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William S. Burroughs arrived in Mexico City in 1949, having slipped out of New Orleans while awaiting trial on drug and weapons charges that would almost certainly have resulted in a lengthy prison sentence. Still uncertain about being a writer, he had left behind a series of failed business ventures—including a scheme to grow marijuana in Texas and sell it in New York—and an already long history of drug use and arrests. He would remain in Mexico for three years, a period that culminated in the defining incident of his life: Burroughs shot his common-law wife, Joan Vollmer, while playing William Tell with a loaded pistol. (He would be tried and convicted of murder in absentia after fleeing Mexico.)

First published in 1995 in Mexico, where it received the Malcolm Lowry literary essay award, The Stray Bullet is an imaginative and riveting account of Burroughs’s formative experiences in Mexico, his fascination with Mexico City’s demimonde, his acquaintances and friendships there, and his contradictory attitudes toward the country and its culture. Mexico, Jorge García-Robles makes clear, was the place in which Burroughs embarked on his “fatal vocation as a writer.”

Through meticulous research and interviews with those who knew Burroughs and his circle in Mexico City, García-Robles brilliantly portrays a time in Burroughs’s life that has been overshadowed by the tragedy of Joan Vollmer’s death. He re-creates the bohemian Roma neighborhood where Burroughs resided with Joan and their children, the streets of postwar Mexico City that Burroughs explored, and such infamous figures as Lola la Chata, queen of the city’s drug trade. This compelling book also offers a contribution by Burroughs himself—an evocative sketch of his shady Mexican attorney, Bernabé Jurado.

The Structural Allegory was first published in 1984. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

The radical questions raised by Saussure, Barthes, Foucault, Levi-Strauss, and others have had an enormous impact on Anglo-American literary and cultural studies over the past twenty years. John Fekete argues that we can see this strategic development of French thought in terms of what he calls "the structural allegory." Structuralism proper has given way to the currently dominant model of post-structuralism, yet we remain uncertain of the practical orientations favored by thinkers associated with both phases of the movement.

With the aim of uncovering the legacy of the structural tradition, the essays in this volume survey key French thinkers, including some not well known in the Anglo-American context &#8212 Baudrillard and Castoriadis. The essays are reconstructive, not deconstructive, in character, scholarly in method, and ecumenical in spirit. While the structural allegory emerges from this critical analysis as an inescapable intellectual paradigm (analogous to the transformations in quantum physics and modern biology), the authors argue that it merits admiration and reservation in equal measure.

Connecting Cather's work to the southern literary tradition and the South of her youth

A diverse and experimental writer who lived most of her life in New York City, Willa Cather is best known for her depiction of pioneer life on the Nebraska plains. Despite Cather's association with Nebraska, however, the novelist's Virginia childhood and her southern family were deeply influential in shaping her literary imagination.

Joyce McDonald shows evidence, for example, of Cather's southern sensibility in the class consciousness and aesthetic values of her characters and in their sense of place and desire for historical continuity, a sensibility also evident in her narrative technique of weaving stories within stories and in her use of folklore. For McDonald, however, what most links Cather and her work to the South and to the southern literary tradition is her use of pastoral modes.

Beginning with an examination of Cather's Virginia childhood and the southern influences that continued to mold her during the Nebraska years, McDonald traces the effects of those influences in Cather's novels. The patterns that emerge reveal not only Cather's strong ideological connection to the pastoral but also the political position implicit in her choice of that particular mode. Further analysis of Cather's work reveals her preoccupation with hierarchical constructs and with the use and abuse of power and her interest in order, control, and possession. The Willa Cather who emerges from the pages of The Stuff of Our Forebears is not the Cather who claimed to eschew politics but a far more political novelist than has heretofore been perceived.

The Subaltern Ulysses was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

How might an IRA bomb and James Joyce's Ulysses have anything in common? Could this masterpiece of modernism, written at the violent moment of Ireland's national emergence, actually be the first postcolonial novel? Exploring the relation of Ulysses to the colony in which it is set, and to the nation being born as the book was written, Enda Duffy uncovers a postcolonial modernism and in so doing traces another unsuspected strain within the one-time critical monolith. In the years between 1914 and 1921, as Joyce was composing his text, Ireland became the first colony of the British Empire to gain its independence in this century after a violent anticolonial war. Duffy juxtaposes Ulysses with documents and photographs from the archives of both empire and insurgency, as well as with recent postcolonial literary texts, to analyze the political unconscious of subversive strategies, twists on class and gender, that render patriarchal colonialist culture unfamiliar.

Enda Duffy is assistant professor of English at the University of California at Santa Barbara.

Soussloff combines a historically grounded examination of art and art historical thinking in Vienna with subsequent theories of portraiture and a careful historiography of philosophical and psychoanalytic approaches to human consciousness from Hegel to Sartre and from Freud to Lacan. She chronicles the emergence of a social theory of art among the art historians of the Vienna School, demonstrates how the Expressionist painter Oskar Kokoschka depicted the Jewish subject, and explores the development of pictorialist photography. Reflecting on the implications of the visualized, modern subject for textual and linguistic analyses of subjectivity, Soussloff concludes that the Viennese art historians, photographers, and painters will henceforth have to be recognized as precursors to such better-known theorists of the subject as Sartre, Foucault, and Lacan.

This book seeks to explore how Barbara Pym subverts the discourse of the romance novel through her use of food, clothes, heroine and hero characterizations, and marriage customs.

Sumac was a Michigan-based literary journal founded in 1968 by poets Dan Gerber and Jim Harrison; novelist Thomas McGuane joined the editorial staff in 1969 as the fiction editor. When the inaugural issue appeared, more than 250 American literary magazines were listed in The Directory of Magazines and Small Presses; within three years, Sumac rose to the first tier of these publications and was nationally recognized for its eclecticism and editorial quality. The Library Journal called it "one of the best little magazines now being published."  
      Remaining true to Sumac's energetic catholicity, The Sumac Reader is an anthology that contains poetry, experimental fiction, and works in translation that originally appeared in the magazine. Contributors include four Pulitzer Prize-winning poets—Galway Kinnell, Charles Simic, Louis Simpson, and Gary Snyder—along with Paul Blackburn, Hayden Carruth, Richard Hugo, Denise Levertov, Ezra Pound, Adrienne Rich, and Diane Wakoski. There are early poems by Charles Simic, James Tate, and Michael Waters, as well as a complete section from Galaway Kinnell's classic, The Book of Nightmares. Fiction is represented in Sumac by a first-published Jim Heynen story "Coyote" and early prose by William Kittredge. Translations from Chinese, French, Spanish, and Russian bring to American readers the work of masters such as Tu Fu, Lorca, and Li Po. A variety of poetic forms are represented, including ghazals, narratives, suites, found poems, and the freest of free verse.

The Sweetness of Freedom presents an eclectic grouping of late nineteenth- and twentieth-century immigrants' narratives and the personal artifacts, historical documents, and photographs these travelers brought on their journeys to Michigan. Most of the oral histories in this volume are based on interviews conducted with the immigrants themselves.
       Some of the immigrants presented here hoped to gain better education and jobs. Others—refugees—fled their homelands because of war, poverty, repression, religious persecution, or ethnic discrimination. All dreamt of freedom and opportunity. They tell why they left their homelands, why they chose to settle in Michigan, and what they brought or left behind. Some wanted to preserve their heritage, religious customs, traditions, and ethnic identity. Others wanted to forget past conflicts and lost family members. Their stories reveal how they established new lives far away from home, how they endured homesickness and separation, what they gave up and what they gained.

The Inspiring Story of Roberto Clemente's Greatest Season and One of the Most Important Teams in Sport History
In 1947, major league baseball experienced its first measure of integration when the Brooklyn Dodgers brought Jackie Robinson to the National League. While Robinson's breakthrough opened the gates of opportunity for African Americans and other minority players, the process of integration proved slow and uneven. It was not until the 1960s that a handful of major league teams began to boast more than a few Black and Latino players. But the 1971 World Championship team enjoyed a full and complete level of integration, with half of its twenty-five-man roster comprised of players of African American and Latino descent. That team was the Pittsburgh Pirates, managed by an old-time Irishman.

In The Team That Changed Baseball: Roberto Clemente and the 1971 Pittsburgh Pirates, veteran baseball writer Bruce Markusen tells the story of one of the most likable and significant teams in the history of professional sports. In addition to the fact that they fielded the first all-minority lineup in major league history, the 1971 Pirates are noteworthy for the team's inspiring individual performances, including those of future Hall of Famers Roberto Clemente, Willie Stargell, and Bill Mazeroski, and their remarkable World Series victory over the heavily favored Baltimore Orioles. But perhaps their greatest legacy is the team's influence on the future of baseball, inspiring later championship teams such as the New York Yankees and Oakland Athletics to open their doors fully to all talented players, regardless of race, particularly in the new era of free agency.

Interrogating the work of four contemporary French philosophers to rethink philosophy’s relationship to science and science’s relationship to reality

The Technique of Thought explores the relationship between philosophy and science as articulated in the work of four contemporary French thinkers—Jean-Luc Nancy, François Laruelle, Catherine Malabou, and Bernard Stiegler. Situating their writings within both contemporary scientific debates and the philosophy of science, Ian James elaborates a philosophical naturalism that is notably distinct from the Anglo-American tradition. The naturalism James proposes also diverges decisively from the ways in which continental philosophy has previously engaged with the sciences. He explores the technical procedures and discursive methods used by each of the four thinkers as distinct “techniques of thought” that approach scientific understanding and knowledge experimentally.  

Moving beyond debates about the constructed nature of scientific knowledge, The Technique of Thought argues for a strong, variably configured, and entirely novel scientific realism. By bringing together post-phenomenological perspectives concerning individual or collective consciousness and first-person qualitative experience with science’s focus on objective and third-person quantitative knowledge, James tracks the emergence of a new image of the sciences and of scientific practice. 

Stripped of aspirations toward total mastery of the universe or a “grand theory of everything,” this renewed scientific worldview, along with the simultaneous reconfiguration of philosophy’s relationship to science, opens up new ways of interrogating immanent reality.

Everyone knows that work in America is not what it used to be. Layoffs, outsourcing, contingent work, disappearing career ladders—these are the new workplace realities for an increasing number of people. But why? In The Temp Economy, Erin Hatton takes one of the best-known icons of the new economy—the temp industry—and finds that it is more than just a symbol of this degradation of work. The temp industry itself played an active role in this decline—and not just for temps. Industry leaders started by inventing the "Kelly Girl," exploiting 1950s gender stereotypes to justify low wages, minimal benefits, and chronic job insecurity. But they did not stop with Kelly Girls. From selling human"business machines" in the 1970s to "permatemps" in the 1990s, the temp industry relentlessly portrayed workers as profit-busting liabilities that hurt companies' bottom lines even in boom times. These campaigns not only legitimized the widespread use of temps, they also laid the cultural groundwork for a new corporate ethos of ruthless cost cutting and mass layoffs.

Succinct, highly readable, and drawn from a vast historical record of industry documents, The Temp Economy is a one-stop resource for anyone interested in the temp industry or the degradation of work in postwar America.

This volume contains these four plays:

Resort 76 by Shimon Wincelberg
Will the relentless oppression of the starving workers in a ghetto factory destroy their faith in God? Their love of life? Their ability to resist? If a cat is more valuable than a human being, have hope and goodness been eliminated from the world? A moving and terrifying melodrama.

Throne of Straw by Harold and Edith Lieberman
Through the career of Mordechai Chaim Rumkowski, head of the Lodz, Poland Judenrat, we come to understand the horror of “choiceless choice,” of how giving up some to save others was the worst nightmare for those who sought the responsibilities of ghetto leadership. An epic play with music and song.

The Cannibals by George Tabori
The children of murder victims assemble to enact ritually the destruction of their fathers in the presence of two survivors. As the sons become their fathers, the most profound ethical questions of the Holocaust are raised concerning the limits of humanity in a world of absolute evil. A daring tragicomedy.

Who Will Carry the Word? by Charlotte Delbo (translated by Cynthia Haft)
In the austere, degraded setting of a concentration camp, twenty-two French women attempt to keep their sanity and hope as, one by one, they fall victim to the Nazi terror. Will anyone believe the story of the survivors? A poetic drama of resistance and witness.

Our traditional image of Chicago—as a gritty metropolis carved into ethnically defined enclaves where the game of machine politics overshadows its ends—is such a powerful shaper of the city’s identity that many of its closest observers fail to notice that a new Chicago has emerged over the past two decades. Larry Bennett here tackles some of our more commonly held ideas about the Windy City—inherited from such icons as Theodore Dreiser, Carl Sandburg, Daniel Burnham, Robert Park, Sara Paretsky, and Mike Royko—with the goal of better understanding Chicago as it is now: the third city.

Bennett calls contemporary Chicago the third city to distinguish it from its two predecessors: the first city, a sprawling industrial center whose historical arc ran from the Civil War to the Great Depression; and the second city, the Rustbelt exemplar of the period from around 1950 to 1990. The third city features a dramatically revitalized urban core, a shifting population mix that includes new immigrant streams, and a growing number of middle-class professionals working in new economy sectors. It is also a city utterly transformed by the top-to-bottom reconstruction of public housing developments and the ambitious provision of public works like Millennium Park. It is, according to Bennett, a work in progress spearheaded by Richard M. Daley, a self-consciously innovative mayor whose strategy of neighborhood revitalization and urban renewal is a prototype of city governance for the twenty-first century. The Third City ultimately contends that to understand Chicago under Daley’s charge is to understand what metropolitan life across North America may well look like in the coming decades.

When F. Scott Fitzgerald was fourteen and living in the Crocus Hill neighborhood of St. Paul, he began keeping a short diary of his exploits among his friends, friendly rivals, and crushes. He gave the journal a title page—Thoughtbook of Francis Scott Key Fitzgerald of St. Paul Minn. U.S.A.—and kept it securely locked in a box under his bed. He would later use The Thoughtbook as the basis for “The Book of Scandal” in his Basil Lee Duke stories, and brief sections were copied over the years for use by scholars and even published in Life magazine.“Are you going to the Ordways’? the Herseys’? the Schultzes’?” Here, for the first time, is a complete transcription of this charming, twenty-seven-page diary highlighting Fitzgerald’s escapades among the children of some of St. Paul’s most influential families—models for the families described in The Great Gatsby. Presented in a simple format for both scholars and general readers alike, The Thoughtbook of F. Scott Fitzgerald includes a new introduction by Dave Page that covers the history and provenance of the diary, its place and meaning in Fitzgerald’s literary development, and its revelations about his life and writing process.

One of the earliest known works by F. Scott Fitzgerald, The Thoughtbook provides a unique glimpse of Fitzgerald as a young boy and his social circle as they played among the grand homes of Summit Avenue, making up games, starting secret societies, competing with rivals, and (at all times) staying up-to-date on who exactly is vying for whose attention.