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A fresh exploration of the humor, irony, and hidden depths of Mark Twain's literary imagination.

Through a close reading of the fictions–short and long, early and late–Griffith contends that Mark Twain's strength lay not in comedy or in satire or (as the 19th century understood the term) even in the practice of humor. Rather his genius lay in the joke, specifically the "sick joke." For all his finesse and seeming variety, Twain tells the same joke, with its single cast of doomed and damned characters, its single dead-end conclusion, over and over endlessly.

As he attempted to attain the comic resolution and comically transfigured characters he yearned for, Twain forever played, for Griffith, the role of the Achilles of Zeno's Paradox. Like the tortoise that Achilles cannot overtake in Zeno's tale, the richness of comic life forever remained outside Twain's grasp.

The last third of Griffith's study draws parallels between Mark Twain and Herman Melville. Although the two authors never met and seem not to have read each other's works, they labored under the sense of what, in Moby-Dick, Ishmael calls "a vast practical joke . . . at nobody's expense but [one's] own." The laughter occasioned by this cosmic conspiracy shapes the career of Huckleberry Finn fully as much as it does Ishmael's voyage. Out of the laughter are generated the respective obsessions of Captain Ahab and Bartleby, of Pudd'nhead Wilson and Hadleyburg. Reduced at last to a dry mock, the laughter is the prevailing tone of both Billy Budd and The Mysterious Stranger Manuscripts.

Across Continents employs Goan literary subjectivity as epistemology to critique a specific limitation of postcolonial thought, one that does not account for the situations or afterlife of Portuguese colonialism. Employing various novels, R. Benedito Ferrão considers the relationship between Portuguese and British colonialisms through the displacement of Goan characters betwixt Asia, Africa, Europe, and North America. The experiences of these figures in dealing with the processes of nation, statecraft, and political intrigue at various historical junctures offer a comparative understanding of the tumultuous conditions of postcoloniality in the making of marginalized subjectivity across continents.

In examining the mobility and diversity of Goan experiences as represented in works by Salman Rushdie, M. G. Vassanji, Roger King, and Margaret Mascarenhas, this book calls into question limits of citizenship, nationality, and notions of belonging. Ferrão centers seemingly minor figures to exemplify the effects of colonial and postcolonial changes that connect diverse geopolities. 

The autobiography of the influential American poet

This intimate and provocative autobiography, first published in 1936, reveals the innermost thoughts of a great American poet. Edgar Lee Masters was a transitional figure in American literature with one foot planted in the nineteenth century and the other firmly placed on the path of what we now think of as the modern period.

Masters expounds on his own development as a poet and as a human being; he shares his views on American culture, politics, and the literary criticism of the times. Masters's friends and acquaintances discussed here include some of the most prominent writers and politicians of his age. And he reflects on his life events that shaped, haunted, and inspired his writings of the classic Spoon River Anthology.

In the first comprehensive study of plays written for male characters only, Robert Vorlicky offers a new theory that links cultural codes governing gender and the conventions determining dramatic form. Act Like a Manlooks at a range of plays, including those by O'Neill, Albee, Mamet, Baraka, and Rabe as well as new works by Philip Kan Gotanda, Alonzo Lamont, and Robin Swados, to examine how dialogue within these works reflects the social codes of male behavior and inhibits individualization among men.

Plays in which women are absent are often characterized by the location of a male "other"—a female presence who distances himself from the dominant, impersonal masculine ethos and thereby becomes a facilitator of personal communication. The potential authority of this figure is so powerful that its presence becomes the primary determinant of the quality of men's interaction and of the range of male subjectivities possible. This formulation becomes the basis of an alternative theory of American dramatic construction, one that challenges traditional dramaturgical notions of realism.

The book will appeal to scholars and students interested in drama, gender, race, sexuality, and American culture, as well as playwrights, teachers of playwrights, and artistic directors. It includes an extensive bibliography of more than four hundred male-cast plays and monodramas, the first such compilation and one that points to further research into a previously unexplored area.

A collection of essays highlighting the pervasive, yet often unacknowledged, role of Romantic poetry and poetics on modern and contemporary innovative poetry.

Literary history generally locates the primary movement toward poetic innovation in twentieth-century modernism, an impulse carried out against a supposedly enervated “late-Romantic” poetry of the nineteenth century. The original essays in Active Romanticism challenge this interpretation by tracing the fundamental continuities between Romanticism’s poetic and political radicalism and the experimental movements in poetry from the late nineteenth century to the present day.

According to editors July Carr and Jeffrey C. Robinson, “active romanticism” is a poetic response, direct or indirect, to pressing social issues and an attempt to redress forms of ideological repression; at its core, “active romanticism” champions democratic pluralism and confronts ideologies that suppress the evidence of pluralism. “Poetry fetter’d, fetters the human race,” declared poet William Blake at the beginning of the nineteenth century. No other statement from the era of the French Revolution marks with such terseness the challenge for poetry to participate in the liberation of human society from forms of inequality and invisibility. No other statement insists so vividly that a poetic event pushing for social progress demands the unfettering of traditional, customary poetic form and language.

Bringing together work by well-known writers and critics, ranging from scholarly studies to poets’ testimonials, Active Romanticism shows Romantic poetry not to be the sclerotic corpse against which the avant-garde reacted but rather the wellspring from which it flowed.

Offering a fundamental rethinking of the history of modern poetry, Carr and Robinson have grouped together in this collection a variety of essays that confirm the existence of Romanticism as an ongoing mode of poetic production that is innovative and dynamic, a continuation of the nineteenth-century Romantic tradition, and a form that reacts and renews itself at any given moment of perceived social crisis.

This is the third volume in the Oratory of Classical Greece series. Published over several years, the series presents all of the surviving speeches from the late fifth and fourth centuries B.C. in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.

Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, and other aspects of Athenian culture that have been largely ignored: women and family life, slavery, and religion, to name just a few.

This volume contains the three surviving speeches of Aeschines (390-? B.C.). His speeches all revolve around political developments in Athens during the second half of the fourth century B.C. and reflect the internal political rivalries in an Athens overshadowed by the growing power of Macedonia in the north. The first speech was delivered when Aeschines successfully prosecuted Timarchus, a political opponent, for having allegedly prostituted himself as a young man. The other two speeches were delivered in the context of Aeschines' long-running political feud with Demosthenes. As a group, the speeches provide important information on Athenian law and politics, Demosthenes and his career, sexuality and social history, and the historical rivalry between Athens and Macedonia.

An important reconsideration of ideology by one of this century’s most eminent theorists.

This long-awaited volume by one of the major figures of twentieth-century thought represents perhaps the most provocative, serious, and important rethinking of “ideology” since the publication of Althusser's essays in the 1960s and 1970s. Aesthetic Ideology offers the definitive resource to de Man's thoughts on philosophy, politics, and history.

Offering a unique critical approach to understanding historical violence in the present

Colonial histories and their racializing assemblages persist in reconfigured forms, shaping conditions of life today. Rhiannon Noel Welch offers reverberation as an expansive concept with which to think about how aesthetics—etymologically, perception by the senses—hold, transmit, and resist colonialism’s many entangled afterlives. Though reverberation is commonly understood as an acoustic phenomenon similar to echo and resonance, Welch borrows from philosophy, philology, and physics to stretch conventional meanings of the term and emphasize its distinction from other sonic effects and metaphors. The archive assembled here includes works by artists and thinkers who reach for aesthetics (words, images, music) to contest empire’s longue durée—from early European colonialism in the Western Hemisphere to the transshipping of Africans across the Atlantic, Fascist Italy’s occupation of Ethiopia, and contemporary Mediterranean border regimes. In a series of close and interlinked readings of theory, poetry, film, and other media by Sylvia Wynter, Giacomo Leopardi, and Garrett Bradley, among others, Welch proposes reverberation as a material metaphor for how aesthetic works hit us as sentient participants in social worlds that are at once asymmetrical and inextricably linked. 

An in-depth study of contemporary novels through the lens of affect theory and ideology critique. 

Affective Crisis and the Possibility of Attachment offers a comparative critical study of contemporary fiction. It intervenes in discussions about contemporary fiction in its literary-historical relationship to postmodernism and in its socio-historical relationship to neoliberalism, arguing that contemporary literature is dominated by affective questions that are rooted in neoliberalism. Whereas previous research focused on either a literary-historical or a socio-historical approach, this study examines eighteen novels from various parts of the world in both their diachronic relation to postmodernism and in their synchronic relation to neoliberal society.