awakenings. As echoed in one epigraph from Emerson, these poems capture “the Exact and the Vast” of consciousness in intense lyric verse with an angular and almost scientific sensitivity. Here is a speaker intent on discovery: “Oh whole world, we choose / another.”
This award-winning collection simmers with wit as Brodak confronts tragedy, childhood losses, transcendent love, and the question of art itself. Tinged with a suffering—“I was the littlest wastebasket. / I was my own church. Except— / scared, scared”—that rises above personal sorrow, her fierce and painterly poems redefine nature and art and what exists between: “Lately, there is spangled shade in my space / and a cold apple orchard to tend in place of consciousness.” As Reginald Shepherd said about the poems in Brodak’s first collection, the chapbook Instructions for a Painting, her world is “‘small enough / to sing in all directions,’ and large enough to take us there.”
A Map of the Night
David Wagoner University of Illinois Press, 2008 Library of Congress PS3545.A345M37 2008 | Dewey Decimal 811.54
David Wagoner’s wide-ranging poetry buzzes and swells with life. Woods, streams, and fields fascinate him--he happily admits his devotion to Thoreau--but so do people and their habits, dear friends and family, the odd poet, and strangers who become even stranger when looked at closely. In this new collection, Wagoner catches the mixed feelings of a long drive, the sensations of walking against a current, the difficulty of writing poetry with noisily amorous neighbors, and many more uniquely familiar experiences.
The winner of the Drinking Gourd Chapbook Poetry Prize, Rodney Gomez’s collection Mouth Filled with Night employs familiar emblems of Mexican American identity to repeatedly subvert expectations while intensifying the dilemmas of affiliation. The poems run beyond more conventional ideas of agency, identity, and experience, creating a newly invigorated imaginative space. As a collection, Mouth Filled with Night gains particular momentum—a pitched anxiety that slowly grows throughout the volume—to create a poetic experience unique to the chapbook form.
Night and Darkness in Ancient Mesoamerica is the first volume to explicitly incorporate how nocturnal aspects of the natural world were imbued with deep cultural meanings and expressed by different peoples from various time periods in Mexico and Central America. Material culture, iconography, epigraphy, art history, ethnohistory, ethnographies, and anthropological theory are deftly used to illuminate dimensions of darkness and the night that are often neglected in reconstructions of the past.
The anthropological study of night and darkness enriches and strengthens the understanding of human behavior, power, economy, and the supernatural. In eleven case studies featuring the residents of Teotihuacan, the Classic period Maya, inhabitants of Rio Ulúa, and the Aztecs, the authors challenge archaeologists to consider the influence of the ignored dimension of the night and the role and expression of darkness on ancient behavior. Chapters examine the significance of eclipses, burials, tombs, and natural phenomena considered to be portals to the underworld; animals hunted at twilight; the use and ritual meaning of blindfolds; night-blooming plants; nocturnal foodways; fuel sources and lighting technology; and other connected practices.
Night and Darkness in Ancient Mesoamerica expands the scope of published research and media on the archaeology of the night. The book will be of interest to those who study the humanistic, anthropological, and archaeological aspects of the Aztec, Maya, Teotihuacanos, and southeastern Mesoamericans, as well as sensory archaeology, art history, material culture studies, anthropological archaeology, paleonutrition, socioeconomics, sociopolitics, epigraphy, mortuary studies, volcanology, and paleoethnobotany.
Contributors: Jeremy Coltman, Christine Dixon, Rachel Egan, Kirby Farah, Carolyn Freiwald, Nancy Gonlin, Julia Hendon, Cecelia Klein, Jeanne Lopiparo, Brian McKee, Jan Marie Olson, David M. Reed, Payson Sheets, Venicia Slotten, Michael Thomason, Randolph Widmer, W. Scott Zeleznik
Winner of The Paterson Prize for Books for Young People
Recommended by USA Today for Black History Month as "a blend of history and suspense."
In this novel for young adults, Josh knows there is something about the tall Victorian House on the Harpers Ferry Hill, the one his father grew up in, that he can’t quite put his finger on. And his impossible father won’t give him any clues. He’s hiding something.
And then there’s the famous John Brown. The one who all the tourists come to hear about. The one whose statue looms over Josh’s house. Why does he seem to haunt Josh and his whole family? When the fancy Richmonds come to town and move right next door, their presence forces Josh to find the answers and stand up to the secrets of the House, to his father—and to John Brown, too.
The historic village of Harpers Ferry comes alive in this young boy’s brave search for answers and a place of his own in this brilliant first novel by John Michael Cummings.
Night in Erg Chebbi and Other Stories spans the globe, taking us from Belfast to Brazil, Morocco to Manhattan. The teenaged daughter of an IRA assassin flees Northern Ireland only to end up in Baby Doc’s terrifying Haiti. An American woman who’s betrayed her brother only to lose him to a Taliban bullet comes face to face with her demons during a vacation in Morocco. A famed photojournalist must find a way to bring her life’s work to closure before she goes blind, a quest that changes her understanding of the very physics of light.
By turns innocent and canny, the characters of Night in Erg Chebbi and Other Stories must learn to improvise—quickly—when confronted with stark choices they never dreamed they’d have to make. Lyrical, immaculately constructed and deeply felt, these nine stories take us far beyond our comfort zones and deep into the wilds of the human heart.
In 2005, everything seemed possible in Afghanistan. The Taliban was gone. A new government had been elected. A cultural renaissance was energizing the country.
An actress visiting from Paris casually proposed to some Afghan actors in Kabul: Why not put on a play? The challenges were huge. It had been thirty years since men and women had appeared on stage together in Afghanistan. Was the country ready for it? Few Afghan actors had ever done theater. Did they even know how? They had performed only in films and television dramas.
Still, a company of actors gathered—among them a housewife, a policewoman, and a street kid turned film star. With no certainty of its outcome, they set out on a journey that would have life-changing consequences for all of them, and along the way lead to A Night in the Emperor’s Garden.
The first Russian to be awarded the Nobel Prize for literature, Ivan Bunin is often considered the last of the great Russian masters. Already renowned in Russia before the revolution, he fled the country in 1920 and lived the remainder of his life in France, where he continued to write for thirty years. Bunin made his name as a short-story writer with such masterpieces as "The Gentleman from San Francisco," the title piece in one of his collections and one of the stories in this volume. His last book of stories, Dark Avenues, was published in the 1940s. Among his longer works were a fictional autobiography, The Life of Arseniev (1930), and its sequel, Youth (1939), which were later collected into one volume, and two memoirs, The Accursed Days (1926), and Memories and Portraits (1950). He also wrote books on Tolstoy and Chekhov, both of whom he knew personally. Bunin, in fact, serves as a link-both personal and literary-between Tolstoy, whom he met as a young man, Chekhov, a close friend, and Vladimir Nabokov, who was influenced by Bunin early in his career and who moved in the same émigré literary circles in the twenties and thirties.
Bunin achieved his greatest mastery in the short story, and much of his finest work appears in this volume-the largest collection of his prose works ever published in English. In Robert Bowie's fine translation, with extensive annotations and a lengthy critical afterword, this work affords readers of English their first opportunity for a sustained encounter with a Russian classic, and one of the great writers of the twentieth century.
Reaching simultaneously into the realms of film and literature, this detailed exploration of The Night of the Hunter examines the genesis and the eclectic form of each work and the process of transformation by which the novel became a motion picture. It provides the first major study of the long-lost first-draft screenplay by James Agee and confronts a fifty-year controversy about the authorship of the film. This is a story of artistic convergence on many levels--of novelist and director, director and actor, and cinematic form and tastes. The novel, a 1953 debut from Davis Grubb, was a popular and critical success, remaining on the New York Times best-seller list for four months. Hollywood responded to its atmospheric lyricism, and in the hands of first time director Charles Laughton, the book became a film that is equal parts thriller, allegory, and fever dream, filled with slow, inexorable suspense. On the set, Laughton functioned both as an auteur and a collaborator to create his vision of the book, mixing cinematic flourishes both realistic and abstract in sometimes tense situations. The talents that clashed or came together along the road from book to movie make the final film a product of rich stylistic contradiction and rewarding complexity. Through biography, production history, and critical analysis of the novel and film, author Jeffrey Couchman makes the case that this initially overlooked cinematic gem is a prismatic work that continually reveals new aspects of itself.
In the spring of 1945 the Allies arrested the physicists they believed had worked on the German nuclear programme. Interned in an English country house owned by MI6, their conversations were secretly recorded. Operation Epsilon sought to determine how close Nazi Germany had come to building an atomic bomb. It was in this quiet setting – Farm Hall, near Cambridge – that the interned physicists first heard of the attack on Hiroshima. Aside from changing the course of history, that night was also one of great shock and personal defeat for the physicists – they were under the assumption that they alone had discovered nuclear fission. This is the story of Nazi Germany’s hunt for a nuclear bomb. It is a tale of the genius and guilt of lauded, respected scientists.
Every night Sherri hears noises that keep her awake. There’s a tap-tap, a tick-tock, a toot-toot, and a mysterious noise that stops as soon as she calls out to the rest of the household. One night she wakes up five times and even her pet dog and cat are tired the next day. What is this worrisome noise that disturbs everyone’s sleep?
Featuring warm and quirky illustrations by Abner Graboff, this is a charming and reassuring tale for any child who is frightened by noises in the night . . . with a delightful twist at the end.
Nothing But the Night
John Edward Williams University of Arkansas Press, 1990 Library of Congress PS3545.I5286N68 1990 | Dewey Decimal 813.54
First published in 1948, Nothing but the Night marked the auspicious beginning of John Williams' career as a novelist—a career that would go on to include the classics Stoner and the National Book Award winning Augustus. In the person of Arthur Maxley, Williams investigates the terror and the waywardness of a man who has suffered an early traumatic experience. As a child, Maxley witnessed a scene of such violence and of such a nature tat the evocation of Greek tragedy is inescapable. now, years later, we move through a single significant day in the grown Arthur Maxley's life, the day when he is to meet his father, who has been absent for many years. With rare economy and clarity, the story moves at an ever-increasing pace to its unforgettable end.
Once into the Night
Aurelie Sheehan, Foreword by Laird Hunt University of Alabama Press, 2019 Library of Congress PS3569.H392155 | Dewey Decimal 813.54
Winner of FC2’sCatherine L. Doctorow Innovative Fiction Prize
Stories that explore the potent and captivating boundaries between the real and the imaginary
Aurelie Sheehan’s Once into the Night is a collection of 57 brief stories—a fictional autobiography made of assumed identities and what-ifs. What is the difference between fiction and a lie? These stories dwell in a netherworld between memory and the imagination, exploring the nature of truthtelling.
Here the inner life is granted pride of place with authenticity found in misremembered childhood notebooks, invisible tattoos, and the love life of icemen. Radical in its conception of story, this collection blurs the line between fiction, poetry, and essay, reconceiving contemporary autofiction in its own witty, poignant vernacular. The stories intersect with and deviate from a “provable” life—a twin distinction that becomes the source of their power.
Vladimir Fedorovich Dzhunkovsky was a witness to Russia’s unfolding tragedy—from Tsar Alexander II’s Great Reforms, through world war, revolution, the rise of a new regime, and finally, his country’s descent into terror under Stalin. But Dzhunkovsky was not just a passive observer—he was an active participant in his troubled and turbulent times, often struggling against the tide. In the centennial of the Russian revolution, his story takes on special significance.
Highly readable, Overtaken by the Night captivates on many levels. It is a gripping biography of a man of many faces, a behind-the-curtain look at the inner workings of Russian politics at its highest levels, and also an engrossing account of ordinary Russians engulfed by swiftly moving political and social currents.
Dzhunkovsky served as a confidant in the tsar’s imperial court and as governor in Moscow province during and after the 1905 revolution. In 1913 he became the empire’s security chief, determined to reform the practices of the dreaded tsarist political police, the Okhrana. Dismissed from office for daring to investigate and warn Tsar Nicholas about Rasputin, his path led him into combat on the battlefields of the First World War. A natural leader of men, he held his units together even as revolution spilled into the trenches. Arrested as a counterrevolutionary in 1918 and imprisoned until 1921, Dzhunkovsky avoided execution thanks to an outpouring of public support and his reputation for treating revolutionaries with fairness and dignity. Although later he consulted for the Stalinist secret police, he was tried and executed in 1938 as an enemy of the people.
Based on Dzhunkovsky’s detailed memoirs and extensive archival research, Overtaken by the Night paints a fascinating picture of an important figure. Dzhunkovsky's incredible life reveals much about a long and crucial period in Russian history. It is a story of Russia in revolution reminiscent of the fictional Doctor Zhivago, but perhaps even more extraordinary for being true.
The Pages of Day and Night
Adonis Northwestern University Press, 2001 Library of Congress PJ7862.A519A24 2000 | Dewey Decimal 892.716
Calling poetry a "question that begets another question," Adonis sets into motion this stream of unending inquiry with difficult questions about exile, identity, language, politics, and religion. Repeatedly mentioned as a possible Nobel laureate, Adonis is a leading figure in twentieth-century Arabic poetry.
Restless and relentless, Adonis explores the pain and otherness of exile, a state so complete that absence replaces identity and becomes the exile's only presence. Exile can take many forms for the Arabic poet, who must practice his craft as an outsider, separated not only from the nation of his birth but from his own language; in the present as in the past, that exile can mean censorship, banishment, or death. Through these poems, Adonis gives an exquisite voice to the silence of absence.
Amid a whirlwind of drugs, sex, and other temptations of the “English” world, a group of Amish teenagers on their Rumschpringe test the limits of their parents’ religion to the breaking point. The murder of one and the abduction of another challenge Professor Michael Branden as he confronts the communal fear that the young people can never be brought home safely.
Along with Holmes County Sheriff Bruce Robertson and Pastor Cal Troyer, Professor Branden works against the clock to find a murderer and a kidnapper, and to break a drug ring operating in the county, determined, wherever the trail may lead him, to restore the shattered community. In his desperate search, Branden struggles with the reluctance of the Amish to trust the law to help them find the answers to their problems.
In A Prayer for the Night, his fifth Ohio Amish Mystery, P. L. Gaus deftly balances the pace and practices of Amish life in northern Ohio against the unfolding urgency of a hostage situation. As Gaus has proven before, the mystery gains from its exploration of the ever-widening chasm between the traditional life of the Amish people and their interaction with the outside world.
It is impossible to discuss what shamans are and what they do, contends Gregory G. Maskarinec, without knowing what shamans say. When Maskarinec took an interest in shaman rituals on his first visit to Nepal, he was told by many Nepalis and Westerners that the shamans he had encountered in the Himalayan foothills of western Nepal engaged in "meaningless mumblings." But in the course of several years of fieldwork he learned from the shamans that both their long, publicly chanted rituals and their whispered, secretive incantations are oral texts meticulously memorized through years of training. In The Rulings of the Night, he shows how the shamans, during their dramatic night-long performances, create the worlds of words in which shamans exist.
Maskarinec analyzes several complete repertoires of the texts that the shamans use to diagnose and treat afflictions that trouble their clients. Through these texts, they intervene to manipulate and change the world, replacing its unbalanced, inexpressible chaos with orderly, balanced, grammatical, and eloquently expressible states. They negotiate the relations between language, action, and social realities, providing a well-constructed and thoroughly consistent intentional universe—and only in that universe can all shaman actions and beliefs be fully comprehended.
Selected from 10 of his collections and two posthumous manuscripts, Small Hours of the Night is an English-only edition of the poems of Salvadorian revolutionary Roque Dalton. Written from exile and in prison, Dalton's work deftly balances love, death, revolution, and politics, with compelling language and seductive verse. The volume includes introductory essays by Dalton's friends and contemporaries: Ernesto Cardenal, Claribel Alegría, and Hardie St. Martin.
In this fascinating study, Chris Messenger posits F. Scott Fitzgerald as a great master of sentiment in modern American fiction. Sentimental forms both attracted and repelled Fitzgerald while defining his deepest impulses as a prose writer. Messenger demonstrates that the sentimental identities, refractions, and influences Fitzgerald explores in Tender Is the Night define key components in his affective life, which evolved into a powerful aesthetic that informed his vocation as a modernist writer.
In “Tender Is the Night” and F. Scott Fitzgerald’s Sentimental Identities, Messenger traces the roots of Fitzgerald’s writing career to the deaths of his two infant sisters a few months before his own birth. It was their loss, Fitzgerald wrote, that made him a writer. Messenger highlights how the loss of Fitzgerald’s siblings powerfully molded his relation to maternal nurturing and sympathy in Tender Is the Night as well as how it shaped the homosocial intimations of its care-giving protagonist, psychiatrist Dick Diver. A concomitant grief and mourning was fueled by Fitzgerald’s intimate and intense creative rivalry with his often-institutionalized wife, Zelda Sayre Fitzgerald.
While sentiment is a discredited strain in high modernism, Fitzgerald nevertheless embraced it in Tender Is the Night to fashion this most poignant and beautiful successor to The Great Gatsby. Fitzgerald’s aesthetic and emotional preoccupations came most vividly to life in this major novel. Messenger describes how Fitzgerald, creating his character Nicole Warren Diver as a victim of paternal incest, finally found the sentimental key to finishing his novel and uniting his vision of the two narratives of “saving” the two sisters and reimagining the agony of his wife and their marriage.
Fitzgerald’s productive quarrel with and through sentiment defines his career, and Messenger convincingly argues that Tender Is the Night should be placed alongside TheGreat Gatsby as a classic exemplar of the modern novel.
Pamela Finnegan provides a detailed criticism of a major novel written by one of Chile’s leading literary figures. She analyzes the symbolism and the use of language in The Obscene Bird of Night, showing that the novel’s world becomes an icon characterized by entropy, parody, and materiality. Her study concludes that all linguistic ordering fictionalizes, that the lack of spirituality within the novel’s world is symptomatic of language gone stale, and that blindness to this fact leads to dogma or solipsism, each counter-productive to communication and human endeavor. To revive the linguistic system, she argues, we must revive the creative power of language.
The Things That Fly in the Night explores images of vampirism in Caribbean and African diasporic folk traditions and in contemporary fiction. Giselle Liza Anatol focuses on the figure of the soucouyant, or Old Hag—an aged woman by day who sheds her skin during night’s darkest hours in order to fly about her community and suck the blood of her unwitting victims. In contrast to the glitz, glamour, and seductiveness of conventional depictions of the European vampire, the soucouyant triggers unease about old age and female power. Tracing relevant folklore through the English- and French-speaking Caribbean, the U.S. Deep South, and parts of West Africa, Anatol shows how tales of the nocturnal female bloodsuckers not only entertain and encourage obedience in pre-adolescent listeners, but also work to instill particular values about women’s “proper” place and behaviors in society at large.
Alongside traditional legends, Anatol considers the explosion of soucouyant and other vampire narratives among writers of Caribbean and African heritage who in the past twenty years have rejected the demonic image of the character and used her instead to urge for female mobility, racial and cultural empowerment, and anti colonial resistance. Texts include work by authors as diverse as Nobel Laureate Toni Morrison, U.S. National Book Award winner Edwidge Danticat, and science fiction/fantasy writers Octavia Butler and Nalo Hopkinson.
The Time: Night
Ludmilla Petrushevskaya Northwestern University Press, 2000
First published in Russia in 1992, The Time: Night is a darkly humorous depiction of the Soviet utopia's underbelly by one of the most brilliant stylists in contemporary Russian literature. Anna Andrianova is a trite poet and disastrous parent. Heading a household dominated by women, she can cling to the myth of the all-powerful yet suffering Russian matriarch. Challenging that myth is her headstrong daughter Alyona, a woman with appalling judgment and several illegitimate children, who both needs Anna and hates her.
To Know a Starry Night
Paul Bogard University of Nevada Press, 2021 Library of Congress TD195.L52B65 2021 | Dewey Decimal 551.566
“Against a backdrop rich with purples, blues, and shades of black, a blaze of stars glittering across a vast empty sky spurs our curiosity about the past, driving us inevitably to ponder the future. For millennia, the night sky has been a collective canvas for our stories, maps, traditions, beliefs, and discoveries. Over the course of time, continents have formed and eroded, sea levels have risen and fallen, the chemistry of our atmosphere has changed, and yet the daily cycle of light to dark has remained pretty much the same . . . until the last 100 years.” —Karen Trevino, from the foreword
No matter where we live, what language we speak, or what culture shapes our worldview, there is always the night. The darkness is a reminder of the ebb and flow, of an opportunity to recharge, of the movement of time. But how many of us have taken the time to truly know a starry night? To really know it.
Combining the lyrical writing of Paul Bogard with the stunning night-sky photography of Beau Rogers, To Know a Starry Night explores the powerful experience of being outside under a natural starry sky\--how important it is to human life, and how so many people don’t know this experience. As the night sky increasingly becomes flooded with artificial-light pollution, this poignant work helps us reconnect with the natural darkness of night, an experience that now, in our time, is fading from our lives.
Chairil Anway (1922–1949) was the primary architect of the Indonesian literary revolution in both poetry and prose. In a few intense years he forged almost ingle-handedly a vital, mature literary language in Bahasa Indonesia, a language which formally came to exist in 1928. Anway led the way for the many Indonesian writers who have emerged during the past fifty years.
This volume contains all that has survived of Anwar’s writing. It not longer need the sort of introduction it did soem thirty years ago when Burton Raffel first published English translations of Anwar’s work. Raffel now presents the complete poems and the small amount of surviving prose in new translations with new interpretations.
In the title story, in a Cape Town shantytown called District Six in the 1960s, Michael Adonis has lost his job at a metal sheet factory after an argument with a white supervisor. Illuminating the toxic effects of poverty, police brutality, and violence, the book paints a stark and unforgettable portrait of Adonis's emotional and physical destruction in apartheid South Africa. These works reveal the plight of non-whites in apartheid South Africa, laying bare the lives of the poor and the outcasts who filled the ghettoes and shantytowns.
Of French and Malagasy stock, involved in South African politics from an early age, Alex La Guma was arrested for treason with 155 others in 1956 and finally acquitted in 1960. During the State of Emergency following the Sharpeville massacre he was detained for five months. Continuing to write, he endured house arrest and solitary confinement. La Guma left South Africa as a refugee in 1966 and lived in exile in London and Havana. He died in 1986. A Walk in the Night and Other Stories reveals La Guma as one of the most important African writers of his time.