Search results for ""Syracuse University Press""

In Western thought, suicide has evolved from sin to sin-and-crime, to crime, to mental illness, and to semilegal act. A legal act is one we are free to think and speak about and plan and perform, without penalty by agents of the state.While dying voluntarily is ostensibly legal, suicide attempts and even suicidal thoughts are routinely punished by incarceration in a psychiatric institution. Although many people believe the prevention of suicide is one of the duties the modern state owes its citizens, Szasz argues that suicide is a basic human right and that the lengths to which the medical industry goes to prevent it represent a deprivation of that right.Drawing on his general theory of the myth of mental illness, Szasz makes a compelling case that the voluntary termination of one’s own life is the result of a decision, not a disease. He presents an in-depth examination and critique of contemporary antisuicide policies, which are based on the notion that voluntary death is a mental health problem, and systematically lays out the dehumanizing consequences of psychiatrizing suicide prevention.If suicide be deemed a problem, it is not a medical problem. Managing it as if it were a disease, or the result of a disease, will succeed only in debasing medicine and corrupting the law. Pretending to be the pride of medicine, psychiatry is its shame.

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In this provocative collection, Kim Jensen gives voice to the struggle of those who seek love in a world saturated with brutality and aggression. The concise lyrics in ""Bread Alone"" condemn the violence in Iraq, Palestine, and Lebanon, while exploring the intimate consequences of these and other injustices. Darkly humorous, grotesque, sorrowful, outraged, and sometimes poignantly hopeful, Jensen's poems possess a strange beauty and remind us of the key purposes of poetry - to warn and to revive our sense of conscience and connection.

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This enlightening volume presents minibiographies of key British and American poets who at one time or another worked as journalists. Poets covered range from the famous to the obscure: Whittier to Whitman, Kipling to Bryant, Coleridge to Crane. Writing in a direct, unadorned style, W. Dale Nelson tells each writer's story, often relating how the poet in question felt about the journalistic experience and its impact upon creative work. Archibald MacLeish wrote ""young poets are advised by their elders to avoid the practice of journalism as they would wet socks and gin before breakfast."" On the other hand, Leonard Woolf suggests that Hemingway's strong spare prose often ""bears the mark of good journalism."" The author raises compelling issues about developments in poetic form, effects of printing and communication on poetry, and the relationship of poetry and locales. He also looks at how poetic diction has been influenced by the language of reportage and the basic difference in the purpose of journalism versus that of poetry.

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Hamdi Abu Golayyel offers a striking portrait of a marginalized Egyptian community, bringing to life the absurd and tragic characters who occupy the margins of society while paying tribute to a historical Cairene neighborhood. By turns comic, reverential, beautiful, and tawdry, the novel reveals a social climate where ruthlessness and goodness seem almost indistinguishable and humanity is on display in all its rich variety. The novelist's distinctive vision of Egypt's various postmonarchy political regimes and ideologies shapes this dark comedy of human relations and underground pursuits in late twentieth-century Egypt. Through intricate levels of allegory, puns, and double meanings, Abu Golayyel effectively plays on the rhetoric associated with the nationalist government of Gamal Abdel Nasser, including the post-Nasser turn toward international capitalism with its a consumer-oriented economy - and movement away from the workers' rights orientation of the 1960s. This novel represents a new voice and a new stage in contemporary Arabic literature, as it criticizes official ideologies, whether socialist, capitalist, or Islamist. Abu Golayyel's cast of memorable characters embodies the arbitrariness of life and the search for purpose and dignity and in a social milieu that offers little of either. Marilyn Booth's translation fluently renders the novel's delicate levels of diction and rhythm, offering this brilliant Egyptian novel to a much-deserved wider audience.

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Evelyn Shakir crafts tales that are rich in history and cultural detail, setting her stories in different eras, from the 1960s to the present and carrying us back, on occasion, to the turn of the twentieth century. Each in their own way, Shakir's first- and second-generation women work either to reclaim their Lebanese heritage or to leave it behind. In ""The Story of Young Ali"", a teenage girl resists her beloved father's traditional tales of honor and self sacrifice. The matriarch of ""House Calls,"" on the other hand, is so wedded to the past that she returns from the grave to harangue her Americanized family. In ""Oh, Lebanon,"" a young woman who has fled Lebanon's civil war and refuses to cover her hair with a scarf finds that turning her back on her past leads her in unexpected directions. With agile humor and emotional truth, Shakir offers multiple perspectives on the experience of Lebanese women in the United States. Her stories dismantle stereotypes and remind us that women of Lebanese background have been a part of the American narrative for over a century.

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A rare and vivid narrative of a Buddhist nun's training and spiritual awakening. In this engagingly written account, Martine Batchelor relays the challenges a new ordinand faces in adapting to Buddhist monastic life: the spicy food, the rigorous daily schedule, the distinctive clothes and undergarments, and the cultural misunderstandings inevitable between a French woman and her Korean colleagues. She reveals as well the genuine pleasures that derive from solitude, meditative training, and communion with the deeply religious - whom the Buddhists call ""good friends."" Batchelor has also recorded the oral history/autobiography of her teacher, the eminent nun Son'gyong Sunim, leader of the Zen meditation hall at Naewonsa. It is a profoundly moving, often light-hearted story that offers insight into the challenges facing a woman on the path to enlightenment at the beginning of the twentieth century. Original English translations of eleven of Son'gyong Sunim's poems on Buddhist themes make a graceful and thought-provoking coda to the two women's narratives. Western readers only familiar with Buddhist ideas of female inferiority will be surprised by the degree of spiritual equality and authority enjoyed by nuns in Korea. While American writings on Buddhism increasingly emphasize the therapeutic, self-help, and comforting aspects of Buddhist thought, Batchelor's text offers a bracing and timely reminder of the strict discipline required in traditional Buddhism.

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Set in Geneva, Switzerland, around the 1982 Israeli invasion of Lebanon, this intricately plotted novel probes the emotional misfortunes of Arab men and women fleeing the horror of war only to find their ways of life constantly challenged by their foreign surroundings. The author's scalding critique of the Lebanese situation resonates with strong sociopolitical issues. Here are telling portraits of class oppression and the role of women in Arab society, the treatments of war and sexuality, of immigration, of cultural assimilation and nationalism. With supreme artistry and insight - and in modern Arab literary fashion - Ghada Samman skillfully blends realism with fantasy into a highly stylized, thematically multilayered tale. It is at once a Gothic romance and a suspenseful whodunit with engaging characters. At the same time it is a gripping study of social injustice and the consequences of wartime upheaval. Far from home and out of harm's way, Samman's Lebanese exiles repeat and replay the very same conflicts that torment them in their own land even as it is under siege. Night of the First Billion is an eloquent reminder that the only genuine security in the most profound and human sense of the word is to be found in the courageous willingness to confront, challenge, and finally to ease suffering.

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Few incidents in crime history have been as notorious - yet mundane - as the 1927 murder of Queens suburbanite Albert Snyder by his wife and her lover. Resonant of the foot-loose Jazz Age, it made persistent headlines, led to a sensational trial, spawned a 1920s Broadway play, and two classic film noirs of the 1940s: ""Double Indemnity"" and ""The Postman Always Rings Twice"". This book assesses the entire case, from grisly slaying and shabby cover-up to sharp police work and aftermath. Moreover, it explores sociocultural questions that beg to be answered: what effect does news reportage exert upon high profile cases, and why did such a transparent crime earn such an enduring place in the popular psyche. Landis MacKellar lives in Vienna and Paris. His interest in the Snyder-Gray murder began when he taught in Queens College in New York City.

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Over 100 color photographs vividly portray the people and places of the southeastern Adirondacks as seen by a Glens Falls family physician who has spent over twenty years practicing rural medicine in such places as Bolton Landing, Warrensburg, North Greek, Indian Lake, Long Lake, Wells, and Speculator. The book is a breathtaking collection of Adirondack landscapes taken along Dr. Daniel Way's travels, mingled with portraits of his patients taken in their homes and the many stories that reveal the full spectrum of humor, sorrow, wonder and stress that constitutes the doctor-patient relationship. The book's patient population includes trappers, war heroes, matriarchs, lumbermen, Great Camp residents, and transplanted ""flatlanders,"" and their stories will leave the reader enriched while enjoying views of Adirondack rivers, mountains, lakes, and forests.

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Henry M. Beach was a prolific and accomplished upstate New York photographer who documented the North Country during the first quarter of the twentieth century. Although much less known and celebrated, Beach's work is as important to the twentieth-century Adirondacks as Seneca Ray Stoddard's is to the nineteenth century. Illustrated with over 250 examples of his work including ten panoramic foldouts, this book covers the range of Beach's subject matter. Robert Bogdan's lively and accessible approach to the photographer's work encourages the reader to explore the North Country's people and places through Beach's photography and life. Although Beach's postcard pictures and other photographs were taken to sell in bulk to hotel managers, tourist shop owners, and other retail merchants, they are not just mass-produced, stylized, pretty pictures. Beside the bubbling brooks and shady woodland paths are factory boomtowns and paper mills belching pollution. As the rails brought increasing numbers of middle-class tourists to the Adirondacks, the wealthy created their own exclusive wilderness playground. Beach photographed dandy visitors at play as well as manual laborers sweating in the forest, logging camps, factories, mines, and construction sites. Images of ""great camps"" sit next to modest abodes, small stores, and family-owned resorts. Pictures of trains in scenic surroundings give way to mangled wrecks after tragic railroad accidents. In addition to standard view cards, he produced montages and advertisement postcardsserious visual commentary as well as lighthearted picture play. Beach's best works stir the heart and provoke the imagination, and his whimsical, down-to-earth approach to photography produced images that are a treat to the eye.

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The Erie Canal was dying. Adirondack sawmills were falling silent. And in the final years of the nineteenth century, the upstate New York town of Forestport was struggling just to survive. Then the canal levees started breaking, and the boom times returned. The Forestport saloons flourished, the town's gamblers rollicked, and the politically connected canal contractors were flush once more. It was all very convenient until Governor Theodore Roosevelt's administration grew suspicious and the Pinkerton National Detective Agency began investigating. They found what a lawman called one of the most gigantic conspiracies ever hatched in New York. In The Forestport Breaks, Michael Doyle illuminates a fresh and fascinating chapter in the colorful history of the Erie Canal. This is the canal's shadowy side, a world of political rot and plotting men, and it extended well beyond one rough and tumble town. The Forestport breaks marked the only time New York officials charged men with conspiring to destroy canal property, but they were also illustrative of the widespread rascality surrounding the canal. For Doyle, there is a story with a personal dimension behind the drama of the canal's historical events. As he uncovered the rise and fall of Forestport, he was also discovering that the trail of culpability led to members in his own family tree.

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In Of Lodz and Love, Chava Rosenfarb revisits her themes of the the shtetl and pre-Holocaust Poland, of economic and political oppression, and of the upheavals that would herald a new Jewish national and political awakening. The story takes Yacov, son of Hindele, and Binele, the daughter of the chalk vendor Yossele Abedale, to the industrial town of Lodz during the first years of Poland's independence, both before and after the country entered the war with the Bolsheviks.The would-be young lovers evolve separately against the backdrop of the city's own struggle for economic survival. In sometimes tragic turns, they make their way in the strange urban culture, rapidly acquiring the skills to survive. Translated from the original Yiddish, this book serves as prologue and as counterpoint to the urbanization of Jewish life in Poland. In its elegance and subtle wit, and overwhelming human dignity, it is not only the testimony of a vanished world, but a powerful love story.

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Traditional Anishinaabe (Ojibwe or Chippewa) knowledge, like the knowledge systems of indigenous peoples around the world, has long been collected and presented by researchers who were not a part of the culture they observed. The result is a colonized version of the knowledge, one that is distorted and trivialized by an ill-suited Eurocentric paradigm of scientific investigation and classification. In Our Knowledge Is Not Primitive, Wendy Makoons Geniusz contrasts the way in which Anishinaabe botanical knowledge is presented in the academic record with how it is preserved in Anishinaabe culture. In doing so she seeks to open a dialogue between the two communities to discuss methods for decolonizing existing texts and to develop innovative approaches for conducting more culturally meaningful research in the future.As an Anishinaabe who grew up in a household practicing traditional medicine and who went on to become a scholar of American Indian studies and the Ojibwe language, Geniusz possesses the authority of someone with a foot firmly planted in each world. Her unique ability to navigate both indigenous and scientific perspectives makes this book an invaluable contribution to the field of Native American studies and enriches our understanding of the Anishinaabe and other native communities.

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The League of the Iroquois, the most famous native government in North America, dominated intertribal diplomacy in the Northeast and influenced the course of American colonial history for nearly two centuries. The age and early development of the League, however, have long been in dispute. In this highly original book, two anthropological archaeologists with differing approaches and distinct regional interests synthesize their research to explore the underpinnings of the confederacy. Wonderley and Sempowski endeavor to address such issues as when tribes coalesced, when intertribal alliances presaging the League were forged, when the five-nation confederation came to fruition, and what light oral tradition may shine on these developments.This groundbreaking work develops a new conversation in the field of Indigenous studies, one that deepens our understanding of the Iroquois League's origins.

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Simin Behbahani’s collection contains some of the most formative work of twentieth-century Persian literature. Written over almost a half-century, much of her poetry reflects the traumatic experiences that have shaped Iranian history: revolution and war. Behbahani balances artful inquiry and shocking realism in both her language and imagery to probe the depths of political, cultural, and moral oppression. In the traditional verse of the ghazal, she improvises with meter to echo and provide new interpretations.

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Some of the most iconic, hard-boiled Irish detectives in fiction insist that they are not detectives at all. Hailing from a region with a cultural history of mistrust in the criminal justice system, Irish crime writers resist many of the stereotypical devices of the genre. These writers have adroitly carved out their own individual narratives to weave firsthand perspectives of history, politics, violence, and changes in the economic and social climate together with characters who have richly detailed experiences.Recognizing this achievement among Irish crime writers, Babbar shines a light on how Irish noir has established a new approach to a longstanding genre. Beginning with Ken Bruen’s Jack Taylor, who rejects the detective title in favor of "finder"—a reference to Saint Anthony of Padua in the context of a traditionally secular form—Babbar examines the ways Irish authors, including John Connolly, Tana French, Alex Barclay, Adrian McKinty, Brian McGilloway, Claire McGowan, Gerard Brennan, Stuart Neville, Steve Cavanagh, and Eoin McNamee, subvert convention to reclaim their stories from a number of powerful influences: Revivalism, genre snobbery, cultural literary standards, and colonialism. These writers assert their heritage while also assuming a vital role in creating a broader vision of justice.

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Set in the Syrian neighborhood of al-Qaweyq, Sour Grapes is a collection of fifty-nine wry, satirical short stories loosely connected by a cast of rotating characters living at society’s margins. Tamer captures their everyday lives, weaving the attendant cruelties and ironies of living under an oppressive regime with the residents’ irreverence and small acts of defiance. Inspired by the heroines of Arab mythology, the women of al-Qaweyq navigate the patriarchal community with brash confidence and dark humor while the younger generation of children inherit a bitter cynicism from their fathers. Evoking under-ripened and immature fruit, the collection’s title serves as a bittersweet metaphor for a world that possesses the seeds of change but is unprepared for the harvest.Considered a master of the short story, Zakaria Tamer is one of the Arab world’s most prominent and widely read writers. Columbu and Capallera’s fluid translation gives English readers access to Tamer’s original and provocative voice

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Literary, lyrical, and cuttingly satiric, Mother India is a brilliantly original novel about Jews who go to India to find transformation and eternal release from the sufferings of life. Narrated in luminous prose by Meena, a Jewish American lesbian who has claimed India as her home, the novel is vividly populated by the darkly comic universe of three generations of women along with other family members, as well as by the Indians whose world they seek to penetrate. There is Meena’s religiously observant mother, Ma, whose desire to remove herself from the wheel of life plays out in a Faulknerian funeral procession and cremation on the banks of the holy river Ganges; Meena’s daughter, Maya, a misunderstood child coming of age in an emotionally treacherous household; her ex-wife, Geeta, a privileged and hedonistic Indian woman who enters their world with devastating consequences; Meena's twin brother, Shmelke, a charismatic rabbi turned guru and international fugitive; and the Indian servant, Manika, whose loyalty to the family both sustains and shackles them.ldentifying with the humanity of its characters, the reader is drawn into a vast, tragicomic, and fascinating epic, Homeric in scope, drama, discovery, and surprise. Universal yet intimate, brutal yet tender, satiric yet sympathetic, Mother India evokes reactions—intellectual, emotional, visceral—that are complex, even contradictory, containing the might and bite that our current cultural hubris and self-involvement deserve. In Mother India, Reich offers us her most poignant and astonishing novel to date.

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Red Shoes for Rachel, Sandler’s award-winning collection of three novellas, features tightly wound tales that seamlessly incorporate diverse genres, including magic realism, satire, and autobiography, and profound psychological profiles to create touching portrayals of the human experience. Zumoff’s translation of Sandler’s original Yiddish collection makes the J. I. Segal Award–winning volume available to English readers for the first time.In the collection’s eponymous novella, Rachel, a daughter of Holocaust survivors raised in Brighton Beach, encounters a Moldovan Jewish immigrant divorcee as she is tending to her disabled, elderly mother along the Coney Island boardwalk. As the two begin a relationship, the story reveals their past and the commonalities between two children of Holocaust survivors raised in very different societies. In the novella Karolina Bugaz, an exhausted Moldovan Jewish immigrant architect leaves his wife and newly religious son behind to go on a cruise to a mysterious island, which may just be a direct voyage through space and time into his past. In the volume’s most acclaimed story, Halfway Down the Road Back to You, an elderly Moldovan Holocaust survivor in Israel separated from her children by emigration must confront her past as her failing mind begins to blur the boundaries between her daily life and the horrors of war sixty years before. The novella was adapted by the author into an acclaimed play, which has been staged in the United States, Belgium, and France.

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During the past thirty years, the editors of the Hudson Review have observed a trend among some of the best literary essayists and reviewers to situate their criticism in a deeply personal manner as opposed to the theoretical, technocratic work being produced in many literary and academic publications. Over time, the Hudson Review became a home for this kind of accessible, memoirist writing. Literary Awakenings collects eighteen essays published over the last three decades that celebrate the writer’s relationship with literature, one that is deeply shaped by experience and remembrance.br>The essays gathered here recall disparate awakenings to the influence of literature and discoveries of the many ways in which it enriches nearly every aspect of our lives. Antonio Muñoz Molina describes his education as a writer and a citizen as a form of protest against Franco’s totalitarian regime in Spain. Drawing upon Huckleberry Finn, Wendell Berry meditates on the impulse to escape that literature often invokes, and Judith Pascoe’s tribute to Clarissa confesses to the appeal of reading select literature that initiates one into an exclusive coterie of people. What unites these diverse contributions is the joy of appreciation, the pleasures of engaging with literature

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Maureen Waters began writing about the Bronx in the spirit of dinnseachas, Irish place lore, as a means of recuperating from the accidental death of her son, whose story frames her own. Finding her way through the disorienting 1960s, after a girlhood tutored by nuns and inspired by the Holy Ghost, she set out on a kind of spiritual journey to recover what was valuable and life-sustaining in the Irish Catholic experience left behind. Writing her memoir meant coming to terms with the powerful matriarchal voices that inspired both affection and immobilizing guilt. Ultimately, Crossing Highbridge is a tribute to her father, for whom storytelling was an art of healing.

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In the last few decades, the media, academics, and the general public have put considerable focus on Muslim culture and politics around the world. Specifically, the rising population of young Muslims has generated concerns about religious radicalism, Islamism, and conflicts in multicultural societies. However, few studies have been devoted to how a new generation of Muslims is reshaping society in positive ways. In Political Muslims, Abbas and Hamid provide a new perspective on Muslim youth, presenting them as agents of creative social change and as active participants in cultural and community organizations where resistance leads to negotiated change.In a series of case studies that cross the globe, contributors capture the experiences of being young and Muslim in ten countries?the United States, Canada, Britain, the Netherlands, Switzerland, Turkey, Afghanistan, Pakistan, Kashmir, and Indonesia. They examine urban youth from various socioeconomic backgrounds, addressing issues that range from hybrid identities and student activism to the strategic use of music and social media. With diverse disciplinary and methodological approaches, Political Muslims gives readers a nuanced and authentic understanding of the everyday social, economic, and political realities of young people.

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In his short life (1865-1921), Micha Josef Berdichevsky was a versatile and influential man of letters: an innovative Hebrew prose stylist; a collector of Jewish folklore; a scholar of ancient Jewish and Christian history. He was at once a peer of the Brothers Grimm, Sholem Aleichem, Friedrich Nietzsche, and a diverse circle of Jewish writers in the Russian Empire and German-speaking countries. As a Yiddish writer, however, he remains largely unknown to gen­eral readers. Originally published in the 1920s, his stories were dismissed by prominent critics and viewed as out of step with the literary taste of his own time. Yet these vivid portraits of a small Jewish town (shtetl) in the southern Russian Empire can speak powerfully to audiences today.With enchanting humor, social satire, and verbal dexterity, From a Distant Relation captures the world of the shtetl in a sharp realist prose style. Themes of repressed desire, poverty, relations with non-Jews, and historic upheavals echo in a cast of memorable characters. Many of the stories and monologues feature strong female protagonists, while others shed light on the misogynistic culture of the shtetl. At the border between fiction and reportage, with a gritty underbelly and a deceptive naïveté, Berdichevsky's stories explore dynamics of wealth, power, and gender in an intimate setting that resonates profoundly with contemporary Jewish life.

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Women have consistently been left out of the official writing of Lebanese history, and nowhere is this more obvious than in writing on the Lebanese Civil War. As more and more histories of the war begin to circulate, few include any in-depth discussion of the multiple roles women played in wartime Lebanon. Fewer still address the essential issues of women’s work and their creative production, such as literature, performance art, and filmmaking. Developed out of a larger oral history project collecting and archiving the ways in which women narrated their experiences of the Lebanese Civil War, this book focuses on a wide range of subjects, all framed as women telling their "war stories." Each of the six chapters centers on women who worked or created art during the war, revealing, in their own words, the challenges, struggles, and resistance they faced during this tumultuous period of Lebanese history.

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Interrogating Secularism is a call to rethink binary categories of ""religion"" and ""secularism"" in contemporary Arab American fiction and art. While most studies that explore the traffic between literature and issues of secularism emphasize how canonical texts naturalize and reinforce secular values, Interrogating Secularism approaches this nexus through novels written by and about ethnic and religious minorities. Haque juxtaposes accounts of secular experience in the writing of Arab Anglophone authors such as Mohja Kahf, Rabih Alameddine, Khaled Mattawa, Laila Lalami, and Rawi Hage, with Arab and Muslim artists such as Ninar Esber, Mounir Fatmi, Hasan Elahi, and Emily Jacir. Looking at multiple genres and modes of aesthetic production, including AIDS narratives, visual art, and digital media, Haque explores how their conventions are used to subvert the ideals tied to secularism and the various anxieties and investments that support secularism as a premise. These authors and artists critique Western iterations of secular thought in spaces such as art exhibits, airports, borders, and literary discourses to capture how the secularism thesis reproduces the exclusivity it intends to remedy.

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One of the most popular shows to come out of Shondaland, Shonda Rhimes's production company, is ABC's political drama Scandal (2012–18)—a series whose tremendous success and marketing savvy led LA Times critic Mary McNamara to hail it as ""the show that Twitter built"" and Time magazine to name its protagonist as one of the most influential fictional characters of 2013. The series portrays a fictional Washington, DC, and features a diverse group of characters, racially and otherwise, who gather around the show's antiheroine, Olivia Pope, a powerful crisis manager who happens to have an extramarital affair with the president of the United States. For seven seasons, audiences learned a great deal about Olivia and those interwoven in her complex world of politics and drama, including her team of ""gladiators in suits,"" with whom she manages the crises of Washington's political elite. This volume, named for both Olivia's team and the show's fans, analyzes the communication, politics, stereotypes, and genre techniques featured in the television series while raising key questions about the intersections of race, gender, sexuality, and viewing audiences. The essays range from critical looks at various members of Scandal's ensemble, to in-depth analyses of the show's central themes, to audience reception studies via interviews and social media analysis. Additionally, the volume contributes to research on femininity, masculinity, and representations of black womanhood on television. Ultimately, this collection offers original and timely perspectives on what was one of America's most ""scandalous"" prime-time network television series.

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Award-winning British novelist Margaret Drabble is renowned for her fiction, stories that gave voice to the new woman of the 1960s and continue to illuminate the conflicting roles of women in the twenty-first century. Drabble’s long affiliation with the theatrical world also inspired her to experiment with the dramatic form. She wrote two plays?one for television, Laura (1964), and one for the stage, Bird of Paradise (1969). Fernández’s penetrating new critical edition makes both plays available for the first time, giving Drabble fans a new vantage point from which to understand her work. In Laura and Bird of Paradise, Drabble mines the familiar territory of social class, domestic life, and questions of destiny, which have been the hallmark of her writing. As in her novels, both plays reveal a deep curiosity about the world and a piercing commentary on the social issues of her time. The volume’s introduction and accompanying critical essays give valuable insight into the plays’ historical and social context, and explore the artistic solutions that an accomplished author of fiction found when writing for the stage. Offering a fascinating complement to Drabble’s prodigious oeuvre, this volume also provides a glimpse into a specific period in English letters, one that shaped an influential generation of writers.

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In The Odyssey of an Apple Thief, Moishe Rozenbaumas (1922–2016) recounts his fascinating life, from his Lithuanian boyhood, to the fraught experiences that take him across Europe and Central Asia and back again, to his daring escape from Soviet Russia to build a new life in Paris. Along the way, we get a rarely seen portrait of the lives of working-class Jewish youth in Telz/Telsiai, a religious town renowned for its yeshiva. We hear of the games children played, the theft of apples from a Catholic orchard, and Rozenbaumas's early apprenticeship as a tailor once his father leaves the country.The war breaks out and the teenaged Rozenbaumas flees Lithuania alone, unable to convince his mother and sibling to go with him. We learn of his life as a starved refugee in an Uzbek kolkhoz, his escape into the Red Army, and his unlikely work in the reconnaissance unit of the Soviet Army. After the war, Rozenbaumas is drafted into the Marxist-Leninist university and as a cadre of the Communist Party, ultimately escaping in 1956 with his family to Paris, where he and his wife give an openly Jewish education to their children.In the vast literature of memory written by Jewish witnesses before, during, and after WWII, Rozenbaumas's account stands out for the singularity of his experience and for his deft narration of events of mythological dimension from a personal perspective. The Odyssey of an Apple Thief offers not only invaluable testimony of this historical moment but also an illuminating and original portrait of Lithuanian Jews in the twentieth century.

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This collection of articles written by feminist scholars focuses on intimate Arab familial relationships. The authors identify key family relationships - mother-son, brother-sister, co-wives, father-daughter - to explore women's contribution to shaping and defining themselves in relation to others.

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This work begins with a boy named Geraldo growing up Sicilian in Rochester, New York, and ends with the author breakfasting with Eleanor Roosevelt in the White House. It is a portrait of what it was like to come of age in the 1930s and 1940s.

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Garth Andrew Myers' work makes a significant contribution to a long tradition of research on colonial cities and a multidisciplinary body of literature on urban legacies of colonialism. He examines both colonial rule and postcolonial inheritance in these cities, tracing the legacies of colonialism in different and divergent postcolonial settingsa revolutionary left-wing socialist state (Zanzibar) and a reactionary right-wing dictatorship (Malawi). In addition to the examination of urban plans and the African urban majority's responses to them, the book traces the experience of the urban planning process through three different ""verandahs of power,"" or levels of class depiction: the colonial power, the colonized middle, and the urban majority. Interspersed with personal stories, this book illuminates our understanding of the workings of power in African cities by addressing human experiences of that power.

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The Funambulists brings together the diverse poetry collections of six contemporary Arab diasporic women poets. Spanning multiple languages and regions, this volume illuminates the distinct artistic voice of each poet, yet also highlights the aesthetic and political relevance that unites their work.Marchi explores the work of Naomi Shihab Nye, a celebrated American poet of Palestinian descent; Iman Mersal, an Egyptian poet living in Edmonton, Canada, who writes in Arabic; Nadine Ltaif, a Lebanese poet who lives in Quebec and has adopted French as her language; Maram al-Massri, a Syrian poet writing in Arabic and living in France; Suheir Hammad, an American poet of Palestinian origin; and Mina Boulhanna, a Moroccan poet living in Italy and writing in Italian. Despite their varying geographical and political backgrounds, these poets find common ground in themes of injustice, spirituality, gender, race, and class. Drawing upon the concept of tension, Marchi examines both the breaking points and the creative energies that traverse the poetic works of these writers. These celebrated funambulists use their art of balance and flexibility bolstered by their courage and transgression to walk a tightrope stretched out across cultures, faiths, and nations.

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Arab American women have played an essential role in shaping their homes, their communities, and their country for centuries. Their contributions, often marginalized academically and culturally, are receiving long- overdue attention with the emerging interdisciplinary field of Arab American women's studies. The collected essays in this volume capture the history and significance of Arab American women, addressing issues of migration, transformation, and reformation as these women invented occupations, politics, philosophies, scholarship, literature, arts, and, ultimately, themselves. Arab American women brought culture and absorbed culture; they brought relationships and created relationships; they brought skills and talents and developed skills and talents. They resisted inequities, refused compliance, and challenged representation. They engaged in politics, civil society, the arts, education, the market, and business. And they told their own stories. These histories, these genealogies, these narrations that are so much a part of the American experiment are chronicled in this volume, providing an indispensable resource for scholars and activists.

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In this unique study, Machen explores a moment of intense religious upheaval and transformation in France between 1880 and 1920. In these pre-World War I years, a powerful Catholic community was pitted against equally powerful anticlerical members of the French Third Republic. During this time, women became increasingly involved in faith-based organizations, engaging in social and political action both to expand women's rights and to ensure that religion remained part of the public debate about France's identity. By representing their faith communities as modern, progressive, and in some cases democratic, women positioned themselves to help guide a modernizing France. Women of Catholic, Protestant, and Jewish faiths also reshaped the narrative of female power within the French nation and within their own religious groups. Their activism provided them with social, religious, and political influence unattainable through any other French institutions, enabling them in turn to push France toward becoming a more democratic, equitable society. Machen's timely examination of the critical role women played in shaping the nation's religious identity helps to illuminate contemporary issues in France as Muslim communities respond to civic pressure to secularize and as the country debates the role of women in Islam.

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Aspiring writers often ask how they can break into the television writing business. Meyers believes that the answer can be found by asking why people become television writers and what makes them successful. Inside the TV Writer's Room reveals these insights and much more. This volume, a collection of interviews with some of today's top episodic writers arranged in a roundtable format, explores the artists drive to express how the writers honed their creativity, and what compromises they have made to pursue their craft both before and after finding success. Each chapter's topic is distilled into a practical lesson for both professionals and aspirants to heed if they wish to find or maintain success in writing for television. The book includes such leading entertainment writers and producers as Neal Baer, executive producer of the NBC series Law & Order: Special Victims Unit, Tim King of the groundbreaking hit Heroes, Peter Lenkov of 24 and CSI: New York, and Shawn Ryan, creator of the acclaimed series The Shield. Individual writers discuss the struggle to balance artistic fulfillment with the realities of commerce, and how they inject an original voice into a show that is often not their own creation.

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Abundance from the Desert provides a comprehensive introduction to classical Arabic poetry, one of the richest of poetic traditions. Covering the period roughly of 500â€""1250 c.e., it features original translations and illuminating discussions of a number of major classical Arabic poems from a variety of genres. The poems are presented chronologically, each situated within a specific historical and literary context. Together, the selected poems suggest the range and depth of classical Arabic poetic expression; read in sequence, they suggest the gradual evolution of a tradition. Moving beyond a mere chronicle, Farrin outlines a new approach to appreciating classical Arabic poetry based on an awareness of concentric symmetry, in which the poem’s unity is viewed not as a linear progression but as an elaborate symmetrical plot. In doing so, the author presents these works in a broader, comparative light, revealing connections with other literatures. The reader is invited to examine these classical Arabic works not as isolated phenomena—notwithstanding their uniqueness and their association with a discrete tradition—but rather as part of a great multicultural heritage.This pioneering book marks an important step forward in the study of Arabic poetry. At the same time, it opens the door to this rich tradition for the general reader.

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The Cayuga are one of the original five nations of the Haudenosaunee Confederacy, a powerful alliance of Native American tribes in the Northeast, inhabiting much of the land in what is now central New York State. When their nation was destroyed in the Sullivan–Clinton campaign of 1779, the Cayuga endured 200 years of displacement. As a result, relatively little is known about the location, organization, or ambience of their ancestral villages. Perched on a triangular finger of land against steep cliffs, the sixteenth-century village of Corey represents a rare source of knowledge about the Cayuga past, transforming our understanding of how this nation lived.In Corey Village and the Cayuga World, Rossen collects data from archaeological investigations of the Corey site, including artifacts that are often neglected, such as nonprojectile lithics and ground stone. In contrast with the conventional narrative of a population in constant warfare, analysis of the site’s structure and materials suggests a peaceful landscape, including undefended settlements, free movement of people, and systematic trade and circulation of goods. These findings lead to a broad summary of Cayuga archaeological research, shedding new light on the age of the Haudenosaunee Confederacy and the role of the Cayuga in the American Revolution. Beyond the comprehensive analysis of artifacts, the Corey site excavation is significant for its commitment to the practice of ""indigenous archaeology,"" in which Native wisdom, oral history, collaboration, and participation are integral to the research.

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From the late nineteenth century through the early twentieth century, the story of the Israelites’ liberation from bondage in Egypt served as the archetypal narrative for the birth of the Irish nation. Exodus was critical to both colonial and anticolonial conceptions of Ireland and Irishness. Although the Irish–Israelite analogy has been cited often, a thorough exploration has never before been documented. Bender successfully fills this gap with Israelites in Erin.Drawing upon both canonical and little-known texts of the Literary Revival, including works by Joyce, plays by Lady Gregory, and political writings by Charles Stewart Parnell and Patrick Pearse, Bender highlights the centrality of Exodus in Ireland. In doing so, she recuperates the history of a liberation narrative that was occluded by the aesthetic of 1916, when the Christ story replaced Exodus as a model for revolution and liberation. In two concluding chapters, Bender deftly maps Exodus throughout Joyce’s Ulysses, revealing how the text plumbs the biblical narrative for its submersed but frank and unsettling story of ambivalent, impure, ironic origins. With extensive research and remarkable insight, Israelites in Erin inaugurates a compelling new critical conversation.

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It is widely understood that the burdens of ecological destruction are borne disproportionately by working-class and poor communities, both through illness and disease caused by pollutants and through the depletion of natural resources from which they make a living. Yet, consistently, the voices of the working class are the most marginalized, excluded, and silenced when discussing how to address ecological concerns and protect the environment from future destruction. Both mainstream environmental groups, such as the Sierra Club and Greenpeace, and radical environmentalists, such as EarthFirst!, are reluctant to engage with working-class and poor communities, often viewing blue-collar workers as responsible for the destruction these groups are trying to prevent. In Green Syndicalism, Shantz issues a call to action to the environmental movement and labor activists, particularly rank and file workers, to join forces in a common struggle to protect the environment from capitalism, corporate greed, and the extraction of resources. He argues for a major transformation to address the ""jobs versus the environment"" rhetoric that divides these two groups along lines of race and class. Combining practical initiatives and theoretical perspectives, Shantz offers an approach that brings together radical ecology and revolutionary unionism in a promising vision of green politics. Green syndicalists work as coalitions to increase community-based economics and productive decision making that encourages the participation of all stakeholders in the process. Drawing, in part, on his own experiences growing up in a working-class family and organizing within radical ecology and labor movements, Shantz charts a path that accesses the commonalities between these groups in an effort to take on the forces that destroy the environment, exploit people, and harm their communities.

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While the occupation of Iraq and its aftermath has received media and political attention, we know very little about the everyday lives of Iraqis. Iraqi men, women, and children are not merely passive victims of violence, vulnerable recipients of repressive regimes, or bystanders of their country’s destruction. In the face of danger and trauma, Iraqis continue to cope, preparing food, sending their children to school, socialising, telling jokes, and dreaming of a better future. Within the realm of imagination and creative expression, the editors find that many Iraqi artists have not only survived but have also sought healing. In We Are Iraqis, Al-Ali and Al-Najjar showcase written and visual contributions by Iraqi artists, writers, poets, filmmakers, photographers, and activists. Contributors explore the way Iraqis retain, subvert, and produce art and activism as ways of coping with despair and resisting chaos and destruction. The first anthology of its kind, We Are Iraqis brings into focus the multitude of ethnicities, religions, and experiences that are all part of Iraq.

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This title situates Carmilla within its Irish Cultural milieu and treats the text as self-standing rather than as a precursor to Dracula. Unlike other collections of Gothic literature, Costello-Sullivan's work focuses solely on Carmilla.

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There is a long history in the West of representing Middle Eastern women as uniformly oppressed by Islam, by Islamic law, and by men. Stereotypical views of Middle Eastern women today maintain that they are without legal rights, do not attend universities or have jobs outside their homes, and are not full citizens of their countries because they cannot vote or hold public office. Similar misinformation circulated in the eighteenth century when European male travellers to Egypt, documenting their observations, depicted harem women as sexual objects, deprived of autonomy, and held captive by their husbands. Fay’s Unveiling the Harem offers a persuasive corrective to this distorted view of Middle Eastern women. Instead of the odalisque of nineteenth-century painting and the fevered imaginings of European travellers, historical research reveals that elite women in powerful, wealthy households exercised their rights under Islamic law, property rights in particular, to become owners of lucrative real estate in Cairo as well as influential members of their families and the wider society. One such woman, Sitt Nafisa, who was literate in several languages, commissioned a public water fountain and a Qur’anic school that still stands today. She played a pivotal role as the intermediary between French officials and her husband, who was leading the revolt against the French from Upper Egypt. Based on documents from various archives in Cairo, including records of women’s property ownership, repeated visits to eighteenth-century palaces and their family quarters, and textual reconstruction's of the elite residential neighbourhoods of the city, Unveiling the Harem presents a lucid and historically grounded portrait of Egyptian women, stripped of the powerless victim narrative that is still with us today.

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What does it mean to be of Irish descent? What does Irish descent stand for in Ireland? In Northern Ireland? In the United States? How are the categories of "native" and "settler" and accounts of ethnic origin being refigured through popular genealogy and population genetics?Of Irish Descent addresses these questions by exploring the contemporary significance of ideas about ancestral roots, origins, and connections. Moving from the intimacy of family stories and reunions to disputed state policies on noble titles and new applications of genetic research, Nash traces the place of ancestry in interconnected geographies of identity—familial, ethnic, national, and diasporic. Underlying these different practices and narratives are potent and profoundly political questions about who counts as Irish and to whom Ireland belongs.Examining tensions between ideas of plurality and commonality, difference and connection that run through the culture and science of ancestral origins, Of Irish Descent is an original and timely exploration ofnew configurations of nation and diaspora as communities of shared descent.

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This volume carefully assesses fixed notions of Arab womanhood by exploring the complexities of Arab women's lives as portrayed in literature. Encompassing women writers and critics from Arab, French, and English traditions, it forges a transnational Arab feminist consciousness. Brinda Mehta examines the significance of memory rituals in women's writings, such as the importance of water and purification rites in Islam and how these play out in the women's space of the hammam (Turkish bath). Mehta shows how sensory experiences connect Arab women to their past. Specific chapters raise awareness of the experiences of Palestinian women in exile and under occupation, Bedouin and desert rituals, and women's views on conflict in Iraq and Lebanon, and the compatibility between Islam and feminism. At once provocative and enlightening, this work is a groundbreaking addition to the timely field of modern Arab women's writing and criticism and Arab literary studies.

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Did Dante Alighieri, author of ""The Divine Comedy"" as a young man in Florence sleep with Beatrice Portinari before and after her marriage? Did the poet travel after her death through Hell to find her again? The clues to this academic detective story, writes Mark Jay Mirsky, lie not only in Dante's earlier poetry, ""The New Life"", or in ""The Divine Comedy"", but in the ""Zohar of Moses de Leon"", a Jewish text written some years before and based on Neoplatonic ideas similar to those that inspired Dante. ""Purgatorio"" and ""Paradiso"", the second and third volumes of the ""Commedia"", are inaccessible to most reader unfamiliar with the boldness of Dante's use of the philosophical debate in the Middle Ages. Does Dante's ""Commedia"" hint at his hope of intimacy with Beatrice in the Highest Heaven? Mirsky distinctively traces the influence on Dante of Provencal poets, mediaeval theologians, Dante's personal life, and the sources of his classical education to propose a radical reading of Dante. The text compounds the riddles of dream, poetry, philosophy and Dante's concealed autobiography in his work. It treats the ""Commedia"" in the spirit of its title, as a hopeful and comic version of the other world.

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