Search results for ""Author Joyce"

Responding to questions put to him at a Roundtable held at Villanova University in 1994, Jacques Derrida leads the reader through an illuminating discussion of the central themes of deconstruction. Speaking in English and extemporaneously, Derrida takes up with unusual clarity and great eloquence such topics as the task of philosophy, the Greeks, justice, responsibility, the gift, the community, the distinction between the messianic and the concrete messianisms, and his interpretation of James Joyce. Derrida convincingly refutes the charges of relativism and nihilism that are often leveled at deconstruction by its critics and sets forth the profoundly affirmative and ethico-political thrust of his work. The “Roundtable” is marked by the unusual clarity of Derrida’s presentation and by the deep respect for the great works of the philosophical and literary tradition with which he characterizes his philosophical work. The Roundtable is annotated by John D. Caputo, the David R. Cook Professor of Philosophy at Villanova University, who has supplied cross references to Derrida’s writings where the reader may find further discussion on these topics. Professor Caputo has also supplied a commentary which elaborates the principal issues raised in the Roundtable. In all, this volume represents one of the most lucid, compact and reliable introductions to Derrida and deconstruction available in any language. An ideal volume for students approaching Derrida for the first time, Deconstruction in a Nutshell will prove instructive and illuminating as well for those already familiar with Derrida’s work.

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El premio Nobel de LiteraturaKjell EspmarkKjell Espmark ha sido hasta 2005 presidente del prestigioso Comité que se encarga de otorgar los premios Nobel, y es, posiblemente, la persona que más sabe sobre ellos.En este interesantísimo ensayo repasa la historia del premio Nobel de Literatura y, para ello, cuenta con información de las mejores fuentes. Por primera vez se tiene acceso a documentos desclasificados que ponen de manifiesto cómo fueron las deliberaciones previas a la entrega del premio.A lo largo del siglo transcurrido desde que se entregó por primera vez el premio Nobel de Literatura en 1901, se han acumulado las preguntas de una forma que carece de equivalencia en los premios científicos. Por qué Sully Prudhomme, Rudolf Eucken, Grazia Deledda y Pearl Buck? Por qué no Tolstói, Ibsen, Proust, Kafka y Joyce? Tales catálogos pueden alargarse sin dificultad. [...] La respuesta a tales preguntas está en un material que se guarda en el archivo de la Academia Sueca, d

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A Small Radius of Light maps the territory artist G. Daniel Massad has explored for almost four decades. After earning degrees in English at Princeton and the University of Chicago and working for a time as a psychotherapist, Massad made the decision to pursue graduate work in painting in 1979. Two years later, while working on his MFA at the University of Kansas, Massad made an unexpected shift from abstraction to still life, and from oil to pastel as a painting medium. His abandonment of painterly gesture for knife-edge precisionism led him in the late 1980s to the painstaking reenactment of minute detail in order to express, as he puts it, “the way I encounter the world.” Since 1990, still life’s traditional tabletop and its implied interior space have given way in his work to less easily definable architectural fragments of brick or stone; the darkness surrounding these broken walls and cairns is deep, immeasurable, and richly potent. Over the last two decades, Massad has moved past description and metaphor, layering into his images other kinds of data—maps, words, numbers, constellations, personal symbols—all of which suggest readings of his remarkable still lifes as aniconic portraiture, implied narrative, and visual autobiography. This book accompanies an exhibition of the same name organized by the Palmer Museum of Art and features a comprehensive essay by curator Joyce Henri Robinson and forty-three “backstories” by the artist. These memoir-like reflections invite us to peer into Massad’s artistic, emotional, and mental process as he moves from making the intangible tangible, revealing along the way sources and associations that precede the final reenactment of the world around him—a world brought into focus by a small radius of light.

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El fenomen de l?any. Número 1 indiscutible a tot el món. Ara en català!Un fenomen que no es veia des de que J.K. Rowling va debutar amb Harry Potter El PaísEl club de el crim dels dijous està format per quatre jubilats que viuen en un resort de luxe i que cada setmana es reuneixen per revisar antics casos d'assassinats locals sense resoldre.En un pacífic complex privat per a jubilats, quatre improbables amics es reuneixen un cop a la setmana per revisar antics casos d'assassinats locals que van quedar sense resoldre. Ells són Ron, 1 exactivista socialista ple de tatuatges i revolució; la dolça Joyce, una vídua que no és tan ingènua com aparenta; Ibrahim, un antic psiquiatre amb una increïble capacitat d'anàlisi, i la tremenda i enigmàtica Elizabeth, que, als seus 81 anys, lidera el grup d'investigadors aficionats ... o no tant.Quan un promotor immobiliari de la zona és trobat mort amb una misteriosa fotografia al costat de el cos, El Club de l'Cr

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In this expansive and provocative new work, Michael Dango theorizes how aesthetic style manages crisis—and why taking crisis seriously means taking aesthetics seriously. Detoxing, filtering, bingeing, and ghosting: these are four actions that have come to define how people deal with the stress of living in a world that seems in permanent crisis. As Dango argues, they can also be used to describe contemporary art and literature. Employing what he calls "promiscuous archives," Dango traverses media and re-shuffles literary and art historical genealogies to make his case. The book discusses social media filters alongside the minimalism of Donald Judd and La Monte Young and the television shows The West Wing and True Detective. It reflects on the modernist cuisine of Ferran Adrià and the fashion design of Issey Miyake. And, it dissects writing by Barbara Browning, William S. Burroughs, Raymond Carver, Mark Danielewski, Jennifer Egan, Tao Lin, David Mitchell, Joyce Carol Oates, Mary Robison, and Zadie Smith. Unpacking how the styles of these works detox, filter, binge, or ghost their worlds, Crisis Style is at once a taxonomy of contemporary cultural production and a theorization of action in a world always in need of repair. Ultimately, Dango presents a compelling argument for why we need aesthetic theory to understand what we're doing in our world today.

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“This in-depth, beautifully illustrated biography of Mary Anning sings with the passion and perseverance of the woman herself, who from girlhood on scoured the shifting cliffs of her native Dorset to dig out prehistoric mysteries and make sense of them—altering forever our view of the past.” —Joyce Sidman, Newbery Honor winner and Sibert Medal winnerA fascinating, highly visual biography of Mary Anning, the Victorian fossil hunter who changed scientific thinking about prehistoric life and would become one of the most celebrated paleontologists of all time. Perfect for children learning about woman scientists like Ada Lovelace, Jane Goodall, and Katherine Johnson.Mary Anning grew up on the south coast of England in a region rich in fossils. As teenagers, she and her brother Joseph discovered England’s first complete ichthyosaur. Poor and uneducated, Anning would become one of the most celebrated paleontologists ever, though in her time she supported herself selling by fossils and received little formal recognition. Her findings helped shape scientific thinking about extinction and prehistoric life long before Darwin published his famous work on evolution.With engaging text, photographs, and stunning paleoart, Fossil Hunter introduces this self-taught scientist, now recognized as one of the greatest fossilists the world has ever known.

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Explores the performative role of canonical literary works from the 1920s, providing a more nuanced understanding of high modernism and resituating it within literary history. High modernism is accepted shorthand for the core phase of literary modernism in the 1920s, when Eliot, Joyce, Pound, Woolf, Mann, Kafka, Proust, Gide, and others published pivotal works. While there is consensus about the term's meaning, the value and significance of the works it designates are highly contested. For advocates who helped establish its place in the canon, the works of high modernism mark the culmination of literature as high art, while other critics see them as elitist, inaccessible, patriarchal, imperialist, reactionary. Despite this wide range of judgments, all take for granted that high modernism's main features are aestheticist: formal innovation and detachment from history, society, and politics. This book reconsiders that supposition, arguing that high modernist texts epitomize performativity, that is, that they transcend the quiescence of literary aesthetics and affect the extratextual world. Writers such as Kafka, Woolf, Mann, and Faulkner privilege form not as an end in itself but as a means to empower the sociopolitical function of literature. By exploring the performative role of literary works fromthe 1920s, this book provides a more nuanced understanding of high modernism and resituates it within literary history. Joshua Kavaloski is Associate Professor and Director of the German Studies Program at Drew University.

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The K-Effect shows how the roman alphabet has functioned as a standardizing global model for modern print culture. Investigating the history and ongoing effects of romanization, Christopher GoGwilt reads modernism in a global and comparative perspective, through the works of Joseph Conrad and others. The book explores the ambiguous effect of romanized transliteration both in the service of colonization and as an instrument of decolonization. This simultaneously standardizing and destabilizing effect is abbreviated in the way the letter K indexes changing hierarchies in the relation between languages and scripts. The book traces this K-effect through the linguistic work of transliteration and its aesthetic organization in transnational modernism. The book examines a variety of different cases of romanization: the historical shift from Arabic script to romanized print form in writing Malay; the politicization of language and script reforms across Russia and Central Europe; the role of Chinese debates about romanization in shaping global transformations in print media; and the place of romanization between ancient Sanskrit models of language and script and contemporary digital forms of coding. Each case study develops an analysis of Conrad’s fiction read in comparison with such other writers as James Joyce, Lu Xun, Franz Kafka, and Pramoedya Ananta Toer. The first sustained cultural study of romanization, The K-Effect proposes an important new way to assess the multi-lingual and multi-script coordinates of modern print culture.

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Guru English is a bold reconceptualization of the scope and meaning of cosmopolitanism, examining the language of South Asian religiosity as it has flourished both inside and outside of its original context for the past two hundred years. The book surveys a specific set of religious vocabularies from South Asia that, Aravamudan argues, launches a different kind of cosmopolitanism into global use. Using "Guru English" as a tagline for the globalizing idiom that has grown up around these religions, Aravamudan traces the diffusion and transformation of South Asian religious discourses as they shuttled between East and West through English-language use. The book demonstrates that cosmopolitanism is not just a secular Western "discourse that results from a disenchantment with religion, but something that can also be refashioned from South Asian religion when these materials are put into dialogue with contemporary social move-ments and literary texts. Aravamudan looks at "religious forms of neoclassicism, nationalism, Romanticism, postmodernism, and nuclear millenarianism, bringing together figures such as Swami Vivekananda, Sri Aurobindo, Mahatma Gandhi, and Deepak Chopra with Rudyard Kipling, James Joyce, Robert Oppenheimer, and Salman Rushdie. Guru English analyzes writers and gurus, literary texts and religious movements, and the political uses of religion alongside the literary expressions of religious teachers, showing the cosmopolitan interconnections between the Indian subcontinent, the British Empire, and the American New Age.

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Among the brilliant writers and thinkers who emerged from the multicultural and multilingual world of the Austro-Hungarian Empire were Joseph Roth, Robert Musil, and Ludwig Wittgenstein. For them, the trauma of World War I included the sudden loss of the geographical entity into which they had been born: in 1918, the empire was dissolved overnight, leaving Austria a small, fragile republic that would last only twenty years before being annexed by Hitler's Third Reich. In this major reconsideration of European modernism, Marjorie Perloff identifies and explores the aesthetic world that emerged from the rubble of Vienna and other former Habsburg territories--an "Austro-Modernism" that produced a major body of drama, fiction, poetry, and autobiography. Perloff explores works ranging from Karl Kraus's drama The Last Days of Mankind and Elias Canetti's memoir The Tongue Set Free to Ludwig Wittgenstein's notebooks and Paul Celan's lyric poetry. Throughout, she shows that Austro-Modernist literature is characterized less by the formal and technical inventions of a modernism familiar to us in the work of Joyce and Pound, Dada and Futurism, than by a radical irony beneath a seemingly conventional surface, an acute sense of exile, and a sensibility more erotic and quixotic than that of its German contemporaries. Skeptical and disillusioned, Austro-Modernism prefers to ask questions rather than formulate answers.

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A welcome return to Vianne Rocher and the village in rural France that was the setting for Joanne Harris's remarkable and much-loved number one bestseller Chocolat. Perfect for fans of Victoria Hislop, Fiona Valpy, Maggie O'Farrell and Rachel Joyce.'Vianne - unconventional, good-hearted, slightly magical - blows in like a refreshing breeze, forcing people to question their prejudices. A delight' -- The Times'Expertly crafted, typically mouthwatering' -- Daily Mail'This bewitching novel stirs the senses' - Good Housekeeping'I found it unputdownable' -- ***** Reader review'Brilliant and thought-provoking' -- ***** Reader review'Superbly written and flows along beautifully' -- ***** Reader review'Impossible to put down' -- ***** Reader review'Absolutely enchanting' -- ***** Reader review*********************************************************************************It isn't often you receive a letter from the dead.When Vianne Rocher receives a letter from beyond the grave, she allows the wind to blow her back to the village in south-west France where, eight years ago, she opened up a chocolate shop. But Lansquenet is different now: women veiled in black, the scent of spices and peppermint tea, and, on the bank of the river Tannes, facing the church: a minaret.Nor is it only the incomers from North Africa that have brought change. Father Reynaud, Vianne's erstwhile adversary, is disgraced and under threat.Could it be that Vianne is the only one who can save him now?

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In 2011, the Trinidad government declared a state of emergency and an overnight curfew. The SoE, brought in to combat the crime and killings associated with the drugs trade, was meant to last 15 days but lasted four months. This is the background to these chronicles, but not their substance. They are an imaginative response to the undertones of those days. Taking place over 24 hours, Curfew Chronicles brings together, like a Joyce’s Ulysses in miniature, the lives of two dozen characters (including a father and son searching for each other) whose lives intersect in mostly fortuitous but sometimes quite deliberate ways.From the Minister and his wife, to those targeted by the state; from those in regular jobs, to those who scuffle for a living on or over the edge of the law; from those who speak out, to the hidden hands prepared to silence them: no one is unaffected by the SoE. What makes these stories individually rich (as well as collectively ingenious) is the depth of characterisation. There is Scholar the street-corner prophet, Ragga with his vision of better days, Keeper tempted into crime to the distress of his redoubtable partner Maureen, Sumintra, the Pentecostal convert struck dumb in prayer, Marcus the assassin whose life is a movie, Amber the security guard and poet and her policeman lover Calvin, eager to retire from clearing up little matters like the “weed” found in the PM’s residence, and many more. Each has a resonant backstory; each is caught at a moment of decision or revelation.

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When Paris Sizzled vividly portrays the City of Light during the fabulous 1920s, les Années folles, when Parisians emerged from the horrors of war to find that a new world greeted them—one that reverberated with the hard metallic clang of the assembly line, the roar of automobiles, and the beat of jazz. Mary McAuliffe traces a decade that saw seismic change on almost every front, from art and architecture to music, literature, fashion, entertainment, transportation, and, most notably, behavior. The epicenter of all this creativity, as well as of the era’s good times, was Montparnasse, where impoverished artists and writers found colleagues and cafés, and tourists discovered the Paris of their dreams. Major figures on the Paris scene—such as Gertrude Stein, Jean Cocteau, Picasso, Stravinsky, Diaghilev, and Proust—continued to hold sway, while others now came to prominence—including Ernest Hemingway, Coco Chanel, Cole Porter, and Josephine Baker, as well as André Citroën, Le Corbusier, Man Ray, Sylvia Beach, James Joyce, and the irrepressible Kiki of Montparnasse. Paris of the 1920s unquestionably sizzled. Yet rather than being a decade of unmitigated bliss, les Années folles also saw an undercurrent of despair as well as the rise of ruthless organizations of the extreme right, aimed at annihilating whatever threatened tradition and order—a struggle that would escalate in the years ahead. Through rich illustrations and evocative narrative, Mary McAuliffe brings this vibrant era to life.

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Anatomy of a Survivor examines in inspiring detail how survivors used their inner strengths to build resilience, navigate through, and ultimately grow from traumas and major life challenges.In 1990, after a sudden cardiac event, Joyce Mikal-Flynn was dead for twenty-two minutes. While CPR and determined doctors returned her to life, she came to find that this new life wasn’t her life at all. Faced with depression, personal and professional setbacks, she ultimately recognized that this was not an end point—but a beginning. Over time, she understood that taking control begins with the essential choice to move forward. Her struggles fueled her. You got this, she told herself with every obstacle, failure, and misstep. Trauma and crisis are inescapable aspects of life. Framed, at times, as something to get over, trauma never fully leaves those who experience it. For over two decades, Dr. Mikal-Flynn has worked with and studied issues faced by survivors. She understands and recognizes their desire to move forward, identifying specific mindsets and behaviors that encourage progress. Making the choice to move forward, fierce determination, and well-researched actions are key for survival and growth. Interlacing stories with research on genetics, posttraumatic growth, and the neuroscience of resilience and happiness, this book outlines how survivors of trauma structure a positive and productive response. An ingenious strengths-based rehabilitation system—metahabilitation—engages them by uncovering and developing their resilience, grit, and capacity for growth after trauma. This book shows you how survivors are built and presents a unique system guiding them forward.

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This book brings together a group of leading economic historians to examine how institutions, innovation, and industrialization have determined the development of nations. Presented in honor of Joel Mokyr—arguably the preeminent economic historian of his generation—these wide-ranging essays address a host of core economic questions. What are the origins of markets? How do governments shape our economic fortunes? What role has entrepreneurship played in the rise and success of capitalism? Tackling these and other issues, the book looks at coercion and exchange in the markets of twelfth-century China, sovereign debt in the age of Philip II of Spain, the regulation of child labor in nineteenth-century Europe, meat provisioning in pre–Civil War New York, aircraft manufacturing before World War I, and more. The book also features an essay that surveys Mokyr's important contributions to the field of economic history, and an essay by Mokyr himself on the origins of the Industrial Revolution.In addition to the editors, the contributors are Gergely Baics, Hoyt Bleakley, Fabio Braggion, Joyce Burnette, Louis Cain, Mauricio Drelichman, Narly Dwarkasing, Joseph Ferrie, Noel Johnson, Eric Jones, Mark Koyama, Ralf Meisenzahl, Peter Meyer, Joel Mokyr, Lyndon Moore, Cormac Ó Gráda, Rick Szostak, Carolyn Tuttle, Karine van der Beek, Hans-Joachim Voth, and Simone Wegge.

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Summer, 1901. For days, heat has been rising. London swelters; a long-expected storm promises to break. In Baker Street, Sherlock Holmes is visited by a peculiar American who arrives with a warning about a strange new kind of murderer. In the West End, Dr John Watson is watching his wife, the actress, Genevieve, prepare for her greatest role to date – only for her to be confronted by a terrible ghost from the past. There are surprising connections between these events, a web of apparent coincidence which soon draws in others: Colonel Sebastian Moran, Mycroft Holmes, a dangerously ambitious young politician and – waiting patiently for the moment to finally make her move – the mysterious organising power at the head of the underworld, the Seamstress of Peckham Rye. CAST: Nicholas Briggs (Sherlock Holmes), Richard Earl (Dr John Watson), Juliet Aubrey (The Seamstress), John Banks (Colonel Sebastian Moran/Inspector Lestrade), Timothy Bentinck (Mycroft Holmes), Lucy Briggs-Owen (Genevieve Dumont (Watson)), Jemma Churchill (Molly Black), Tim Faulkner (Jacob Black), James Joyce (Inspector Silas Fisher), James MacCallum (Jasper Cranfield/Jackson), Glen McCready (Doorman/Actor-Manager/Speaker of the House). Other parts played by members of the cast.

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As a transformative thinker of the twentieth century, whose work spanned all branches of the humanities, Michel Foucault had a complex and profound relationship with literature. And yet this critical aspect of his thought, because it was largely expressed in speeches and interviews, remains virtually unknown to even his most loyal readers. This book brings together previously unpublished transcripts of oral presentations in which Foucault speaks at length about literature and its links to some of his principal themes: madness, language and criticism, and truth and desire.The associations between madness and language—and madness and silence—preoccupy Foucault in two 1963 radio broadcasts, presented here, in which he ranges among literary examples from Cervantes and Shakespeare to Diderot, before taking up questions about Artaud’s literary correspondence, lettres de cachet, and the materiality of language. In his lectures on the relations among language, the literary work, and literature, he discusses Joyce, Proust, Chateaubriand, Racine, and Corneille, as well as the linguist Roman Jakobson. What we know as literature, Foucault contends, begins with the Marquis de Sade, to whose writing—particularly La Nouvelle Justine and Juliette—he devotes a full two-part lecture series focusing on notions of literary self-consciousness.Following his meditations on history in the recently published Speech Begins after Death, this current volume makes clear the importance of literature to Foucault’s thought and intellectual development.

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Alfred's life, work and influence studied through writings of his age. Alfred and the great achievements of his reign are once more at the centre of scholarly discussion, and the studies in this collection make a significant contribution to the continuing debate. Focusing particularly on the writingsof Alfred's age, the contributions, by leading scholars in the field, examine Alfred's life, work and influence: there are accounts of law and morality; examinations of translations and their sources; and investigations of wordsand events, throwing new light on all major aspects of Alfred's reign. As a whole, the volume is an appropriate tribute to Janet Bately, whose writings on the age of Alfred are known and admired by both historians and literary scholars throughout the world. Professor JANE ROBERTS teaches in the Department of English, King's College, London; Professor JANET L. NELSON, Director of the Centre for Late Antiques and Medieval Studies, teaches in the Department of History, King's College, London; Professor MALCOLM GODDEN is Rawlinson and Bosworth Professor of Anglo-Saxon at the University of Oxford. Contributors and contents: ANDREW BREEZE, J.E. CROSS, ANDREW HAMER, ROBERTA FRANK, ALLEN J. FRANTZEN, M.R. GODDEN, WALTER GOFFART, LYNNE GRUNDY, CYRIL HART, JOYCE HILL, SIMON KEYNES, ANN KNOCK, BRUCE MITCHELL, JANET L. NELSON, BARBARA RAW, JANE ROBERTS, D.G. SCRAGG, ALFRED B. SMYTH, E.G. STANLEY, PAULE. SZARMACH, PATRICK WORMALD

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Now available again, this enchanting collection of 50 great poems continues to inspire with pleasure and wonder—a perfect gift.When a group of fifth-grade students asked fifty celebrities what their favorite poem was and why, the answers they received became a beautiful collection of some the world’s most beloved poems, from classic to modern, that continues to offer inspiration, solace, wisdom, and amusement. Each poem is accompanied by the celebrity’s brief letter explaining why they chose it and its resonance for them.Among the celebrities are Yo-Yo Ma, Joyce Carol Oates, Stephen Sondheim, Allen Ginsberg, Angela Lansbury, Kurt Vonnegut, Harolyn Blackwell, Isabella Rossellini, Bill Irwin, E. L. Doctorow, David Mamet, Elie Wiesel, Ally Sheedy, Ved Mehta, Tom Wolfe, David Dinkins, and Susan Minot. The poets include Emily Dickinson, Langston Hughes, Robert Frost, T. S. Eliot, Alice Walker, Mary Oliver, Frank O’Hara, Walt Whitman, William Carlos Williams, W. B. Yeats. and John Keats—not to mention Noel Coward and a ditty by David Mamet himself! Anna Quindlen and verse from Pulitzer Prize–winner Yusef Komunyakaa provide a thoughtful introduction.Royalties from this collection have been donated to charity since its original publication.

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1791 and the Doctor and Rose get to meet one of the most enigmatic, thrilling and important people in history: The Chevalier d’Eon. She used to be known as a spy, but then she used to be known as a lot of things. If there’s one thing the Doctor knows it’s that identity is what you make it. Choose a life for yourself and be proud. Mind you, if the Consortium of the Obsidian Asp get their way, all lives may soon be over. David Tennant's return to the role of the hugely popular Tenth Doctor has been huge news both times it's happened for Big Finish – with news of his teaming up with Billie Piper making newspapers when it was announced. Billie Piper, famed British actor of stage and screen, and companion Rose Tyler, reprises the role for the first time since her departure in the tear-jerking Journey's End Doctor Who story on BBC1. Guest star Nickolas Grace is familiar to a legion of fans as the villainous Sheriff of Nottingham in cult TV classic Robin of Sherwood. CAST: David Tennant (The Doctor), Billie Piper (Rose Tyler), Nickolas Grace (Chevalier D’Eon), Mark Elstob (Joxer / Butler), Tam Williams (Christopher Dalliard), Lucy Briggs-Owen (Hempel / Dance / Duchess), James Joyce (Darcy / Groom).

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Essays centred round the representation of weaving, both real and imagined, in the early middle ages. The triple themes of textile, text, and intertext, three powerful and evocative subjects within both Anglo-Saxon studies and Old English literature itself, run through the essays collected here. Chapters evoke the semantic complexities of textile references and images drawn from the Bayeux Tapestry, examine parallels in word-woven poetics, riddling texts, and interwoven homiletic and historical prose, and identify iconographical textures in medieval art. The volume thus considers the images and creative strategies of textiles, texts, and intertexts, generating a complex and fascinating view of the material culture and metaphorical landscape of the Anglo-Saxon peoples. It is therefore a particularly fitting tribute to Professor Gale R. Owen-Crocker, whose career and lengthy list of scholarly works have centred on her interests in the meaning and cultural importance of textiles, manuscripts and text, and intertextual relationships between text and textile. MAREN CLEGG HYER is Associate Professor and Graduate Coordinator in the Department of English at Valdosta State University; JILL FREDERICK is Professor of English at Minnesota State University Moorhead. Contributors: Marilina Cesario, Elizabeth Coatsworth, Martin Foys, Jill Frederick, Joyce Hill, Maren Clegg Hyer, Catherine E. Karkov, Christina Lee, Michael Lewis, Robin Netherton, Carol Neuman de Vegvar, Donald Scragg, Louise Sylvester, Paul Szarmach, Elaine Treharne.

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Que no haga falta reivindicar el Tirant lo Blanchcomo una de las grandes obras de la literaturauniversal es hoy debido, como afirma Martínde Riquer en el propósito a este volumen, aMiguel de Cervantes, Dámaso Alonso y MarioVargas Llosa. El primero lo calificó de el mejorlibro del mundo; el segundo de novelamoderna o la mejor novela que se escribiódurante el siglo xv en Europa y, además, totalmenteactual; y Vargas Llosa afirmó por suparte que Martorell fue el primero de aquellaestirpe de suplantadores de Dios?Fielding, Balzac,Dickens, Flaubert, Tolstói, Joyce, Faulkner?que pretenden crear en sus novelas una ?realidadtotal?, añadiendo además que como todogran creador, Joanot Martorell edificó su novelaa imagen y semejanza de la realidad de suépoca. Pero si fuera sólo esto, sería apenas uninvalorable documento, no una gran novela.En efecto, Martorell tuvo la enorme osadía yoriginalidad de hacer la peripecia de

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This comics anthology delves deeply into the messy and often taboo subject of human reproduction. Featuring work by luminaries such as Carol Tyler, Alison Bechdel, and Joyce Farmer, Graphic Reproduction is an illustrated challenge to dominant cultural narratives about conception, pregnancy, and childbirth.The comics here expose the contradictions, complexities, and confluences around diverse individual experiences of the entire reproductive process, from trying to conceive to child loss and childbirth. Jenell Johnson’s introduction situates comics about reproduction within the growing field of graphic medicine and reveals how they provide a discursive forum in which concepts can be explored and presented as uncertainties rather than as part of a prescribed or expected narrative. Through comics such as Lyn Chevley’s groundbreaking “Abortion Eve,” Bethany Doane’s “Pushing Back: A Home Birth Story,” Leah Hayes’s “Not Funny Ha-Ha,” and “Losing Thomas & Ella: A Father’s Story,” by Marcus B. Weaver-Hightower, the collection explores a myriad of reproductive experiences and perspectives. The result is a provocative, multifaceted portrait of one of the most basic and complicated of all human experiences, one that can be hilarious and heartbreaking.Featuring work by well-known comics artists as well as exciting new voices, this incisive collection is an important and timely resource for understanding how reproduction intersects with sociocultural issues. The afterword and a section of discussion exercises and questions make it a perfect teaching tool.

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Marlene thinks the eighties are going to be stupendous. Her sister Joyce has her doubts. Her daughter Angie is just frightened. Since its premiere in 1982, Top Girls has become a seminal play of the modern theatre. Set during a period of British politics dominated by the presence of the newly elected Prime Minister Margaret Thatcher, Churchill’s play prompts us to question our notions of women's success and solidarity. Its sharp look at the society and politics of the 1980s is combined with a timeless examination of women's choices and restrictions regarding career and family. This new Student Edition features an introduction by Sophie Bush, Senior Lecturer at Sheffield Hallam University, UK prepared with the contemporary student in mind. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. A well as the complete text of the play itself, this volume contains: · A chronology of the play and the playwright’s life and work · an introductory discussion of the social, political, cultural and economic context in which the play was originally conceived and created · a succinct overview of the creation processes followed and subsequent performance history of the piece · an analysis of, and commentary on, some of the major themes and specific issues addressed by the text · a bibliography of suggested primary and secondary materials for further study.

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Using Augustine as a conversation partner, this important new book explores the value of Michel Foucault’s controversial writings for theologians, ethicists, philosophers, and cultural theorists. J. Joyce Schuld demonstrates the promising possibilities as well as the difficulties and limits of applying Foucault’s social criticisms within Christian contexts. She maintains that the best way to make Foucault’s postmodern concerns and his unsettling descriptions, metaphors, and methods accessible to Christian readers is to examine his thought through a premodern lens. By bringing Foucault and Augustine into constructive dialogue, Schuld reveals the surprising analytical usefulness of Augustine’s writings for postmodern and poststructuralist studies. She pursues from a new and critically illuminating perspective the personal, cultural, and historical ramifications of Augustine’s formative understanding of love and the complicated effects of original sin on all inter- and intrapersonal relations. Schuld argues that Foucault’s dynamic and relational description of power helps us reconceptualize an ancient doctrine that has lost currency in the modern era and challenges us to rethink the vulnerabilities to which human loves endlessly expose us as individuals and engaged members of sociohistorical communities. This approach facilitates further theological examination of the intertwining personal and political implications of pride, the morally ambiguous aspirations for progress and perfecting knowledge, and the paradoxical power of the incarnation, the cross, and eschatological hope. Schuld’s is the first sustained analysis of the rich theological possibilities of employing Foucault’s most influential concepts and methods, historical research, and contemporary cultural criticisms. Foucault and Augustine: Reconsidering Power and Love will appeal to those who already use Foucault constructively and to those who have either never read him or who are familiar with his writings but have never considered them valuable for Christians.

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París, años veinte: época de Picasso, Matisse y Joyce. Son también los tiempos de Kiki de Montparnasse (seudónimo de Alice Prin) o la Reina de Montparnasse: musa de artistas, cantante, actriz y modelo. Tras pasar una infancia marcada por la pobreza, Kiki se muda a París, donde inicia su carrera como modelo a los catorce años. Entretanto, vaga por los cafés en busca de algo que comer. Es allí donde conoce a Modigliani, Jean Cocteau, Robert Desnos y muchos artistas más, como Soutine, Man Ray ?del que sería no sólo modelo, sino también amante?, Fujita y Moïse Kisling, cuyos retratos se incluyen en el interior. Estos recuerdos ?escritos en 1936 y literalmente recobrados en 2001? fueron censurados en los Estados Unidos hasta los años setenta, y nos revelan a una mujer libre e independiente en la primera mitad del siglo XX. Todo ello contado con una voz inocente, atormentada, entusiasta, agridulce y, por encima de todo, profundamente humana.

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Throughout her career, Elizabeth Bowen, the Anglo-Irish novelist and short story writer, also wrote literary essays that display a shrewd, generous intelligence. Always sensitive to underlying tensions, she evokes the particular climate of countries and places in "Hungary," "Prague and the Crisis," and "Bowen's Court." In "Britain in Autumn," she records the strained atmosphere of the blitz as no other writer does. Immediately after the war, she reported on the International Peace Conference in Paris in a series of essays that are startling in their evocation of tense diplomacy among international delegates scrabbling to define the boundaries of Europe and the stakes of the Cold War. The aftershock of war registers poignantly in "Opening Up the House": owners evacuated during the war return to their houses empty since 1939. Other essays in this volume, especially those on James Joyce, Jane Austen, and the technique of writing, offer indispensable mid-century evaluations of the state of literature. The essays assembled in this volume were published in British, Irish, and American periodicals during Bowen's lifetime. She herself did not gather them into any collection. Some of these essays exist only as typescript drafts and are published here for the first time. Bowen's observations on age, toys, disappointment, charm, and manners place her among the very best literary essayists of the modernist period.

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The draft dodger Laurence yearns to take control of his destiny. Having fled to the highlands, he asserts his independence by committing a string of robberies and murders. Then he happens upon Ivlita, a beautiful young woman trapped in an intricately carved mahogany house. Laurence does not hesitate to take her as well. Determined to drape his young bride in jewels, he plots ever more daring heists. Yet when Laurence finds himself casting bombs alongside members of a revolutionary cell, he must again ask: is he a free man or a pawn of history? Rapture is a fast-paced adventure-romance and a literary treat of the highest order. With a deceptively light hand, Iliazd entertains questions that James Joyce, Virginia Woolf, and Thomas Mann once faced. How does the individual balance freedom and necessity, love and death, creativity and sterility? What is the role of violence in human history and culture? How does language both comfort and fail us in our postwar, post-Christian world? Censored for decades in the Soviet Union, Rapture was nearly lost to Russian and Western audiences. This translation rescues Laurence's surreal journey from the oblivion he, too, faces as he tries to outrun fate.

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In this expansive and provocative new work, Michael Dango theorizes how aesthetic style manages crisis—and why taking crisis seriously means taking aesthetics seriously. Detoxing, filtering, bingeing, and ghosting: these are four actions that have come to define how people deal with the stress of living in a world that seems in permanent crisis. As Dango argues, they can also be used to describe contemporary art and literature. Employing what he calls "promiscuous archives," Dango traverses media and re-shuffles literary and art historical genealogies to make his case. The book discusses social media filters alongside the minimalism of Donald Judd and La Monte Young and the television shows The West Wing and True Detective. It reflects on the modernist cuisine of Ferran Adrià and the fashion design of Issey Miyake. And, it dissects writing by Barbara Browning, William S. Burroughs, Raymond Carver, Mark Danielewski, Jennifer Egan, Tao Lin, David Mitchell, Joyce Carol Oates, Mary Robison, and Zadie Smith. Unpacking how the styles of these works detox, filter, binge, or ghost their worlds, Crisis Style is at once a taxonomy of contemporary cultural production and a theorization of action in a world always in need of repair. Ultimately, Dango presents a compelling argument for why we need aesthetic theory to understand what we're doing in our world today.

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Finally a beer-centric bucket list! Celebrating beer worldwide, this is a must-have for any beer aficionado. Whether you re planning a pub crawl, a weekend in the country, or a longer vacation, this book is a trove of ideas for the beer lover. As is to be expected, this lively guide to beer-related travel contains a comprehensive list of hundreds of breweries large and small both long-standing and freshly minted that are open for tours and tastings along with an in-depth look at their different approaches to brewing, philosophies about flavors and ingredients, and what makes their beers special. But this book digs deep into the world of beer and includes a multitude of ideas for exploring the world s best beer destinations: the Pacific Northwest s gleaming modern taprooms; atmospheric English pubs; iconic breweries including San Francisco s Anchor Steam and the Czech Republic s original Pilsner; boisterous festivals from Munich s Oktoberfest to Denver s Great American Beer; and other points of interest such as Germany s pop-up beer gardens or a pub crawl in Dublin where you can hoist a Guinness at James Joyce s favorite pub. The book is liberally illustrated with atmospheric photos and reproductions of beer labels and logos and includes information on beer styles, food and beer pairings, drinking traditions, glassware, and a primer on brewing.

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The Devil Prefers Mozart is the first comprehensive collection of Anthony Burgess's writings about music. In this extensive compilation of essays and reviews, he covers a vast range of musical topics, from the hurdy-gurdy to Beatlemania and the Sex Pistols, with Burgess's love of English music represented by writings on Elgar, Holst, and Delius. There are essays on Handel, Mozart, Beethoven, Berlioz and Wagner and other great composers from Monteverdi to Weill, as well as writings about Burgess's favourite performers, including Yehudi Menuhin, Larry Adler and John Sebastian. Whether whimsical ('Food and Music'), satirical ('Anybody Can Conduct') or controversial ('Why Punk Had to End in Evil'), Burgess's writing is consistently informative and entertaining. The music of Debussy sparked Burgess's musical imagination so powerfully when he was a boy in Manchester that he composed his first symphony at eighteen years of age and aspired to a career as a professional composer until his mid-thirties. Writings about his own music provides valuable information about many of Burgess's compositions, including his Symphony in C, his works for guitar quartet, and his opera Blooms of Dublin based on Joyce's Ulysses. Carcanet also publishes The Ink Trade, a companion volume of literary essays.

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In a major rethinking of the functions, methods, and aims of narrative poetics, David Herman exposes important links between modernist and postmodernist literary experimentation and contemporary language theory. Ultimately a search for new tools for narrative theory, his work clarifies complex connections between science and art, theory and culture, and philosophical analysis and narrative discourse.Following an extensive historical overview of theories about universal grammar, Herman examines Joyce’s Ulysses, Kafka’s The Trial, and Woolf’s Between the Acts as case studies of modernist literary narratives that encode grammatical principles which were (re)fashioned in logic, linguistics, and philosophy during the same period. Herman then uses the interpretation of universal grammar developed via these modernist texts to explore later twentieth-century cultural phenomena. The problem of citation in the discourses of postmodernism, for example, is discussed with reference to syntactic theory. An analysis of Peter Greenaway’s The Cook, The Thief, His Wife, and Her Lover raises the question of cinematic meaning and draws on semantic theory. In each case, Herman shows how postmodern narratives encode ideas at work in current theories about the nature and function of language.Outlining new directions for the study of language in literature, Universal Grammar and Narrative Form provides a wealth of information about key literary, linguistic, and philosophical trends in the twentieth century.

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Utopian Generations develops a powerful interpretive matrix for understanding world literature--one that renders modernism and postcolonial African literature comprehensible in a single framework, within which neither will ever look the same. African literature has commonly been seen as representationally naive vis-a-vis modernism, and canonical modernism as reactionary vis-a-vis postcolonial literature. What brings these two bodies of work together, argues Nicholas Brown, is their disposition toward Utopia or "the horizon of a radical reconfiguration of social relations." Grounded in a profound rethinking of the Hegelian Marxist tradition, this fluently written book takes as its point of departure the partial displacement during the twentieth century of capitalism's "internal limit" (classically conceived as the conflict between labor and capital) onto a geographic division of labor and wealth. Dispensing with whole genres of commonplace contemporary pieties, Brown examines works from both sides of this division to create a dialectical mapping of different modes of Utopian aesthetic practice. The theory of world literature developed in the introduction grounds the subtle and powerful readings at the heart of the book--focusing on works by James Joyce, Cheikh Hamidou Kane, Ford Madox Ford, Chinua Achebe, Wyndham Lewis, Ngugi wa Thiong'o, and Pepetela. A final chapter, arguing that this literary dialectic has reached a point of exhaustion, suggests that a radically reconceived notion of musical practice may be required to discern the Utopian desire immanent in the products of contemporary culture.

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One of the most influential choreographers of the twentieth century, Merce Cunningham is known for introducing chance to dance. Far too often, however, accounts of Cunningham's work have neglected its full scope, focusing on his collaborations with the visionary composer John Cage or insisting that randomness was the singular goal of his choreography. In this book, the first dedicated to the complete arc of Cunningham's career, Carrie Noland brings new insight to this transformative artist's philosophy and career, providing a fresh perspective on his artistic process while exploring aspects of his choreographic practice never studied before. Examining a rich and previously unseen archive that includes photographs, film footage, and unpublished writing by Cunningham, Noland counters prior understandings of Cunningham's influential embrace of the unintended, demonstrating that Cunningham in fact set limits on the role chance played in his dances. Drawing on Cunningham's written and performed work, Noland reveals that Cunningham introduced variables before the chance procedure was applied and later shaped and modified the chance results. Chapters explore his relation not only to Cage, but also Marcel Duchamp, Robert Rauschenberg, James Joyce, and Bill T. Jones. Ultimately, Noland shows that Cunningham approached movement as more than "movement in itself," and that his work in fact enacted archetypal human dramas. This remarkable book will forever change our appreciation of the choreographer's work and legacy.

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'Quirky, compelling and thoroughly enjoyable' Kate Ellis'A super start to the series' Frances Brody 'An entertaining murder mystery . . . witty' L C Tyler Buddhism, love, art and murder - welcome to the world of the Mindful DetectiveWhen a famously narcissistic performance artist is found floating in a tank of formaldehyde at her own private view, suspicion falls on those closest to her . . .Leading the murder investigation is DI Shanti Joyce, recently transferred from London to Yeovil following the collapse of her marriage and a case that went wrong. She soon concludes that the mystery requires left-field thinking, and when a colleague at the station suggests Vince Caine, aka the Mindful Detective, Shanti tracks him down to his remote cabin on the Undercliff at Lyme Regis.The pair delve into the artist's Bohemian circle and discover a hotbed of resentment and jealousy stretching all the way back to her scandalous art school days in Falmouth. But as they soon realise, the murderer is both canny and elusive - someone with a complex, warped motive who will do anything to point them elsewhere.Has Shanti made the wrong decision enlisting the unconventional and enigmatic Caine? Can the unlikely mix of her down-to-earth pragmatism and his otherworldly intuition really prove a winning combination?Or will a killer escape justice and leave Shanti's reputation in tatters?

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When in their lives do great artists produce their greatest art? Do they strive for creative perfection throughout decades of painstaking and frustrating experimentation, or do they achieve it confidently and decisively, through meticulous planning that yields masterpieces early in their lives? By examining the careers not only of great painters but also of important sculptors, poets, novelists, and movie directors, Old Masters and Young Geniuses offers a profound new understanding of artistic creativity. Using a wide range of evidence, David Galenson demonstrates that there are two fundamentally different approaches to innovation, and that each is associated with a distinct pattern of discovery over a lifetime. Experimental innovators work by trial and error, and arrive at their major contributions gradually, late in life. In contrast, conceptual innovators make sudden breakthroughs by formulating new ideas, usually at an early age. Galenson shows why such artists as Michelangelo, Rembrandt, Cezanne, Jackson Pollock, Virginia Woolf, Robert Frost, and Alfred Hitchcock were experimental old masters, and why Vermeer, van Gogh, Picasso, Herman Melville, James Joyce, Sylvia Plath, and Orson Welles were conceptual young geniuses. He also explains how this changes our understanding of art and its past. Experimental innovators seek, and conceptual innovators find. By illuminating the differences between them, this pioneering book provides vivid new insights into the mysterious processes of human creativity.

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A Times Bestseller Shortlisted for the Wainwright Prize for UK Nature Writing 2020 'Remarkable, and so profoundly enjoyable to read ... Its importance is huge, setting down a vital marker in the 21st century debate about how we use and abuse the land' - Joyce McMillan, Scotsman Desperate to connect with his native Galloway, Patrick Laurie plunges into work on his family farm in the hills of southwest Scotland. Investing in the oldest and most traditional breeds of Galloway cattle, the Riggit Galloway, he begins to discover how cows once shaped people, places and nature in this remote and half-hidden place. This traditional breed requires different methods of care from modern farming on an industrial, totally unnatural scale. As the cattle begin to dictate the pattern of his life, Patrick stumbles upon the passing of an ancient rural heritage. Always one of the most isolated and insular parts of the country, as the twentieth century progressed, the people of Galloway deserted the land and the moors have been transformed into commercial forest in the last thirty years. The people and the cattle have gone, and this withdrawal has shattered many centuries of tradition and custom. Much has been lost, and the new forests have driven the catastrophic decline of the much-loved curlew, a bird which features strongly in Galloway's consciousness. The links between people, cattle and wild birds become a central theme as Patrick begins to face the reality of life in a vanishing landscape.

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Provides a new approach to contemporary Irish poetry Offers a fresh approach to Irish poetry, bringing together well-known poets with new and exciting innovative work Combines illuminating close readings of poetry with reflections grounded in critical and aesthetic theory Introduces a number of contemporary Irish poets whose work has not received sufficient critical attention Puts Irish poetry in dialogue with major debates and concerns of European and American poetics Challenges conventional assumptions about the forms and values of Irish poetry This study puts contemporary Irish poetry in dialogue with major debates and concerns of European and American poetics. David Lloyd tracks the traits of Irish poetic modernism, from fragmentation to the suspicion of representation, to nineteenth-century responses to the rapid and unsettling effects of Ireland's precocious colonial modernity, such as language loss and political violence. He argues that Irish poetry's inventiveness is driven by the need to find formal means to engage with historical conditions that take from the writer the customary certainties of cultural continuity, identity and aesthetic or personal autonomy, rather than by poetic innovation for its own sake. This reading of Irish poetry understands the innovative impetus that persists through Irish poetry since the nineteenth century as a counterpoetics of modernity. Opening with chapters on Mangan and Yeats, the book then turns to detailed discussions of Trevor Joyce, Maurice Scully, and Catherine Walsh; major Irish contemporary poets never before the focus of a book-length study.

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This book introduces and analyses a stage performance of texts by Italian Modernist writer Carlo Emilio Gadda. When do we start going to war and why? And what did it mean to go to war from World War I to World War II and beyond, in Italy, before and after Mussolini, before and after, that is, that warring spirit of the age which keeps nations in fighting mode? Both time specific and universal, these questions are explored in this book through a unique combination of scholarly and theatrical performance based on the war diaries and a belated anti-Mussolini pamphlet by Italy's greatest Modernist writer Carlo Emilio Gadda (1893-1973). These works were adapted for the stage by actor, playwright and director Fabrizio Gifuni in 2010, and are now presented for the first time in English, supplemented with facing Italian text, a dvd of the performance with English subtitles, and an engaging, thought-provoking scholarly guide to Italy's own Joyce purposely produced for the Anglophone audience by the Edinburgh Gadda Projects Team. Key features: introduces Italy's greatest Modernist writer to the Anglophone audience in five sections: Poetics, Circulation, Translation, Staging and Resources; provides a flexible teaching and learning aid for work across subject areas; presents the first significant new English Gadda translation since the 1960s; and, includes the original Italian texts (with facing English translation) and the dvd of the Italian performance (with English subtitles).

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Beginning with responses to fascism in the 1930s and ending with protests against the Iraq wars, David McCarthy shows how American artists - including Philip Evergood, David Smith, H. C. Westermann, Ed Kienholz, Nancy Spero, Leon Golub, Chris Burden, Robert Arneson, Joyce Kozloff, Martha Rosler, and Coco Fusco-have borne witness, registered dissent, and asserted the enduring ability of imagination to uncover truths about individuals and nations. During what has been called the American Century, the United States engaged in frequent combat overseas while developing technologies of unprecedented lethality. Many artists, working collectively or individually, produced antiwar art to protest the use or threat of military violence in the service of an expansionist state. In so doing, they understood themselves to be fighting on behalf of two liberal beliefs: that their country was the guarantor of liberty against empire, and that modern art was a viable means of addressing the most compelling events and issues of the moment. For many artists, creative work was a way to participate in democratic exchange by challenging and clarifying government and media perspectives on armed conflict. Charting a seventy-five-year history of antiwar art and activism, American Artists against War, 1935-2010 lucidly tracks the continuities, preoccupations, and strategies of several generations.

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THE FIRST NOVEL IN THE RECORD-BREAKING, MILLION-COPY BESTSELLING THURSDAY MURDER CLUB SERIES.----------'Smart, compassionate, warm, moving and so VERY funny' Marian Keyes'So smart and funny. Deplorably good' Ian Rankin'Thrilling, moving, laugh-out-loud funny' Mark BillinghamIn a peaceful retirement village, four unlikely friends meet up once a week to investigate unsolved murders.But when a brutal killing takes place on their very doorstep, the Thursday Murder Club find themselves in the middle of their first live case.Elizabeth, Joyce, Ibrahim and Ron might be pushing eighty but they still have a few tricks up their sleeves.Can our unorthodox but brilliant gang catch the killer before it's too late?The Times Crime Book of the MonthGuardian Best Crime and Thrillers----------'A warm, wise and witty warning never to underestimate the elderly' Val McDermid'I completely fell in love with it' Shari Lapena'This is properly brilliant. The pages fly and I can't stop smiling' Steve Cavanagh'Steeped in Agatha Christie joy' Araminta Hall'Pure escapism' Guardian'As gripping as it is funny' Evening Standard'An exciting new talent in crime fiction' Daily Mail'A witty and poignant tale' Daily Telegraph'Funny and original' Sun

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Al introducir la conciencia de su Narrador en A la busca del tiempo perdido, Marcel Proust realizaba una revolución copernicana en la literatura del siglo XX y se convertía, junto con James Joyce y Franz Kafka, en el escritor más importante de los cien últimos años. A la busca del tiempo perdido no es novela de una sola faceta, sino de muchas: sobre unos puntos de partida parcialmente autobiográficos, Proust consigue una narración iniciática, la pintura crítica de toda una sociedad, una novela psicológica, una obra simbólica, el análisis de inclinaciones sexuales hasta entonces prohibidas, una reflexión sobre la literatura y la creación artística.Hecha a partir de las recientes ediciones francesas que suponen una revolución respecto de las anteriores, esta nueva traducción es la primera realizada por un solo traductor, Mauro Armiño; acompañan a la edición tres diccionarios que permiten al lector un contacto inmediato con el mundo de Proust, con los lugare

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"Every lovesick summer has its song, And this one I pretended to despise. But if I were alone when it came on, I turned it up full-blast to sing along- A primal scream in croaky baritone, The notes all flat, the lyrics mostly slurred- No wonder I spent so much time along Making the rounds in Dad's old Thunderbird." -From "Cruising with the Beach Boys" by Dana Gioia No one should be surprised that rock and roll music turns up in the work of many of the Baby-Boom poets, where it conjures up poignant memories, evokes a specific mood, or haunts the poets' psychic landscape. Arranged in a loosely thematic manner, the 125 poems in Sweet Nothings mirror the varied forms of rock and roll, mimic its sounds, bask in its innocence, draw inspiration from its rebelliousness. For this collection Jim Elledge has gathered works by 79 poets, among them some of the most highly regarded poets of our time: Frank O'Hara, Joyce Carol Oates, David Wojahn, Thom Gunn, Rita Dove, Lynda Hull, Albert Goldbarth, Lisel Mueller, Yusef Komunyakaa, Gary Soto, William Matthews. In the final section of the book the poets comment on the relationship between their works and rock and roll.

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* THE TOP 10 NEW YORK TIMES BESTSELLER * 'One of the finest contemporary novels I've read ... A moral masterpiece' ANN PATCHETT 'Her writing has a luminous kind of clarity, a grace and scope that fills me with wonder' RACHEL JOYCE 'Damning and dazzling ... The story of a Vietnam we never got in history class' OPRAH DAILY ----------------- You have no idea what it was like. For us. The women, I mean. The wives. 1963. Saigon. Tricia is a shy newlywed, married to a rising attorney working for US Navy intelligence. Charlene is a practiced corporate spouse and mother of three, a beauty and a bully. The two women form a wary alliance as they struggle to balance the pressure to be respectable wives for their ambitious husbands, with their own dubious impulses to “do good” for the people of Vietnam. Sixty years later, Charlene’s daughter, spurred by an encounter with an aging Vietnam veteran, reaches out to Tricia. Together, they look back at their time in Saigon, discovering how their lives as women on the periphery — of politics, of history, of war, of their husbands’ convictions — have been shaped and burdened by the unintended consequences of America’s tragic interference in Southeast Asia. Exploring the disaster of the Vietnam War through the lives built by American wives in 1960s Saigon, this is a virtuosic novel about folly and grace, obligation, sacrifice and the quest for absolution in a broken world.

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United in their fierce sense of place and infused with the fading echoes of a lost homeland, the stories in Jennine Capó Crucet's striking debut collection do for Miami what Edward P. Jones does for Washington, D.C., and what James Joyce did for Dublin: they expand our ideas and our expectations of the city by exposing its tough but vulnerable underbelly. Crucet's writing has been shaped by the people and landscapes of South Florida and by the stories of Cuba told by her parents and abuelos. Her own stories are informed by her experiences as a Cuban American woman living within and without her community, ready to leave and ready to return, 'ready to mourn everything.' Coming to us from the predominantly Hispanic working-class neighborhoods of Hialeah, the voices of this steamy section of Miami shout out to us from rowdy all-night funerals and kitchens full of plátanos and croquetas and lechón ribs, from domino tables and cigar factories, glitter-purple Buicks and handed-down Mom Rides, private homes of santeras and fights on front lawns. Calling to us from crowded expressways and canals underneath abandoned overpasses shading a city's secrets, these voices are the heart of Miami, and in this award-winning collection Jennine Capó Crucet makes them sing.

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In this provocative book, Margaret Heffernan, former CEO and Fast Company contributor, fuses her own experience with that of hundreds of women to identify the biggest challenges and the best solutions that women face today. From VPs of Fortune 100 companies to entrepreneurs to women just starting their careers, she traces the patterns and themes underlying women's power, choices, love, sex, money, and many other vital topics for working women. Without sugar-coating the facts, preaching, or oversimplifying, she offers solutions and shares the truth about the working world: women's choices are limited, you can't have it all, women do work differently from men and, yes, it is possible to find success amidst all of this and feel good about it. "Finally! A book that exposes the masculine myths about what it takes to be effective in business and helps women reclaim the relational intelligence we have been taught to ignore. A must-read for all women who want to increase their power and influence in the workplace—especially those who are thinking of leaving because they are tired of the corporate gamesmanship that requires splitting themselves into a 'work me' and a 'home me.'" —Joyce K. Fletcher, professor of management, Simmons School of Management, Boston, Massachusetts Order your copy today!

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Winner of the Susan Smith Blackburn Prize, 1997. 'Carr's harrowing play has the scale and anguish of myth, and the immediacy of a contemporary anecdote.' Independent on SundayThere's a wolf tooth growin in me heart and it's turnin me from everywan and everthin I am.Portia Coughlan lives life in monstrous limbo, haunted by a yearning for her spectral twin brother lying at the bottom of the Belmont river, unable to find any love for her wealthy husband and children, seeking solace in soulless affairs, deeply afraid of what she might do.Portia Coughlan premiered on the Abbey Theatre's Peacock Stage, Dublin, in April 1996 and transferred to the Royal Court Theatre, London, in May that year. It was revived at the Almeida Theatre, London, in October 2023.'Taut and haunting, funny and sad . . . Carr plays with time and place to resonant, ultimately devastating effect.' The Stage'One of the most important Irish plays of the twentieth century.' Arts Review'Marina Carr goes to a deep place that has not just to do with society now but that touches an inner tragedy of existence. The female quality of her writing comes through not only in the way she writes about women, it's in the physicality in her writing. She is right in there with the cycles of life, with the blood and the dirt.' Joyce McMillan, New York Times

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'Impossible to put down' TIMES'Life-affirming delight. A comic pleasure' WOMAN AND HOME'Profoundly moving' RICHARD MADELEYOVER 6 MILLION COPIES SOLD. NOW A MAJOR MOVIE STARRING JIM BROADBENT AND PENELOPE WILTON____________________When Harold Fry nips out one morning to post a letter, leaving his wife hoovering upstairs, he has no idea that he is about to walk from one end of the country to the other.He has no hiking boots or map, let alone a compass, waterproof or mobile phone. All he knows is that he must keep walking. To save someone else's life.Harold Fry is the most ordinary of men. He just might be a hero for us all.____________________'A gorgeously hopeful book' OPRAH MAGAZINE'A funny book, a wise book, a charming book . . . Harold Fry is just wonderful ... I love this book' ERICA WAGNER, THE TIMES'The odyssey of a simple man, original, subtle and touching' CLAIRE TOMALIN'One of the sweetest, most delicately-written stories I've read in a long time. One man's walk along the length of England to save the life of a dying woman . . . Philosophical, intriguing, and profoundly moving' RICHARD MADELEY'Full of heart, laced through with wry wit. I loved Harold and Maureen and their separate journeys . . . A celebration of being alive, being human. Beautiful!' NIAMH CUSACK'Tender and funny, The Unlikely Pilgrimage of Harold Fry shows that even our frailties can be uplifting and redemptive' EDWARD STOURTON____________________RACHEL JOYCE'S NEW NOVEL, MAUREEN, THE FINAL NOVEL IN THE 'HAROLD FRY TRILOGY', IS OUT IN PAPERBACK 8 JUNE 2023____________________

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