Search results for ""author james"

The concepts of utopia and dystopia have received much historical attention. Utopias have traditionally signified the ideal future: large-scale social, political, ethical, and religious spaces that have yet to be realized. Utopia/Dystopia offers a fresh approach to these ideas. Rather than locate utopias in grandiose programs of future totality, the book treats these concepts as historically grounded categories and examines how individuals and groups throughout time have interpreted utopian visions in their daily present, with an eye toward the future. From colonial and postcolonial Africa to pre-Marxist and Stalinist Eastern Europe, from the social life of fossil fuels to dreams of nuclear power, and from everyday politics in contemporary India to imagined architectures of postwar Britain, this interdisciplinary collection provides new understandings of the utopian/dystopian experience. The essays look at such issues as imaginary utopian perspectives leading to the 1856-57 Xhosa Cattle Killing in South Africa, the functioning racist utopia behind the Rhodesian independence movement, the utopia of the peaceful atom and its global dissemination in the mid-1950s, the possibilities for an everyday utopia in modern cities, and how the Stalinist purges of the 1930s served as an extension of the utopian/dystopian relationship. The contributors are Dipesh Chakrabarty, Igal Halfin, Fredric Jameson, John Krige, Timothy Mitchell, Aditya Nigam, David Pinder, Marci Shore, Jennifer Wenzel, and Luise White.

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A "learned and lively" (Wall Street Journal) history of archaeological adventure—with tales of danger, debate, audacious explorers, and astonishing discoveries around the globe—for readers of all ages What is archaeology? The word may bring to mind images of golden pharaohs and lost civilizations, or Neanderthal skulls and Ice Age cave art. Archaeology is all of these, but also far more: the only science to encompass the entire span of human history—more than three million years! This Little History tells the riveting stories of some of the great archaeologists and their amazing discoveries around the globe: ancient Egyptian tombs, Mayan ruins, the first colonial settlements at Jamestown, mysterious Stonehenge, the incredibly preserved Pompeii, and many, many more. In forty brief, exciting chapters, the book recounts archaeology’s development from its eighteenth-century origins to its twenty-first-century technological advances. Shining light on the most intriguing events in the history of the field, this absolutely up-to-date book illuminates archaeology’s controversies, discoveries, heroes and scoundrels, global sites, and newest methods for curious readers of every age.

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Winner of five O. Henry Awards and the 2013 Rea Prize for Short Fiction, Elizabeth Spencer has long been considered a master of the short story, yet her novels are no less a showcase for her uncanny ability to depict how "twisted, chafing, inescapable, and life-supporting" (Alice Munro) the ties that bind families and marriages are. Nowhere are these skills more evident than in her fourth novel, No Place for an Angel, a Jamesian portrait of Cold War America that follows two fracturing marriages—Catherine and Jerry Sasser, a Texas heiress and a ruthless political fixer, and Irene and Charles Waddell, a worldly pair involved with American policymaking in Italy—as they cross paths from the oil fields of Texas to Rome and New York. Witty, mordant, but above all deeply perceptive of the secret emotional worlds of her characters, Spencer portrays the limitless ambition of the postwar world, the soaring rise of her characters, and, finally, their diminishing fortunes, which lead to smaller but firmer destinies.

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Jack Taylor has finally traded in his violent life in Galway for a quiet retirement in the country. But on a day trip back into the city, Jack is hit by a truck and left in a coma, mysteriously without a scratch on him. When he awakens weeks later, he finds Ireland in a frenzy over the so-called 'Miracle of Galway'. People have become convinced that the two children who tended to him are saintly, and the site of the accident sacred. The Catholic Church isn't so sure, and Jack is commissioned to help find the children – to verify the miracle or expose the stunt. But Jack isn't the only one looking for these children, and he'll need all the help he can get – and a stiff drink of Jameson – once he finds them. Praise for Ken Bruen: 'Bruen is an Emerald Noir maestro' – DUBLIN SUNDAY INDEPENDENT 'The best-kept literary secret in Ireland' – INDEPENDENT 'One of Ireland's most original voices in crime fiction' – IRISH INDEPENDENT 'Bruen's visceral writing and anger brings a fierce, almost surreal intensity to this mad story of a heretical book that turns up in Galway' – METRO

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Marxism has provided the ideological impetus to liberation movements, radical struggles and revolutions across the world. But in the 20th century, the emancipatory and democratic power of its thought has often been distorted and overridden by various Stalinist dictatorships which claimed to be acting in its name. A similar undermining of freedom of thought has been accomplished at an intellectual level; various schools have transformed Marxist thought in line with some of the most fashionable but gentrified forms of contemporary philosophy, shifting the focus from the democratic power of the masses and their ability to challenge the capitalist order to concentrate on superstar thinkers and elite theories. The War Against Marxism traces the war against Marxism which, paradoxically, has been conducted in the name of Marxism itself. As such it provides a fiery philosophical and polemical indictment of so-called ‘Marxists’ such as Adorno, Horkheimer, Althusser, Jameson, Eagleton, Mouffe, Laclau and Zizek and asks what can be done to stem this counterrevolution.

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Four new adventures follow Rose's mission to seek out the Doctor, the only person who can save the doomed multiverse. Rose Tyler’s world is ending. As she begins a desperate mission to find the one person who can make a difference, Rose discovers that it’s not only her universe at stake. Across alternate dimensions, parallel timelines – where divergences may be tiny or cataclysmic – every Earth is under threat. Time is running out, but Rose won’t stop searching until she finds the Doctor 1. The Endless Night by Jonathan Morris. As his parallel universe darkens, Pete Tyler has found a chance of survival. Punch a hole through dimensions and someone can jump through - and maybe find a way to the Doctor’s universe. On her very first trip, Rose visits an Earth that’s about to get colder. As a long night begins, Rose meets different versions of her parents. And one man who could help her search. His name is Clive. 2. The Flood by Lisa McMullin. Making another leap with a new companion, Rose finds a world suffering environmental change. The rain won’t stop, and the government could be hiding the scale of the impending disaster. While Rose connects with another version of Pete and a strangely compelling young man, Clive meets someone special of his own. In this world, there was no Clive for Caroline to meet, but love can cross dimensions. 3. Ghost Machines by AK Benedict. Pete decides it’s time he accompanied Rose on one of her dimension jumps. But he couldn’t have picked a worse time. They arrive in a world where technology took an extraordinary path, and where the recently deceased Pete Tyler had a very different kind of success. As machines start to break down, Pete meets his widow, and he and Rose must confront truths about their ‘family’. But they may not escape this Earth alive. 4. The Last Party on Earth by Matt Fitton. Rose and Jackie visit a home very close to the one they left behind. But some old friends are missing, and some are unexpectedly present… Rose meets two young men she knows should be together - it can sometimes take the end of the world to see what’s right in front of you. Meanwhile, the Powell Estate faces Armageddon in the only way it can – by throwing a party. CAST: Billie Piper (Rose Tyler), Jackie Tyler (Camille Coduri), Shaun Dingwall (Pete Tyler), Mark Benton (Clive Finch), Ellie Garnett (Caroline), Joe Jameson (Rob), Julia Hills (Margot Kinnear), Alistair Petrie (Wallace Richards), Claire Wyatt (Cee-Cee), Dan Starkey (Machines), Syrus Lowe (Patrice Okereke), Waleed Akhtar (Mook Jayasundera), Elizabeth Uter (Odessa Smith), Amerjit Deu (Roni Bandara). Other parts played by members of the cast.

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OVER 4 MILLION COPIES SOLD OF THE #1 BESTSELLING SERIES! Intrigue, riches, and romance abound in this thrilling sequel to the beloved bestselling The Inheritance GamesThe Inheritance Games ended with a bombshell, and now heiress Avery Grambs has to pick up the pieces and find the man who might hold the answers to all of her questions—including why Tobias Hawthorne left his entire fortune to Avery, a virtual stranger, rather than to his own daughters or grandsons.  Thanks to a DNA test, Avery knows she’s not a Hawthorne by blood, but clues pile up hinting at a deeper connection to the family than she had ever imagined. As the mystery grows and the plot thickens, Grayson and Jameson, two of the enigmatic and magnetic Hawthorne grandsons, continue to pull Avery in different directions. And there are threats lurking around every corner, as adversaries emerge who will stop at nothing to see Avery out

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Narrowcast explores how mid-century American poets associated with the New Left mobilized tape recording as a new form of sonic field research even as they themselves were being subjected to tape-based surveillance. Media theorists tend to understand audio recording as a technique for separating bodies from sounds, but this book listens closely to tape's embedded information, offering a counterintuitive site-specific account of 1960s poetic recordings. Allen Ginsberg, Charles Olson, Larry Eigner, and Amiri Baraka all used recording to contest models of time being put forward by dominant media and the state, exploring non-monumental time and subverting media schedules of work, consumption, leisure, and national crises. Surprisingly, their methods at once dovetailed with those of the state collecting evidence against them and ran up against the same technological limits. Arguing that CIA and FBI "researchers" shared unexpected terrain not only with poets but with famous theorists such as Fredric Jameson and Hayden White, Lytle Shaw reframes the status of tape recordings in postwar poetics and challenges notions of how tape might be understood as a mode of evidence.

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When and where was America founded? Was it in Virginia in 1619, when a pirate ship landed a group of captive Africans at Jamestown? So asserted the New York Times in August 2019 when it announced its 1619 Project. The Times set out to transform history by tracing American institutions, culture, and prosperity to that pirate ship and the exploitatio

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Modern North American Criticism and Theory presents the reader with a comprehensive and critical introduction to the development and institutionalization of literary and cultural studies throughout the twentieth century and at the beginning of the twenty-first. Focusing on the growth and expansion of critical trends and methodologies, with particular essays addressing key figures in their historical and cultural contexts, the book offers a narrative of change, transformation, and the continuous quest for and affirmation of multiple cultural voices and identities. From semiotics and the New Criticism to the identity politics of whiteness studies and the cultural study of masculinity, this book provides an overview of literary and cultural study in North America as a history of questioning, debate, and exploration. A further reading list accompanies each chapter. Key Features * Breadth of coverage from Northrop Frye to Fredric Jameson and from The New Criticism and the Chicago School to New Historicism, African-American Studies and Canadian Literary Studies. * Focus on the history of modern criticism. * Accessibly written. * Theoretical debates are set in full historical, cultural and philosophical contexts.

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A NEW YORK TIMES 2023 SUMMER READ Meet Tony: the first Indian to set foot on American soil. Among the settlers, slaves, and indentured servants that make the treacherous journey across the Atlantic to the New World in the early 1600s — for some, an exciting opportunity, for others, a brutal abduction — there is also Tony. As a child, his homeland on the Coromandel Coast of India becomes a trading outpost for the English; as an orphaned teenager, he finds himself kidnapped from the streets of London and bound to servitude on a Virginia plantation. But Tony is not giving up on his dreams just yet. Under the rule of a sadistic plantation owner, he forms a tender bond with a young boy who will haunt his nightmares; on an exploration inland alongside a trader and Native Americans, he realises the world is vaster and more mysterious than he could have imagined; and in Jamestown, he finally earns himself a position as a physician’s apprentice, an ambition he has long harboured. The East Indian is a Dickensian-style yarn about family, friendship, and finding oneself in the seeds of a new world.

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Insiders' Guide to Williamsburg and Virginia's Historic Triangle is the essential source for in-depth travel and relocation information to Williamsburg, Jamestown, and Yorktown. Written by a local (and true insider), this guide offers a personal and practical perspective of the cities and the surrounding environs.

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Contains two four-part stories: The World Traders by Guy Adams. When a day out in 21st Century London leads to the TARDIS being impounded, the Doctor and Leela find themselves getting involved with the mysterious Amapan Investments, a company that’s managed to become remarkably successful in a remarkably short amount of time. So what’s their secret? The Doctor and Leela are about to find out. The Usurians have come to Earth. And they have big plans. The Day of the Comet by Jonathan Morris. The TARDIS brings the Doctor and Leela to the ruins of a once-great city racked by earthquakes, where they find a giant rocket on the side of a mountain. The planet is due to be destroyed by a comet in a year’s time and this ship is the only way off world. But is everything quite as it seems? At least one person in the city thinks the comet is going to come to obliterate the planet much sooner than people believe. Which would be bad enough – if there wasn’t a far worse secret hidden behind the scenes. CAST: : Tom Baker (The Doctor), Louise Jameson (Leela), Sophia Carr-Gomm (Corsha), Jon Culshaw (Sullerman/Massey), Janet Henfrey (Verkuvia), Joanna Hole (Tynax), Adam Newington (Max), Siân Phillips (The Director), Chris Porter (Jeffery Secombe/Mozz Consolidated), Sara Powell (Emma Fremantle), David Seddon (Lendrik), Mandi Symonds (Vengis), Ramon Tikaram (President Dunn-La). Other parts played by members of the cast.

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Television has long been a symbol of social and cultural decay, yet many in postwar Europe saw it as the medium with the greatest potential to help build a new society and create a new form of audiovisual art. Utopian Television examines works of the great filmmakers Roberto Rossellini, Peter Watkins, and Jean-Luc Godard, all of whom looked to television as a promising new medium even while remaining critical of its existing practices.Utopian Television illustrates how each director imagined television’s improved or “utopian” version by drawing on elements that had come to characterize it by the early 1960s. Taking advantage of the public service model of Western European broadcasting, each used television to realize works that would never have been viable in the commercial cinema. All three directors likewise seized on television’s supposed affinity for information and its status as a “useful” medium, but attempted to join this utility with aesthetic experimentation, suggesting new ways to conceive of the relationship between aesthetics and information.As beautifully written as it is theoretically rigorous, Utopian Television turns to the writing of Fredric Jameson and Ernst Bloch in treating the three directors’ television experiments as enactments of “utopia as method.” In doing so it reveals the extent to which the medium inspired and shaped hopes not only of a better future but of better moving image art as well.

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Michel Foucault’s suggestion that this century would become known as “Deleuzian” was considered by Gilles Deleuze himself to be a joke “meant to make people who like us laugh, and make everyone else livid.” Whether serious or not, Foucault’s prediction has had enough of an impact to raise concern about the potential “deification” of this enormously influential French philosopher. Seeking to counter such tendencies toward hagiography—not unknown, particularly since Deleuze’s death—Ian Buchanan has assembled a collection of essays that constitute a critical and focused engagement with Deleuze and his work. Originally published as a special issue of South Atlantic Quarterly (Summer 1997), this volume includes essays from some of the most prominent American, Australian, British, and French scholars and translators of Deleuze’s writing. These essays, ranging from film, television, art, and literature to philosophy, psychoanalysis, geology, and cultural studies, reflect the broad interests of Deleuze himself. Providing both an introduction and critique of Deleuze, this volume will engage those readers interested in literary and cultural theory, philosophy, and the future of those areas of study in which Deleuze worked. Contributors. Ronald Bogue, Ian Buchanan, André Pierre Colombat, Tom Conley, Manuel DeLanda, Tessa Dwyer, Jerry Aline Flieger, Eugene Holland, Fredric Jameson, Jean-Clet Martin, John Mullarkey, D. N. Rodowick, Horst Ruthrof, Charles J. Stivale

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ENROLLMENT BEGINS NOW A beguiling, sinister collection of 12 dark academia short stories from masters of the genre, including Olivie Blake, M.L. Rio, Susie Yang and more! In these stories, dear student, retribution visits a lothario lecturer; the sinister truth is revealed about a missing professor; a forsaken lover uses a séance for revenge; an obsession blooms about a possible illicit affair; two graduates exhume the secrets of a reclusive scholar; horrors are uncovered in an obscure academic department; five hopeful initiates must complete a murderous task and much more! Featuring brand-new stories from: Olivie Blake M.L. Rio David Bell Susie Yang Layne Fargo J.T. Ellison JamesTate Hill Kelly Andrew Phoebe Wynne Kate Weinberg Helen Grant Tori Bovalino Definition of dark academia in English: dark academia 1. An internet subculture concerned with higher education, the arts, and literature, or an idealised version thereof with a focus on the pursuit of knowledge and an exploration of death. 2. A set of aesthetic principles. Scholarly with a gothic edge – tweed blazers, vintage cardigans, scuffed loafers, a worn leather satchel full of brooding poetry. Enthusiasts are usually found in museums and darkened libraries.

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Li-Chun Hsiao attempts to rethink, under the rubric of globalization, several key notions in postcolonial theory and writings by revisiting what he conceives as the primal scene of postcoloniality -- the Haitian Revolution. He unpacks and critiques the post-structuralist penchants and undercurrents of the postcolonial paradigm in First-World academia while not reinstating earlier Marxist stricture. Focusing on Edouard Glissants, C. L. R. Jamess, and Derek Walcotts representations of Toussaint LOuverture and the Haitian Revolution, the textual analyses approach the issues of colonial mimicry, postcolonial nationalism, and post-coloniality in light of recent reconsiderations of the universal and the particular in critical theories, and psychoanalytic conceptions of trauma, identity, and jouissance. Hsiao argues that postcolonial intellectuals characteristic celebration of the Particular, together with their nuanced denunciation of the postcolonial nation and the Revolution, doesnt really do away with the category of the Universal, nor twist free of the problematic of the logics of difference/equivalence that sustains the living on of the nation-state, despite an ever expanding globality; rather, such a postcolonial phenomenon is symptomatic of a disavowed traumatic event that mirrors and prefigures the predicament of the postcolonial experience while invoking its simulacra and further struggles centuries later.

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The United States is still typically conceived of as an offshoot of England, with our history unfolding east to west beginning with the first English settlers in Jamestown. This view overlooks the significance of America’s Hispanic past. With the profile of the United States increasingly Hispanic, the importance of recovering the Hispanic dimension to our national story has never been greater. This absorbing narrative begins with the explorers and conquistadores who planted Spain’s first colonies in Puerto Rico, Florida, and the Southwest. Missionaries and rancheros carry Spain’s expansive impulse into the late eighteenth century, settling California, mapping the American interior to the Rockies, and charting the Pacific coast. During the nineteenth century Anglo-America expands west under the banner of “Manifest Destiny” and consolidates control through war with Mexico. In the Hispanic resurgence that follows, it is the peoples of Latin America who overspread the continent, from the Hispanic heartland in the West to major cities such as Chicago, Miami, New York, and Boston. The United States clearly has a Hispanic present and future. And here is its Hispanic past, presented with characteristic insight and wit by one of our greatest historians.

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Interweaving American history, dramatic family chronicle and searing episodes of memoir, On Juneteenth recounts the origins of the holiday that celebrates the emancipation of those who had been enslaved in the United States. A descendant of enslaved people brought to Texas in the 1850s, Annette Gordon-Reed, explores the legacies of the holiday. From the earliest presence of black people in Texas—in the 1500s, well before enslaved Africans arrived in Jamestown—to the day in Galveston on 19 June 1865, when General Gordon Granger announced the end of slavery, Gordon-Reed’s insightful and inspiring essays present the saga of a “frontier” peopled by Native Americans, Anglos, Tejanos and Blacks that became a slaveholder’s republic. Reworking the “Alamo” framework, Gordon-Reed shows that the slave-and race-based economy not only defined this fractious era of Texas independence, but precipitated the Mexican-American War and the resulting Civil War. A commemoration of Juneteenth and the fraught legacies of slavery that still persist, On Juneteenth is a stark reminder that the fight for equality is on-going.

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Women on Water chronicles the experiences of a group of friends as they paddle the waters of the Adirondacks and Central New York. Part guidebook and part journal, each chapter describes a trip and includes a map, directions, and other things to do in the area. Journey along with WOW as they embrace the freedom of being a girl again with kayak beneath and paddle in hand.Trips include Little Long Lake, Goose Pond, Lake Ontario, Kayuta Lake, Forestport Reservoir, Francis Lake, Jamesville Reservoir, Piseco Lake, Moose River, Nine Mile Swamp, North Lake, Blue Mountain Lake, Kunjamuk River, Big Moose Lake, Salmon River Reservoir, Fall Lake, Vly Lake, Mud Lake, South Lake, Moss Lake, Twitchell Lake, Mud Pond, Erie Canal, Brown's Tract Pond, Seventh Lake, Oxbow Lake, Crandall's Falls, and Sacandaga River.

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Four stories set in the Eleventh Doctor era, starring Jacob Dudman: 2.1 The Evolving Dead by Doris V Sutherland. The dead stalk the corridors of research station Romeo. For a technician (dead) and her ex-boyfriend (also dead), the Doctor’s their only chance to escape. For the rest of the crew, he’s their only chance to feed. 2.2 The Day Before They Came by Daniel Blythe. In the shabby seaside town of Bayview, Kayla Worthington is sitting on the beach waiting for an alien invasion. Her patience is rewarded when an alien arrives, although he doesn’t seem to be invading. He’s called the Doctor, and he wants to buy her a cup of tea. 2.3 The Melting Pot by Christopher Cooper. Arriving on Piir to sample the local cuisine, the Doctor finds a society wildly different from the one he remembers. With violence brewing on the streets, the Doctor will have to get to the bottom of what has gone wrong on Piir, before the world tears itself apart. 2.4 A Tragical History by Tessa North. To most of the inmates in Hythe Prison, life is miserable. However, some are living out their idealised lives within its walls. Amongst the dank conditions, the Doctor is about to uncover the key to everything he could ever desire. Cast: Jacob Dudman (The Doctor), Laura Aikman (Sarah Ellison), Tom Alexander (Maxwell/Headshot), Ayesha Antoine (Babs), Nicholas Asbury (Preacher Stem), Joe Barnes (Ray), Nicholas Briggs (Spongiform), Jacob Daniels (Lee), Bethan Dixon Bate (Lady Dora Swift), Joe Jameson (Arvin), Avita Jay (Evo/Eleanor Pearce), Jenny Lee (Eliza Smith), Paul Panting (Ilyani/Bailiff), Jeany Spark (Gonch/Piir Mother), Milly Thomas (Elix), Venice Van Someren (Mary Wainwright), Jo Woodcock (Kayla Worthington). Other parts played by members of the cast.

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Dom Combe presents the reader a sharply focused profile of a dedicated and extraordinary woman of the 20th century, Henry James'sister-in-law, independent in spirit and passionately devoted for more than 60 years to the cause of Gregorian Chant and its liturgical implementation. Drawing on her voluminous correspondence, he traces the main events of her life following her conversion in 1904 to the Catholic Church. From these letters emerges the clear image of a fiercely strong-willed and gracious woman who pursued her ideals with relentless zeal.

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Lincolnshire is England's second-largest county—and one of the least well-known. Yet its understated chronicles, unfashionable towns and undervalued countryside conceal fascinating stories, and unique landscapes: its Wolds are lonely and beautiful, its towns characterful; its marshlands and dynamic coast are metaphors of constant change. From plesiosaurs to Puritans, medieval ghosts to eighteenth-century explorers, poets to politicians, and Vikings to Brexit, this marginal county is central to England's identity. Canute, Henry IV, John of Gaunt and Katherine Swynford all called Lincolnshire home. So did saints, world-famed churchmen and reformers—Etheldreda, Gilbert, Guthlac and Hugh, Robert Grosseteste, John Wycliffe, John Cotton, John Foxe and John Wesley—as well as Isaac Newton, Joseph Banks, John Harrison and George Boole. Lincolnshire explorers went everywhere: John Smith to Jamestown, George Bass and Matthew Flinders to Australia, and John Franklin to a bitter death in the Arctic. Artists and writers have been inspired—including Byrd, Taverner, Stukeley, Stubbs, Eliot and Tennyson—while Thatcher wrought neo-liberalism. Extraordinary architecture testifies to centuries of both settlement and unrest, from Saxon towers to sky-piercing spires; evocative ruined abbeys to the wonder of the Cathedral. And in between is always the little-known land itself—an epitome of England, awaiting discovery.

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This book explores previously unexamined links between the arbitrary as articulated in linguistic theories on the one hand, and in political discourse about power on the other. In particular, Willam Keach shows how Enlightenment conceptions of the arbitrary were contested and extended in British Romantic writing. In doing so, he offers a new paradigm for understanding the recurrent problem of verbal representation in Romantic writing and the disputes over stylistic performance during this period. With clarity and force, Keach reads these phenomena in relation to a rapidly shifting literary marketplace and to the social pressures in Britain generated by the French Revolution, the Napoleonic Wars, and the class antagonisms that culminated in the Peterloo Massacre. The question of what it means to think of language or politics as arbitrary persists through postmodern thinking, and this book advances an unfinished dialogue between Romantic culture and the critical techniques we currently use to analyze it. Keach's intertwined linguistic and political account of arbitrary power culminates in a detailed textual analysis of the language of revolutionary violence. Including substantial sections on Blake, Wollstonecraft, Wordsworth, Coleridge, Byron, P. B. Shelley, Keats, and Anna Jameson, Arbitrary Power will engage not only students and scholars of eighteenth- and nineteenth-century literature but also those interested in critical and linguistic theory and in social and political history.

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This book explores previously unexamined links between the arbitrary as articulated in linguistic theories on the one hand, and in political discourse about power on the other. In particular, Willam Keach shows how Enlightenment conceptions of the arbitrary were contested and extended in British Romantic writing. In doing so, he offers a new paradigm for understanding the recurrent problem of verbal representation in Romantic writing and the disputes over stylistic performance during this period. With clarity and force, Keach reads these phenomena in relation to a rapidly shifting literary marketplace and to the social pressures in Britain generated by the French Revolution, the Napoleonic Wars, and the class antagonisms that culminated in the Peterloo Massacre. The question of what it means to think of language or politics as arbitrary persists through postmodern thinking, and this book advances an unfinished dialogue between Romantic culture and the critical techniques we currently use to analyze it. Keach's intertwined linguistic and political account of arbitrary power culminates in a detailed textual analysis of the language of revolutionary violence. Including substantial sections on Blake, Wollstonecraft, Wordsworth, Coleridge, Byron, P. B. Shelley, Keats, and Anna Jameson, Arbitrary Power will engage not only students and scholars of eighteenth- and nineteenth-century literature but also those interested in critical and linguistic theory and in social and political history.

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John Moffatt stars as the Belgian detective Hercule Poirot.The ABC Murders: A chilling letter sets the sleuth on the trail of an enigmatic killer.After the Funeral: A wealthy businessman is dead, and his sister thinks it was murder.Death on the Nile: Poirot is in Egypt when a chilling murder takes place.Peril at End House: Whilst on holiday, the sleuth encounters a young woman, a hat and a bullet.The Murder of Roger Ackroyd: Mrs Farrars is found dead, one year after the death of her husband.Murder on the Orient Express: Poirot is aboard a snowbound train when a passenger is found murdered.Three Act Tragedy: Poirot is one of the guests at a party when a clergyman dies whilst sipping a cocktail.The Mysterious Affair at Styles: Poirot and Captain Hastings become re-acquainted in a quiet English village in 1916.These BBC Radio 4 full-cast dramatisations showcase eight of the finest cases in Hercule Poirot’s career. Based on the original novels by Agatha Christie, they feature a cast of outstanding actors playing an array of likely suspects…Starring: John Moffat, Simon Williams, Nichola McAuliffe, Jill Balcon, Hugh Dickson, Sean Arnold, Susan Jameson, Nichols Boulton, Philip Jackson, Annabelle Dowler, Hilda Schroder, George Cole, Gemma Saunders, Andrew Wincott, Terence Edmond, Bryan Pringle, David Thorpe, Elizabeth Conboy, Rosemary Leach, Donald Sinden, Stratford Johns, Tom George, Sylvia Syms, Sian Phillips, Francesca Annia, Frank Windsor, Peter Polycarpu, Desmond Llewelyn, Andre Maranne, Siriol Jenkins, Kate Binchy, Joss Ackland

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In 1782, J. Hector St. John de Crèvecoeur wrote, “What then, is the American, this new man? He is an American, who, leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced.” In casting aside their European mores, these pioneers, de Crèvecoeur implied, were the very embodiment of a new culture, society, economy, and political system. But to what extent did manliness shape early America’s character and institutions? And what roles did race, ethnicity, and class play in forming masculinity? Thomas A. Foster and his contributors grapple with these questions in New Men, showcasing how colonial and Revolutionary conditions gave rise to new standards of British American manliness. Focusing on Indian, African, and European masculinities in British America from earliest Jamestown through the Revolutionary era, and addressing such topics that range from slavery to philanthropy, and from satire to warfare, the essays in this anthology collectively demonstrate how the economic, political, social, cultural, and religious conditions of early America shaped and were shaped by ideals of masculinity. Contributors: Susan Abram, Tyler Boulware, Kathleen Brown, Trevor Burnard, Toby L. Ditz, Carolyn Eastman, Benjamin Irvin, Janet Moore Lindman, John Gilbert McCurdy, Mary Beth Norton, Ann Marie Plane, Jessica Choppin Roney, and Natalie A. Zacek.

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Fans and admirers of superstar Lucille Ball are invited into an insider's album of a time as meaningful to the beloved actress as it was to the people of Jamestown, New York. Lucy Comes Home uncovers the local media extravaganza surrounding Lucy's homecoming celebration, her historic first return since her meteoric rise to fame, accompanied by husband Desi Arnaz. Organised around the premiere of their MGM movie, Forever, Darling, Lucy and Desi attended a host of media events in this whirlwind homecoming tour, and OIsen has carefully collected and curated the photographs and narratives surrounding this momentous occasion. Featuring more than 100 archival photographs, this sensational visit of the hometown girl offers a previously unpublished view of an intimate yet very public episode of Lucy's life, which she considered "one of the best days of [her] life." Olsen's connection to all things Lucy has its origins with his mother, then Janice Swanson, who was Lucy's 'Homecoming Queen' during the visit. He calls the book a love letter to both his mother and Lucy.

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From the Copernican revolution of Immanuel Kant to the cognitive mapping of Fredric Jameson to the postcolonial politics of Gayatri Chakravorty Spivak, representation has been posed as both indispensable and impossible. In his pathbreaking work, The Abyss of Representation, George Hartley traces the development of this impossible necessity from its German Idealist roots through Marxist theories of postmodernism, arguing that in this period of skepticism and globalization we are still grappling with issues brought forth during the age of romanticism and revolution. Hartley shows how the modern problem of representation—the inability of a figure to do justice to its object—still haunts today's postmodern philosophy and politics. He reveals the ways the sublime abyss that opened up in Idealist epistemology and aesthetics resurfaces in recent theories of ideology and subjectivity.Hartley describes how modern theory from Kant through Lacan attempts to come to terms with the sublime limits of representation and how ideas developed with the Marxist tradition—such as Marx’s theory of value, Althusser’s theory of structural causality, or Zizek’s theory of ideological enjoyment—can be seen as variants of the sublime object. Representation, he argues, is ultimately a political problem. Whether that problem be a Marxist representation of global capitalism, a deconstructive representation of subaltern women, or a Chicano self-representation opposing Anglo-American images of Mexican Americans, it is only through this grappling with the negative, Hartley explains, that a Marxist theory of postmodernism can begin to address the challenges of global capitalism and resurgent imperialism.

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The Italian art cinema of the 1960s is known worldwide for its brilliance and vitality. Yet rarely has this cinema been considered in relation to the profound economic and cultural changes that transformed Italy during the sixties--described as the “economic miracle.” Angelo Restivo argues for a completely new understanding of that cinema as a negotiation between a national aesthetic tradition of realism and a nascent postmodern image culture.Restivo studies numerous films of the period, focusing mainly on the works of Pier Paolo Pasolini and Michelangelo Antonioni. He finds that these auteurs’ films reworked the neorealist aesthetic developed in the 1940s and 1950s, explored issues brought to the fore by the subsequent consumer boom, and presaged developments central to both critical theory and the visual arts in the 1980s and 1990s. Drawing on the theories of Lacan, Zizek, Benjamin, Foucault, Jameson, and Deleuze, he shines new light on such films as Pasolini’s Accattone and Teorema, and Antonioni’s Red Desert and Blow-Up. Restivo’s model for understanding the relationship of the 1960s Italian art film to its cultural contexts also has implications that extend to the developing national cinemas of countries such as Brazil and Taiwan. The Cinema of Economic Miracles will interest scholars and students in all areas of film studies, especially those studying theories of the image, national cinema theory, and Italian cinema, and to those engaged in poststructuralist theory, philosophy, and comparative literature.

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Jameson Walker approaches Joe Hunter when his daughter Jay and her friend Nicole go missing at a gas station in the Arizona desert while on a cross-country trek across the North American interior. He mentions that a robbery/homicide at the gas station as worrying as the girls were due to be in the vicinity at that time. Joe accepts the job of locating the girls, though not at first convinced there's much to worry about. As Joe picks up the girls' trail he discovers that other young women have also disappeared in the area, and comes across the brutish Logan family.

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Rey Chow is arguably one of the most prominent intellectuals working in the humanities today. Characteristically confronting both entrenched and emergent issues in the interlocking fields of literature, film and visual studies, sexuality and gender, postcolonialism, ethnicity, and cross-cultural politics, her works produce surprising connections among divergent topics at the same time as they compel us to think through the ethical and political ramifications of our academic, epistemic, and cultural practices. This anthology - the first to collect key moments in Chow's engaging thought - provides readers with an ideal introduction to some of her most forceful theoretical explorations. Organized into two sections, each of which begins with a brief statement designed to establish linkages among various discursive fields through Chow's writings, the anthology also contains an extensive Editor's Introduction, which situates Chow's work in the context of contemporary critical debates. For all those pursuing transnational cultural theory and cultural studies, this book is an essential resource. Praise for Rey Chow "[Rey Chow is] methodologically situated in the contentious spaces between critical theory and cultural studies, and always attending to the implications of ethnicity."--Social Semiotics "Rich and powerful work that provides both a dazzling synthesis of contemporary cultural theory and at the same time an exemplary critique of Chinese cinema."--China Information "Should be read by all who are concerned with the future of human rights, liberalism, multiculturalism, identity politics, and feminism."--Dorothy Ko "Wide-ranging, theoretically rich, and provocative...completely restructures the problem of ethnicity."--Fredric Jameson

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Lincolnshire is England's second-largest county—and one of the least well-known. Yet its understated chronicles, unfashionable towns and undervalued countryside conceal fascinating stories, and unique landscapes: its Wolds are lonely and beautiful, its towns characterful; its marshlands and dynamic coast are metaphors of constant change. From plesiosaurs to Puritans, medieval ghosts to eighteenth-century explorers, poets to politicians, and Vikings to Brexit, this marginal county is central to England's identity. Canute, Henry IV, John of Gaunt and Katherine Swynford all called Lincolnshire home. So did saints, world-famed churchmen and reformers—Etheldreda, Gilbert, Guthlac and Hugh, Robert Grosseteste, John Wycliffe, John Cotton, John Foxe and John Wesley—as well as Isaac Newton, Joseph Banks, John Harrison and George Boole. Lincolnshire explorers went everywhere: John Smith to Jamestown, George Bass and Matthew Flinders to Australia, and John Franklin to a bitter death in the Arctic. Artists and writers have been inspired—including Byrd, Taverner, Stukeley, Stubbs, Eliot and Tennyson—while Thatcher wrought neo-liberalism. Extraordinary architecture testifies to centuries of both settlement and unrest, from Saxon towers to sky-piercing spires; evocative ruined abbeys to the wonder of the Cathedral. And in between is always the little-known land itself—an epitome of England, awaiting discovery.

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It has become an intellectual commonplace to claim that we have entered the era of 'post-modernity'. Three themes are embraced in this claim - the poststructuralist critique by Foucault, Derrida and others of the philosophical heritage of the Enlightenment, the supposed impasse of the High Modern art and its replacement by new artistic forms, and the alleged emergence of 'post-industrial' societies whose structures are beyond the ken of Marx and other theorists of industrial capitalism. Against Postmodernism takes issue with all these themes. It challenges the idealist irrationalism of poststructuralism. It questions the existence of any radical break separating Post-modern from Modern art. And it denies that recent socio-economic developments represent any fundamental shift from classical patterns of capital accumulation. Drawing on philosophy and cultural history, Against Postmodernism takes issue with some of the most forthright critics of post-modernism - Jurgen Habermas and Frederic Jameson, for example. But it is most distinctive in that it offers a historical reading of these theories. Post-modernism, Alex Callinicos argues, reflects the disappointed revolutionary generation of '68, and the incorporation of many of its members into the professional and managerial 'new middle class'. It is best read as a symptom of political frustration and social mobility rather than as a significant intellectual or cultural phenomenon in its own right.

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And in Our Time brings together essays which, in diverse ways, not only revise existing views on thirties writing, but also provide ways of accounting for its critical neglect. The essays examine, from a variety of theoretical and critical perspectives, a body of work that reflects the true diversity of the literary and cultural contexts of the thirties, and includes studies of the of the work of Louis MacNeice, Frank Sheed, Christopher Dawson, Alick West, Christopher Caudwell, Stevie Smith, Storm Jameson, Phyllis Bottome, Ivy Compton-Burnett, Graham Greene, Eric Ambler, George Orwell, Christina Stead, Randall Swingler, and Ralph Fox.

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More than two dozen stories of Indigenous resistance to the privatization and allotment of Indigenous lands Land privatization has been a longstanding and ongoing settler colonial process separating Indigenous peoples from their traditional homelands, with devastating consequences. Allotment Stories delves into this conflict, creating a complex conversation out of narratives of Indigenous communities resisting allotment and other dispossessive land schemes.From the use of homesteading by nineteenth-century Anishinaabe women to maintain their independence to the role that roads have played in expropriating Guam’s Indigenous heritage to the links between land loss and genocide in California, Allotment Stories collects more than two dozen chronicles of white imperialism and Indigenous resistance. Ranging from the historical to the contemporary and grappling with Indigenous land struggles around the globe, these narratives showcase both scholarly and creative forms of expression, constructing a multifaceted book of diverse disciplinary perspectives. Allotment Stories highlights how Indigenous peoples have consistently used creativity to sustain collective ties, kinship relations, and cultural commitments in the face of privatization. At once informing readers while provoking them toward further research into Indigenous resilience, this collection pieces back together some of what the forces of allotment have tried to tear apart.Contributors: Jennifer Adese, U of Toronto Mississauga; Megan Baker, U of California, Los Angeles; William Bauer Jr., U of Nevada, Las Vegas; Christine Taitano DeLisle, U of Minnesota–Twin Cities; Vicente M. Diaz, U of Minnesota–Twin Cities; Sarah Biscarra Dilley, U of California, Davis; Marilyn Dumont, U of Alberta; Munir Fakher Eldin, Birzeit U, Palestine; Nick Estes, U of New Mexico; Pauliina Feodoroff; Susan E. Gray, Arizona State U; J. Kēhaulani Kauanui, Wesleyan U; Rauna Kuokkanen, U of Lapland and U of Toronto; Sheryl R. Lightfoot, U of British Columbia; Kelly McDonough, U of Texas at Austin; Ruby Hansen Murray; Tero Mustonen, U of Eastern Finland; Darren O’Toole, U of Ottawa; Shiri Pasternak, Ryerson U; Dione Payne, Te Whare Wānaka o Aoraki–Lincoln U; Joseph M. Pierce, Stony Brook U; Khal Schneider, California State U, Sacramento; Argelia Segovia Liga, Colegio de Michoacán; Leanne Betasamosake Simpson; Jameson R. Sweet, Rutgers U; Michael P. Taylor, Brigham Young U; Candessa Tehee, Northeastern State U; Benjamin Hugh Velaise, Google American Indian Network.

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Since the collapse of communism in Eastern Europe, the validity of Marxism and Marxist theory has undergone intense scrutiny both within and outside the academy. In Lukács After Communism, Eva L. Corredor conducts ten lively and engaging interviews with a diverse group of international scholars to address the continued relevance of György Lukács’s theories to the post-communist era. Corredor challenges these theoreticians, who each have been influenced by the man once considered the foremost theoretician of Marxist aesthetics, to reconsider the Lukácsean legacy and to speculate on Marxist theory’s prospects in the coming decades.The scholars featured in this collection—Etienne Balibar, Peter Bürger, Terry Eagleton, Fredric Jameson, Jacques Leenhardt, Michael Löwy, Roberto Schwarz, George Steiner, Susan Suleiman, and Cornel West—discuss a broad array of literary and political topics and present provocative views on gender, race, and economic relations. Corredor’s introduction provides a biographical synopsis of Lukács and discusses a number of his most important theoretical concepts. Maintaining the ongoing vitality of Lukács’s work, these interviews yield insights into Lukács as a philosopher and theorist, while offering anecdotes that capture him in his role as a teacher-mentor.

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Post-Postmodernism begins with a simple premise: we no longer live in the world of "postmodernism," famously dubbed "the cultural logic of late capitalism" by Fredric Jameson in 1984. Far from charting any simple move "beyond" postmodernism since the 1980s, though, this book argues that we've experienced an intensification of postmodern capitalism over the past decades, an increasing saturation of the economic sphere into formerly independent segments of everyday cultural life. If "fragmentation" was the preferred watchword of postmodern America, "intensification" is the dominant cultural logic of our contemporary era. Post-Postmodernism surveys a wide variety of cultural texts in pursuing its analyses—everything from the classic rock of Black Sabbath to the post-Marxism of Antonio Negri, from considerations of the corporate university to the fare at the cineplex, from reading experimental literature to gambling in Las Vegas, from Badiou to the undergraduate classroom. Insofar as cultural realms of all kinds have increasingly been overcoded by the languages and practices of economics, Nealon aims to construct a genealogy of the American present, and to build a vocabulary for understanding the relations between economic production and cultural production today—when American-style capitalism, despite its recent battering, seems nowhere near the point of obsolescence. Post-postmodern capitalism is seldom late but always just in time. As such, it requires an updated conceptual vocabulary for diagnosing and responding to our changed situation.

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Modern theory needs a history lesson. Neither Marx nor Nietzsche first gave us theory-Hegel did. To support this contention, Andrew Cole's The Birth of Theory presents a refreshingly clear and lively account of the origins and legacy of Hegel's dialectic as theory. Cole explains how Hegel boldly broke from modern philosophy when he adopted medieval dialectical habits of thought to fashion his own dialectic. While his contemporaries rejected premodern dialectic as outdated dogma, Hegel embraced both its emphasis on language as thought and its fascination with the categories of identity and difference, creating what we now recognize as theory, distinct from systematic philosophy. Hegel also used this dialectic to expose the persistent archaism of modern life itself, Cole shows, establishing a method of social analysis that has influenced everyone from Marx and the nineteenth-century Hegelians, to Nietzsche and Bakhtin, all the way to Deleuze and Jameson. By uncovering these theoretical filiations across time, The Birth of Theory will not only change the way we read Hegel, but also the way we think about the histories of theory. With chapters that powerfully reanimate the overly familiar topics of ideology, commodity fetishism, and political economy, along with a groundbreaking reinterpretation of Hegel's famous master/slave dialectic, The Birth of Theory places the disciplines of philosophy, literature, and history in conversation with one another in an unprecedented way.

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After the Second World War, nationalism emerged as the principle expression of resistance to Western imperialism in a variety of regions from the Indian subcontinent to Africa, to parts of Latin America and the Pacific Rim. With the Bandung Conference and the formation of the Non-Aligned Movement, many of Europe's former colonies banded together to form a common bloc, aligned with neither the advanced capitalist "First World" nor with the socialist "Second World." In this historical context, the category of "Third World literature" emerged, a category that has itself spawned a whole industry of scholarly and critical studies, particularly in the metropolitan West, but increasingly in the homelands of the Third World itself.Setting himself against the growing tendency to homogenize "Third World" literature and cultures, Aijaz Ahmad has produced a spirited critique of the major theoretical statements on "colonial discourse" and "post-colonialism," dismantling many of the commonplaces and conceits that dominate contemporary cultural criticism. With lengthy considerations of, among others, Fredric Jameson, Edward Said, and the Subaltern Studies group, In Theory also contains brilliant analyses of the concept of Indian literature, of the genealogy of the term "Third World," and of the conditions under which so-called "colonial discourse theory" emerged in metropolitan intellectual circles.Erudite and lucid, Ahmad's remapping of the terrain of cultural theory is certain to provoke passionate response.

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Seductive Reasoning takes a provocative look at contemporary Anglo-American literary theory, calling into question the critical consensus on pluralism's nature and its status in literary studies. Drawing on the insights of Marxist and feminist critical theory and on the works of Althusser, Derrida, and Foucault, Rooney reads the pluralist’s invitation to join in a "dialogue" as a seductive gesture. Critics who respond find that they must seek to persuade all of their potential readers. Rooney examines pluralism as a form of logic in the work of E. D. Hirsch, as a form of ethics for Wayne Booth, as a rhetoric of persuasion in the books of Stanley Fish. For Paul de Man, Rooney argues, pluralism was a rhetoric of tropes just as it was, for Fredric Jameson, a form of politics.

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Immigration, writes Maldwyn Allen Jones, was America's historic raison d'être. Reminding us that the history of immigration to the United States is also the history of emigration from somewhere else, Mr. Jones considers the forces that uprooted emigrants from their homes in different parts of the world and analyzes the social, economic, and psychological adjustments that American life demanded of them—adjustments essentially the same for the Jamestown settlers and for Vietnamese refugees. As well as measuring the impact of America on the lives of the sixty million or so immigrants who have arrived since 1607, he assesses their role in industrialization, the westward movement, labor organization, politics, foreign policy, the growth of American nationalism, and the theory and practice of democracy. In this new edition, Jones brings his history of immigration to the United States up to 1990. His new chapter covers the major changes in immigration patterns caused by changes in legislation, such as the Immigration and Nationality Act of 1965. "It is done with a grasp of regional, chronological, national and racial information, plus that 'feel' for the situation which can come only from the vast resources and a gift for interpretation."—A. T. DeGroot, Christian Century "A scholarly contribution, based on a thorough mastery of the subject."—Carl Wittke, Journal of Southern History

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Slavery existed in North America long before the first Africans arrived at Jamestown in 1619. For centuries, from the pre-Columbian era through the 1840s, Native Americans took prisoners of war and killed, adopted, or enslaved them. Christina Snyder's pathbreaking book takes a familiar setting for bondage, the American South, and places Native Americans at the center of her engrossing story. Indian warriors captured a wide range of enemies, including Africans, Europeans, and other Indians. Yet until the late eighteenth century, age and gender more than race affected the fate of captives. As economic and political crises mounted, however, Indians began to racialize slavery and target African Americans. Native people struggling to secure a separate space for themselves in America developed a shared language of race with white settlers. Although the Indians' captivity practices remained fluid long after their neighbors hardened racial lines, the Second Seminole War ultimately tore apart the inclusive communities that Native people had created through centuries of captivity.Snyder's rich and sweeping history of Indian slavery connects figures like Andrew Jackson and Cherokee chief Dragging Canoe with little-known captives like Antonia Bonnelli, a white teenager from Spanish Florida, and David George, a black runaway from Virginia. Placing the experiences of these individuals within a complex system of captivity and Indians' relations with other peoples, Snyder demonstrates the profound role of Native American history in the American past.

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This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877–1968), one of the early twentieth century’s few African American women artists. To understand Fuller’s strategy for negotiating race, history, and visual representation, Renée Ater examines the artist’s contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation, a freestanding group for the National Emancipation Exposition (1913); and Ethiopia, the figure of a single female for the America’s Making Exposition (1921). Ater argues that Fuller’s efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.

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U.S. Marshal Jameson Arkeley taught police investigator and vampire fighter Laura Caxton everything she knows about monsters. When an army of vampires attacked Gettysburg, Arkeley gave up his own life to save others. Except he didn't exactly die . . .He accepted the curse and is now a vampire himself - one that knows all the tricks better than anyone else. Now Laura is faced with the task of destroying him before he succeeds in his quest to exterminate his own family, one member at a time. But Arkeley knows all her tactics too; after all, he taught her.Worse still, if Laura fails to stop him then Arkeley will become a beast exponentially more dangerous - a Vampire Zero.

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THE NEW YORK TIMES BESTSELLERThe one and only autobiography by the iconic Lucille Ball, hailed by TV Guide as the “#1 Greatest TV Star of All Time.”Love, Lucy is the valentine Lucille Ball left for her fans—a warm, wise, and witty memoir written by Lucy herself. The legendary star of the classic sitcom I Love Lucy was at the pinnacle of her success when she sat down to record the story of her life. No comedienne had made America laugh so hard, no television actress had made the leap from radio and B movies to become one of the world's best-loved performers. This is her story—in her own words.The story of the ingenue from Jamestown, New York, determined to go to Broadway, destined to make a big splash, bound to marry her Valentino, Desi Arnaz. In her own inimitable style, she tells of their life together—both storybook and turbulent; intimate memories of their children and friends; wonderful backstage anecdotes; the empire they founded; the dissolution of their marriage. And, with a heartfelt happy ending, her enduring marriage to Gary Morton.Here is the lost manuscript that her fans and loved ones will treasure. Here is the laughter. Here is the life. Here’s Lucy...“The comic actress in her own words...intensley moving.”—San Francisco Chronicle“Filled with light and laughter.”—New York Times Book Review

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Post-Postmodernism begins with a simple premise: we no longer live in the world of "postmodernism," famously dubbed "the cultural logic of late capitalism" by Fredric Jameson in 1984. Far from charting any simple move "beyond" postmodernism since the 1980s, though, this book argues that we've experienced an intensification of postmodern capitalism over the past decades, an increasing saturation of the economic sphere into formerly independent segments of everyday cultural life. If "fragmentation" was the preferred watchword of postmodern America, "intensification" is the dominant cultural logic of our contemporary era. Post-Postmodernism surveys a wide variety of cultural texts in pursuing its analyses—everything from the classic rock of Black Sabbath to the post-Marxism of Antonio Negri, from considerations of the corporate university to the fare at the cineplex, from reading experimental literature to gambling in Las Vegas, from Badiou to the undergraduate classroom. Insofar as cultural realms of all kinds have increasingly been overcoded by the languages and practices of economics, Nealon aims to construct a genealogy of the American present, and to build a vocabulary for understanding the relations between economic production and cultural production today—when American-style capitalism, despite its recent battering, seems nowhere near the point of obsolescence. Post-postmodern capitalism is seldom late but always just in time. As such, it requires an updated conceptual vocabulary for diagnosing and responding to our changed situation.

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The shape, lineation, and prosody of postmodern poems are extravagantly inventive, imbuing both form and content with meaning. Through a survey of American poetry and poetics from the end of World War II to the present, Michael Golston traces the proliferation of these experiments to a growing fascination with allegory in philosophy, linguistics, critical theory, and aesthetics, introducing new strategies for reading American poetry while embedding its formal innovations within the history of intellectual thought. Beginning with Walter Benjamin's explicit understanding of Surrealism as an allegorical art, Golston defines a distinct engagement with allegory among philosophers, theorists, and critics from 1950 to today. Reading Fredric Jameson, Angus Fletcher, Roland Barthes, and Craig Owens, and working with the semiotics of Charles Sanders Pierce, Golston develops a theory of allegory he then applies to the poems of Louis Zukofsky and Lorine Niedecker, who, he argues, wrote in response to the Surrealists; the poems of John Ashbery and Clark Coolidge, who incorporated formal aspects of filmmaking and photography into their work; the groundbreaking configurations of P. Inman, Lyn Hejinian, Myung Mi Kim, and the Language poets; Susan Howe's "Pierce-Arrow," which he submits to semiotic analysis; and the innovations of Craig Dworkin and the conceptualists. Revitalizing what many consider to be a staid rhetorical trope, Golston positions allegory as a creative catalyst behind American poetry's postwar avant-garde achievements.

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