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How five dissident poets applied Surrealism to everyday life under totalitarian rule

A collective biography of the Surrealist group Infra Noir, Powers of No reveals an important chapter in the history of the postwar European avant-garde. Detailing the group’s innovative program for cultivating community and political resistance, Catherine L. Hansen examines how its five members reimagined Surrealism as a means to endure life under totalitarianism and war.

Encompassing the careers and friendships of Gherasim Luca, Gellu Naum, Trost, Paul Păun, and Virgil Teodorescu, Powers of No is the first English-language book about this Francophone Romanian group active between 1941 and 1947. The members of Infra Noir created radical art and publications that attracted the attention of André Breton and other central figures in the wider Surrealist movement. Charting their course from the Bucharest avant-garde amid the rising tide of fascism through the turbulent intellectual and political scene of postwar France and Stalinist repression, Hansen unpacks the concepts this group developed, which envisioned new possibilities for emancipatory thought and praxis.

Grounded in a wealth of archival materials and original translations, Powers of No situates the unique legacy of Infra Noir’s revolutionary project among the various intellectual currents of a tumultuous era. Establishing Infra Noir as more than an obscure clique of dissident poets and artists, this book presents their work as a repertoire of lessons for resisting authoritarian oppression and avoiding despair even under the harshest political conditions.

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A city of immense literary mystique, Prague has inspired writers across the centuries with its beauty, cosmopolitanism, and tragic history. Envisioning the ancient city in central Europe as a multilayered text, or palimpsest, that has been constantly revised and rewritten—from the medieval and Renaissance chroniclers who legitimized the city’s foundational origins to the modernists of the early twentieth century who established its reputation as the new capital of the avant-garde—Alfred Thomas argues that Prague has become a paradoxical site of inscription and effacement, of memory and forgetting, a utopian link to the prewar and pre-Holocaust European past and a dystopia of totalitarian amnesia.

Considering a wide range of writers, including the city’s most famous son, Franz Kafka, Prague Palimpsest reassesses the work of poets and novelists such as Bohumil Hrabal, Milan Kundera, Gustav Meyrink, Jan Neruda, Vítĕzslav Nezval, and Rainer Maria Rilke and engages with other famous authors who “wrote” Prague, including Guillaume Apollinaire, Ingeborg Bachmann, Albert Camus, Paul Celan, and W. G. Sebald. The result is a comparative, interdisciplinary study that helps to explain why Prague—more than any other major European city—has haunted the cultural and political imagination of the West.

During his brief and sorrowful career William Collins wrote a handful of enduring poems, the most powerful and innovative verse of the Age of Sensibility. This study traces Collins' struggle to assimilate or transcend rather than to be overwhelmed by the influence of his Sublime precursor Milton. Collins' achievement is remarkably diverse, his restless experimentation a manifestation of the quest for imaginative autonomy which is the dominant impulse of all his writing. Authoritatively and eloquently, Sherwin interprets Collins' major works including the "Ode to Evening," the poem in which Milton's presence is most enriching, the "Ode on the Poetical Character," "The Passions," "Popular Superstitions Ode," and the "Ode to Fear," Collins' most haunting and painfully burdened poem.

Although Harold Bloom and other prominent theorists of literary influence have recognized that Milton is the chief "daemonic" precursor of the Sensibility poets and the Romantics, Precious Bane represents the first extensive analysis of Milton's power both to daunt and emancipate an aspirant to the Sublime tradition. Bloom writes:

"Paul Sherwin's Precious Bane is at once the definitive study of the poetry of William Collins and also the best informed, most critically acute book yet written upon the Miltonic influence on subsequent poetry. Sherwin's deep learning and original insights illuminate Milton and Keats quite as much as they do Collins and the other tragic poets of Sensibility.

"Readers who seek rich speculation and advanced knowledge on such associated critical and historical problems as Romanticism, the Sublime mode, the agonies of poetic incarnation, and the relation of psychoanalysis to literature, will find abundant recompense in Sherwin's pages. No one in the future will teach, read or write about Collins, or the burdens of Miltonic influence, without starting from Sherwin's achievement."

Lessons from Bologna on how ordinary people take charge of urban spaces and make their cities more democratic

Proprietors for a Democratic City examines how nonelite individuals politically engage with urban spaces—even when they do not formally own them. Drawing on more than a decade of fieldwork throughout Bologna, Italy, Robin M. LeBlanc presents valuable models of democratic community-making through imaginative occupation, curation, and coalition-building projects, with critical implications for the study of cities and democracy.

Once a standard-bearer of progressive governance, contemporary Bologna now faces globally emergent challenges to its democratic functioning, from a lack of affordable housing to the rise of an authoritarian and xenophobic Far Right. But amid this precarity, everyday citizens employ the spaces around them to influence the political life of the city. Through interviews with a wide range of Bolognese, from urban planners and real estate developers to housing office staff, retirees in public gardening plots, and members of immigrant and youth squatter collectives, LeBlanc illuminates the humble origins of coalitional work that can meaningfully address today’s urban economic, environmental, and demographic crises.

Challenging both capitalistic and Marxist conventional wisdom, Proprietors for a Democratic City is a vivid portrait of the urban landscape and an inspiring call to empower regular people to create vibrant democratic spaces.

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 Known for her far-reaching examinations of psychoanalysis, literature, and politics, Jacqueline Rose has in recent years turned her attention to the Israel-Palestine conflict, one of the most enduring and apparently intractable conflicts of our time. In Proust among the Nations, she takes the development of her thought on this crisis a stage further, revealing it as a distinctly Western problem.

Marcel Proust’s multivolume masterpiece, À la recherche du temps perdu, began to appear in 1913. Over the next fifty years, it gained a reputation as one of the greatest literary works of the twentieth century. But the novel’s classic image as a completed work was later shattered by the discovery of unpublished drafts, and the “war of the Prousts” has kept scholars arguing over its definitive form ever since.

Christine M. Cano’s Proust’s Deadline presents a concise history of the publishing and reception of À la recherche du temps perdu, and sorts out the most important issues that have arisen from the ensuing debates about the text. She ultimately shows how this quintessential “book about time” tells another story about time’s passage: the story of Proust’s mortal confrontation with the temporality of writing, publishing, and reading.

A personal take on Proust’s In Search of Lost Time, written by a woman born into the aristocratic world it describes.

Proust’s In Search of Lost Time is many things: a staggering literary achievement, an evocation of an elite milieu, a complex reckoning with memory. For Laure Murat, it was also a map of the world into which she was born—the world of the French Aristocracy. Descended from French nobility on both sides, Murat saw the châteaux and balls of In Search of Lost Time as the backdrop to her own family story, understood anew through Proust’s eyes.

In this beautiful book, Murat explores both the oppressive constraints of the aristocratic life and the fluidity and linguistic virtuosity of Proust’s astonishing seven-volume novel, which shifts focus from codes of behavior to the experience of living. In Proust, a Family Affair, Murat celebrates the emancipating power of literature and the rewards of paying close attention to a text that may, in turn, provoke a close and loving attendance to the self.

Originally published in French, Proust, a Family Affair has won the Prix Médicis and was shortlisted for France’s most coveted literary award, the Prix Goncourt. This readable, moving translation into English by Charlotte Mandell will appeal to lovers of Proust and to all readers who appreciate personal explorations of literary masterpieces.

How the provinces, rather than cities or capitals, became the key setting dramatized in—but also transformed by—modern novels in English and French.

To be provincial is to mistake one’s narrow milieu for the world: it is to fall prey to an error of scale. But it is also to feel behind, belated, and excluded from the possibilities of the modern world. In this elegant study of the novel “on provincial time,” Victoria Baena argues that the literary geography of “the provinces” played a key role in forging European narratives of modernity.

In the wake of French revolutionaries’ suppression of older provincial identities and as Britain expanded its imperial reach, the provinces were reinvented on various scales: from countryside to small town, from domestic region to faraway colony. Baena brings together Marxist and feminist spatial theory with a close attention to the politics of narrative form in order to show how the remarkably mobile concept of the provinces developed across social and cultural frameworks from 1800 to 1933. Offering new interpretations of novels of the realist tradition—by Honoré de Balzac, George Eliot, Emily Brontë, George Sand, Thomas Hardy, Marcel Proust, Alain-Fournier, James Joyce, and Claude McKay—she shows how the question of representing the provinces transformed the modern novel.

Provinces of the Mind illuminates some of the more pernicious fictions of provincialism. But it also describes, often movingly, the desire no longer to be provincial, along with the ambivalence and alienation that can entail. Ultimately, the book shows how literary critics can use the provinces to translate questions of literary geography across borders. By interrogating the provincialisms of our own time and place, Baena suggests, critics might make a better case for those worth retaining, as well as a better grasp of those to be left behind. 

Fiedorczuk was inspired by her readings of the original Hebrew Psalms, as well as by the process of learning to sing. In her poems she captures the heartache and joy of the Biblical Psalms, but in the context of modern life. She addresses climate change, loss of biodiversity, the upheavals of migration, and, in her most recent poems, the return of war to Europe: “Even when bombs are falling you ought to write / perhaps even especially when people lost / in the woods are saying cold, she is so cold.”

Fiedorczuk writes of the natural world, the built environment, motherhood, brotherhood, and of vast and tiny passages of time. And as she does, she discovers a new voice, singing to soothe and inspire.

 

whose
flower made from a clod of pain will enfold
the milky way with its claws
of time, its pelt of stars?
—Excerpt from “Psalm XVII”

Symbol and psyche are twin concepts in contemporary symbological studies, where the symbol is considered to be a "statement" by the psyche. The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols.

In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches ofBlood Wedding have until this book remained largely unexplored.

Lorca was no stranger to the "agony of creation," and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are "translations" into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self.

Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.