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Hallaj
Poems of a Sufi Martyr
Translated from the Arabic by Carl W. Ernst
Northwestern University Press, 2018

Winner of the Global Humanities Translation Prize

Hallaj
is the first authoritative translation of the Arabic poetry of Husayn ibn Mansur al-Hallaj, an early Sufi mystic. Despite his execution in Baghdad in 922 and the subsequent suppression of his work, Hallaj left an enduring literary and spiritual legacy that continues to inspire readers around the world. In Hallaj, Carl W. Ernst offers a definitive collection of 117 of Hallaj’s poems expertly translated for contemporary readers interested in Middle Eastern and Sufi poetry and spirituality.

Ernst’s fresh and direct translations reveal Hallaj’s wide range of themes and genres, from courtly love poems to metaphysical reflections on union with God. In a fascinating introduction, Ernst traces Hallaj’s dramatic story within classical Islamic civilization and early Arabic Sufi poetry. Setting himself apart by revealing Sufi secrets to the world, Hallaj was both celebrated and condemned for declaring: “I am the Truth.”

Expressing lyrics and ideas still heard in popular songs, the works of Hallaj remain vital and fresh even a thousand years after their composition. They reveal him as a master of spiritual poetry centuries before Rumi, who regarded Hallaj as a model. This unique collection makes it possible to appreciate the poems on their own, as part of the tragic legend of Hallaj, and as a formidable legacy of Middle Eastern culture.

The Global Humanities Translation Prize is awarded annually to a previously unpublished translation that strikes the delicate balance between scholarly rigor, aesthetic grace, and general readability, as judged by a rotating committee of Northwestern faculty, distinguished international scholars, writers, and public intellectuals. The Prize is organized by the Global Humanities Initiative, which is jointly supported by Northwestern University’s Buffett Institute for Global Studies and Kaplan Institute for the Humanities.

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Having Once Paused
Poems of Zen Master Ikkyu (1394-1481)
Ikkyu Sojun
University of Michigan Press, 2015
The influence of Zen Master Ikkyū (1394-1481) permeates the full field of medieval Japanese aesthetics. Though best known as a poet, he was central to the shaping and reshaping of practices in calligraphy, Noh theater, tea ceremony, and rock gardening, all of which now define Japan’s sense of its cultural tradition. Ikkyū is unique in Zen for letting his love of all appearance occupy him until it destroys any possibility for safety or seclusion.  In his poetry, he turns the eye of enlightenment to all phenomena: politics, pine trees, hard meditation practice, sex, wine. A lifelong outsider to religious establishments, Ikkyū nonetheless accepted Imperial command to rebuild his home temple, Daitoku-ji, destroyed in the civil wars. He died before that project was complete.
 
The poems in this collection express the unborn bliss of Ikkyū’s realization and equally his devastation at the horrors of this world. They are peopled with ancient Chinese poets, cantankerous Japanese Zen Masters, contemporary warlords, and his lover Mori, a blind musician who lived with Ikkyū the last eleven years of his life. All of this is his Buddhism. His awakening outshines the small idols of reason, emotion, self, desire, doctrine, even of Buddhism itself.
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Hecale. Hymns. Epigrams
Callimachus
Harvard University Press, 2022

The premier scholar-poet of the Hellenistic age.

Callimachus (ca. 303–ca. 235 BC), a proud and well-born native of Cyrene in Libya, came as a young man to the court of the Ptolemies at Alexandria, where he composed poetry for the royal family; helped establish the Library and Museum as a world center of literature, science, and scholarship; and wrote an estimated 800 volumes of poetry and prose on an astounding variety of subjects, including the Pinakes, a descriptive bibliography of the Library’s holdings in 120 volumes. Callimachus’ vast learning richly informs his poetry, which ranges broadly and reworks the language and generic properties of his predecessors in inventive, refined, and expressive ways. The “Callimachean” style, combining learning, elegance, and innovation and prizing brevity, clarity, lightness, and charm, served as an important model for later poets, not least at Rome for Catullus, Virgil, Horace, Ovid, and the elegists, among others.

This edition, which replaces the earlier Loeb editions by A. W. Mair (1921) and C. A. Trypanis (1954, 1958), presents all that currently survives of and about Callimachus and his works, including the ancient commentaries (Diegeseis) and scholia. Volume I contains Aetia, Iambi, and lyric poems; Volume II Hecale, Hymns, and Epigrams; and Volume III miscellaneous epics and elegies, other fragments, and testimonia, together with concordances and a general index. The Greek text is based mainly on Pfeiffer’s but enriched by subsequently published papyri and the judgment of later editors, and its notes and annotation are fully informed by current scholarship.

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Helen. Phoenician Women. Orestes
Euripides
Harvard University Press, 2002

Three plays by ancient Greece’s third great tragedian.

One of antiquity's greatest poets, Euripides has been prized in every age for the pathos, terror, and intellectual probing of his dramatic creations. The new Loeb Classical Library edition of his plays is in six volumes.

Helen, in Volume V, employs an alternative history in which a virtuous and faithful Helen was falsely blamed for the actions of her divinely created double in Troy. Here too are Phoenician Women, the battle between the sons of Oedipus for control of Thebes; and Orestes, recasting Orestes' lot after he murdered his mother.

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Hellenistic Collection
Philitas. Alexander of Aetolia. Hermesianax. Euphorion. Parthenius
J. L. Lightfoot
Harvard University Press, 2009

A miscellany of learned literature from Alexandria and beyond.

This volume presents a selection of Hellenistic prose and poetry, ranging chronologically from Philitas of Cos through Alexander of Aetolia and Hermesianax of Colophon to Euphorion of Chalcis and Parthenius of Nicaea, whose mythography Sufferings in Love is the major work in the collection. Knowledge of many of these texts has been increased by papyrological discoveries in the last century, yet few of them have appeared in English translation before now. Taken together, these works represent the geographic and stylistic range of a rich and inventive period in Classical literature.

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Hellenistic Poetry
An Anthology
Selected and translated by Barbara Hughes Fowler
University of Wisconsin Press, 1990

An accomplished poet and classical scholar, Barbara Hughes Fowler brings Hellenistic poetry to life for the contemporary reader.  Her selections engage us with the full range of Hellenistic poetic genres, styles, themes, and moods.  The anthology includes Fowler’s new translation of the entire Argonautica of Apollonius of Rhodes, and eight of Theocritus’ Idylls, including the beautiful, sensuous description of late summer in Idyll VII and the shrewdly comical description of two young matrons venturing into the noisy streets of Alexandria in Idyll XV.  There are translations of four hymns of Callimachus, as well as poems by Aratus, Bion, Herodas, Moschus, Pseudo-Moschus, and a substantial selection from the Greek Anthology.
    An ideal companion to her recently published book, The Hellenistic Aesthetic, Barbara Fowler’s Hellenistic Poetry is both a major contribution to classical studies and an invitation to all interested readers to discover the beauty and richness of Hellenistic poetry.

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The Hermaphrodite
Antonio Beccadelli
Harvard University Press, 2010
Antonio Beccadelli (1394–1471), known as Panormita from his native town of Palermo, was appointed court poet to Duke Filippo Maria Visconti (1429), crowned poet laureate by Emperor Sigismund (1432), and ended his days as panegyrist to King Alfonso V of Aragon and Naples, where he founded the first of the Renaissance Academies. The Hermaphrodite, his first work (1425–26), dedicated to Cosimo de' Medici, won him praise and condemnation. Beccadelli was a pioneer in revitalizing the Latin epigram for its powers of abuse and louche eroticism. Its open celebration of vice, particularly sodomy, earned it public burnings, threats of excommunication, banishment to the closed sections of libraries, and a devoted following. Likened to a "precious jewel in a dunghill," The Hermaphrodite combined the comic realism of Italian popular verse with the language of Martial to explore the underside of the early Renaissance.
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Heroides. Amores
Ovid
Harvard University Press, 1977

Two early works by the consummate Latin love poet.

Ovid (Publius Ovidius Naso, 43 BC–AD 17), born at Sulmo, studied rhetoric and law at Rome. Later he did considerable public service there, and otherwise devoted himself to poetry and to society. Famous at first, he offended the emperor Augustus by his Ars amatoria, and was banished because of this work and some other reason unknown to us, and dwelt in the cold and primitive town of Tomis on the Black Sea. He continued writing poetry, a kindly man, leading a temperate life. He died in exile.

Ovid's main surviving works are the Metamorphoses, a source of inspiration to artists and poets including Chaucer and Shakespeare; the Fasti, a poetic treatment of the Roman year of which Ovid finished only half; the Amores, love poems; the Ars amatoria, not moral but clever and in parts beautiful; Heroides, fictitious love letters by legendary women to absent husbands; and the dismal works written in exile: the Tristia, appeals to persons including his wife and also the emperor; and similar Epistulae ex Ponto. Poetry came naturally to Ovid, who at his best is lively, graphic and lucid.

The Loeb Classical Library edition of Ovid is in six volumes.

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Heros. Theophoroumene. Karchedonios. Kitharistes. Kolax. Koneiazomenai. Leukadia. Misoumenos. Perikeiromene. Perinthia
Menander
Harvard University Press, 1979

The master of New Comedy.

Menander (?344/3–292/1 BC) of Athens, the leading playwright of the New Comedy, wrote more than 100 plays. Many of his comedies were adapted by Roman dramatists. By the middle ages, however, his works were lost. Then, at the end of the nineteenth century, papyrus texts, preserved from antiquity by the dry heat of Egypt, began to be discovered. These have yielded so far one play virtually complete (Dyskolos), large continuous portions of four more (Aspis, Epitrepontes, Perikeiromene, Samia), and sizable chunks of many others. Menander remains a paradox: artificial plots based on unlikely but conventional coincidences, enlivened by individualized characters, realistic situations, and at times deeply moving dialogue.

Volume I of Geoffrey Arnott’s three-volume edition of Menander contains six plays, including Dyskolos (The Peevish Fellow), which won first prize in Athens in 317 BC, and Dis Exapaton (Twice a Swindler), the original of Plautus’ Two Bacchises. Ten plays are in Volume II, among them the recently published fragments of Misoumenos (The Man She Hated), which sympathetically presents the flawed relationship of a soldier and a captive girl; and the surviving half of Perikeiromene (The Girl with Her Hair Cut Short), a comedy of mistaken identity and lovers’ quarrel. Volume III begins with Samia (The Woman from Samos), which has come down to us nearly complete. Here too are the very substantial extant portions of Sikyonioi (The Sicyonians) and Phasma (The Apparition), as well as Synaristosai (Women Lunching Together), on which Plautus’ Cistellaria was based.

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Histrionics
Three Plays
Thomas Bernhard
University of Chicago Press, 1990
Although he is best known in the United States as a novelist, Austrian writer Thomas Bernhard has been hailed in Europe as one of the most significant and controversial of contemporary playwrights. George Steiner has predicted that the current era in German-language literature will be recognized as the "Bernhard period"; John Updike compares Bernhard with Kafka, Grass, Handke, and Weiss. His dark, absurdist plays can be likened to those of Beckett and Pinter, but their cultural and political concerns are distinctly Bernhard's. While Austria's recent political history lends particular credibility to Bernhard's satire, his criticisms are directed at the modern world generally; his plays grapple with questions of totalitarianism and the subjection of the individual and with notions of reality and appearance.
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Holy Terrors
Latin American Women Perform
Diana Taylor and Roselyn Costantino, eds.
Duke University Press, 2003
Holy Terrors presents exemplary original work by fourteen of Latin America’s foremost contemporary women theatre and performance artists. Many of the pieces—including one-act plays, manifestos, and lyrics—appear in English for the first time. From Griselda Gambaro, Argentina's most widely recognized playwright, to such renowned performers as Brazil's Denise Stoklos and Mexico’s Jesusa Rodríguez, these women are involved in some of Latin America's most important aesthetic and political movements. Of varied racial and ethnic backgrounds, they come from across Latin America—Argentina, Brazil, Mexico, Chile, Colombia, Puerto Rico, Peru, and Cuba. This volume is generously illustrated with over seventy images. A number of the performance pieces are complemented by essays providing context and analysis.

The performance pieces in Holy Terrors are powerful testimonies to the artists' political and personal struggles. These women confront patriarchy, racism, and repressive government regimes and challenge brutality and corruption through a variety of artistic genres. Several have formed theatre collectives—among them FOMMA (a Mayan women’s theatre company in Chiapas) and El Teatro de la máscara in Colombia. Some draw from cabaret and ‘frivolous’ theatre traditions to create intense and humorous performances that challenge church and state. Engaging in self-mutilation and abandoning traditional dress, others use their bodies as the platforms on which to stage their defiant critiques of injustice. Holy Terrors is a unique English-language presentation of some of Latin America's fiercest, most provocative art.

Contributors
Sabina Berman
Tania Bruguera
Petrona de la Cruz Cruz
Diamela Eltit
Griselda Gambaro
Astrid Hadad
Teresa Hernández
Rosa Luisa Márquez
Teresa Ralli
Diana Raznovich
Jesusa Rodríguez
Denise Stoklos
Katia Tirado
Ema Villanueva

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Homage to the Lame Wolf
Selected Poems
Vasko Popa
Oberlin College Press, 1987
Our first version of this selection from one of Eastern Europe's major figures sold out. The new version adds two sequences--"Give Me Back My Rage" and "Heaven's Ring"--as well as some previously unpublished sections of the justly famous series, "The Little Box." Simic and Popa are a perfect match. A book for surrealists, mythographers, postmodernists, scientists, and lovers of poetry and games. Winner of the PEN Translation Prize.
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Homeric Hymns. Epic Cycle. Homerica
Hesiod
Harvard University Press, 1982

Hesiod (Hesiodus), an epic poet apparently of the eighth century BC, was born in Asia Minor but moved to Boeotia in central Greece. He was regarded by later Greeks as a contemporary of Homer.

Three works survive under Hesiod's name: (1) "Works and Days," addressed to his brother. In it he gives us the allegories of the two Strifes, and the myth of Pandora; stresses that every man must work; describes the accepted Five Ages of the world; delivers moral advice; surveys in splendid style a year's work on a farm; gives precepts on navigation; and propounds lucky and unlucky days. (2) "Theogony," a religious work about the rise of the gods and the universe from Chaos to the triumph of Zeus, and about the progeny of Zeus and of goddesses in union with mortal men. (3) "The Shield" (not by Hesiod), an extract from a "Catalogue of Women," the subject being Alcmena and her son Heracles and his contest with Cycnus, with a description of Heracles' shield. All three works are of great literary interest.

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Homeric Hymns. Homeric Apocrypha. Lives of Homer
Martin L. West
Harvard University Press, 2003

Invocations, curiosities, and biographies connected with the famous Greek bard.

Performances of Greek epics customarily began with a hymn to a god or goddess—as Hesiod's Theogony and Works and Days do. A collection of thirty-three such poems has come down to us from antiquity under the title “Hymns of Homer.” This Loeb Classical Library volume contains, in addition to the Hymns, fragments of five comic poems that were connected with Homer’s name in or just after the Classical period (but are not today believed to be by the author of the Iliad and the Odyssey). Here too is a collection of ancient accounts of the poet’s life.

The Hymns range widely in length: two are over 500 lines long; several run only a half dozen lines. Among the longest are the hymn to Demeter, which tells the foundational story of the Eleusinian Mysteries; and to Hermes, distinctive in being amusing. The comic poems gathered as Homeric Apocrypha include Margites, the Battle of Frogs and Mice, and, for the first time in English, a fragment of a perhaps earlier poem of the same type called Battle of the Weasel and the Mice. The edition of Lives of Homer contains The Contest of Homer and Hesiod and nine other biographical accounts, translated into English for the first time.

Martin West’s faithful and pleasing translations are fully annotated; his freshly edited texts offer new solutions to a number of textual puzzles.

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The Homilies of Saint Jerome, Volume 1 (1–59 on the Psalms)
Saint Jerome
Catholic University of America Press, 1965
This volume contains fifty-nine homilies preached by St. Jerome on selected Psalms.
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Homilies on Genesis, 1–17
Saint John Chrysostom
Catholic University of America Press, 1986
No description available
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Homilies on Genesis and Exodus
Origen
Catholic University of America Press, 1982
No description available
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Homilies on Isaiah
Elizabeth Ann Dively Origen
Catholic University of America Press, 2021
Hans Urs von Balthasar places Origen of Alexandria “in rank . . . beside Augustine and Thomas” in “importance for the history of Christian thought,” explaining that his “brilliance” has captivated theologians throughout history (Spirit and Fire, 1984, 1). This brilliance shines forth in his nine extant homilies on Isaiah, in which he employs his theology of the Trinity and Christ to exhort his audience to play their crucial role in salvation history. Origen reads Isaiah’s vision of the Lord and two seraphim in Isaiah 6 allegorically as representing the Trinity, and this theme runs throughout the nine homilies. His representation of the seraphim as the Son and Holy Spirit around the throne of the Father brought early accusations that Origen was a proto-Arian subordinationist, followed by a pointed condemnation by Emperor Justinian in 553. These homilies, originally delivered between 245 and 248, are extant only in a fourth-century Latin translation. Though St. Jerome, likely because of these controversies, does not identify himself as the Latin translator, the evidence overwhelmingly points to his pen, and his reliability in conveying Origen’s authentic meaning is well documented. If one sets aside the questionable charges of subordinationism, these homilies, expounding on passages from Judges 6-10, come alive with Origen’s legacy of presenting Christ as the central figure of the soul’s ascent to God. Reading allegorically the two seraphim to be Jesus and the Holy Spirit around the Father’s throne, Origen draws a picture of the Trinity as a tightly knit whole in which the Son and the Holy Spirit eternally sing the Trisagion (“Holy, holy, holy”) to each other and the Father about the divine truths of God’s nature, allowing the part of their song that conveys the “middle things” of salvation history to be heard by creation. The “second seraph” is the Son, or Jesus, who descends holding a hot coal, or Scripture, from the altar of the throne, with which he cleanses Isaiah’s lips, or the believer’s soul. Origen employs his signature exegetical method of allegory and typology through the lens of the threefold meaning of Scripture to emphasize to his hearers that Christ is the deliverer, the content, and the reward of the healing Word. He repeatedly assures them that those who submit to Scripture will enter into salvation history’s cycle of cleansing from sin, growth in virtue, and ever-deepening knowledge of God. As a result, they will become like Christ and thus will be prepared to join the Trinity for all eternity at the heavenly wedding feast.
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Homilies on Jeremiah and 1 Kings 28
Origen
Catholic University of America Press, 1998
Presented in this volume are the remains of twenty-two homilies and a collection of fragments delivered by Origen around A.D. 240. The original texts of the homilies on Jeremiah have not come down to us completely; two of the homilies survive only in a Latin translation of St. Jerome. The homily on I Kings 28, while not a part of the homilies on Jeremiah, deals with the Witch of Endor and has been added to this volume in virtue of its own inherent interest.
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Homilies on Joshua
Origen
Catholic University of America Press, 2002
No description available
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Homilies on Judges
Origen
Catholic University of America Press, 2010
No description available
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Homilies on Leviticus, 1-16
Origen
Catholic University of America Press, 1990
No description available
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Homilies on Luke
Origen
Catholic University of America Press, 1996
No description available
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Homilies on Psalms, 36-38
Michael Origen
Catholic University of America Press, 2023
This volume provides the first English translation of the nine extant homilies on Psalms 36[37]–38[39] preached by Origen (d. 253/4) to his congregation at Caesarea as arranged and translated for Latin readers by his admirer, Rufinus of Aquileia (d. 411). These homilies are among the earliest extant examples of patristic preaching on the Psalter. The interpretation offered throughout these homilies, which is almost wholly moral, reflects Origen’s understanding of the “soul” of the scriptural text. These homilies provide a glimpse of Origen’s account of scriptural meaning, outlined in De principiis 4, in pastoral practice. In his preaching, Origen offers a vision of the Christian life as centered on the soul’s continuing conversion, growth, and progress, with particular reference to and within the context of the Church. The life of the believer is one of combat and struggle with powers opposed to Christ. It is Christ, as the divine Physician, who offers healing to the one who is wounded and ailing from sin, and it is Christ, as Wisdom and Word of God, who instructs and educates the believer in the life of the Spirit. These homilies reveal the substantial coherence of Origen’s thought, as expressed in the more speculative De principiis and as revealed in the more elaborate, nuptial theology found in his Commentary on the Canticle. This volume includes a robust introduction and complements the work of Joseph Trigg, whose translation from the original Greek of the cache of homilies discovered in Codex Monacensis 314 has recently appeared in this series.
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Humanist Comedies
Edited and translated by Gary R. Grund
Harvard University Press, 2005
The five comedies included in this volume, three of which have never been translated into English, present a characteristic sampling of comic form as it was interpreted by some of the most important Latin humanists of the Quattrocento. Pier Paolo Vergerio's Paulus (ca. 1390), Philodoxeos fabula (1424) by Leon Battista Alberti, Philogenia et Epiphebus (ca. 1440) by Ugolino Pisani, Chrysis (1444) by Aeneas Silvius Piccolomini (later Pope Pius II), and Tommaso Medio's Epirota (1483) span nearly the entire period and are a valuable gauge of its changing literary tastes, tastes nourished by the ancient comic drama of Plautus and Terence. While the earliest of the humanist comedies seem almost medieval in their moralism, the didacticism of the pulpit is cleverly seasoned with the unabashed realism of the brothel to produce a mixture that looks forward to the more modern, sophisticated comedies written in the vernacular during the Cinquecento.
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Humanist Tragedies
Gary R. Grund
Harvard University Press, 2011

Humanist Tragedies, like its companion volume Humanist Comedies (ITRL 19), contains a representative sampling of Latin drama written during the Tre- and Quattrocento. The five tragedies included in this volume—Albertino Mussato’s Ecerinis (1314), Antonio Loschi’s Achilleis (ca. 1387), Gregorio Corraro’s Progne (ca. 1429), Leonardo Dati’s Hyempsal (ca. 1442), and Marcellino Verardi’s Fernandus servatus (1493)—were nourished by a potent amalgam of classical, medieval, and pre-humanist sources.

Just as Latin humanist comedy depended heavily upon Plautus and Terence, humanist tragedy drew its inspiration primarily from the nine plays of Seneca. Dramatists also used ancient legends or contemporary history as source material, dramatizing them as Seneca might have done. Some even attempted to outdo Seneca, exaggerating the bloody sensationalism, the bombastic rhetoric, and the insistence on retributive justice for which he was famous.

Unlike comedy, which drew its narratives from ordinary life and from love, sex, money, and manners, tragedy was not concerned with human foibles but with distant tragic heroes. The impossible choices faced by larger-than-life men and women whose heroic destinies hung in the balance gave tragedy a considerably shorter shelf-life than comedies. While comedy stayed relevant, tragedy became problematic, evolving into the hybrid genre of tragicomedy by the end of the Quattrocento. Humanist tragedy testifies to the momentous changes in literary and cultural conventions that occurred during the Renaissance.

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Hunting Cockroaches and Other Plays
Janusz Glowacki
Northwestern University Press, 1990
Janusz Glowacki's highly theatrical and often hilarious works concern the immigrant experience of the Eastern European in America, the struggles of the individual in a repressive state, and the manipulations of political and social power. The girls' reform school of Cinders, the Lower East Side tenement of Hunting Cockroaches, and the Norwegian court littered with bodies in Fortinbras Gets Drunk serve as backdrops for Glowacki's tragicomic explorations of the play within the play of contemporary existence.
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Hurricanes and Carnivals
Essays by Chicanos, Pochos, Pachucos, Mexicanos, and Expatriates
Edited by Lee Gutkind, with an Introduction by Ilan Stavans
University of Arizona Press, 2007
“In Mexico,” writes Ilan Stavans in the introduction to this provocative new collection on Mexican culture and politics, “[the essay] is embraced as passionately as a sport.” While the American essay may be personal and confessional or erudite and academic, it is presumed to be truthful. By contrast, the Mexican essay pushes the boundaries between fact and fiction as writers seek to make their opinions heard—in literary journals, in newspapers, and even on cereal boxes. “What is real and what isn’t in a Mexican essay, only God knows,” concludes Stavans. In Hurricanes and Carnivals, Lee Gutkind, a pioneer in the teaching of creative nonfiction, brings together fifteen essays by Mexican, Mexican American, and Latin American writers that push the boundaries of style and form, showing that navigating “truth” is anything but clear-cut. Although creative nonfiction is widely thought to be an American art form, this collection proves otherwise. By blending fact and fiction, story and fantasy, history and mythology, these writers and others push the bounds of the essay to present a vision of Mexico rarely seen from this side of the border. Addressing topics that include immigration, politics, ecology, violence, family, and sexuality, they take literary license on a whirlwind adventure. C. M. Mayo shows us Mexico City as seen through the eyes of her pug, Picadou; Juan Villoro examines modern Mexico through the lens of demography; Homero Aridjis uses the plight of nesting sea turtles to document a slowly changing Mexican attitude toward natural resources; and Sam Quinones documents the decline of beauty-queen addiction in Mazatlán and tells us about the flower festivals where, according to lore, only two things matter: hurricanes and carnivals. For readers interested in a literary view of contemporary Mexico, as well as students of the creative nonfiction genre, this volume is essential
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The Hymns on Faith
Jeffrey T. St. Ephrem the Syrian
Catholic University of America Press, 2015
Ephrem is known for a theology that relies heavily on symbol and for a keen awareness of Jewish exegetical traditions. Yet he is also our earliest source for the reception of Nicaea among Syriac-speaking Christians. It is in his eighty-seven Hymns on Faith - the longest extant piece of early Syriac literature - that he develops his arguments against subordinationist christologies most fully. These hymns, most likely delivered orally and compiled after the author's death, were composed in Nisibis and Edessa between the 350s ans 373. They reveal an author conversant with Christological debates further to the west, but responding in a uniquely Syriac idiom. As such, they form an essential source for reconstructing the development of pro-Nicene thought in the eastern Mediterranean.
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