Search results for ""Author Harry"

The Hittite language is the earliest preserved member of the Indo-European family of languages. It was written on clay tablets in central Asia Minor over a five hundred year span (ca. 1650-1180 B.C.) which witnessed the rise, the floruit, and the decline of many political powers in the Near East. The Hittite Dictionary of the Oriental Institute of the University of Chicago (CHD) is a comprehensive, bilingual Hittite-English dictionary. The CHD is not just a list of words and their meanings, but rather a dictionary that reflects and illustrates the ideas and material world of Hittite society through its lexicon. Published letter by letter, the CHD is a long-term project and the result of a painstaking process of cultural, historical, and lexical investigation for all those interested in Hittite culture and history. The CHD is the only such project in the English speaking world.

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Catharina Koke untersucht die Beeinflussung der Lehrerausbildung im Fach evangelische Religion in den Jahren 1933–1945. Der Fokus liegt dabei auf der Ausbildung der Lehrkräfte für die Volksschule. Drei Landeskirchen werden hierfür vergleichend in den Blick genommen und unter der Fragestellung untersucht, inwieweit es den Landeskirchen gelingt, die Ausbildung angehender Lehrkräfte vor ideologischer Vereinnahmung zu schützen. In unterschiedlichem Ausmaß sind institutionelle sowie inhaltliche Aspekte dafür entscheidend, ganz besonders jedoch zeigen sich die in die Ausbildung involvierten Personen als entscheidender Faktor dafür, wieweit ein Schutz der Ausbildung vor der Zerschlagung durch den Nationalsozialismus gelingt. Zeitgeschichtliche Umstände und institutionelle Rahmenbedingungen wirken demgegenüber meist vor allem unterstützend oder im Gegensatz hemmend.

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For many years, planetary science has been taught as part of the astronomy curriculum, from a very physics-based perspective, and from the framework of a tour of the Solar System - body by body. Over the past decades, however, spacecraft exploration and related laboratory research on extraterrestrial materials have given us a new understanding of planets and how they are shaped by geological processes. Based on a course taught at the University of Tennessee, Knoxville, this is the first textbook to focus on geologic processes, adopting a comparative approach that demonstrates the similarities and differences between planets, and the reasons for these. Profusely illustrated, and with a wealth of pedagogical features, this book provides an ideal capstone course for geoscience majors - bringing together aspects of mineralogy, petrology, geochemistry, volcanology, sedimentology, geomorphology, tectonics, geophysics and remote sensing.

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This is the fourth and final fascicle of the letter S (-sma/i- A. to suu). The CHD is a comprehensive, bilingual Hittite-English dictionary. The CHD is not just a list of words and their meanings, but rather an encyclopedic dictionary that reflects and illustrates the ideas and material world of Hittite society through its lexicon. Published letter by letter, the CHD is a long-term project and the result of a painstaking process of cultural, historical, and lexical investigation for all those interested in Hittite culture and history. The CHD is the only such project in the English speaking world.

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The Hittite language is the earliest preserved member of the Indo-European family of languages. It was written on clay tablets in central Asia Minor over a five hundred year span (ca. 1650-1180 B.C.) which witnessed the rise, the floruit, and the decline of many political powers in the Near East. The Hittite Dictionary of the Oriental Institute of the University of Chicago (CHD) is a comprehensive, bilingual Hittite-English dictionary. The CHD is not just a list of words and their meanings, but rather a dictionary that reflects and illustrates the ideas and material world of Hittite society through its lexicon. Published letter by letter, the CHD is a long-term project and the result of a painstaking process of cultural, historical, and lexical investigation for all those interested in Hittite culture and history. The CHD is the only such project in the English speaking world.

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The Hittite language is the earliest preserved member of the Indo-European family of languages. It was written on clay tablets in central Asia Minor over a five hundred year span (ca. 1650-1180 B.C.) which witnessed the rise, the floruit, and the decline of many political powers in the Near East. The Hittite Dictionary of the Oriental Institute of the University of Chicago (CHD) is a comprehensive, bilingual Hittite-English dictionary. The CHD is not just a list of words and their meanings, but rather a dictionary that reflects and illustrates the ideas and material world of Hittite society through its lexicon. Published letter by letter, the CHD is a long-term project and the result of a painstaking process of cultural, historical, and lexical investigation for all those interested in Hittite culture and history. The CHD is the only such project in the English speaking world.

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This volume of the Hittite Dictionary of the Oriental Institute of the University of Chicago (CHD) is the complete volume of the letter S (-sa to suu-), including fascicles 1-4. The CHD is a comprehensive, bilingual Hittite-English dictionary. The CHD is not just a list of words and their meanings, but rather an encyclopedic dictionary that reflects and illustrates the ideas and material world of Hittite society through its lexicon. Published letter by letter, the CHD is a long-term project and the result of a painstaking process of cultural, historical, and lexical investigation for all those interested in Hittite culture and history. The CHD is the only such project in the English speaking world.

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The Hittite language is the earliest preserved member of the Indo-European family of languages. It was written on clay tablets in central Asia Minor over a five hundred year span (ca. 1650-1180 B.C.) which witnessed the rise, the floruit, and the decline of many political powers in the Near East. The Hittite Dictionary of the Oriental Institute of the University of Chicago (CHD) is a comprehensive, bilingual Hittite-English dictionary. The CHD is not just a list of words and their meanings, but rather a dictionary that reflects and illustrates the ideas and material world of Hittite society through its lexicon. Published letter by letter, the CHD is a long-term project and the result of a painstaking process of cultural, historical, and lexical investigation for all those interested in Hittite culture and history. The CHD is the only such project in the English speaking world.

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Since 1992 the EU has incorporated a concept previously exclusive to states: citizenship. In embracing supranational citizenship the EU entered terra incognita, creating a concept resembling, but essentially different to traditional citizenship. This book provides an in-depth historical, political and constitutional analysis of the first 25 years of EU citizenship, and considers how it could develop over the next 25 years.Bringing together scholars from the fields of law, political science and history, this book takes a multidisciplinary approach to EU citizenship. It examines the history and development of EU citizenship, the roles of institutional and political actors, and the dynamics which it created in the post-Maastricht accession process, providing readers with a unique multifaceted examination of the topic. Exploring new insights into the nature and importance of EU citizenship, this book shows that after a quarter of a century EU citizenship has lost none of it's game-changing potential, and remains one of the most important features of EU law.Students of European law and politics and international relations will find this concise book an invaluable tool, with interesting and original insights into the present status of a key aspect of EU law. Its multidisciplinary approach will also help professionals working in fields relating to the subject.Contributors include: A.G. Harryvan, G. Hoogers, J. Langer, S. Neuman Stanivukovic, T. Nowak, R. Procee, J. van der Harst, J.W. van Rossem, G. Voerman, N. Zeegers

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Fifty years of poems from the Community of Writers’ poetry workshop The Community of Writers (formerly Community of Writers at Squaw Valley) celebrates fifty years of its annual summer poetry workshop in Olympic Valley, California, with this collection of one hundred and forty poems first composed there. Edited by writers workshop codirector Lisa Alvarez and introduced by longtime poetry director Robert Hass, the book is divided into three sections: poems that evoke the Valley’s physical setting, with its granite-and-pine mountain beauty; poems that peer into the poetic process, filled with inspiration and idiosyncrasy; and poems of all shapes and kinds that owe their origins to the workshop and its productive morning review sessions. Contributors include both workshop staff and participants, among them Lucille Clifton, Sharon Olds, Al Young, Matthew Zapruder, Harryette Mullen, Galway Kinnell, Rita Dove, Cornelius Eady, Robert Hass, and Forrest Gander. The title of the collection comes from a question posed by original poetry director Galway Kinnell: “Then why to these rocks / Do I keep coming back why.” It speaks to the special community nurtured in this stunning setting, one that has inspired poets worldwide—many of whom developed significant bodies of award-winning work in its creative and generative atmosphere.

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Animation has a lot to do with acting. That is, character animation, not the standardized, mechanical process of animation. Acting and animation are highly creative processes. This book is divided into two parts: From film history we learn about the importance of actors and the variety of acting that goes into animation; then, we will turn to the actor's point of view to describe the various techniques involved. Through exhaustive research and interviews with people ranging from the late Ray Harryhausen, Jim Danforth, Joe Letteri, and Bruno Bozzetto, this book will be the primary source for animators and animation actors.Key FeaturesInterviews with industry legends are found throughout this exhaustive work on animationFrom film history we learn about the importance of actors and the variety of acting that goes into animation, then turn to the actor's point of view to describe the various techniques involvedCoverage of acting from Vaudeville to Rotoscoping to Performance CaptureCase studies throughout bring the content to life while providing actionable tools and techniques that can be used immediately

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A Forest on Many Stems: Essays on the Poet’s Novel provides a unique entrance to the rare prose of many remarkable modern and contemporary poets including Etel Adnan, Renee Gladman, Langston Hughes, Kevin Killian, Alice Notley, Fernando Pessoa, Rainer Maria Rilke, Leslie Scalapino, Jack Spicer, and Jean Toomer, whose approaches to the novel defy conventions of plot, character, setting, and action. Contributors: Brian Blanchfield, Anne Boyer, John Keene, Mónica de la Torre, Cedar Sigo, and C. D. Wright bring a variety of insights, approaches, and writing styles to the subject with creative and often surprising results. Kazim Ali on Fanny Howe Dan Beachy-Quick on W.G. Sebald Edmund Berrigan on Ted Berrigan Brian Blanchfield on Aaron Kunin Rachel Blau DuPlessis on Gertrude Stein Julia Bloch on Gwendolyn Brooks Anne Boyer on Elizabeth Barrett Browning Traci Brimhall on Hilda Hilst Vincent Broqua on Stacy Doris Brandon Brown on Kevin Killian Lee Ann Brown on Carla Harryman Angela Carr on Nicole Brossard Julie Carr on Lyn Hejinian Norma Cole on Emmanuel Hocquard Brent Cunningham on Laura Moriarty Mónica de la Torre on Martín Adán Marcella Durand on Robert Creeley Patrick Durgin on Tan Lin & Pamela Lu Norman Fischer on Phillip Whalen C.S. Giscombe on Audre Lorde Judith Goldman on Leslie Scalapino Carla Harryman on Gail Scott Jeanne Heuving on Theresa Hak Kyung Cha Laura Hinton on Alice Notley Daniel Katz on Jack Spicer John Keene on Fernando Pessoa Karla Kelsey on Barbara Guest Aaron Kunin on Lewis Carroll Sonnet L’Abbé on M. NourbeSe Philip Abigail Lang on Jacques Roubaud Kimberly Lyons on Mina Loy W. Jason Miller on Langston Hughes Mette Moestrup on Ingeborg Bachmann Laura Moriarty on Keith Waldrop Laura Mullen on Bhanu Kapil Denise Newman on Inger Christensen Aldon Lynn Nielsen on Amiri Baraka Geoffrey G. O’Brien on John Ashbery & James Schuyler Jena Osman on Thalia Field Julie Patton on Jean Toomer Elizabeth Robinson on Rosmarie Waldrop Jennifer Scappettone on H.D. Susan Scarlata on Forrest Gander Brandon Shimoda on Etel Adnan Cedar Sigo on Eileen Myles Sasha Steensen on Anne Carson Donna Stonecipher on Peter Waterhouse Brian Teare on Rainer Maria Rilke Tyrone Williams on Nathaniel Mackey C.D. Wright on Michael Ondaatje Lynn Xu on Ben Lerner Rachel Zolf on Juliana Spahr

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The heartwarming, inspiring final chapter in the life of Max the Miracle dogA dog can be more than just a best friend. Sometimes they can be our hero. Shortly after a traumatic car accident, Kerry Irving met Max, a Springer Spaniel who completely changed his life. But Max didn't stop there. For over ten years, he was a source of inspiration to countless others around the world, with hundreds of thousands of pounds being raised in his name. His was truly a life well lived.Forever Max sees Kerry and his trusted companion take on their final adventures around the Lake District, from providing joy to those stuck inside through lockdown to adjusting to Max's twilight years helped along every step of the way by fellow spaniels Paddy and Harry.Following on from the bestseller Max the Miracle Dog, this touching tribute celebrates a much-loved, much-missed dog and his incredible legacy.

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Alison Mills Newman’s innovative, genre-bending novel has long been out of print and impossible to find. A “fluently funky mix of standard and nonstandard English,” as the poet and scholar Harryette Mullen once put it, Francisco is the first-person account of a young actress and musician and her growing disillusionment with her success in Hollywood. Her wildly original and vivid voice chronicles a free-spirited life with her filmmaker lover, visiting friends and family up and down California, as well as her involvement in the 1970s Black Arts Movement. Love and friendship, long, meaningful conversations, parties and dancing—Francisco celebrates, as she improvises in the book, “the workings of a positive alive life that is good value, quality, carin, truth … the gift of art for the survival of the human heart.”

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Between the two World Wars, there was a dramatic upsurge of violence as rival criminal gangs vied for rich pickings from bookmakers at racetracks throughout England. With ready access to cash, 'bookies' were a magnet for mobsters' blackmailing demands. Refusal to pay resulted in severe punishment. Their justified fears spawned a ready 'protection' market . Conflict between rival gangs were frequent and increasingly violent. Charles 'Darby' Sabini with his brothers ran 'The Italian Mob' who clashed with Billy Kimber and his Brummagen Hammers. Uneasy partnerships were formed but seldom lasted. The Sabinis were friendly with the Cortesi family until a rift resulted in one of the Cortesis shooting Harryboy Sabini. Other gangs such as The Titanics and The Nile Mob were ready to fill voids. As well as broken alliances, internal friction and members changing sides resulted in bloodshed on the streets, in pubs and clubs and on the courses. Public order was so threatened that the Flying Squad was tasked with the eradication of the problem and, in 1936, the celebrated Battle of Lewes Racecourse brought matters to a bloody conclusion. This well researched and gripping account describes the vicious dramas played out in the 1920s and 1930s.

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This is not just another poetry anthology. It is a gathering of poems that demonstrate what happens when writers in a marginalized community collectively turn from dedicating their writing to political, social, and economic struggles, and instead devote themselves to the art of their poems and to the ideas they embody. These poets bear witness to the interior landscapes of their own individual selves or examine the private or personal worlds of invented personae and, therefore, of human beings living in our modern and postmodern worlds. The anthology focuses on post-1960s poetry and includes such poets as Rita Dove, Ai, Nathaniel Mackey, Natasha Trethewey, Kevin Young, Terrence Hayes, Elizabeth Alexander, Major Jackson, Carl Phillips, Harryette Mullen, and Yusef Komunyakaa—artists who, using a wide range of styles and forms, are cultivating a poetry of personal voice and interiority that speaks against the backdrop of community and anscestry.

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The new ways of writing pioneered by the literary avant-garde invite new ways of reading commensurate with their modes of composition. Dictionary Poetics examines one of those modes: book-length poems, from Louis Zukofsky to Harryette Mullen, all structured by particular editions of specific dictionaries. By reading these poems in tandem with their source texts, Dworkin puts paid to the notion that even the most abstract and fragmentary avant-garde literature is nonsensical, meaningless, or impenetrable. When read from the right perspective, passages that at first appear to be discontinuous, irrational, or hopelessly cryptic suddenly appear logically consistent, rationally structured, and thematically coherent. Following a methodology of “critical description,” Dictionary Poetics maps the material surfaces of poems, tracing the networks of signifiers that undergird the more familiar representational schemes with which conventional readings have been traditionally concerned. In the process, this book demonstrates that new ways of reading can yield significant interpretive payoffs, open otherwise unavailable critical insights into the formal and semantic structures of a composition, and transform our understanding of literary texts at their most fundamental levels.

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A poem is often read as a set of formal, technical, and conventional devices that generate meaning or affect. However, Lucy Alford suggests that poetic language might be better understood as an instrument for tuning and refining the attention. Identifying a crucial link between poetic form and the forming of attention, Alford offers a new terminology for how poetic attention works and how attention becomes a subject and object of poetry.Forms of Poetic Attention combines close readings of a wide variety of poems with research in the philosophy, aesthetics, and psychology of attention. Drawing on the work of a wide variety of poets such as T. S. Eliot, Wallace Stevens, Frank O’Hara, Anne Carson, Theresa Hak Kyung Cha, Harryette Mullen, Al-Khansā’, Rainer Maria Rilke, Arthur Rimbaud, and Claudia Rankine, Alford defines and locates the particular forms of attention poems both require and produce. She theorizes the process of attention-making—its objects, its coordinates, its variables—while introducing a broad set of interpretive tools into the field of literary studies. Forms of Poetic Attention makes the original claim that attention is poetry’s primary medium, and that the forms of attention demanded by a poem can train, hone, and refine our capacities for perception and judgment, on and off the page.

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In Motel of the Opposable Thumbs, Stuart Ross continues to ignore trends in Canadian poetry, and further follow the journey he began over four decades ago with his discoveries of the works of Stephen Crane, E. E. Cummings, Nelson Ball, Ron Padgett, Victor Coleman, Tom Clark, Nicanor Parra, Joe Rosenblatt, and David McFadden. Over the years, his influences have snowballed: Lisa Jarnot, Alice Burdick, Richard Huttel, Opal Louis Nations, Joanne Kyger, Bill Knott, Max Jacob, Larry Fagin, Heather Christle, Charles North, Emily Petit, Paul Guest, James Tate, Valéry Larbaud, Joe Brainard, Matthew Zapruder, Harryette Mullen, Dara Wier, Dag T. Straumsvåg, Mark Strand, Wislawa Szymborska, Mary Ruefle, John Ashbery, Sommer Browning, Jim Smith, Benjamin Peret, Renee Gladman, and more. In this eclectic, pleasurable gathering of poems and sequences, Mr. Ross unapologetically leaps from howls of grief and despair to zany incursions into surrealism and the absurd. He embraces this panoply of approaches to respond to our cantankerous existential dilemma. All that, and it's structured after Bela Bartók's String Quartet No. 4! Get a room and enjoy.

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The title of J.K. Daniels’s first book, Wedding Pulls, comes from a Victorian custom that persists in the American South: charms pulled from a wedding cake by the unmarried attendants are said to predict who will marry next and who never, who will be richer and who poorer. Sensual and sonically-charged, these poems interrogate what it means to be wedded, lawfully or not, and to have and hold, or not, until death do us part. In personas from Eurydice to Eve to Alice B. Toklas, the poems complicate the traditional notions, the “meager plot,” of marriage and family while exploring the enduring pull of intimacy. Inspired by Shakespeare and Stein, Gerard Manley Hopkins and Harryette Mullen, these witty poems riff on art and myth, and the fate that is family. Wedding Pulls is the winner of the 2015 New Southern Voices Poetry Book Prize.

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Dani Spinosa takes up anarchism’s power as a cultural and artistic ideology, rather than as a political philosophy, with a persistent emphasis on the common. She demonstrates how postanarchism offers a useful theoretical context for poetry that is not explicitly political—specifically for the contemporary experimental poem with its characteristic challenges to subjectivity, representation, authorial power, and conventional constructions of the reader-text relationship. Her case studies of sixteen texts make a bold move toward politicizing readers and imbuing literary theory with an activist praxis—a sharp hope. This is a provocative volume for those interested in contemporary poetics, experimental literatures, and the digital humanities. Case Studies Jim Andrews Christian Bök Mez Breeze John Cage Andy Campbell Robert Duncan Kenneth Goldsmith Susan Howe Jackson Mac Low Erín Moure [Erin Mouré] Harryette Mullen bpNichol Vanessa Place Juliana Spahr Brian Kim Stefans W. Mark Sutherland Darren Wershler

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Raised by Wolves is a unique and vibrant gathering of poems from Graywolf Press's fifty years. The anthology is conceived as a community document: fifty Graywolf poets have selected fifty poems by Graywolf poets, offering insightful prose reflections on their selections. What arises is a choral arrangement of voices and lineages across decades, languages, styles, and divergences, inspiring a shared vision for the future. Included here are established and emerging poets, international poets and poets in translation, and many of the most significant poets of our time. There are extraordinary pairings: Tracy K. Smith on Linda Gregg; Vijay Seshadri on Tomas Tranströmer, translated by Robert Bly; Natalie Diaz on Mary Szybist; Diane Seuss on D. A. Powell; Elizabeth Alexander on Christopher Gilbert; Ilya Kaminsky on Vénus Khoury-Ghata, translated by Marilyn Hacker; Mai Der Vang on Larry Levis; Layli Long Soldier on Solmaz Sharif; Solmaz Sharif on Claudia Rankine. In these poets' championing of others, fascinating threads emerge: Stephanie Burt writes on Monica Youn, who selects Harryette Mullen, who writes on Liu Xiaobo, translated by Jeffrey Yang, who chooses Fanny Howe, who writes on Carl Phillips, who selects Danez Smith, who chooses Donika Kelly, who writes on Natasha Trethewey. With an introduction by Graywolf publisher Carmen Giménez, Raised by Wolves is an echoing outward of poetry's possibilities.

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Exploration of our inner life—perception, thought, memory, feeling—once seemed a privileged domain of lyric poetry. Scientific discoveries, however, have recently supplied physiological explanations for what was once believed to be transcendental; the past sixty years have brought wide recognition that the euphoria of love is both a felt condition and a chemical phenomenon, that memories are both representations of lived experience and dynamic networks of activation in the brain. Caught between a powerful but reductive scientific view of the mind and traditional literary metaphors for consciousness that have come to seem ever more naive, American poets since the sixties have struggled to articulate a vision of human consciousness that is both scientifically informed and poetically truthful.The Lyric in the Age of the Brain examines several contemporary poets—Robert Lowell, A. R. Ammons, Robert Creeley, James Merrill, John Ashbery, Jorie Graham, and experimentalists such as Harryette Mullen and Tan Lin—to discern what new language, poetic forms, and depictions of selfhood this perplexity forces into being. Nikki Skillman shows that under the sway of physiological conceptions of mind, poets ascribe ever less agency to the self, ever less transformative potential to the imagination. But in readings that unravel factional oppositions in contemporary American poetry, Skillman argues that the lyric—a genre accustomed to revealing expansive aesthetic possibilities within narrow formal limits—proves uniquely positioned to register and redeem the dispersals of human mystery that loom in the age of the brain.

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The first volume to expound African American literary theory from the 1920s to present African American Literary Theory: A Reader is the first volume to document the central texts and arguments in African American literary theory from the 1920s through the present. As the volume progresses chronologically from the rise of a black aesthetic criticism, through the Blacks Arts Movement, feminism, structuralism and poststructuralism, and the rise of queer theory, it focuses on the key arguments, themes, and debates in each period. By constantly bringing attention to the larger political and cultural issues at stake in the interpretation of literary texts, the critics gathered here have contributed mightily to the prominence and popularity of African American literature in this country and abroad. African American Literary Theory provides a unique historical analysis of how these thinkers have shaped literary theory, and literature at large, and will be a indispensable text for the study of African American intellectual culture. Contributors include Sandra Adell, Michael Awkward, Houston A. Baker, Jr., Hazel V. Carby, Barbara Christian, W.E.B. DuBois, Ann duCille, Ralph Ellison, Henry Louis Gates, Jr., Addison Gayle Jr., Carolyn F. Gerald, Evelynn Hammonds, Phillip Brian Harper, Mae Gwendolyn Henderson, Stephen E. Henderson, Karla F.C. Holloway, Langston Hughes, Zora Neale Hurston, LeRoi Jones (Amiri Baraka), Joyce A. Joyce, Alain Locke, Wahneema Lubiano, Deborah E. McDowell, Harryette Mullen, Larry Neal, Charles I. Nero, Robert F. Reid-Pharr, Marlon B. Ross, George S. Schuyler, Barbara Smith, Valerie Smith, Hortense J. Spillers, Sherley Anne Williams, and Richard Wright.

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The new ways of writing pioneered by the literary avant-garde invite new ways of reading commensurate with their modes of composition. Dictionary Poetics examines one of those modes: book-length poems, from Louis Zukofsky to Harryette Mullen, all structured by particular editions of specific dictionaries. By reading these poems in tandem with their source texts, Dworkin puts paid to the notion that even the most abstract and fragmentary avant-garde literature is nonsensical, meaningless, or impenetrable. When read from the right perspective, passages that at first appear to be discontinuous, irrational, or hopelessly cryptic suddenly appear logically consistent, rationally structured, and thematically coherent. Following a methodology of “critical description,” Dictionary Poetics maps the material surfaces of poems, tracing the networks of signifiers that undergird the more familiar representational schemes with which conventional readings have been traditionally concerned. In the process, this book demonstrates that new ways of reading can yield significant interpretive payoffs, open otherwise unavailable critical insights into the formal and semantic structures of a composition, and transform our understanding of literary texts at their most fundamental levels.

Read more less

A poem is often read as a set of formal, technical, and conventional devices that generate meaning or affect. However, Lucy Alford suggests that poetic language might be better understood as an instrument for tuning and refining the attention. Identifying a crucial link between poetic form and the forming of attention, Alford offers a new terminology for how poetic attention works and how attention becomes a subject and object of poetry.Forms of Poetic Attention combines close readings of a wide variety of poems with research in the philosophy, aesthetics, and psychology of attention. Drawing on the work of a wide variety of poets such as T. S. Eliot, Wallace Stevens, Frank O’Hara, Anne Carson, Theresa Hak Kyung Cha, Harryette Mullen, Al-Khansā’, Rainer Maria Rilke, Arthur Rimbaud, and Claudia Rankine, Alford defines and locates the particular forms of attention poems both require and produce. She theorizes the process of attention-making—its objects, its coordinates, its variables—while introducing a broad set of interpretive tools into the field of literary studies. Forms of Poetic Attention makes the original claim that attention is poetry’s primary medium, and that the forms of attention demanded by a poem can train, hone, and refine our capacities for perception and judgment, on and off the page.

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Few classical stories are as exciting as that of Jason and the Golden Fleece. The legend of the boy, who discovers a new identity as son of a usurped king and leads a crew of demi-gods and famous heroes, has resonated through the ages, rumbling like the clashing rocks, which almost pulverised the Argo. The myth and its reception inspires endless engagements: while it tells of a quest to the ends of the earth, of the tyrants Pelias and Aetes, of dragons' teeth, of the loss of Hylas (beloved of Hercules) stolen away by nymphs, and of Jason's seduction of the powerful witch Medea (later betrayed for a more useful princess), it speaks to us of more: of gender and sexuality; of heroism and lost integrity; of powerful gods and terrifying monsters; of identity and otherness; of exploration and exploitation. The Argonauts are emblems of collective heroism, yet also of the emptiness of glory. From Pindar to J. W. Waterhouse, Apollonius of Rhodes to Ray Harryhausen, and Robert Graves to Mary Zimmerman, the Argonaut myth has produced later interpretations as rich, salty and complex as the ancient versions. Helen Lovatt here unravels, like untangled sea-kelp, the diverse strands of the narrative and its numerous and fascinating afterlives. Her book will prove both informative and endlessly entertaining to those who love classical literature and myth.

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Standard literary criticism tends to either ignore or downplay the unorthodox tradition of black experimental writing that emerged in the wake of protests against colonization and Jim Crow-era segregation. Histories of African American literature likewise have a hard time accounting for the distinctiveness of experimental writing, which is part of a general shift in emphasis among black writers away from appeals for social recognition or raising consciousness. In Freedom Time, Anthony Reed offers a theoretical reading of "black experimental writing" that presents the term both as a profound literary development and as a concept for analyzing how writing challenges us to rethink the relationships between race and literary techniques. Through extended analyses of works by African American and Afro-Caribbean writers-including N. H. Pritchard, Suzan-Lori Parks, NourbeSe Philip, Kamau Brathwaite, Claudia Rankine, Douglas Kearney, Harryette Mullen, and Nathaniel Mackey-Reed develops a new sense of the literary politics of formally innovative writing and the connections between literature and politics since the 1960s. Freedom Time reclaims the power of experimental black voices by arguing that readers and critics must see them as more than a mere reflection of the politics of social protest and identity formation. With an approach informed by literary, cultural, African American, and feminist studies, Reed shows how reworking literary materials and conventions liberates writers to push the limits of representation and expression.

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Beginning with a deceptively simple question—What do we mean when we designate behaviours, values, or forms of expression as “black”?—Evie Shockley’s Renegade Poetics separates what we think we know about black aesthetics from the more complex and nuanced possibilities the concept has long encompassed. The study reminds us, first, that even among the radicalised young poets and theorists who associated themselves with the Black Arts Movement that began in the mid-1960s, the contours of black aesthetics were deeply contested and, second, that debates about the relationship between aesthetics and politics for African American artists continue into the twenty-first century.Shockley argues that a rigid notion of black aesthetics commonly circulates that is little more than a caricature of the concept. She sees the Black Aesthetic as influencing not only African American poets and their poetic production, but also, through its shaping of criteria and values, the reception of their work. Taking as its starting point the young BAM artists’ and activists’ insistence upon the interconnectedness of culture and politics, this study delineates how African American poets—in particular, Gwendolyn Brooks, Sonia Sanchez, Harryette Mullen, Anne Spencer, Ed Roberson, and Will Alexander—generate formally innovative responses to their various historical and cultural contexts.Out of her readings, Shockley eloquently builds a case for redefining black aesthetics descriptively, to account for nearly a century of efforts by African American poets and critics to name and tackle issues of racial identity and self-determination. In the process, she resituates innovative poetry that has been dismissed, marginalised, or misread because its experiments were not “recognisably black”—or, in relation to the avant-garde tradition, because they were.

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