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The late historian Marvin O’Connell left a legacy of brilliant prose and pictures of the past, and in this book the reader at long last has access to O’Connell’s own story. Fr. Bill Miscamble, a noted historian and scholar in his own right, attributes to O’Connell the title ‘Master’ above all on account of his ability to know what matters and then write about it “in the way that all great stories are told.” In addition to his status as histor (giver of history), O’Connell was a long-time professor and chair of the history department at the University of Notre Dame. He is author of the masterwork, Sorin, which presents the riveting and dynamic narrative of the founding of Notre Dame on the inspired ambition of Edward Sorin, C.S.C. O’Connell was not a man who “genuflected in hagiography.” Rather, in the manner he lived faithfully yet soberly under the shining shadow of the Golden Dome, O’Connell told stories in the manner they were lived and with all the accompanying faults and triumphs. 

In Miscamble’s thorough introduction of O’Connell, he writes that the latter “utilized his striking talents as a historian as an integral part of his fundamental vocation as a priest. [O’Connell] once described the historian as a veritable ‘midwife to our faith,’ who must capture, as best as evidence will allow, the truth of the past.” This position lends itself to the structure of this work. The first part is the sadly incomplete memoirs of Fr. O’Connell, wherein the reader meets the historian and moves with eagerness and confidence into the essays that follow. Highlights of these collected essays include thoughts on Cardinal Newman, Belloc, the Spanish Inquisition, and the historical perspective of evangelization in the United States and modernism at large. What one reads are stories that might have been lost but are here preserved in what can with all moral certainty be called truthfulness. As his friend Ralph McInerny once qualified him, O’Connell combined compassion and judgment such that his histories were always indeed primarily stories and, as the reader well knows, stories have layers and threads and are not told simply for their conclusions. 

O’Connell succeeds in showing one how human history is written. Above all, he reveals that history is made by humans, but must also be remembered and deciphered by humans who cannot forego leaving their own marks and prints on everything they encounter (in memory or otherwise). The objectivity we seek can be found in one historical account alone, asserts the priest-storyteller, yet a sharp eye to the past is always consonant with a compassionate desire to understand. Bill Schmitt, Fr. Bill Miscamble and David Solomon do posterity a service by giving us this man and his masterful engagement of history. These friends of O’Connell deem the historian’s passion for truth-in-context to be foundational for shaping stories that matter, including his own. 

 "This artful combination of memoir and selected essays reawakens our memory of Father O'Connell in all his immense personal charm, intellectual energy, rich erudition, keen wit, and steadfast dedication to his interlocking callings as priest and historian." —J. Philip Gleason, Emeritus Professor, History Department, University of Notre Dame

"The work of a master historian, these memoirs and essays are reliable in recounting what happened, insightful in judging how and why, and eloquent in presenting it all with a flair and wit rarely equaled in historical writing. Moreover, they come forth from a Catholic faith so deep and secure that it need not be imposed on the reader. Rather, they do what good historical writing does, placing the reader into a past that can be seen and felt, recognized and understood. Whether it be his colorful accounts of the tumultuous life and times of Thomas More, or the valiant struggles of Newman and the Oxford Movement, or his own seminary training and teaching in St. Paul, or his fortunes as a graduate student at Notre Dame under the tutelage of the eminent Monsignor Phillip Hughes—whatever the topic, reading O’Connell’s history gives one the gift of being able to say, I remember that happening and I wasn’t even there!"—Michael J. Baxter, Director of Catholic Studies, Regis University in Denver

"O'Connell was a master story teller. He was not, however, just a story teller. He was painstakingly rigorous in what and how he taught. His stories always perfectly illustrated a point, but they were never a substitution for the truth--rather an illustration of it." —Bradley Birzer, Russell Amos Kirk Chair in American Studies, Hillsdale College

Places sexuality at the center of Caribbean responses to Shakespeare's play. Shakespeare's The Tempest has long been claimed by colonials and postcolonial thinkers alike as the dramatic work that most enables them to confront their entangled history, recognized as early modernity's most extensive engagement with the vexing issues of colonialism--race, dispossession, language, European displacement and occupation, disregard for native culture. Tempest in the Caribbean reads some of the "classic" anticolonial texts--by Aimé Césaire, Roberto Fernández Retamar, George Lamming, and Frantz Fanon, for instance--through the lens of feminist and queer analysis exemplified by the theoretical essays of Sylvia Wynter and the work of Michelle Cliff. Extending the Tempest plot, Goldberg considers recent works by Caribbean authors and social theorists, among them Patricia Powell, Jamaica Kincaid, and Hilton Als. These rewritings, he suggests, and the lived conditions to which they testify, present alternatives to the masculinist and heterosexual bias of the legacy that has been derived from The Tempest. By placing gender and sexuality at the center of the debate about the uses of Shakespeare for anticolonial purposes, Goldberg's work points to new possibilities that might be articulated through the nexus of race and sexuality. Jonathan Goldberg is Sir William Osler Professor of English Literature at The Johns Hopkins University. His previous books include Shakespeare's Hand (2003), Desiring Women Writing (1997), Sodometries (1992), and, as editor, Reclaiming Sodom (1994) and Queering the Renaissance (1994).

Choice Outstanding Academic Book 1998

Temptation of the Word offers an ambitious and careful reading of the creative process--the origin of themes and the development of literary techniques--that Mario Vargas Llosa has brought to each of his novels, published through 1996. To understand the novelist's intellectual environment, Efrain Kristal analyzes the entire corpus of Vargas Llosa's writings, his literary influences in several languages, his intellectual biography, and his political activism, all in the light of the evolving political turbulence of his times and his own changing concept of literature.

In this pathfinding study, Suzanne Fleischman brings together theory and methodology from various quarters to shed important new light on the linguistic structure of narrative, a primary and universal device for translating our experiences into language.

Fleischman sees linguistics as laying the foundation for all narratological study, since it offers insight into how narratives are constructed in their most primary context: everyday speech. She uses a linguistic model designed for "natural" narrative to explicate the organizational structure of "artificial" narrative texts, primarily from the Middle Ages and the postmodern period, whose seemingly idiosyncratic use of tenses has long perplexed those who study them. Fleischman develops a functional theory of tense and aspect in narrative that accounts for the wide variety of functions—pragmatic as well as grammatical—that these two categories of grammar are called upon to perform in the linguistic economy of a narration.

In 1562, Teresa de Avila founded the Discalced Carmelites and launched a reform movement that would pit her against the Church hierarchy and the male officials of her own religious order. This new spirituality, which stressed interiority and a personal relationship with God, was considered dangerous and subversive. It provoked the suspicion of the Inquisition and the wrath of unreformed Carmelites, especially the Andalusian friars, who favored the lax practices of their traditional monasteries. The Inquisition investigated Teresa repeatedly, and the Carmelite General had her detained. But even during the most terrible periods of persecution, Teresa continued to fight for the reform using the weapon she wielded best: the pen. Teresa wrote hundreds, perhaps thousands, of letters to everyone from the King to prelates to mothers of novices.

Teresa's epistolary writing reveals how she used her political acumen to dodge inquisitors and negotiate the thorny issues of the reform, facing off the authorities--albeit with considerable tact--and reprimanding priests and nuns who failed to follow her orders. Her letters bring to light the different strategies she used--code names, secret routing--in order to communicate with nuns and male allies. They show how she manipulated language, varying her tone and rhetoric according to the recipient or slipping into deliberate vagueness in order to avoid divulging secrets. What emerges from her correspondence is a portrait of extraordinary courage, ability, and shrewdness.

In the sixteenth century, the word letrado (lettered) referred to the learned men of the Church. Teresa treated letrados with great respect and always insisted on her own lack of learning. The irony is that although women could not be letradas, Teresa was, as her correspondence shows, "lettered" in more ways than one.

Moves beyond traditional analysis to understand the conflict over Kashmir

A result of territorial disputes between India and Pakistan since 1947, exacerbated by armed freedom movements since 1989, the ongoing conflict over Kashmir is consistently in the news. Taking a unique multidisciplinary approach, Territory of Desire asks how, and why, Kashmir came to be so intensely desired within Indian, Pakistani, and Kashmiri nationalistic imaginations. Literary historian Ananya Jahanara Kabir finds an answer to this question in the Valley of Kashmir’s repeated portrayal as a “special” place and the missing piece of Pakistan and India.

Analyzing the conversion of natural beauty into collective desire—through photography, literature, cinema, art, and souvenir production—Kabir exposes the links between colonialism, modernity, and conflict within the postcolonial nation. Representations of Kashmir as a space of desire emerge in contemporary film, colonial “taming” of the valley through nineteenth-century colonialist travelogues, the fetishization of traditional Kashmiri handicrafts like papier maché, and Pandit and Muslim religious revivalisms in the region. Linking a violent modernity to the fantasies of nationhood, Kabir proposes nonmilitaristic ways in which such desire may be overcome. In doing so she offers an innovative approach to complex and protracted conflict and, ultimately, its resolution.

A rogues' gallery of Mexican bandits, bombshells, lotharios, and thieves saturates American popular culture. Remember Speedy Gonzalez? "Mexican Spitfire" Lupe Vélez? The Frito Bandito? Familiar and reassuring—at least to Anglos—these Mexican stereotypes are not a people but a text, a carefully woven, articulated, and consumer-ready commodity. In this original, provocative, and highly entertaining book, William Anthony Nericcio deconstructs Tex[t]-Mexicans in films, television, advertising, comic books, toys, literature, and even critical theory, revealing them to be less flesh-and-blood than "seductive hallucinations," less reality than consumer products, a kind of "digital crack."

Nericcio engages in close readings of rogue/icons Rita Hayworth, Speedy Gonzalez, Lupe Vélez, and Frida Kahlo, as well as Orson Welles' film Touch of Evil and the comic artistry of Gilbert Hernandez. He playfully yet devastatingly discloses how American cultural creators have invented and used these and other Tex[t]-Mexicans since the Mexican Revolution of 1910, thereby exposing the stereotypes, agendas, phobias, and intellectual deceits that drive American popular culture. This sophisticated, innovative history of celebrity Latina/o mannequins in the American marketplace takes a quantum leap toward a constructive and deconstructive next-generation figuration/adoration of Latinos in America.

How manga and comics reshape storytelling across cultures

Text and Image is a groundbreaking exploration of how Japanese manga and comics from the United States and United Kingdom craft meaning through the combination of words and pictures. Current scholarship often isolates manga in niche genre studies or prioritizes anime instead; in response, Deborah Shamoon proposes a unified framework for understanding paneled visual storytelling across cultures. She reframes comics not as kids’ stuff but as a sophisticated narrative art with its own grammar, rhythm, and visual poetics.

Drawing on narratology, art history, film studies, and media theory, Text and Image examines a vast array of material, from four-panel comic strips to different manga genres, including shōjo (girls’ romance comics), shōnen (teen action), seinen (adult drama), and gekiga (mature realism). Through close visual analysis, Shamoon demonstrates how creators use panel layout, pacing, and the choreography of text and image to shape emotional impact and narrative momentum. She reveals the shared techniques that link works as disparate as Fun Home and Spider-Man while also showing where cultural conventions diverge. Beyond the traditional print realm, Shamoon discusses digital platforms, such as webtoons and vertically scrolling comics, to show how new technologies merge manga’s cinematic sensibility with global innovation.

Making a bold case for a more expansive, inclusive theory of visual narrative that bridges long-standing divides between manga studies and Anglophone comics scholarship, Text and Image is an indispensable guide to understanding how contemporary stories work and why they resonate across borders.

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An expansive consideration of charms as a deeply integrated aspect of the English Middle Ages.
 
Katherine Storm Hindley explores words at their most powerful: words that people expected would physically change the world. Medieval Europeans often resorted to the use of spoken or written charms to ensure health or fend off danger. Hindley draws on an unprecedented archive of more than a thousand such charms from medieval England—more than twice the number gathered, transcribed, and edited in previous studies and including many texts still unknown to specialists on this topic. Focusing on charms from 1100 to 1350 CE as well as previously unstudied texts in Latin, French, and English, Hindley addresses important questions of how people thought about language, belief, and power. She describes seven hundred years of dynamic, shifting cultural landscapes, where multiple languages, alphabets, and modes of transmission gained and lost their protective and healing power. Where previous scholarship has bemoaned a lack of continuity in the English charms, Hindley finds surprising links between languages and eras, all without losing sight of the extraordinary variety of the medieval charm tradition: a continuous, deeply rooted part of the English Middle Ages.

Textual Rivals studies some of the most debated issues in Herodotean scholarship. One such is Herodotus’ self-presentation: the conspicuousness of his authorial persona is one of the most remarkable features of his Histories. So frequently does he interject first-person comments into the narrative that Herodotus at times almost becomes a character within his own text.

Important issues are tied to Herodotus’ self-presentation. First is the narrator’s relationship to truth: to what extent does he expect readers to trust his narrative? While judgments regarding Herodotus’ overall veracity have often been damning, scholars have begun to concentrate on how Herodotus presents his truthfulness. Second is the precise genre Herodotus means to create with his work. Excluding the anachronistic term historian, exactly what would Herodotus have called himself, as author? Third is the presence of “self-referential” characters, whose actions often mirror Herodotus’ as narrator/researcher, in the Histories.

David Branscome’s investigative text points to the rival inquirers in Herodotus’ Histories as a key to unraveling these interpretive problems. The rival inquirers are self-referential characters Herodotus uses to further his authorial self-presentation. Through the contrast Herodotus draws between his own exacting standards as an inquirer and the often questionable standards of those rivals, Herodotus underlines just how truthful readers should find his own work.

Textual Rivals speaks to those interested in Greek history and historiography, narratology, and ethnography. Those in the growing ranks of Herodotus fans will find much to invite and intrigue.

An examination of the 1970s art and culture scene in Hong Kong through the lens of an independent youth magazine.

Taking The 70’s Biweekly—an independent youth publication in 1970s Hong Kong—as the main thread, this edited collection investigates an unexplored trajectory of Hong Kong’s cultural and artistic production in the 1970s. The 70’s Biweekly stands out from many other independent magazines with its unique blending of radical political theories, social activism, avant-garde art, and local literature. By taking the magazine as a node of social and cultural activism from and around which actions, debates, community, and artistic practices are formed, this book fills gaps in the study of how young Hong Kong cultural producers carved out an alternative space to speak out against established authorities.

Split into three parts, The 70’s Biweekly provides readers with a panoramic view of the political and cultural activism in Hong Kong during the 1970s, featuring writings on art and film, and interviews with former founders and contributors that reflect on how their participation led them to engage ideologically with their activism and community.
 

In this book - an ABC of the genre, with 26 entries - two renowned biographers and teachers take us on a tour, from A for Authorization to Z for Zigzagging to the End. In trenchant, witty entries they explore the good, the bad and the plain ugly in modern 'life writing' and the portrayal of real lives today - and how, across history and continents, we got here.

This book will fascinate general readers interested in how real lives are approached by biographers today in a multitude of media. It will make a much-needed contribution in academia, as well as providing an important text for students of history, language and literature, the arts, science and media. And, not least, for biographers trying to avoid the pitfalls of ignorance or ineptitude.

When The Absurd Hero in American Fiction was first released in 1966, Granville Hicks praised it in a lead article for the Saturday Review as a sensitive and definitive study of a new trend in postwar American literature. In the years that followed, David Galloway’s analysis of the writings of John Updike, William Styron, Saul Bellow, and J. D. Salinger became a standard critical work, an indispensable tool for readers concerned with contemporary American literature. The New York Times described the book as “a seminal study of the modern literary imagination."

David Galloway, himself an established novelist, later extensively revised The Absurd Hero to include authoritative discussions of more than a dozen novels which had appeared since the first revised edition was released in 1970. Among them are John Updike’s Couples, Rabbit Redux, and The Coup; William Styron’s The Confessions of Nat Turner and Sophie’s Choice; and Saul Bellow’s Mr. Sammler’s Planet and Humboldt’s Gift. Through detailed analyses of these works, Galloway demonstrates the continuing relevance of his own provocative concept of the absurd hero and provides important insights into the literary achievements of four of America’s most influential postwar novelists.