Search results for ""author walt whitman"

The poems in Best Barbarian roam across the literary and social landscape, from Beowulf’s Grendel to the jazz musician Alice Coltrane, from reckoning with immigration at the U.S.–Mexico border to thinking through the fraught beauty of the moon on a summer night after the police have killed a Black man. Daring and formally elegant, Best Barbarian asks the reader: “Who has not been an entryway shuddering in the wind / Of another’s want, a rose nailed to some dark longing and bled?” Reeves extends his inquiry into the work of writers who have come before, conversing with—and sometimes contradicting—Walt Whitman, James Baldwin, Sappho, Dante, and Aimé Césaire, among others. Expanding the tradition of poetry to reach from Gilgamesh and the Aeneid to Drake and Beyoncé, Reeves adds his voice to a long song that seeks to address itself “only to freedom.” Best Barbarian asks the reader to stay close as it plunges into catastrophe and finds surprising moments of joy and intimacy. This fearless, musical, and oracular collection announces Roger Reeves as an essential voice in American poetry.

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A collection of 100 quotes beautifully hand-lettered with accompanying artwork Delightful reminder to get out there and make the most of life: A quote book like no other, Whatever You Are, Be a Good One is a thought-provoking collection that compiles the timeless wisdom of great original minds— from Marie Curie to Stephen King, Joan of Arc to Jack Kerouac, Oscar Wilde to Harriet Tubman—brilliantly hand-lettered by beloved indie artist Lisa Congdon. Readers will find enlightening insights ("Wisdom begins in wonder"— Socrates), stirring calls to action ("Leap and the net will appear"—John Burroughs), and stimulating encouragements ("Be curious, not judgmental"—Walt Whitman) beautifully illuminated on every page. • Hand-lettered words and graphics perfectly complement the inspirational quote on each page • Artist and illustrator Lisa Congdon is best known for her hand-lettering, paintings, drawings, and pattern designs Fans of She Believed She Could, So She Did, and Seuss-isms will love the words to live by within the pages of Whatever You Are, Be a Good One. Eclectic anthology of 100 quotes (and some poems) will inspire your days for years to come • Perfect gift for recent graduates, creative thinkers, and anyone looking for a little inspiration • Great coffee table book to spark conversation and reflection

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Against Sustainability responds to the twenty-first-century environmental crisis by unearthing the nineteenth-century U.S. literary, cultural, and scientific contexts that gave rise to sustainability, recycling, and preservation. Through novel pairings of antebellum and contemporary writers including Walt Whitman and Lucille Clifton, George Catlin and Louise Erdrich, and Herman Melville and A. S. Byatt, the book demonstrates that some of our most vaunted strategies to address ecological crisis in fact perpetuate environmental degradation. Yet Michelle C. Neely also reveals that the nineteenth century offers useful and generative environmentalisms, if only we know where and how to find them. Henry David Thoreau and Emily Dickinson experimented with models of joyful, anti-consumerist frugality. Hannah Crafts and Harriet Wilson devised forms of radical pet-keeping that model more just ways of living with others. Ultimately, the book explores forms of utopianism that might more reliably guide mainstream environmental culture toward transformative forms of ecological and social justice. Through new readings of familiar texts, Against Sustainability demonstrates how nineteenth-century U.S. literature can help us rethink our environmental paradigms in order to imagine more just and environmentally sound futures.

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This anthology brings together under one cover the most important abolitionist and--unique to this volume--proslavery documents written in the United States between the American Revolution and the Civil War. It makes accessible to students, scholars, and general readers the breadth of the slavery debate. Including many previously inaccessible documents, A House Divided is a critical and welcome contribution to a literature that includes only a few volumes of antislavery writings and no volumes of proslavery documents in print. Mason Lowance's introduction is an excellent overview of the antebellum slavery debate and its key issues and participants. Lowance also introduces each selection, locating it historically, culturally, and thematically as well as linking it to other writings. The documents represent the full scope of the varied debates over slavery. They include examples of race theory, Bible-based arguments for and against slavery, constitutional analyses, writings by former slaves and women's rights activists, economic defenses and critiques of slavery, and writings on slavery by such major writers as William Lloyd Garrison, John Greenleaf Whittier, Walt Whitman, Henry David Thoreau, and Ralph Waldo Emerson. Together they give readers a real sense of the complexity and heat of the vexed conversation that increasingly dominated American discourse as the country moved from early nationhood into its greatest trial.

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Who gets pockets, and why?It's a subject that stirs up plenty of passion: Why do men's clothes have so many pockets and women's so few? And why are the pockets on women's clothes often too small to fit phones, if they even open at all? In her captivating book, Hannah Carlson, a lecturer in dress history at the Rhode Island School of Design, reveals the issues of gender politics, security, sexuality, power, and privilege tucked inside our pockets.Throughout the medieval era in Europe, the purse was an almost universal dress feature. But when tailors stitched the first pockets into men's trousers five hundred years ago, it ignited controversy and introduced a range of social issues that we continue to wrestle with today, from concealed pistols to gender inequality. See: #GiveMePocketsOrGiveMeDeath.Filled with incredible images, this microhistory of the humble pocket uncovers what pockets tell us about ourselves: How is it that putting your hands in your pockets can be seen as a sign of laziness, arrogance, confidence, or perversion? Walt Whitman's author photograph, hand in pocket, for Leaves of Grass seemed like an affront to middle-class respectability. When W.E.B. Du Bois posed for a portrait, his pocketed hands signalled defiant coolness.And what else might be hiding in the history of our pockets? (There's a reason that the contents of Abraham Lincoln's pockets are the most popular exhibit at the Library of Congress.) Thinking about the future, Carlson asks whether we will still want pockets when our clothes contain "smart" textiles that incorporate our IDs and credit cards.Pockets is for the legions of people obsessed with pockets and their absence, and for anyone interested in how our clothes influence the way we navigate the world.

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This edition features a new introduction by Harold Bloom as a centenary tribute to the visionary of White Buildings (1926) and The Bridge (1930). Hart Crane, prodigiously gifted and tragically doom-eager, was the American peer of Shelley, Rimbaud, and Lorca. Born in Garrettsville, Ohio, on July 21, 1899, Crane died at sea on April 27, 1932, an apparent suicide. A born poet, totally devoted to his art, Crane suffered his warring parents as well as long periods of a hand-to-mouth existence. He suffered also from his honesty as a homosexual poet and lover during a period in American life unsympathetic to his sexual orientation. Despite much critical misunderstanding and neglect, in his own time and in ours, Crane achieved a superb poetic style, idiosyncratic yet central to American tradition. His visionary epic, The Bridge, is the most ambitious and accomplished long poem since Walt Whitman's Song of Myself. Marc Simon's text is accepted as the most authoritative presentation of Hart Crane's work available to us. For this centennial edition, Harold Bloom, who was introduced to poetry by falling in love with Crane's work while still a child, has contributed a new introduction.

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The spirit of adventure is alive and well in Yosemite -- all one needs to do is walk off and find it. But "adventure" need not mean scaling The Nose of El Capitan. The vast park is simply an adventurous place, with something for everyone. This pocket companion, brimming with Michael Frye's lush photographs paired with inspired quotes, captures the adventurous essence of Yosemite and the sense that something wonderful is waiting just over there. With a foreword by the legendary Royal Robbins, the book features writers, thinkers, and bona fide adventurers, including: John Muir Sir Edmund Hillary Susan Sontag Galen Rowell Bill Bryson Lynn Hill Ron Kauk Walt Whitman Edward Abbey Eleanor Roosevelt Cheryl Strayed Enid Michael Renny Russell Sharon Giacomazzi Mark Jenkins Lillian Smith Pearl S. Buck Terry Tempest Williams Alex Lowe R. Mark Liebenow Peter Croft Diane Arbus T.S. Eliot Richard Hovey Wendell Berry Helen Keller Norman Clyde Yvon Chouinard Scot Miller Howard Thurman Robert Browning Lito Tejada-Flores Corita Kent Joseph Campbell Sigurd F. Olson Frosty Wooldridge

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Against Sustainability responds to the twenty-first-century environmental crisis by unearthing the nineteenth-century U.S. literary, cultural, and scientific contexts that gave rise to sustainability, recycling, and preservation. Through novel pairings of antebellum and contemporary writers including Walt Whitman and Lucille Clifton, George Catlin and Louise Erdrich, and Herman Melville and A. S. Byatt, the book demonstrates that some of our most vaunted strategies to address ecological crisis in fact perpetuate environmental degradation. Yet Michelle C. Neely also reveals that the nineteenth century offers useful and generative environmentalisms, if only we know where and how to find them. Henry David Thoreau and Emily Dickinson experimented with models of joyful, anti-consumerist frugality. Hannah Crafts and Harriet Wilson devised forms of radical pet-keeping that model more just ways of living with others. Ultimately, the book explores forms of utopianism that might more reliably guide mainstream environmental culture toward transformative forms of ecological and social justice. Through new readings of familiar texts, Against Sustainability demonstrates how nineteenth-century U.S. literature can help us rethink our environmental paradigms in order to imagine more just and environmentally sound futures.

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A primary account of teenage life in the Great Depression and prewar era retrieved from history Wednesday, December 10, 1941: “Hitler speaks to Reichstag tomorrow. We just heard the first casualty lists over the radio. . . . Lots of boys from Michigan and Illinois. Oh my God! . . . Life goes on though. We read our books in the library and eat lunch, bridge, etc. Phy. Sci. and Calculus. Darn Descartes. Reading Walt Whitman now.”This diary of a smart, astute, and funny teenager provides a fascinating record of what an everyday American girl felt and thought during the Depression and the lead-up to World War II. Young Chicagoan Joan Wehlen describes her daily life growing up in the city and ruminates about the impending war, daily headlines, and major touchstones of the era—FDR’s radio addresses, the Lindbergh kidnapping, Goodbye Mr. Chips and Citizen Kane, Churchill and Hitler, war work and Red Cross meetings. Included are Joan’s charming doodles of her latest dress or haircut reflective of the era. Home Front Girl is not only an entertaining and delightful read but an important primary source—a vivid account of a real American girl’s lived experiences.

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‘Go on, Freddie, tell the whole story. Remember that last night when you were together. You knew then that your love had made you both immortal: here’s your chance to tell it.’ Suddenly confronted by memories of his first great love, Freddie McNaughton recounts how, together, they surmounted all obstacles until fate intervened. It’s the 1960s and the world is changing, identities being redefined and loyalties challenged. At his single-sex Catholic public school the volatile sixteen year-old Freddie is discovering things about himself which he doesn’t know how to handle. But falling in love with the beautiful Paul changes all that: they bond, and dream of a life together. They adopt Walt Whitman’s famous poem ‘We Two Boys Together Clinging’ which becomes their ‘national anthem’. Their intensity spills over in their response to art, music and poetry. Telling his story through a series of letters written fifty years after the event and discovered after his death, Freddie remembers the struggles that they had to overcome: not least those of faith, identity and loyalty. Yet, even as heartbreak lies in wait, this absorbing tale does not have a tragic end: the two firmly believe that their love for each other has made them immortal.

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The Civil War revealed what united as well as what divided Americans in the nineteenth century—not only in its deadly military conflict, but also in the broader battle of ideas, dueling moral systems, and competing national visions that preceded and followed. This cultural civil war was the clash among North, South, and West, as their leaders sought to shape Manifest Destiny and slavery politics.No site embodied this struggle more completely than St. Louis, the largest city along the border of slavery and freedom. In this sweeping history, Adam Arenson reveals a city at the heart of the cultural civil war. St. Louisans heralded a new future, erasing old patterns as the United States stretched across the continent. They tried to reorient the nation’s political landscape, with westerners in the vanguard and St. Louis as the cultural, commercial, and national capital. John C. Calhoun, Frederick Douglass, Walt Whitman, and John Brown tracked the progress of the cultural contest by monitoring events in St. Louis, observing how the city’s leaders tried yet ultimately failed to control the national destiny.The interplay of local ambitions and national meanings reveals the wider cultural transformation brought about by westward expansion, political strife, and emancipation in the era of the Civil War and Reconstruction. This vibrant and beautifully written story enriches our understanding of America at a crossroads.

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"Dyson's incisive analysis of JAY-Z's brilliance not only offers a brief history of hip-hop's critical place in American culture, but also hints at how we can best move forward." --Questlove JAY-Z: Made in America is the fruit of Michael Eric Dyson's decade of teaching the work of one of the greatest poets this nation has produced, as gifted a wordsmith as Walt Whitman, Robert Frost and Rita Dove. But as a rapper, he's sometimes not given the credit he deserves for just how great an artist he's been for so long. This book wrestles with the biggest themes of JAY-Z's career, including hustling, and it recognizes the way that he's always weaved politics into his music, making important statements about race, criminal justice, black wealth and social injustice. As he enters his fifties, and to mark his thirty years as a recording artist, this is the perfect time to take a look at JAY-Z's career and his role in making this nation what it is today. In many ways, this is JAY-Z's America as much as it's Pelosi's America, or Trump's America, or Martin Luther King's America. JAY-Z has given this country a language to think with and words to live by.

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"A Fugitive in Walden Woods manages that special magic of making Thoreau's time in Walden Woods seem fresh and surprising and necessary right now. Norman Lock tells the story of Samuel Long, an escaped slave who encounters Thoreau, with insight and some welcome humor. This is a patient and perceptive novel, a pleasure to read even as it grapples with issues that affect the United States to this day."—Victor LaValle, author of The Ballad of Black Tom and The Changeling"Portraying the traumatic psychological aftershock not of war but of slavery provides a convincing and complex narrative of new hardships faced by escaped slave Samuel Long in Norman Lock's bold and enlightening novel A Fugitive in Walden Woods. It's an important novel that creates a vivid social context for the masterpieces of such writers as Thoreau, Emerson, and Hawthorne and also offers valuable insights about our current conscious and unconscious racism."—Sena Jeter Naslund, author of Ahab's Wife and The Fountain of St. James Court; or, Portrait of the Artist as an Old WomanSamuel Long escapes slavery in Virginia, traveling the Underground Railroad to Walden Woods where he encounters Henry David Thoreau, Ralph Waldo Emerson, Nathaniel Hawthorne, William Lloyd Garrison, and other transcendentalists and abolitionists. While Long will experience his coming-of-age at Walden Pond, his hosts will receive a lesson in human dignity, culminating in a climactic act of civil disobedience.Against this historical backdrop, Norman Lock's powerful narrative examines issues that continue to divide the United States: racism, privilege, and what it means to be free in America. Norman Lock is the author of, most recently, the short story collection Love Among the Particles, and three previous books in The American Novels series: The Boy in His Winter, a re-envisioning of Mark Twain's classic The Adventures of Huckleberry Finn, American Meteor, an homage to Walt Whitman and William Henry Jackson, and The Port-Wine Stain, an homage to Edgar Allan Poe and Thomas Dent Mütter. He lives in Aberdeen, New Jersey, where he is at work on the next books of The American Novels series.

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Contents: Preface; Introduction; Chapter 1: Leatherstocking Tales of James Fenimore Cooper; Chapter 2: Nathaniel Hawthorne; Sketches of Western Adventure; The Scarlet Letter; Neutral Territory; Chapter 3: Edgar Allan Poe; South and West; Narratives of Exploration and Discovery; Chapter 4: Henry David Thoreau; The Essential West; Walden: The Pioneer; Walden: The Frontier; Chapter 5: Herman Melville; Early Western Travels; Moby-Dick; The Disputed Frontier; The Confidence-Man; Chapter 6: Indian Summer of the Literary West; Thoreau's Unwritten Epic; Hawthorne's Last Stand; Melville as Poet; Chapter 7: Walt Whitman's Leaves of Grass; Index Originally published in 1965. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Nominated for an Edgar Award​ This “historical page-turner of the highest order” (The Wall Street Journal) tells the chilling story of an American-born Soviet spy in the atom bomb project in World War II, perfect for fans of The Americans.George Koval was born in Iowa. In 1932, his parents, Russian Jews who had emigrated because of anti-Semitism, decided to return home to live out their socialist ideals. George, who was as committed to socialism as they were, went with them. There, he was recruited by the Soviet Army as a spy and returned to the US in 1940. A gifted science student, he enrolled at Columbia University, where he knew scientists soon to join the Manhattan Project, America’s atom bomb program. After being drafted into the US Army, George used his scientific background and connections to secure an assignment at a site where plutonium and uranium were produced to fuel the atom bomb. There, and later in a second top-secret location, he had full access to all facilities, and he passed highly sensitive information to Moscow. There were hundreds of spies in the US during World War II, but Koval was the only Soviet military spy with security clearances in the atomic-bomb project. The ultimate sleeper agent, he was an all-American boy who had played baseball, loved Walt Whitman’s poetry, and mingled freely with fellow Americans. After the war he got away without a scratch. It is indisputable that his information landed in the right hands in Moscow. In 1949, Soviet scientists produced a bomb identical to America’s years earlier than US experts expected. A gripping, fast-paced, and “fascinating” (Bob Shacochis, National Book Award–winning author of The Woman Who Lost Her Soul) story about one undetected spy whose actions influenced history, Sleeper Agent is perfect for Ben Macintyre fans.

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While it is impossible to re-create the tumultuous Washington DC of the Civil War, Civil War Washington sets out to examine the nation’s capital during the Civil War along with the digital platform (civilwardc.org) that reimagines it during those turbulent years.Among the many topics covered in the volume is the federal government’s experiment in compensated emancipation, which went into effect when all of the capital’s slaves were freed in April 1862. Another essay explores the city’s place as a major center of military hospitals, patients, and medical administration. Other contributors reflect on literature and the war, particularly on the poetry published in hospital newspapers and Walt Whitman’s formative experiences with the city and its wounded.The digital project associated with this book offers a virtual examination of the nation’s capital from multiple perspectives. Through a collection of datasets, visual works, texts, and maps, the digital project offers a case study of the social, political, cultural, and scientific transitions provoked or accelerated by the Civil War. The book also provides insights into the complex and ever-shifting nature of ongoing digital projects while encouraging others to develop their own interpretations and participate in the larger endeavor of digital history.

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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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As perhaps never before in its extraordinary history, New York has captured the American imagination. This major anthology brings together not only the best literary writing about New York-from O. Henry, Theodore Dreiser, F. Scott Fitzgerald, John Steinbeck, Paul Auster, and James Baldwin, among many others-but also the most revealing essays by politicians, philosophers, city planners, social critics, visitors, immigrants, journalists, and historians. The anthology begins with an account of Henry Hudson's voyage in 1609 and ends with an essay written especially for this book by John P. Avlon, former Mayor Rudolph Guiliani's speechwriter, called "The Resilient City," on the September 11th attack on the World Trade Center as observed from City Hall. The editors have chosen some familiar favorites, such as Washington Irving's A History of New York and Walt Whitman's "Crossing Brooklyn Ferry," as well as lesser-known literary and historical gems, such as Frederick Law Olmsted's plan for Central Park and Cynthia Ozick's "The Synthetic Sublime"-an updated answer to E. B. White's classic essay Here Is New York, which is also included. The variety and originality of the selections in Empire City offer a captivating account of New York's growth, and reveal often forgotten aspects of its political, literary, and social history.

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Since its inception in 2012, the hugely successful online introduction to modern poetry known as ModPo has engaged some 415,000 readers, listeners, teachers, and poets with its focus on a modern and contemporary American tradition that runs from Walt Whitman and Emily Dickinson up to some of today's freshest and most experimental written and spoken verse. In The Difference Is Spreading, ModPo's Al Filreis and Anna Strong Safford have handed the microphone over to the poets themselves, by inviting fifty of them to select and comment upon a poem by another writer. The approaches taken are various, confirming that there are as many ways for a poet to write about someone else's poem as there are poet-poem matches in this volume. Yet a straight-through reading of the fifty poems anthologized here, along with the fifty responses to them, emphatically demonstrates the importance to poetry of community, of socioaesthetic networks and lines of connection, and of expressions of affection and honor due to one's innovative colleagues and predecessors. Through the curation of these selections, Filreis and Safford express their belief that the poems that are most challenging and most dynamic are those that are open—the writings, that is, that ask their readers to participate in making their meaning. Poetry happens when a reader and a poet come in contact with one another, when the reader, whether celebrated poet or novice, is invited to do interpretive work—for without that convergence, poetry is inert.

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December 1862 drove the United States toward a breaking point. The Battle of Fredericksburg shattered Union forces and Northern confidence. As Abraham Lincoln’s government threatened to fracture, this critical moment also tested five extraordinary individuals whose lives reflect the soul of a nation. The changes they underwent led to profound repercussions in the country’s law, literature, politics, and popular mythology. Taken together, their stories offer a striking restatement of what it means to be American. Guided by patriotism, driven by desire, all five moved toward singular destinies. A young Harvard intellectual steeped in courageous ideals, Oliver Wendell Holmes Jr. confronted grave challenges to his concept of duty. The one-eyed army chaplain Arthur Fuller pitted his frail body against the evils of slavery. Walt Whitman, a gay Brooklyn poet condemned by the guardians of propriety, and Louisa May Alcott, a struggling writer seeking an authentic voice and her father’s admiration, tended soldiers’ wracked bodies as nurses. On the other side of the national schism, John Pelham, a West Point cadet from Alabama, achieved a unique excellence in artillery tactics as he served a doomed and misbegotten cause. A Worse Place Than Hell brings together the prodigious forces of war with the intimacy of individual lives. Matteson interweaves the historic and the personal in a work as beautiful as it is powerful.

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December 1862 drove the United States towards a breaking point. The Battle of Fredericksburg shattered Union forces and Northern confidence. As Abraham Lincoln’s government threatened to fracture, this critical moment also tested five extraordinary individuals whose lives reflect the soul of a nation. The changes they underwent led to profound repercussions in the country’s law, literature, politics and popular mythology. Taken together, their stories offer a striking restatement of what it means to be American. Guided by patriotism, driven by desire, all five moved towards singular destinies. A young Harvard intellectual steeped in courageous ideals, Oliver Wendell Holmes Jr confronted grave challenges to his concept of duty. The one-eyed army chaplain Arthur Fuller pitted his frail body against the evils of slavery. Walt Whitman—a gay Brooklyn poet condemned by the guardians of propriety; and Louisa May Alcott—a struggling writer, seeking an authentic voice and her father’s admiration-tended soldiers’ wracked bodies as nurses. On the other side of the national schism, John Pelham, a West Point cadet from Alabama, achieved a unique excellence in artillery tactics as he served a doomed and misbegotten cause. A Worse Place Than Hell brings together the prodigious forces of war with the intimacy of individual lives. Matteson interweaves the historic and the personal in a work as beautiful as it is powerful.

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An essential history of the greatest love poem ever writtenThe Song of Songs has been embraced for centuries as the ultimate song of love. But the kind of love readers have found in this ancient poem is strikingly varied. Ilana Pardes invites us to explore the dramatic shift from readings of the Song as a poem on divine love to celebrations of its exuberant account of human love. With a refreshingly nuanced approach, she reveals how allegorical and literal interpretations are inextricably intertwined in the Song's tumultuous life. The body in all its aspects—pleasure and pain, even erotic fervor—is key to many allegorical commentaries. And although the literal, sensual Song thrives in modernity, allegory has not disappeared. New modes of allegory have emerged in modern settings, from the literary and the scholarly to the communal.Offering rare insights into the story of this remarkable poem, Pardes traces a diverse line of passionate readers. She looks at Jewish and Christian interpreters of late antiquity who were engaged in disputes over the Song's allegorical meaning, at medieval Hebrew poets who introduced it into the opulent world of courtly banquets, and at kabbalists who used it as a springboard to the celestial spheres. She shows how feminist critics have marveled at the Song's egalitarian representation of courtship, and how it became a song of America for Walt Whitman, Herman Melville, and Toni Morrison. Throughout these explorations of the Song's reception, Pardes highlights the unparalleled beauty of its audacious language of love.

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A curious gem of 19th-century gothic fiction Cecil Dreeme is one of the queerest American novels of the 19th century. This edition, which includes a new introduction contextualizing the sexual history of the period and queer longings of the book, brings a rare, almost forgotten, sensational gothic novel set in New York’s West Village back to light. Published posthumously in 1861, the novel centers on Robert Byng, a young man who moves back to New York after traveling abroad and finds himself unmarried and underemployed, adrift in the heathenish dens of lower Manhattan. When he takes up rooms in “Chrysalis College”—a thinly veiled version of the 19th-century New York University building in Washington Square—he quickly finds himself infatuated with a young painter lodging there, named Cecil Dreeme. As their friendship grows and the novel unfolds against the backdrop of the bohemian West Village, Robert confesses that he “loves Cecil with a love passing the love of women.” Yet, there are dark forces at work in the form of the sinister and magnetic Densdeth, a charismatic figure of bad intention, who seeks to ensnare Robert for his own. Full of romantic entanglements, mistaken identity, blackmail, and the dramas of temptation and submission, Cecil Dreeme is a gothic novel at its finest. Poetically written—with flashes of Walt Whitman, Charles Dickens, and Oscar Wilde—Cecil Dreeme is an early example of that rare bird, a queer novel from the 19th century.

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For reasons of language and history, the United States has prized its Anglo heritage above all others. However, as Carrie Gibson explains with great depth and clarity in El Norte, America has much older Spanish roots - ones that have long been unacknowledged or marginalized. The Hispanic past of the United States predates the arrival of the Pilgrims by a century and has been every bit as important in shaping the nation. El Norte chronicles the sweeping and dramatic history of Hispanic North America from the arrival of the Spanish to the present - from Ponce de Leon's initial landing in Florida in 1513 to Spanish control of the vast Louisiana territory in 1762 to the Mexican-American War in 1846 and up to the more recent tragedy of post-hurricane Puerto Rico and the ongoing border acrimony with Mexico. Interwoven in this stirring narrative of events and people are cultural issues that have been there from the start and remain unresolved: language, belonging, community, race and nationality. Seeing them play out over centuries provides vital perspective at a time when it is urgently needed. In 1883, Walt Whitman wrote 'to that composite American identity of the future, Spanish character will supply some of the most needed parts.' That future is here, and El Norte, an emotive and eventful history in its own right, will have a powerful impact on our perception of the United States.

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A curious gem of 19th-century gothic fiction Cecil Dreeme is one of the queerest American novels of the 19th century. This edition, which includes a new introduction contextualizing the sexual history of the period and queer longings of the book, brings a rare, almost forgotten, sensational gothic novel set in New York’s West Village back to light. Published posthumously in 1861, the novel centers on Robert Byng, a young man who moves back to New York after traveling abroad and finds himself unmarried and underemployed, adrift in the heathenish dens of lower Manhattan. When he takes up rooms in “Chrysalis College”—a thinly veiled version of the 19th-century New York University building in Washington Square—he quickly finds himself infatuated with a young painter lodging there, named Cecil Dreeme. As their friendship grows and the novel unfolds against the backdrop of the bohemian West Village, Robert confesses that he “loves Cecil with a love passing the love of women.” Yet, there are dark forces at work in the form of the sinister and magnetic Densdeth, a charismatic figure of bad intention, who seeks to ensnare Robert for his own. Full of romantic entanglements, mistaken identity, blackmail, and the dramas of temptation and submission, Cecil Dreeme is a gothic novel at its finest. Poetically written—with flashes of Walt Whitman, Charles Dickens, and Oscar Wilde—Cecil Dreeme is an early example of that rare bird, a queer novel from the 19th century.

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Hans Børli (1918–89) was born and lived in the wooded country of Hedmark in south eastern Norway. His days seem to have been divided into two separate parts: by day, he lived the physically demanding life of a lumberjack, but by night, he turned poet and spent the still, dark hours writing. His days, however, were an enactment of his poetry. Borli's verse is alive with his experiences of the Norwegian forests – with the moods of sky and water, with the creatures that moved in air and woodland, and with the trees themselves. In a series of books beginning in 1945, he wrote more than eleven hundred poems. They form a poetic record of a life reminiscent in spirit, if not in form, of Walt Whitman's 'Leaves of Grass'. This collection can only suggest the scope and richness of the poet's life-in-verse, but it includes many of his most admired poems. Sometimes lonely or even mystical, the finest of these poems bite deep like the blow of an axe. Louis Muinzer worked on translations of Hans Borli's poetry over many years and several of his translations were published in periodicals before this book appeared.In addition to poetry, he is well known as a translator of Norwegian drama, especially Jon Fosse, and fiction, including Finn Carling and the crime writer Kjersti Scheen. This book has parallel Norwegian and English text.

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The correspondence of the composer-pianists Percy Grainger [1882-1961] and Ronald Stevenson [b. 1928], together with Stevenson's writings on Grainger and two interviews with Stevenson. In 1957 the Australian-American composer Percy Grainger, then 75 and in failing health, received a letter from another pianist-composer, the young Ronald Stevenson, writing from his home in West Linton, below Edinburgh. That firstcontact - requesting Grainger's reminiscences of Ferruccio Busoni, with whom he had studied - led to an exchange of 32 letters over the four years before Grainger's death in February 1961. The two men soon found that, despite their 46-year age-difference, they had many affinities. Both were pianists of staggering abilities and composers who combined a love for folk-music and working-class art with an aesthetic that proposed a `world music' to include the farthest reaches of humanity. Both made an art of piano transcription of a wide variety of works and were champions of little-known music and composers. And both revered the work of Walt Whitman, that great poet of inclusivity,the pioneering spirit and the open road. This book presents both the complete Grainger-Stevenson correspondence and Ronald Stevenson's many articles and lectures on Grainger and his music, edited by Teresa Balough, whosetwo interviews with Stevenson open and close the volume - which includes a CD of a lecture-recital on Grainger that Stevenson presented in Grainger's home in White Plains, New York, in 1976.

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How do you use the word "radical?" Committed to the progressive? The cooperative? The communal? The equalitarian? In so far as social, political, and economic power is sought and wielded in malice, just so far is benevolence radical. The history of social, political, and economic power has been mostly the history of malice. The history of benevolence has been mostly the history of radicalism. The sensibility that loves benevolence has been a radical sensibility. In An Essay in the History of the Radical Sensibility in America, L.S. Halprin argues that before the middle of the nineteenth century the work of all American radicals was organized to defend some form of sentimental faith in millennial progress; that the work of the great writers of the middle of the nineteenth century was the first to be fundamentally free of the constraints of sentimentality; that despite that generation’s accomplishments, the old sentimentalities have persisted, perpetuating the cycle in which illusions designed to make radicalism’s chances seem better than they are become the disillusions which make them seem worse. Along the way, Halprin unfolds something of the contribution of Edgar Alan Poe, Nathaniel Hawthorne, Herman Melville, and Walt Whitman to the specific content of the radical sensibility in America. Since the middle of the nineteenth century, the radical’s work has been primarily to accomplish political power. That work and the frustrations of it often leave little energy for the pursuit of a thoroughgoing self-awareness. Halprin's analysis is particularly useful now to remind readers of both the sentimentalities and the wisdoms from which we come.

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This book examines the charged but mostly overlooked presence of the sensational Jew in antebellum literature. This stereotyped character appears primarily in the pulpy sensation fiction of popular writers like George Lippard, Ned Buntline, Emerson Bennett, and others. But this figure also plays an important role in the sometimes sensational work of canonical writers such as Nathaniel Hawthorne, Edgar Allan Poe, and Walt Whitman. Whatever the medium, this character, always overdetermined, does consistent cultural work. This book contends that, as the figure who embodies money and capitalism in the antebellum imagination, the sensational Jew is the character who most fully represents a felt anxiety about the increasingly unstable nature of a range of social categories in the antebellum US, and the sense of loss and self-hatred so often lurking in the background of modern Gentile identity. Each chapter examines a different form of sensationalism (urban gothic; sentimental city mysteries; anti-Tom plantation narratives; etc.), and a different set of anxieties (threats to class status; collapsing regional identity; the uncertain status of Whiteness and other racial categories; etc.). Throughout, the sensational Jew acts both as a figure of proteophobia (fear of disorder and ambivalence), and as the figure who embodies in uncanny form a more fulfilling and socially coherent form of identity that predates the modern liberal selfhood of the post-Enlightenment world. The sensational Jew is therefore a revealing figure in antebellum culture, as well as an important antecedent to contemporary antisemitism in the US.

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With a new preface and updated historiographical essay. Based on recent scholarship and deep research in primary sources, especially the letters and diaries of “ordinary people,” The Northern Home Front during the Civil War is the first full narrative history and analysis of the northern home front in almost a quarter-century. It examines the mobilization, recruitment, management, politics, costs, and experience of war from the perspective of the home front, with special attention to the ways the war affected the ideas, identities, interests, and issues shaping people’s lives, and vice versa. The book looks closely at people’s responses to war’s demands, whether in supporting the Union cause or opposing it, and it measures the ways the war transformed society and economy or simply reconfirmed ideas and reinforced practices already underway. As The Northern Home Front during the Civil War reveals, issues and concerns of emancipation, conscription, civil liberties, economic policies and practices, religion, party politics, war management, popular culture, and work were all part of what Lincoln rightly termed “a People’s Contest” and as much as the armies in the field determined the outcome of the nation’s ordeal by fire. As The Northern Home Front during the Civil War shows, understanding the experience of the women and men on the home front is essential to realizing Walt Whitman’s oft-quoted call to get “the real war” into the books.

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Reclaim Your Fire "Teaching with Fire is a glorious collection of the poetry that has restored the faith of teachers in the highest, most transcendent values of their work with children....Those who want us to believe that teaching is a technocratic and robotic skill devoid of art or joy or beauty need to read this powerful collection. So, for that matter, do we all." ?Jonathan Kozol, author of Amazing Grace and Savage Inequalities "When reasoned argument fails, poetry helps us make sense of life. A few well-chosen images, the spinning together of words creates a way of seeing where we came from and lights up possibilities for where we might be going....Dip in, read, and ponder; share with others. It's inspiration in the very best sense." ?Deborah Meier, co-principal of The Mission Hill School, Boston and founder of a network of schools in East Harlem, New York "In the Confucian tradition it is said that the mark of a golden era is that children are the most important members of the society and teaching is the most revered profession. Our jour ney to that ideal may be a long one, but it is books like this that will sustain us - for who are we all at our best save teachers, and who matters more to us than the children?" ?Peter M. Senge, founding chair, SoL (Society for Organizational Learning) and author of The Fifth Discipline Those of us who care about the young and their education must find ways to remember what teaching and learning are really about. We must find ways to keep our hearts alive as we serve our students. Poetry has the power to keep us vital and focused on what really matters in life and in schooling. Teaching with Fire is a wonderful collection of eighty-eight poems from such well-loved poets as Walt Whitman, Langston Hughes, Billy Collins, Emily Dickinson, and Pablo Neruda. Each of these evocative poems is accompanied by a brief story from a teacher explaining the significance of the poem in his or her life's work. This beautiful book also includes an essay that describes how poetry can be used to grow both personally and professionally. Teaching With Fire was written in partnership with the Center for Teacher Formation and the Bill & Melinda Gates Foundation. Royalties from this book will be used to fund scholarship opportunities for teachers to grow and learn.

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In Interior States Christopher Castiglia focuses on U.S. citizens’ democratic impulse: their ability to work with others to imagine genuinely democratic publics while taking divergent views into account. Castiglia contends that citizens of the early United States were encouraged to locate this social impulse not in associations with others but in the turbulent and conflicted interiors of their own bodies. He describes how the human interior—with its battles between appetite and restraint, desire and deferral—became a displacement of the divided sociality of nineteenth-century America’s public sphere and contributed to the vanishing of that sphere in the twentieth century and the twenty-first. Drawing insightful connections between political structures, social relations, and cultural forms, he explains that as the interior came to reflect the ideological conflicts of the social world, citizens were encouraged to (mis)understand vigilant self-scrutiny and self-management as effective democratic action. In the late eighteenth century and early nineteenth, as discourses of interiority gained prominence, so did powerful counter-narratives. Castiglia reveals the flamboyant pages of antebellum popular fiction to be an archive of unruly democratic aspirations. Through close readings of works by Maria Monk and George Lippard, Walt Whitman and Timothy Shay Arthur, Hannah Webster Foster and Hannah Crafts, and Nathaniel Hawthorne and Herman Melville, Castiglia highlights a refusal to be reformed or self-contained. In antebellum authors’ representations of nervousness, desire, appetite, fantasy, and imagination, he finds democratic strivings that refused to disappear. Taking inspiration from those writers and turning to the present, Castiglia advocates a humanism-without-humans that, denied the adjudicative power of interiority, promises to release democracy from its inner life and to return it to the public sphere where U.S. citizens may yet create unprecedented possibilities for social action.

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The contemporary perspectives – fiction, first-hand accounts, reportage and photographs - found in the pages of this collection give a unique insight into the experiences and suffering of those affected by the American Civil War. The essays and recollections detail some of the earliest attempts by medical professionals to understand and help the wounded, and look at how writers and poets were influenced by their own involvement as nurses, combatants and observers. So alongside the medical observations of figures such as Silas Weir Mitchell and William Keen, you’ll find memoirs of writers including Louisa May Alcott, Ambrose Bierce and Walt Whitman. By presenting the wide range of frequently traumatic experiences by writers, medical staff, and of course the often ignored common foot soldiers on both sides, this volume will complement the older emphasis on military history and will appeal to readers of the evolution of medicine, of the literature the time, of social anthropology, and of the whole complex issue of how the war was represented and debated from many different perspectives. While a century and a half of developments in medicine, social care and science mean that the level of support and technology available to amputees is now incomparable to that in the mid-nineteenth century, the insights into the lives and thoughts of those devastated by psychological traumas, complex emotions and difficulties in adjusting to life after limb loss remain just as relevant today. Phenomena explored in the book, such as ‘Phantom Limb Syndrome’, continue to be the subject of medical and academic research in the twenty-first century.

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Featuring a stunning gallery of portraits by the world's finest poets, essayists, and fiction writers--including Walt Whitman, Stephen Crane, Jose Marti, Maxim Gorky, Federico Garcia Lorca, Isaac Bashevis Singer, E. E. Cummings, Djuna Barnes, Colson Whitehead, Robert Olen Butler, and Katie Roiphe--this anthology is the first to focus on the unique history and transporting experience of a beloved fixture of the New York City landscape. Moody, mystical, and enchanting, Coney Island has thrilled newcomers and soothed native New Yorkers for decades. With its fantasy entertainments, renowned beach foods, world-class boardwalk, and expansive beach, it provides a welcome respite from the city's dense neighborhoods, unrelenting traffic, and somber grid. Coney Island has long offered a kaleidoscopic panorama of people, places, and events, creating, as Lawrence Ferlinghetti once wrote, "a Coney Island of the mind." This anthology captures the highs and lows of that sensation, with works that imagine Coney Island as a restful resort, a playground for the masses, and a symbol of America's democratic spirit, as well as a Sodom by the sea, a garish display of capitalist excess, and a paradigm of urban decay. As complex as the city of which it is a part, Coney Island engenders limitless perspectives, a composite inspiring everyone who encounters it to sing its electric song.

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Organized as a field guide, a literary anthology filled with classic and contemporary poems and essays inspired by wildflowers—perfect for writers, artists, and botanists alikeAmerican Wildflowers: A Literary Field Guide collects poems, essays, and letters from the 1700s to the present that focus on wildflowers and their place in our culture and in the natural world. Editor Susan Barba has curated a selection of plants and texts that celebrate diversity: There are foreign-born writers writing about American plants and American writers on non-native plants. There are rural writers with deep regional knowledge and urban writers who are intimately acquainted with the nature in their neighborhoods. There are female writers, Black writers, gay writers, indigenous writers. There are botanists like William Bartram, George Washington Carver, and Robin Wall Kimmerer, and horticultural writers like Neltje Blanchan and Eleanor Perényi. There are prose pieces by Gwendolyn Brooks, Lydia Davis, and Aimee Nezhukumatathil. And most of all, there are poems: from Walt Whitman and Emily Dickinson, William Carlos Williams and T. S. Eliot to Allen Ginsberg and Robert Creeley, Lucille Clifton and Louise Glück, Natalie Diaz and Jericho Brown. The book includes exquisite watercolors by Leanne Shapton throughout and is organized by species and botanical family—think of it as a field guide to the literary imagination.

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This is an anthology of nearly four centuries of nature writing about one of America's premier regions-the Blue Ridge Mountains and Shenandoah Valley of Virginia. Beginning with Captain John Smith's eager gaze westward in search of gold and ending with contemporary essayist John Daniel's transformative gaze inward in search of wilderness, The Height of our Mountains features the work of seventy of the nation's finest writers on nature, from 1607 to 1997. Responding to Thomas Jefferson's claim in Notes on the State of Virginia that "the height of our mountains has not yet been estimated with any degree of exactness," Branch and Philippon have gathered a diverse collection of written perspectives on the region in an effort to "measure" the remarkable richness of this landscape through a variety of literary forms and styles. The result is a wide-ranging survey that includes the colonial narratives of William Byrd and George Washington, as well as the natural histories of John Bartram and John James Audubon; the travel narratives of King Louis Philippe of France and the diaries and memoirs of Cornelia Peake McDonald, Walt Whitman, and John Burroughs; works of fiction by Edgar Allen Poe and Willa Cather; speeches by James Madison, Herbert Hover, and Franklin Roosevelt; and contemporary writings by Donald Culcross Peattie, Edwin Way Teale, Roger Tory Peterson, Annie Dillard, Donald McCaig, Peter Svenson, and Jake Page. The book contains a lengthy and detailed introduction on the character and form of nature writing, the concepts of place and bioregionalism, and the literary natural history of the Blue Ridge country itself. Ample notes, beautiful illustrations and amps, and a lengthy bibliography make this book a lasting treasure.

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WINNER OF THE 2016 NOBEL PRIZE FOR LITERATURE‘100 Songs is a good start, for anybody lucky enough to be starting out with such a genius’ The London Evening StandardA new collection of Bob Dylan’s most essential lyrics – one hundred songs that represent the Nobel Laureate’s incredible musical range through the entirety of his career so far. ‘The Nobel acknowledges what we’ve long sensed to be true; that Mr. Dylan is among the most authentic voices America has produced, a maker of images as audacious and resonant as anything in Walt Whitman or Emily Dickinson.’ Dwight Garner, New York Times 'The Nobel committee got this right – Dylan’s ongoing achievement in American song is a literary feat to celebrate in his gaudiest of ways.’ Rob Sheffield, Rolling Stone Bob Dylan is one of the most important songwriters of our time and the first musician in history to win the Nobel Prize for Literature. In 100 Songs, Dylan delivers an intimate and carefully curated collection of his most important lyrics that spans from the beginning of his career through the present day. Perfect for students and younger readers as well as long-time fans, this portable, abridged volume of Dylan’s lyrics shines a light on the songs that mean the most from a music and cultural legend.

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From Yehuda Amichai and W. H. Auden to Phyllis Wheatley and Walt Whitman, Hearing God in Poetry invites you to take a closer look at fifty great poems by some of the finest poets in the English language. Some are well known, some deserve to be better known, but all say something distinctive that will lift your spirit. This beautiful Lent book for 2022 offers six poems for every week from Ash Wednesday, leading up to Holy Week, with ten poems specially chosen for Easter. A short reflection from Richard Harries accompanies each poet and the poem, drawing out their spiritual insights and how they communicate God’s presence. Hearing God in Poetry is an ideal Lent book for 2022 for poetry lovers and anyone interested in how some of the world’s finest poets have expressed faith in their work. This book of daily readings will introduce you to some wonderful poetry for Lent and Easter, and give you a deeper understanding and appreciation of these brilliant works of literature. It will also help expand your spirituality to see God’s presence in the world around you as you prepare for Easter. Full of riches, Hearing God in Poetry is a book that you will want to turn to time and time again – whether during Lent or in any other season of the year.

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You see it everywhere: on bumper stickers, tee shirts, lapel pins, in shop windows, and in front of nearly every school or government building. Yet while the American flag is ubiquitous, as a symbol it is both heavily freighted and misunderstood. Now an acclaimed European professor of American history brings a fresh perspective to the American flag, exploring its political, social, and cultural significance across the broad swath of its history. Mining a rich vein of materials from history, literature, music, and popular culture, Arnaldo Testi analyzes the symbolic importance of the flag to the national consciousness of this “nation of immigrants” and sees in it the very contradictions that make up our history: secularism and sacredness, freedom and empire, inclusiveness and aggressive self-confidence. Using sources as diverse as Walt Whitman and Jimi Hendrix, and events as divergent as the American Revolution, the moon landing, and the terrorist attacks of September 11th, Testi reveals the central importance of the flag to the creation of our nation, the evolution of our national character, and the spread of American culture and power across the globe, while illustrating the varied and often conflicting meanings different Americans ascribe to it. Whether you worship the flag or revile it, respect it or ignore it, Capture the Flag offers the reader a colorful and compelling exploration of the sway it holds on the American imagination.

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The Plural of Us is the first book to focus on the poet’s use of the first-person plural voice—poetry’s “we.” Closely exploring the work of W. H. Auden, Bonnie Costello uncovers the trove of thought and feeling carried in this small word. While lyric has long been associated with inwardness and a voice saying “I,” “we” has hardly been noticed, even though it has appeared throughout the history of poetry. Reading for this pronoun in its variety and ambiguity, Costello explores the communal function of poetry—the reasons, risks, and rewards of the first-person plural.Costello adopts a taxonomic approach to her subject, considering “we” from its most constricted to its fully unbounded forms. She also takes a historical perspective, following Auden’s interest in the full range of “the human pluralities” in a time of particular pressure for and against the collective. Costello offers new readings as she tracks his changing approach to voice in democracy. Examples from many other poets—including Walt Whitman, T. S. Eliot, Elizabeth Bishop, and Wallace Stevens—arise throughout the book, and the final chapter offers a consideration of how contemporary writers find form for what George Oppen called “the meaning of being numerous.”Connecting insights to philosophy of language and to recent work in concepts of community, The Plural of Us shows how poetry raises vital questions—literary and social—about how we speak of our togetherness.

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The first book to explore how African American writing and art engaged with visions of Ethiopia during the late nineteenth and early twentieth centuriesAs the only African nation, with the exception of Liberia, to remain independent during the colonization of the continent, Ethiopia has long held significance for and captivated the imaginations of African Americans. In Black Land, Nadia Nurhussein delves into nineteenth- and twentieth-century African American artistic and journalistic depictions of Ethiopia, illuminating the increasing tensions and ironies behind cultural celebrations of an African country asserting itself as an imperial power.Nurhussein navigates texts by Walt Whitman, Paul Laurence Dunbar, Pauline Hopkins, Harry Dean, Langston Hughes, Claude McKay, George Schuyler, and others, alongside images and performances that show the intersection of African America with Ethiopia during historic political shifts. From a description of a notorious 1920 Star Order of Ethiopia flag-burning demonstration in Chicago to a discussion of the Ethiopian emperor Haile Selassie as Time magazine’s Man of the Year for 1935, Nurhussein illuminates the growing complications that modern Ethiopia posed for American writers and activists. American media coverage of the African nation exposed a clear contrast between the Pan-African ideal and the modern reality of Ethiopia as an antidemocratic imperialist state: Did Ethiopia represent the black nation of the future, or one of an inert and static past?Revising current understandings of black transnationalism, Black Land presents a well-rounded exploration of an era when Ethiopia’s presence in African American culture was at its height.

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The first book to explore how African American writing and art engaged with visions of Ethiopia during the late nineteenth and early twentieth centuriesAs the only African nation, with the exception of Liberia, to remain independent during the colonization of the continent, Ethiopia has long held significance for and captivated the imaginations of African Americans. In Black Land, Nadia Nurhussein delves into nineteenth- and twentieth-century African American artistic and journalistic depictions of Ethiopia, illuminating the increasing tensions and ironies behind cultural celebrations of an African country asserting itself as an imperial power.Nurhussein navigates texts by Walt Whitman, Paul Laurence Dunbar, Pauline Hopkins, Harry Dean, Langston Hughes, Claude McKay, George Schuyler, and others, alongside images and performances that show the intersection of African America with Ethiopia during historic political shifts. From a description of a notorious 1920 Star Order of Ethiopia flag-burning demonstration in Chicago to a discussion of the Ethiopian emperor Haile Selassie as Time magazine’s Man of the Year for 1935, Nurhussein illuminates the growing complications that modern Ethiopia posed for American writers and activists. American media coverage of the African nation exposed a clear contrast between the Pan-African ideal and the modern reality of Ethiopia as an antidemocratic imperialist state: Did Ethiopia represent the black nation of the future, or one of an inert and static past?Revising current understandings of black transnationalism, Black Land presents a well-rounded exploration of an era when Ethiopia’s presence in African American culture was at its height.

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An engaging and authoritative introduction to an increasingly important and popular literary genreProse Poetry is the first book of its kind—an engaging and authoritative introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. Poets and scholars Paul Hetherington and Cassandra Atherton introduce prose poetry’s key characteristics, chart its evolution from the nineteenth century to the present, and discuss many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today’s most inventive writing.A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. Prose Poetry explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry’ s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women’s essential but frequently unacknowledged contributions to the genre.Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.

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In A Forgetful Nation, the renowned postcolonialism scholar Ali Behdad turns his attention to the United States. Offering a timely critique of immigration and nationalism, Behdad takes on an idea central to American national mythology: that the United States is “a nation of immigrants,” welcoming and generous to foreigners. He argues that Americans’ treatment of immigrants and foreigners has long fluctuated between hospitality and hostility, and that this deep-seated ambivalence is fundamental to the construction of national identity. Building on the insights of Freud, Nietzsche, Foucault, and Derrida, he develops a theory of the historical amnesia that enables the United States to disavow a past and present built on the exclusion of others.Behdad shows how political, cultural, and legal texts have articulated American anxiety about immigration from the Federalist period to the present day. He reads texts both well-known—J. Hector St. John de Crèvecoeur’s Letters from an American Farmer, Alexis de Tocqueville’s Democracy in America, and Walt Whitman’s Leaves of Grass—and lesser-known—such as the writings of nineteenth-century nativists and of public health officials at Ellis Island. In the process, he highlights what is obscured by narratives and texts celebrating the United States as an open-armed haven for everyone: the country’s violent beginnings, including its conquest of Native Americans, brutal exploitation of enslaved Africans, and colonialist annexation of French and Mexican territories; a recurring and fierce strand of nativism; the need for a docile labor force; and the harsh discipline meted out to immigrant “aliens” today, particularly along the Mexican border.

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How did this vagabond word, bohemia, migrate across national borderlines over the course of the nineteenth century, and what happened to it as it traveled? In International Bohemia, Daniel Cottom studies how various individuals and groups appropriated this word to serve the identities, passions, cultural forms, politics, and histories they sought to animate. Beginning with the invention of bohemianism's modern sense in Paris during the 1830s and 1840s, Cottom traces the twists and turns of this phenomenon through the rest of the nineteenth century and into the early years of the twentieth century in the United States, England, Italy, Spain, and Germany. Even when they traveled under the banner of l'art pour l'art, the bohemians of this era generally saw little reason to observe borderlines between their lives and their art. On the contrary, they were eager to mix up the one with the other, despite the fact that their critics often reproached them on this account by claiming that bohemians were all talk—do-nothings frittering away their lives in cafés and taverns. Cottom's study of bohemianism draws from the biographies of notable and influential figures of the time, including Thomas Chatterton, George Sand, George Eliot, Henry Murger, Alexandre Privat d'Anglemont, Walt Whitman, Ada Clare, Iginio Ugo Tarchetti, and Arthur Conan Doyle. Through a wide range of novels, memoirs, essays, plays, poems, letters, and articles, International Bohemia explores the many manifestations of this transnational counterculture, addressing topics such as anti-Semitism, the intersections of race and class, the representation of women, the politics of art and masquerade, the nature of community, and the value of nostalgia.

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New York City's crowded streets and energetic people, its vast population and enormous extremes of wealth and poverty, its towering buildings and technological marvels have marked it as the quintessential modern city since the turn of the century. Artists in particular identified with New York's newness, believing that it embodied the future and celebrated the excitement of the modern urban lives they both witnessed and led. In New York Modern, William B. Scott and Peter M. Rutkoff explore how the varied features of the urban experience in New York inspired the works of artists such as Isadora Duncan, Alfred Stieglitz, Georgia O'Keeffe, Eugene O'Neill, Duke Ellington, Clifford Odets, Elia Kazan, Miles Davis, John Coltrane, Jackson Pollock, Merce Cunningham, John Cage, Allen Ginsberg, Arthur Miller, James Baldwin, and Diane Arbus, who together shaped twentieth-century American culture. In painting, sculpture, photography, film, music, dance, theater, and architecture, New York artists redefined what it meant to be "modern." Rooted in the urban realism of Walt Whitman, Thomas Eakins, and Edith Wharton, New York artists combined the revolutionary ideas and styles of European modernism with vernacular images drawn from American commercial, folk, and popular culture in their attempts to respond to the cacophony of voices and blur of images drawn from the city's bars and cafes, tenements and townhouses, skyscrapers and docks. Handsomely illustrated and engagingly written, New York Modern documents the impressive collective legacy of New York's artists in capturing the energy and emotions of the urban experience.

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Leland Kinsey, often referred to as the poet laureate of Vermont's Northeast Kingdom, died of cancer on September 14, 2016. He was sixty-six years old. Having recently published a volume of his much-celebrated collected poems (Galvanized, Green Writers Press, 2016), Leland left behind two manuscripts: Last Correspondence, and an untitled sequence of poems, many written or revised during his last illness. This volume is a posthumous compilation of those two collections.Last Correspondence, which was written over a period of four decades, is a rich poetic narrative, in letter format, between friends, lovers, and family members. Ranging from the vast deserts and ranches of the American Southwest, to the mountains and hillside farms of northern Vermont, and on to Labrador's taiga, with side excursions to Machu Picchu and the Isle of Skye, Last Correspondence evokes on every page Emerson's definition of "the kingly bard" who "must smite the chords rudely and hard." Then come the incomparable “Final Poems,” a cascade of stories, characters, and images, mostly from the Northeast Kingdom, and focusing on the recurrent themes of family, work, and place, which have run through Kinsey's poems from the start. Walt Whitman would have loved these poems, so, too, Robert Frost. They represent the finest works of a writer who will always be known as the truest voice of the remote and beautiful "kingdom" of Vermont settled by his Scottish ancestors seven generations ago, and preserved, in perpetuity, in hundreds of the most human and original poems in the history of American letters.

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In A Forgetful Nation, the renowned postcolonialism scholar Ali Behdad turns his attention to the United States. Offering a timely critique of immigration and nationalism, Behdad takes on an idea central to American national mythology: that the United States is “a nation of immigrants,” welcoming and generous to foreigners. He argues that Americans’ treatment of immigrants and foreigners has long fluctuated between hospitality and hostility, and that this deep-seated ambivalence is fundamental to the construction of national identity. Building on the insights of Freud, Nietzsche, Foucault, and Derrida, he develops a theory of the historical amnesia that enables the United States to disavow a past and present built on the exclusion of others.Behdad shows how political, cultural, and legal texts have articulated American anxiety about immigration from the Federalist period to the present day. He reads texts both well-known—J. Hector St. John de Crèvecoeur’s Letters from an American Farmer, Alexis de Tocqueville’s Democracy in America, and Walt Whitman’s Leaves of Grass—and lesser-known—such as the writings of nineteenth-century nativists and of public health officials at Ellis Island. In the process, he highlights what is obscured by narratives and texts celebrating the United States as an open-armed haven for everyone: the country’s violent beginnings, including its conquest of Native Americans, brutal exploitation of enslaved Africans, and colonialist annexation of French and Mexican territories; a recurring and fierce strand of nativism; the need for a docile labor force; and the harsh discipline meted out to immigrant “aliens” today, particularly along the Mexican border.

Read more less