Search results for ""t. s. eliot""

Virginia Woolf and the Bloomsbury Avant-Garde traces the dynamic emergence of Woolf's art and thought against Bloomsbury's public thinking about Europe's future in a period marked by two world wars and rising threats of totalitarianism. Educated informally in her father's library and in Bloomsbury's London extension of Cambridge, Virginia Woolf came of age in the prewar decades, when progressive political and social movements gave hope that Europe "might really be on the brink of becoming civilized," as Leonard Woolf put it. For pacifist Bloomsbury, heir to Europe's unfinished Enlightenment project of human rights, democratic self-governance, and world peace-and, in E. M. Forster's words, "the only genuine movement in English civilization"- the 1914 "civil war" exposed barbarities within Europe: belligerent nationalisms, rapacious racialized economic imperialism, oppressive class and sex/gender systems, a tragic and unnecessary war that mobilized sixty-five million and left thirty-seven million casualties. An avant-garde in the twentieth-century struggle against the violence within European civilization, Bloomsbury and Woolf contributed richly to interwar debates on Europe's future at a moment when democracy's triumph over fascism and communism was by no means assured. Woolf honed her public voice in dialogue with contemporaries in and beyond Bloomsbury- John Maynard Keynes and Roger Fry to Sigmund Freud (published by the Woolfs'Hogarth Press), Bertrand Russell, T. S. Eliot, E. M. Forster, Katherine Mansfield, and many others-and her works embody and illuminate the convergence of aesthetics and politics in post-Enlightenment thought. An ambitious history of her writings in relation to important currents in British intellectual life in the first half of the twentieth century, this book explores Virginia Woolf's narrative journey from her first novel, The Voyage Out, through her last, Between the Acts.

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In the quiet countryside or by the sea - and always very close to London - Sussex has offered a creative space for writers for centuries, from Lord Tennyson to Lee Child. Other writers, like Kate Mosse, Maureen Duffy and David Hare, were born in the county or have found Sussex the perfect location for their work, such as Hilaire Belloc or Stella Gibbons in Cold Comfort Farm. Literary locations in Sussex include the cottage in Felpham where Blake began to write ‘Jerusalem’ and the hotel room in Eastbourne where T. S. Eliot had his disastrous honeymoon. H. G. Wells often visited Uppark, the stately home where his mother was a housemaid. It is said that Jane Austen’s Sanditon was based on her stay in Worthing. There are literary cottages scattered around the county, including the home of Malcolm Lowry and the winter residence of W. B. Yeats and his secretary, the young Ezra Pound. The South Downs near Lewes is associated with the Bloomsbury group, Winnie the Pooh’s world is set in Ashdown Forest and high in the Weald there is Rudyard Kipling’s home of Bateman’s, which inspired Puck of Pook’s Hill. Rye’s authors include Henry James and E. F. Benson, whose Mapp and Lucia novels were written about the town, Radclyffe Hall and Rumer Godden. Brighton is associated with Graham Greene’s Brighton Rock, but has attracted writers from Jane Austen and Fanny Burney through to Keith Waterhouse and Peter James. Hastings is the home of The Ragged Trousered Philanthropists and Bexhill includes Angus Wilson, Spike Milligan and David Hare in its inhabitants. One school in Eastbourne had, in a single year, George Orwell, Cyril Connolly and Cecil Beaton. This book explores the fascinating history of Sussex’s remarkable literary legacy, as well as being a guide to the locations where that legacy can still be found.

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A key anthology for students of English literature, Metaphysical Poetry is a collection whose unique philosophical insights are some of the crowning achievements of Renaissance verse, edited with an introduction and notes by Colin Burrow in Penguin Classics.Spanning the Elizabethan age to the Restoration and beyond, Metaphysical poetry sought to describe a time of startling progress, scientific discovery, unrivalled exploration and deep religious uncertainty. This compelling collection of the best and most enjoyable poems from the era includes tightly argued lyrics, erotic and libertine considerations of love, divine poems and elegies of lament by such great figures as John Donne, George Herbert, Andrew Marvell and John Milton, alongside pieces from many other less well known but equally fascinating poets of the age, such as Anne Bradstreet, Katherine Philips and Thomas Traherne. Widely varied in theme, all are characterized by their use of startling metaphors, imagery and language to express the uncertainty of an age, and a profound desire for originality that was to prove deeply influential on later poets and in particular poets of the Modernist movement such as T. S. Eliot.In his introduction, Colin Burrow explores the nature of Metaphysical poetry, its development across the seventeenth century and its influence on later poets and includes A Very Short History of Metaphysical Poetry from Donne to Rochester. This edition also includes detailed notes, a chronology and further reading.Colin Burrow is Reader in Renaissance and Comparative Literature at Gonville and Caius College, Cambridge. He has edited Shakespeare's Sonnets for OUP and The Complete Works of Ben Jonson, and is working on the Elizabethan volume of the Oxford English Literary History.If you enjoyed Metaphysical Poetry, you might like John Donne's Selected Poems, also available in Penguin Classics.

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A lively and accessible history of Modernism, The First Moderns is filled with portraits of genius, and intellectual breakthroughs, that richly evoke the fin-de-siècle atmosphere of Paris, Vienna, St. Louis, and St. Petersburg. William Everdell offers readers an invigorating look at the unfolding of an age."This exceptionally wide-ranging history is chock-a-block with anecdotes, factoids, odd juxtapositions, and useful insights. Most impressive. . . . For anyone interested in learning about late 19th- and early 20th- century imaginative thought, this engagingly written book is a good place to start."—Washington Post Book World"The First Moderns brilliantly maps the beginning of a path at whose end loom as many diasporas as there are men."—Frederic Morton, The Los Angeles Times Book Review"In this truly exciting study of the origins of modernist thought, poet and teacher Everdell roams freely across disciplinary lines. . . . A brilliant book that will prove useful to scholars and generalists for years to come; enthusiastically recommended."—Library Journal, starred review"Everdell has performed a rare service for his readers. Dispelling much of the current nonsense about 'postmodernism,' this book belongs on the very short list of profound works of cultural analysis."—Booklist"Innovative and impressive . . . [Everdell] has written a marvelous, erudite, and readable study."-Mark Bevir, Spectator"A richly eclectic history of the dawn of a new era in painting, music, literature, mathematics, physics, genetics, neuroscience, psychiatry and philosophy."—Margaret Wertheim, New Scientist"[Everdell] has himself recombined the parts of our era's intellectual history in new and startling ways, shedding light for which the reader of The First Moderns will be eternally grateful."—Hugh Kenner, The New York Times Book Review"Everdell shows how the idea of "modernity" arose before the First World War by telling the stories of heroes such as T. S. Eliot, Max Planck, and Georges Serault with such a lively eye for detail, irony, and ambiance that you feel as if you're reliving those miraculous years."—Jon Spayde, Utne Reader

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Simone Weil, legendary French philosopher, mystic and political activist who died in England in 1943 at the age of thirty-four, belongs to a select group of thinkers: as with St Augustine, Pascal and Nietzsche, so with Weil a single phrase can permanently change one's life. In this book, Palle Yourgrau follows Weil on her life's journey, from her philosophical studies at the Ecole Normale Superieure, to her years as a Marxist labour organizer, her explosive encounter with Leon Trotsky, her abortive attempt to fight against Franco in the Spanish Civil War, her mystical experience in the town of Assisi. We see how Weil's struggle to make sense of a world consumed by despotism and war culminated in her monumental attempt, following St Augustine, to re-imagine Christianity along Platonistic lines, to find a bridge between human suffering and divine perfection. How seriously, however, should Weil's ideas be taken? They were admired by Albert Camus and T. S. Eliot, yet Susan Sontag wrote famously that 'I can't imagine more than a handful of the tens of thousands of readers she has won ...really share her ideas.' If this is really true, Palle Yourgrau must count as one of the handful. Though he brings to life the pathos of Weil's tragi-comic journey, Yourgrau devotes equal attention to the question of truth. He shines a bright light on the paradox of Simone Weil: at once a kind of modern saint, and a bete noire, a Jew accused of having abandoned her own people in their hour of greatest need. The result is a critical biography that is in places as disturbing as Weil's own writings, an account that confronts head-on her controversial critique of the Hebrew Bible, as well as her radical rejection of the received wisdom that the Resurrection lies at the heart of Christianity. @font-face { font-family: Times New Roman; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Helvetica; }table.MsoNormalTable { font-size: 10pt; font-family: Times New Roman; }div.Section1 { page: Section1; }

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William Troy (1903-1961) was a highly regarded literary critic during the 1930s and 1940s. Among his contemporaries, he ranked with Edmund Wilson, Kenneth Burke, and F. O. Matthiessen. Indeed, in the preface to the posthumous, 1968 publication of his Selected Essays, which won a National Book Award, Allen Tate placed Troy among the handful of the best critics of this century. Troy's criticism was informed by an intelligence so balanced that, where many theoreticians took up positions in logical traps, he easily avoided them. At the very moment when scholars and critics were either treating literature like polemics or investigating ideas as if belles-lettres were a sub-category of history or philosophy, Troy acknowledged both the centrality of literary ideas and their distinction from ideas in other forms. When confronted with a text, he analysed it with a firm sense of its inherent meaning and of its cultural implications, in a style that expresses seriousness of commitment precisely and clearly. The Bookman presents a selection of Troy's remaining writings on such major literary figures as Henry James, e. e. cummings, Ernest Hemingway, Edith Wharton, F. Scott Fitzgerald, T. S. Eliot, Andre Gide, William Faulkner, James Joyce, Albert Camus, Jean Cocteau, Willa Cather, W. H. Auden, Virginia Woolf, and Emile Zola. Troy produced a body of work that is timeless, permanent, and exemplary -- perhaps as much as, if not more so than, the work of such other critical contemporaries of his as the Anglo-Americans Yvor Winters, I. A. Richards, William Empson, George Jean Nathan, and R. P. Blackmur. Published in conjunction with Film Nation: William Troy on the Cinema, 1933-1935 (ISBN 978-1-78976-173-3), The Bookman is clear evidence of Troy's role as one of the foremost critics of his age. Inclusion of a substantive index makes the work an essential and accessible gateway to a wide range of literary criticism.

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This new volume of JHU Press's landmark Shelley edition contains posthumous poems edited from original manuscripts."The world will surely one day feel what it has lost," wrote Mary Shelley after Percy Bysshe Shelley's premature death in July 1822. Determined to hasten that day, she recovered his unpublished and uncollected poems and sifted through his surviving notebooks and papers. In Genoa during the winter of 1822–23, she painstakingly transcribed poetry "interlined and broken into fragments, so that the sense could only be deciphered and joined by guesses." Blasphemy and sedition laws prevented her from including her husband's most outspoken radical works, but the resulting volume, Posthumous Poems of Percy Bysshe Shelley (1824), was a magnificent display of Shelley's versatility and craftsmanship between 1816 and 1822. Few such volumes have made more difference to an author's reputation. The seventh volume of the acclaimed Complete Poetry of Percy Bysshe Shelley extracts from Posthumous Poems those original poems and fragments Mary Shelley edited. The collection opens with Shelley's enigmatic dream vision The Triumph of Life, the last major poem he began—and, in the opinion of T. S. Eliot, the finest thing he ever wrote. There follow some of the most famous and beautiful of Shelley's short lyrics, narrative fragments, two unfinished plays, and other previously unreleased pieces. Upholding the standards of accuracy and comprehensiveness set by previous volumes, every item in Volume 7 has been newly edited from the original manuscripts, in some cases superseding texts that have stood since 1870. Extensive appendixes contain Mary Shelley's preface to Posthumous Poems, Shelley's source for "Ginevra," and preparatory material for his play Charles the First. Wide-ranging discussions of the poems' composition, influences, publication, circulation, reception, and critical history accompany detailed records of textual variants for each work. The editorial overview and commentaries offer insights into Mary Shelley's editorial strategies while proposing surprising new contexts and redatings. Volumes 4 to 6 are in preparation.

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The revealing of T. S. Eliot's hidden muse - Emily Hale, the Hyacinth Girl of the famous The Waste Land poem'Extraordinary... A rare work of sympathy and insight' Colm Tóibín'Gordon sifts through the documents with her customary care and delicacy' Frances Wilson, Telegraph'Thanks to Gordon's meticulous research and inspired storytelling we will never read [Eliot's] poems the same way again' Heather Clark'Exquisitely nuanced' Kathryn Hughes, Sunday Times'An illuminating account' Publishers Weekly'As exciting as a detective story... Gordon establishes the profound influence [the relationship] had upon the substance and in particular upon the imagery of Eliot's work' Margaret Drabble, New StatesmanAmong the greatest of poets, T. S. Eliot protected his privacy while publicly associated with three women: two wives and a church-going companion. This presentation concealed a life-long love for an American: Emily Hale, a drama teacher to whom he wrote (and later suppressed) over a thousand letters. Hale was the source of "memory and desire" in The Waste Land; she is the Hyacinth Girl.Drawing on the dramatic new material of the only recently unsealed 1,131 letters Eliot wrote to Hale, leading biographer Lyndall Gordon reveals a hidden Eliot. Emily Hale now becomes the first and consistently important woman of life -- and his art. Gordon also offers new insight into the other spirited women who shaped him: Vivienne, the flamboyant wife with whom he shared a private wasteland; Mary Trevelyan, his companion in prayer; and Valerie Fletcher, the young disciple to whom he proposed when his relationship with Emily foundered. Eliot kept his women apart as each ignited his transformations as poet, expatriate, convert, and, finally, in his latter years, a man `made for love.'Emily Hale was at the centre of a love drama he conceived and the inspiration for the lines he wrote to last beyond their time. To read Eliot's twice-weekly letters to Emily during the thirties and forties is to enter the heart of the poet's art.

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This Norton Critical Edition of Thomas Middleton and Thomas Dekker’s The Roaring Girl is based on the text from English Renaissance Drama: A Norton Anthology. It is accompanied by generous explanatory annotations, five illustrations, and a detailed introduction. “Contexts” is thematically arranged to include almost all known documents from the period concerning Mary Frith (aka Moll Cutpurse), among them records of her court appearances, letters recounting the same, and her last will. Also reprinted are significant passages from her purported 1662 “autobiography,” The Life and Death of Mrs. Mary Frith. While of dubious veracity, the “autobiography” is useful for comparing the play’s portrayal of Moll with later developments in Moll Cutpurse lore, which the Norton Critical Edition traces through the eighteenth and nineteenth centuries. Perhaps most engaging for classroom discussion are substantial excerpts from the 1620 cross-dressing pamphlets—Hic Mulier; or, The Man-Woman and Haec Vir; or, The Womanish Man—which appear in annotated, modern-spelling versions. Together they give insight into how gender-bending trends in clothing, similar to those practiced by Moll, were understood in the early seventeenth century. A related passage from A Sermon of Apparel adds another perspective on cross-dressing practices. Fourteen critical essays chart the development of scholarly interest in The Roaring Girl, from the first half of the twentieth century, when the play received only passing reference, through the work on city comedy in the 1970s and 1980s, to the explosion of analyses in the late 1980s and 1990s, when the play became a major focus for early modern gender studies. The more recent critical essays move beyond a strict focus on gender and cross-dressing to explore The Roaring Girl’s depiction of other aspects of early modern London, including consumer culture and the contemporary fascination with the language of the criminal underworld. Contributors include, among others, T. S. Eliot, Alexander Leggatt, Mary Beth Rose, Jonathan Dollimore, Jean E. Howard, and Jonathan Gil Harris. A Selected Bibliography is also included.

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A trio of compelling, cutting edge plays on notorious rebels including radical feminist and Warhol attacker Valerie Solanas ("SCUM: The Valerie Solanas Story"), Dada instigator Arthur Cravan ("Art Was Here"), and a twisting tale of Jack the Ripper and T.S. Eliot ("Jack the Rapper"). Playwright Kat Georges paints each of these plays with bold, innovative strokes that expand the boundaries of the theatrical milieu. As compelling to read off the page as to perform, these three plays offer sharp dialogue and prismatic views of their rebellious subjects, casting aside stereotypical bullet-pointed personalities to establish new perspectives on the subjects of each play. In THREE SOMEBODIES: Plays About Notorious Dissidents, poet-playwright Kat Georges offers a trio of fascinating, cutting edge plays about notorious dissidents—people who shook up the world— for better or worse, including “SCUM: The Valerie Solanas Story,” “Art Was Here,” inspired by poet-pugilist and Dada precursor Arthur Cravan, and “Jack the Rapper,” a mash-up of Jack the Ripper and T. S. Eliot. Shakespeare had his kings and princes. Georges chose royalty of the infamous variety: Valerie Solanas, author of The SCUM Manifesto, who famously shot Andy Warhol. Arthur Cravan—nephew of Oscar Wilde, wild child pugilist and poet—whose legendary antics preceded and influenced the Dada movement. Jack the Ripper as sculpted through the words of Eliot’s poem “Rhapsody on a Windy Night.” All three plays received their world premieres at San Francisco’s notorious Marilyn Monroe Memorial Theater, known for its focus on “demolished texts, deconstructed classics, and new works.” As such, the plays in THREE SOMEBODIES are not representative of standard “bio-dramas.” rather these are stripped down, twisted, juxtaposed, hard-bent works intensity designed to bring each subjects life three-dimensional portraits, examine particular personas from inside out. They refused be handcuffed by linear drama so they roar in twists shouts, psychedelic tremors, whirlwind ebullience. Playwright Georges paints each of these plays with bold, innovative strokes that expand the boundaries of the theatrical milieu. As compelling to read off the page as to perform, these three plays offer sharp dialogue and prismatic views of their rebellious subjects, casting aside stereotypical, bullet-pointed personalities to establish new perspectives on their subjects.

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Basil Bunting, one of the greatest modernist poets, had an extraordinary life. Born in the mining village of Scotswood in Tyneside in 1900, after a largely Quaker education, during which at the age of 13 he met the love of his life, he left school in 1918 and went straight to prison as a conscientious objector. In Paris in the early 1920s after working as an artist’s model and road mender he was rescued from another spell in prison by Ezra Pound and Ford Madox Ford and became Ford’s assistant on the pioneering modernist magazine, the Transatlantic Review. Excluded from France he found himself with Pound and W. B. Yeats in Rapallo on the Italian Riviera where he worked on sand boats and wrote the poems that formed the backbone of Pound’s influential Active Anthology. Bunting spent the first part of the 1930s in the Canary Islands but fled to London with his young family at the outbreak of the Spanish Civil War. After his newly pregnant wife left him and took their two children to the US he lived on a boat on the south coast of England, trained as a seaman and captained yachts in America. During the Second World War his knowledge of classical Persian earned him a job as a translator in Iraq, after which he served as a spy in the region culminating in his promotion to Vice Consul in Isfahan. Compelled to leave the embassy because of his remarriage to a local woman, he became Middle East correspondent for the Times until he was thrown out of Iran by Mossadeq in 1953. A barren period followed until his poetic masterpiece, Briggflatts, caught the literary world’s attention in 1965. Literary fame brought Bunting no relief from grinding poverty and he died at the age of 85, impoverished but with a lasting poetic legacy. Underneath this captivating tale of action, adventure and lasting friendships with some of the greatest writers of the 20th century (Yeats, Pound, T. S. Eliot, William Carlos Williams, Louis Zukofsky and many more) lies one of the greatest love stories of the twentieth century.

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A polemical reaction against a trend in global modernist studies which still privileges European and Anglophone texts.Existing studies of literary modernism generally read Anglophone Atlantic texts through the lens of critical theories emanating from Europe and North America. In Modernism after Postcolonialism, Mara de Gennaro undertakes a comparative Anglophone-Francophone study, invoking theoretical frameworks from Gayatri Spivak, Édouard Glissant, Françoise Vergès, Michel-Rolph Trouillot, Dipesh Chakrabarty, and others. Examining transnational poetics of comparison that contest the comparative practices of colonialist, racist, and ethno-nationalist discourses, the book treats these poetics as models for a creolist critical method of reading, one that searches out unpredictable, mutually generative textual relations obscured by geographic and linguistic divides. In each chapter, de Gennaro pairs a canonical English-language modernist writer (Gertrude Stein, T. S. Eliot, E. M. Forster, Virginia Woolf) with a postcolonial writer (Aimé Cesaire, Glissant, Patrick Chamoiseau, J. M. Coetzee, Edwidge Danticat), interpreting major works of prewar and interwar modernism in light of postcolonial and Francophone literature, cultural theory, and historiography. Read together, these texts suggest a turn—sometimes subtle or conflicted in earlier Atlantic modernist texts, while usually more overt in later Caribbean and postcolonial texts—toward comparative forms marked by irresolution and a wavering sense of authority. With the rise of world literature and global modernist studies, it becomes all the more pressing to examine how comparative forms can alert us to unspoken and misrecognized relations while also confronting us with the difficulty of representing the Other.By bringing into relation these ostensibly unconnected, often discrepant texts, de Gennaro challenges entrenched territorial habits of literary meaning. An aspirationally nonterritorial comparative literature, she argues, diverges not only from Eurocentric formalist approaches but also from global comparatisms that emphasize incommensurabilities to the point of eliding significant textual and contextual connections. Drawing on interdisciplinary postcolonial efforts, especially in the social sciences, to deterritorialize categories of identity, culture, and community, Modernism after Postcolonialism dispenses with outdated modernist and postcolonial paradigms to reveal how the anxious, inconclusive comparisons of transnational modernist poetics can call us to imagine new solidarities across bounded territories.

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Lois Gordon's absorbing biography tells the story of a writer, activist, and cultural icon who embodied the dazzling energy and tumultuous spirit of her age, and whom William Carlos Williams once called "one of the major phenomena of history." Nancy Cunard (1896-1965) led a life that surpasses Hollywood fantasy. The only child of an English baronet (and heir to the Cunard shipping fortune) and an American beauty, Cunard abandoned the world of a celebrated socialite and Jazz Age icon to pursue a lifelong battle against social injustice as a wartime journalist, humanitarian aid worker, and civil rights champion. Cunard fought fascism on the battlefields of Spain and reported firsthand on the atrocities of the French concentration camps. Intelligent and beautiful, she romanced the great writers of her era, including three Nobel Prize winners, and was the inspiration for characters in the works of Ezra Pound, T. S. Eliot, Aldous Huxley, Pablo Neruda, Samuel Beckett, and Ernest Hemingway, among others. Cunard was also a prolific poet, publisher, and translator and, after falling in love with a black American jazz pianist, became deeply committed to fighting for black rights. She edited the controversial anthology Negro, the first comprehensive study of the achievement and plight of blacks around the world. Her contributors included Langston Hughes, W. E. B. Du Bois, and Zora Neale Hurston, among scores of others. Cunard's personal life was as complex as her public persona. Her involvement with the civil rights movement led her to be ridiculed and rejected by both family and friends. Throughout her life, she was plagued by insecurities and suffered a series of breakdowns, struggling with a sense of guilt over her promiscuous behavior and her ability to survive so much war and tragedy. Yet Cunard's writings also reveal an immense kindness and wit, as well as her renowned, often flamboyant defiance of prejudiced social conventions. Drawing on diaries, correspondence, historical accounts, and the remembrances of others, Lois Gordon revisits the major movements of the first half of the twentieth century through the life of a truly gifted and extraordinary woman. She also returns Nancy Cunard to her rightful place as a major figure in the historical, social, and artistic events of a critical era.

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A polemical reaction against a trend in global modernist studies which still privileges European and Anglophone texts.Existing studies of literary modernism generally read Anglophone Atlantic texts through the lens of critical theories emanating from Europe and North America. In Modernism after Postcolonialism, Mara de Gennaro undertakes a comparative Anglophone-Francophone study, invoking theoretical frameworks from Gayatri Spivak, Édouard Glissant, Françoise Vergès, Michel-Rolph Trouillot, Dipesh Chakrabarty, and others. Examining transnational poetics of comparison that contest the comparative practices of colonialist, racist, and ethno-nationalist discourses, the book treats these poetics as models for a creolist critical method of reading, one that searches out unpredictable, mutually generative textual relations obscured by geographic and linguistic divides. In each chapter, de Gennaro pairs a canonical English-language modernist writer (Gertrude Stein, T. S. Eliot, E. M. Forster, Virginia Woolf) with a postcolonial writer (Aimé Cesaire, Glissant, Patrick Chamoiseau, J. M. Coetzee, Edwidge Danticat), interpreting major works of prewar and interwar modernism in light of postcolonial and Francophone literature, cultural theory, and historiography. Read together, these texts suggest a turn—sometimes subtle or conflicted in earlier Atlantic modernist texts, while usually more overt in later Caribbean and postcolonial texts—toward comparative forms marked by irresolution and a wavering sense of authority. With the rise of world literature and global modernist studies, it becomes all the more pressing to examine how comparative forms can alert us to unspoken and misrecognized relations while also confronting us with the difficulty of representing the Other.By bringing into relation these ostensibly unconnected, often discrepant texts, de Gennaro challenges entrenched territorial habits of literary meaning. An aspirationally nonterritorial comparative literature, she argues, diverges not only from Eurocentric formalist approaches but also from global comparatisms that emphasize incommensurabilities to the point of eliding significant textual and contextual connections. Drawing on interdisciplinary postcolonial efforts, especially in the social sciences, to deterritorialize categories of identity, culture, and community, Modernism after Postcolonialism dispenses with outdated modernist and postcolonial paradigms to reveal how the anxious, inconclusive comparisons of transnational modernist poetics can call us to imagine new solidarities across bounded territories.

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This remarkable collection of letters reveals the debate over universal human rights. Prominent mid-twentieth-century intellectuals and leaders—including Gandhi, T.S. Eliot, W.H. Auden, Aldous Huxley, Jawaharlal Nehru, and Arnold Schoenberg—engaged with the question of universal human rights. Letters to the Contrary presents the foundation of the intellectual struggles and ideological doubts still present in today's human rights debates. Since its adoption in 1948, historians and human rights scholars have claimed that the Universal Declaration of Human Rights was influenced by UNESCO's 1947–48 global survey of intellectuals, theologians, and cultural and political leaders, that supposedly demonstrated a truly universal consensus on human rights. Based on meticulous archival research, Letters to the Contrary provides a curated history of the UNESCO human rights survey and demonstrates its relevance to contemporary debates over the origins, legitimacy, and universality of human rights. In collecting, annotating, and analyzing these responses, including letters and responses that were omitted and polite refusals to respond, Mark Goodale shows that the UNESCO human rights survey was much less than supposed, but also much more. In many ways, the intellectual struggles, moral questions, and ideological doubts among the different participants who both organized and responded to the survey reveal a strikingly critical and contemporary orientation, raising similar questions at the center of current debates surrounding human rights scholarship and practice. This volume contains letters and survey responses from Jacques Havet, Jacques Maritain, Arnold J. Lien, Richard P. Mckeon, Quincy Wright, Levi Carneiro, Arthur H. Compton, Charles E. Merriam, Lewis Mumford, E. H. Carr, John Lewis, Harold J. Laski, Serge Hessen, John Somerville, Boris Tchechko, Luc Somerhausen, Hyman Levy, Ture Nerman, R. Palme Dutt, Maurice Dobb, Pierre Teilhard De Chardin, Marcel De Corte, Pedro Troncoso Sánchez, Mahatma Gandhi, Chung-Shu Lo, Kurt Riezler, Inocenc Arnošt Bláha, Hubert Frère, M. Nicolay, W. Albert Noyes, Jr., Aldous Huxley, Ralph W. Gerard, Johannes M. Burgers, Humayun Kabir, A. P. Elkin, S. V. Puntambekar, Leonard Barnes, Benedetto Croce, Jean Haesart, F. S. C. Northrop, Peter Skov, Emmanuel Mounier, Maurice Webb, John Macmurray, Julius Moór, L. Horváth, Alfred Weber, Don Salvador De Madariaga, Frank R. Scott, Jawaharlal Nehru, Margery Fry, Isaac Leon Kandel, René Maheu, Albert Szent-Györgyi, Morris L. Ernst, Arnold Schoenberg, W. H. Auden, Melville Herskovits, Theodore Johannes Haarhoff, Ernest Henry Burgmann, Herbert Read, and T. S. Eliot.

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This remarkable collection of letters reveals the debate over universal human rights. Prominent mid-twentieth-century intellectuals and leaders—including Gandhi, T.S. Eliot, W.H. Auden, Aldous Huxley, Jawaharlal Nehru, and Arnold Schoenberg—engaged with the question of universal human rights. Letters to the Contrary presents the foundation of the intellectual struggles and ideological doubts still present in today's human rights debates. Since its adoption in 1948, historians and human rights scholars have claimed that the Universal Declaration of Human Rights was influenced by UNESCO's 1947–48 global survey of intellectuals, theologians, and cultural and political leaders, that supposedly demonstrated a truly universal consensus on human rights. Based on meticulous archival research, Letters to the Contrary provides a curated history of the UNESCO human rights survey and demonstrates its relevance to contemporary debates over the origins, legitimacy, and universality of human rights. In collecting, annotating, and analyzing these responses, including letters and responses that were omitted and polite refusals to respond, Mark Goodale shows that the UNESCO human rights survey was much less than supposed, but also much more. In many ways, the intellectual struggles, moral questions, and ideological doubts among the different participants who both organized and responded to the survey reveal a strikingly critical and contemporary orientation, raising similar questions at the center of current debates surrounding human rights scholarship and practice. This volume contains letters and survey responses from Jacques Havet, Jacques Maritain, Arnold J. Lien, Richard P. Mckeon, Quincy Wright, Levi Carneiro, Arthur H. Compton, Charles E. Merriam, Lewis Mumford, E. H. Carr, John Lewis, Harold J. Laski, Serge Hessen, John Somerville, Boris Tchechko, Luc Somerhausen, Hyman Levy, Ture Nerman, R. Palme Dutt, Maurice Dobb, Pierre Teilhard De Chardin, Marcel De Corte, Pedro Troncoso Sánchez, Mahatma Gandhi, Chung-Shu Lo, Kurt Riezler, Inocenc Arnošt Bláha, Hubert Frère, M. Nicolay, W. Albert Noyes, Jr., Aldous Huxley, Ralph W. Gerard, Johannes M. Burgers, Humayun Kabir, A. P. Elkin, S. V. Puntambekar, Leonard Barnes, Benedetto Croce, Jean Haesart, F. S. C. Northrop, Peter Skov, Emmanuel Mounier, Maurice Webb, John Macmurray, Julius Moór, L. Horváth, Alfred Weber, Don Salvador De Madariaga, Frank R. Scott, Jawaharlal Nehru, Margery Fry, Isaac Leon Kandel, René Maheu, Albert Szent-Györgyi, Morris L. Ernst, Arnold Schoenberg, W. H. Auden, Melville Herskovits, Theodore Johannes Haarhoff, Ernest Henry Burgmann, Herbert Read, and T. S. Eliot.

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Despite his celebrity and his fame, a series of literary feuds and the huge volume of sources have, until now, precluded a satisfying biography of Allen Tate. Anyone interested in the literature and history of the American South, or in modern letters, will be fascinated by his life. Poetry readers recognize Tate, whom T. S. Eliot once called the best poet writing in America, as the author of some of the twentieth century's most powerful modernist verse. Others know him as a founder of The Fugitive, the first significant poetry journal to emerge from the South. Tate joined William Faulkner and others in launching what came to be known as the Southern Literary Renaissance. In 1930, he became a leader of the Southern Agrarian movement, perhaps America's final potent critique of industrial capitalism. By 1938, Tate had departed politics and written The Fathers, a critically acclaimed novel about the dissolution of the antebellum South. He went on to earn almost every honor available to an American poet. His fatherly mentoring of younger poets, from Robert Penn Warren to Robert Lowell, and of southern novelists--including his first wife, Caroline Gordon--elicited as much rebellion as it did loyalty. Long-awaited and based on the author's unprecedented access to Tate's personal papers and surviving relatives, Orphan of the South brings Tate to 1938. It explores his attempt, first through politics and then through art, to reconcile his fierce talent and ambition with the painful history of his family and of the South. Tate was subjected to, and also perpetuated, fictional interpretations of his ancestry. He alternately abandoned and championed Southern culture. Viewing himself as an orphan from a region where family history is identity, he developed a curious blend of spiritual loneliness and ideological assuredness. His greatest challenge was transforming his troubled genealogy into a meaningful statement about himself and Southern culture as a whole. It was this problem that consumed Tate for the first half of his life, the years recorded here. This portrait of a man who both made and endured American literary history depicts the South through the story of one of its treasured, ambivalent, and sometimes wayward sons. Readers will gain a fertile understanding of the Southern upbringing, education, and literary battles that produced the brilliant poet who was Allen Tate.

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In the years between the beginning of the twentieth century and the end of World War II, American poetry was transformed, producing a body of work whose influence was felt throughout the world. Now for the first time the landmark two-volume Library of America anthology of twentieth-century poetry through the post-War years restores that era in all its astonishing beauty and explosive energy.This first volume of the set, organized chronologically by the poets’ birthdates, takes the reader from Henry Adams (1838–1918) to Dorothy Parker (1893–1967), and in the process reveals the unfolding of a true poetic renaissance. Included are generous selections from some of the century’s greatest poets: Edwin Arlington Robinson, Robert Frost, Wallace Stevens, William Carlos Williams, Marianne Moore, H.D., Ezra Pound, T. S. Eliot. Here they are seen as part of an age that proposed new and often contentious definitions of what American poetry could be and fresh perceptions of a society undergoing rapid and often tumultuous change.The multifarious aesthetic influences brought to bear—Chinese and Japanese poetry, the African-American sermon, the artistic revolutions of Cubism and Dada, the cadences of jazz, the brash urgencies of vernacular speech—resulted in a poetic culture of dynamic energy and startling contrasts.The poets of this era transformed not only style but traditional subject matter: there are poems here on a silent movie actress, a lynching, the tenements of New York, the trench warfare of World War I, the Russian Revolution, and the landscape of Mars. Here too are folk ballads on events like the assassination of McKinley and the sinking of the Titanic; popular and humorous verse by Don Marquis and Franklin P. Adams; the famous “Spectra” hoax; song lyrics by Ma Rainey, Joe Hill, and Irving Berlin; and poems by writers as unexpected as Djuna Barnes, Sherwood Anderson, John Reed, and H. P. Lovecraft. Included are some of the century’s most important poems, presented in full: Pound’s Hugh Selwyn Mauberley, Eliot’s The Waste Land, Steven’s Notes Toward a Supreme Fiction.LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

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From his school days to his tragic early death, George Orwell, who never wrote an autobiography, chronicled the dramatic events of his turbulent life in a profusion of powerful letters. Indeed, one of the twentieth century’s most revered icons was a lively, prolific correspondent who developed in rich, nuanced dispatches the ideas that would influence generations of writers and intellectuals. This historic work—never before published in America and featuring many previously unseen letters—presents an account of Orwell’s interior life as personal and absorbing as readers may ever see. Over the course of a lifetime, Orwell corresponded with hundreds of people, including many distinguished political and artistic figures. Witty, personal, and profound, the letters tell the story of Orwell’s passionate first love that ended in devastation and explains how young Eric Arthur Blair chose the pseudonym "George Orwell." In missives to luminaries such as T. S. Eliot, Stephen Spender, Arthur Koestler, Cyril Connolly, and Henry Miller, he spells out his literary and philosophical beliefs. Readers will encounter Orwell’s thoughts on matters both quotidian (poltergeists and the art of playing croquet) and historical—including his illuminating descriptions of war-shattered Barcelona and pronouncements on bayonets and the immanent cruelty of chaining German prisoners. The letters also reveal the origins of his famous novels. To a fan he wrote, "I think, and have thought ever since the war began…that our cause is the better, but we have to keep on making it the better, which involves constant criticism." A paragraph before, he explained that the British intelligentsia in 1944 were "perfectly ready for dictatorial methods, secret police, systematic falsification of history," prefiguring the themes of 1984. Entrusting the manuscript of Animal Farm to Leonard Moore, his literary agent, Orwell describes it as "a sort of fairy story, really a fable with political meaning…This book is murder from the Communist point of view." Hardly known outside a small circle of Orwell scholars, these rare letters include Orwell’s message to Dwight Macdonald of 5 December 1946 explaining Animal Farm; his correspondence with his first translator, R. N. Raimbault (with English translations of the French originals); and the moving encomium written about Orwell by his BBC head of department after his service there. The volume concludes with a fearless account of the painful illness that took Orwell’s life at age forty-seven. His last letter concerns his son and his estate and closes with the words, "Beyond that I can’t make plans at present." Meticulously edited and fully annotated by Peter Davison, the world’s preeminent Orwell scholar, the volume presents Orwell “in all his varieties” and his relationships with those most close to him, especially his first wife, Eileen. Combined with rare photographs and hand-drawn illustrations, George Orwell: A Life in Letters offers "everything a reader new to Orwell needs to know…and a great deal that diehard fans will be enchanted to have" (New Statesmen).

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“You have the luck of Croesus on stilts (as my Auntie Vi would have said) if you’ve had the sort of career, ups and downs, warts and all that I have in that wondrous little corner of show business called musical theatre.” One of the most successful and distinguished artists of our time, Andrew Lloyd Webber has reigned over the musical theatre world for nearly five decades. The winner of numerous awards, including multiple Tonys and an Oscar, Lloyd Webber has enchanted millions worldwide with his music and numerous hit shows, including Jesus Christ Superstar, Evita, Cats, The Phantom of the Opera—Broadway’s longest running show—and most recently, School of Rock. In Unmasked, written in his own inimitable, quirky voice, the revered, award-winning composer takes stock of his achievements, the twists of fate and circumstance which brought him both success and disappointment, and the passions that inspire and sustain him. The son of a music professor and a piano teacher, Lloyd Webber reveals his artistic influences, from his idols Rodgers and Hammerstein and the perfection of South Pacific’s ‘Some Enchanted Evening,’ to the pop and rock music of the 1960s and Puccini’s Tosca, to P. G. Wodehouse and T. S. Eliot. Lloyd Webber recalls his bohemian London youth, reminiscing about the happiest place of his childhood, his homemade Harrington Pavilion—a make-believe world of musical theatre in which he created his earliest entertainments. A record of several exciting and turbulent decades of British and American musical theatre and the transformation of popular music itself, Unmasked is ultimately a chronicle of artistic creation. Lloyd Webber looks back at the development of some of his most famous works and illuminates his collaborations with luminaries such as Tim Rice, Robert Stigwood, Harold Prince, Cameron Mackintosh, and Trevor Nunn. Taking us behind the scenes of his productions, Lloyd Webber reveals fascinating details about each show, including the rich cast of characters involved with making them, and the creative and logistical challenges and artistic political battles that ensued. Lloyd Webber shares his recollections of the works that have become cultural touchstones for generations of fans: writing songs for a school production that would become his first hit, Joseph and the Amazing Technicolor Dreamcoat; finding the coterie of performers for his classic rock opera Jesus Christ Superstar; developing his first mega-hit, Evita, which would win seven Tonys Awards, including Best Musical; staking his reputation and fortune on the groundbreaking Cats; and making history with the dazzling The Phantom of the Opera. Reflecting a life that included many passions (from architecture to Turkish Swimming Cats), full of witty and revealing anecdotes, and featuring cameo appearances by numerous celebrities—Elaine Paige, Sarah Brightman, David Frost, Julie Covington, Judi Dench, Richard Branson, A.R. Rahman, Mandy Patinkin, Patti LuPone, Richard Rodgers, Norman Jewison, Milos Forman, Plácido Domingo, Barbra Streisand, Michael Crawford, Gillian Lynne, Betty Buckley, and more—Unmasked at last reveals the true face of the extraordinary man beneath the storied legend.

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Copper Nickel is the national literary journal housed at the University of Colorado Denver. It is edited by poet, editor, and translator Wayne Miller (author of five collections, including We the Jury and Post-, coeditor of Literary Publishing in the Twenty-First Century, and co-translator of Moikom Zeqo’s Zodiac) and co-editor Joanna Luloff (author of the novel Remind Me Again What Happened and the story collection The Beach at Galle Road)—along with poetry editors Brian Barker (author of Vanishing Acts, The Black Ocean, and The Animal Gospels) and Nicky Beer (author of Real Phonies and Genuine Fakes, The Octopus Game and The Diminishing House), and fiction editors Teague Bohlen (author of The Pull of the Earth), Alexander Lumans (whose work has appeared in American Short Fiction, Gulf Coast, The Paris Review, Story Quarterly, and elsewhere), and Christopher Merkner (author of The Rise & Fall of the Scandamerican Domestic). Since the journal’s relaunch in 2015, work published in Copper Nickel has been regularly selected for inclusion in Best American Poetry, Best American Short Stories, Best Small Fictions, and the Pushcart Prize Anthology, and has often been listed as “notable” in the Best American Essays. Contributors to Copper Nickel have received numerous honors for their work, including the Nobel Prize; the National Book Critics Circle Award; the Pulitzer Prize; the Kingsley Tufts Poetry Award; the Kate Tufts Discovery Award; the Laughlin Award; the American, California, Colorado, Minnesota, and Washington State Book Awards; the Georg Büchner Prize; the Prix Max Jacob; the Lenore Marshall Prize; the T. S. Eliot and Forward Prizes; the Anisfield-Wolf Book Award; the Alice Fay Di Castagnola Award; the Lambda Literary Award; as well as fellowships from the NEA and the MacArthur, Guggenheim, Ingram Merrill, Witter Bynner, Soros, Rona Jaffee, Bush, and Jerome Foundations. Copper Nickel is published twice a year, on March 15 and October 15, and is distributed nationally to bookstores and other outlets by Publishers Group West (PGW) and Media Solutions, LLC. Issue 35 Includes: • Poetry Translation Folios with work by four 21st century female poets: emerging Korean poet Kim Yurim, translated by Megan Sungyoon; emerging Spanish poet Beatriz Miralles de Imperial, translated by Layla Benitez-James; Khazakhstani Russian-Language poet Aigerim Tazhi, translated by J. Kates; and emerging Italian poet Giovanna Cristina Vivinetto, translated by Gabriella Fee and Dora Malech. • New Poetry by National Book Award finalist Leslie Harrison; Kingsley Tufts Award-winner Angie Estes; Guggenheim Fellow Eric Pankey; Whiting Award-winner Joel Brouwer; Felix Pollack Prize-winner Emily Bludworth de Barrios; as well as emerging poets Ariana Benson, Chee Brossy, Dorsey Craft, Asa Drake, Anthony Immergluck, Luisa Maraadyan, Stephanie Niu, Ben Swimm, and many others. • New Fiction by recent NEA Fellow Sean Bernard and emerging writers Molly Beckwith Gutman, Chemutai Kiplagat, and Sean Madden. • New Essays by James Laughlin Prize-winner Kathryn Nuernberger and emerging essayist Despy Boutris.

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'Sympathetic and wonderfully perceptive . . . a heartbreaking read'NICK COHEN, Critic'Wise, witty and empathetic . . . outstanding'JIM CRACE'A fascinating treatment of the age-old problem of writers and drink which displays the same subtle qualities as William Palmer's own undervalued novels'D. J. TAYLORAn 'enjoyable exploration of an enduringly fascinating subject . . . [Palmer] is above all a dispassionate critic, and is always attentive to, and unwaveringly perceptive about the art of his subjects as well as their relationship with alcohol . . . [his] treatment is even-handed and largely without judgement. He tries to understand, without either condoning or censuring, the impulses behind often reprehensible behaviour'SOUMYA BHATTACHARYA, New Statesman'A vastly absorbing and entertaining study of this ever-interesting subject'ANDREW DAVIES, screenwriter and novelist'In Love with Hell is a fascinating and beautifully written account of the lives of eleven British and American authors whose addiction to alcohol may have been a necessary adjunct to their writing but ruined their lives. Palmer's succinct biographies contain fine descriptions of the writers, their work and the times they lived in; and there are convincing insights into what led so many authors to take to drink.'PIERS PAUL READWhy do some writers destroy themselves by drinking alcohol? Before our health-conscious age it would be true to say that many writers drank what we now regard as excessive amounts. Graham Greene, for instance, drank on a daily basis quantities of spirits and wine and beer most doctors would consider as being dangerous to his health. But he was rarely out of control and lived with his considerable wits intact to the age of eighty-six. W. H. Auden drank the most of a bottle of spirits a day, but also worked hard and steadily every day until his death. Even T. S. Eliot, for all his pontifical demeanour, was extremely fond of gin and was once observed completely drunk on a London Tube station by a startled friend. These were not writers who are generally regarded as alcoholics. 'Alcoholic' is, in any case, a slippery word, as exemplified by Dylan Thomas's definition of an alcoholic as 'someone you dislike who drinks as much as you.' The word is still controversial and often misunderstood and misapplied. What acclaimed novelist and poet William Palmer's book is interested in is the effect that heavy drinking had on writers, how they lived with it and were sometimes destroyed by it, and how they described the whole private and social world of the drinker in their work.He looks at Patrick Hamilton ('the feverish magic that alcohol can work'); Jean Rhys ('As soon as I sober up I start again'); Charles Jackson ('Delirium is a disease of the night'); Malcolm Lowry ('I love hell. I can't wait to go back there'); Dylan Thomas ('A womb with a view'); John Cheever ('The singing of the bottles in the pantry'); Flann O'Brien ('A pint of plain is your only man'); Anthony Burgess ('Writing is an agony mitigated by drink'); Kingsley Amis ('Beer makes you drunk'); Richard Yates ('The road to Revolutionary Road'); and Elizabeth Bishop ('The writer's writer's writer').

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Copper Nickel is the national literary journal housed at the University of Colorado Denver. It is edited by poet, editor, and translator Wayne Miller (author of five collections, including We the Jury and Post-, coeditor of Literary Publishing in the Twenty-First Century, and co-translator of Moikom Zeqo’s Zodiac) and co-editor Joanna Luloff (author of the novel Remind Me Again What Happened and the story collection The Beach at Galle Road)—along with poetry editors Brian Barker (author of Vanishing Acts, The Black Ocean, and The Animal Gospels) and Nicky Beer (author of Real Phonies and Genuine Fakes, The Octopus Game and The Diminishing House), and fiction editors Teague Bohlen (author of The Pull of the Earth), Alexander Lumans (whose work has appeared in American Short Fiction, Gulf Coast, The Paris Review, Story Quarterly, and elsewhere), and Christopher Merkner (author of The Rise & Fall of the Scandamerican Domestic). Since the journal’s relaunch in 2015, work published in Copper Nickel has been regularly selected for inclusion in Best American Poetry, Best American Short Stories, Best Small Fictions, Best Literary Translations, and the Pushcart Prize Anthology, and has often been listed as “notable” in the Best American Essays. According to Clifford Garstang’s US literary journal rankings, Copper Nickel is ranked number 10 for poetry and number 34 for fiction, out of more than 700 regularly publishing literary journals. Contributors to Copper Nickel have received numerous honors for their work, including the Nobel Prize; the National Book Critics Circle Award; the Pulitzer Prize; the Kingsley Tufts Poetry Award; the Kate Tufts Discovery Award; the Laughlin Award; the American, California, Colorado, Minnesota, and Washington State Book Awards; the Georg Büchner Prize; the Prix Max Jacob; the Lenore Marshall Prize; the T. S. Eliot and Forward Prizes; the Anisfield-Wolf Book Award; the Alice Fay Di Castagnola Award; the Lambda Literary Award; as well as fellowships from the NEA and the MacArthur, Guggenheim, Ingram Merrill, Witter Bynner, Soros, Rona Jaffee, Bush, and Jerome Foundations. Copper Nickel is published twice a year, on March 15 and October 15, and is distributed nationally to bookstores and other outlets by Publishers Group West (PGW) and Accelerate 360.Issue 37 Includes: • Poetry Translation Folios with work by Ukrainian poet Alex Averbuch, translated by Oksana Maksymchuk and Max Rosochinsky; Russian poet Anzhelina Polonskaya, translated by Andrew Wachtel; and Italian fiction writer Elena Varvello, translated by Jennifer Panek. • A feature of poems by three South American poets—Claudia Magliano from Uruguay, Eliana Hernández Pachón from Colombia, and Úrsula Starke from Chile—edited by Jesse Lee Kercheval and featuring a Q&A with both the poets and the translators. • New Poetry by International Latino Book Award–winner William Archila; NEA Fellows Michael Bazzett and Amy Beeder; Lambda Literary Award–winner Benjamin S. Grossberg; Kate Tufts Discovery Award–finalist Julie Hanson; Grolier Prize–winner John Hodgen; four-time Pushcart Prize–winner Mark Irwin; Jake Adam York Prize–winners Yalie Saweda Kamara and Christopher Brean Murray; Audre Lorde Award–winners Meg Day and Maureen Seaton; relative newcomers Mansi Dahal, Christine Kwon, Weijia Pan, Patrick Wilcox, Alison Zheng; and many others. • New Fiction by Stephanie Carpenter, Becky Hagenston, Jacqueline Kolosov, and Luke Rolfes/ • New Essays by TS Eliot Award–winner and National Book Critics Circle Finalist Sinéad Morrissey and Anne P. Beatty. • Cover Art by New York–based Native-American “photo-weaving” artist, Sarah Sense.Contributor LocationsContributors to issue 37 come from all over the country and the world.U.S. cities/regions where contributors are concentrated include:Denver, CO (home of Copper Nickel and the Copper Nickel staff; contributors Andrew Hemmert andMaureen Seaton)Los Angeles, CA (contributors William Archila, Mark Irwin, and Michael Mark; contributing editorsVictoria Chang, Piotr Florczyk, Amaud Jamaul Johnson, and Chris Santiago)Minneapolis/St. Paul, MN (home of Milkweed Editions; contributors Mair Allen and MichaelBazzett; contributing editor V. V. Ganeshananthan)Houston, TX (contributors Ayokunle Falomo, Christopher Brean Murray, and Weijia Pan;contributing editor Kevin Prufer)New York, NY (contributors Mansi Dahal, Eliana Herández Pachón, and Tyler Mills)Chicago, IL (contributors Oksana Maksymchuk and Michael Robins; contributing editor RobertArchambeau)San Francisco Bay Area, CA (contributor Alison Zheng; contributing editor Randall Mann)Kansas City, MO (contributor Patrick Wilcox; contributing editor Robert Long Foreman)Greensboro, NC (contributor Anne P. Beatty; contributing editor Emilia Phillips)Dallas, TX (contributor Mag Gabbert; contributing editor Tarfia Faizullah)Boston/Cambridge, MA (contributing editors Martha Collins and Frederick Reiken)Pittsburgh, PA (contributing editors Joy Katz and Kevin Haworth)Maryville, MO (contributors John Gallaher and Luke Rolphes)US Cities/Regions with single contributors:West Hartford, CT (contributor Benjamin S. Grossberg)Cedar Rapids, IA (contributor Julie Hanson)Dubuque, IA (contributor Jeannine Marie Pitas)New Orleans, LA (contributor Christine Kwon)Worcester, MA (contributor John Hodgen)Frederick, MD (contributor Elizabeth Knapp)Hannock, MI (contributor Stephanie Carpenter)Grand Rapids, MI (contributor L. S. Klatt)Starkville, MS (contributor Becky Hagenston)Raleigh, NC (contributor Meg Day)Omaha, NE (contributor Trey Moody)Albuquerque, NM (contributor Amy Beeder)Cincinnati, OH (contributor Yalie Saweda Kamara)Easton, PA (contributor Owen McLeod)Lubbock, TX (contributor Jacqueline Kolosov)Lexington, VA (contributor Seth Michelson)Bellingham, WA (contributor Jeffrey Morgan)Ellensburg, WA (contributor Maya Jewell Zeller)Eau Claire, WI (contributor Dorothy Chan)Madison, WI (contributor Jesse Lee Kercheval)Ottawa, Ontario (contributor Jennifer Panek)Philadelphia, PA (contributing editor Adrienne Perry)Washington, DC (contributing editor David Keplinger)Boca Raton, FL (contributing editor A. Papatya Bucak)Boise, ID (contributing editor Emily Ruskovich)Lexington, KY (contributing editor Ada Limón)Princeton, NJ (contributing editor James Richardson)Canton, NY (contributing editor Pedro Ponce)Saint Louis, MO (contributing editor Niki Herd)Missoula, MT (contributing editor Sean Hill)Tulsa, OK (contributing editor Kaveh Bassiri)Blacksburg, VA (contributing editor Janine Joseph) International contributors live in:Montevideo, UruguayNewcastle-upon-Tyne, UKMexico City, MXSan Bernardo, ChileTurin, ItalyBishkek, Kyrgyzstan

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