With this edition Swallow Press presents two of Anna Akhmatova’s best-known works that represent the poet at full maturity, and that most trenchantly process the trauma she and others experienced living under Stalin’s regime.
Akhmatova began the three-decade process of writing “Requiem” in 1935 after the arrests of her son, Lev Gumilev, and her third husband. The autobiographical fifteen-poem cycle primarily chronicles a mother’s wait—lining up outside Leningrad Prison every day for seventeen months—for news of her son’s fate. But from this limbo, Akhmatova expresses and elevates the collective grief for all the thousands vanished under the regime, and for those left behind to speculate about their loved ones’ fates. Similarly, Akhmatova wrote “Poem without a Hero” over a long period. It takes as its focus the transformation of Akhmatova’s beloved city of St. Petersburg—historically a seat of art and culture—into Leningrad. Taken together, these works plumb the foremost themes for which Akhmatova is known and revered. When Ohio University Press published D. M. Thomas’s translations in 1976, it was the first time they had appeared in English. Under Thomas’s stewardship, Akhmatova’s words ring clear as a bell.
In Re-reading Poets, Paul Kameen offers a deep reflection on the importance of poets and poetry to the reader. Through his historical, philosophical, scholarly, and personal commentary on select poems, Kameen reveals how these works have helped him form a personal connection to each individual poet. He relates their profound impact not only on his own life spent reading, teaching, and writing poetry, but also their potential to influence the lives of readers at every level.
In an examination of works by William Wordsworth, Samuel Taylor Coleridge, Walt Whitman, and others, Kameen seeks to sense each author’s way of seeing, so that author and reader may meet in a middle ground outside of their own entities where life and art merge in deeply intimate ways. Kameen counters ideologies such as New Criticism and poststructuralism that marginalize the author, and instead focuses on the author as a vital presence in the interpretive process. He analyzes how readers look to the past via “tradition,” conceptualizing history in ways that pre-process texts and make it difficult to connect directly to authors. In this vein, Kameen employs examples from T. S. Eliot, Martin Heidegger, and Mikhail Bakhtin.
Kameen examines how people become poets and how that relates to the process of actually writing poems. He tells of his own evolution as a poet and argues for poetry as a means to an end beyond the poetic, rather than an end in itself. In Re-reading Poets, Kameen’s goal is not to create a new dictum for teaching poetry, but rather to extend poetry’s appeal to an audience far beyond academic walls.
Complex and focused, this collection of poems moves along the line between waking and sleeping to reveal a narrator who is contemplating her origins as well as her future. Pugh frequently turns in her work to the image of a bed--as a source of comfort, an erotic landing, and a place for dreaming. For Pugh, dreams both obscure and reveal, their language a code to be analyzed, as in her longer meditation inspired by Freud's case history "Dora." After dipping dangerously far into dreams, Pugh's poems return to a world of activity, full of physicality before becoming calm. At the end of the book, the self is restored and can see the world through a newly formed lens taken from its dreams.
The Revival of Metaphysical Poetry was first published in 1959. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The metaphysical style, as expressed in its most distinguished and distinguishable form by the seventeenth-century poet John Donne, has had an increasing influence on latterday critics and poets. Thus it is important to an understanding of literary history to examine this revival. Professor Duncan traces the movement and analyzes changing interpretations of the style in the work of British and American poets and critics. He shows that much of the "new criticism" and the metaphysical poetry of T. S. Eliot and that of the metaphysical style has thrived on fresh critical interpretation and vital poetic experimentation.
How modernist interartistic experimentation and the proliferation of new media technologies inspired fresh insights into poetry
Isobel Palmer spotlights Russian modernist poets’ and formalist theorists’ conscious engagement with formal convention, showing how their efforts were tied up with broader attempts in the early Soviet era to understand and articulate the nature of poetry and its most characteristic devices. Returning to critical debates around poetic encounters with three key aesthetic categories—rhythm, image, and voice—Palmer unpacks the period’s deeper interest in the material bases of poetic speech itself. Through fresh, incisive readings of canonical poets and theorists, from Andrei Bely and Vladimir Mayakovsky to Yury Tynianov and Viktor Shklovsky, Revolutions in Verse: The Medium of Russian Modernism explores the proliferation of interartistic experiments and the emergence of new media technologies that made poetry visible as a medium in its own right.
Innovative poetry, philosophy, theology and new sciences converge in the project of rewriting the word “God”
Despite its global popularity, rap has received little scholarly attention in terms of its poetic features. Rhymes in the Flow systematically analyzes the poetics (rap beats, rhythms, rhymes, verse and song structures) of many notable rap songs to provide new insights on rap artistry and performance. Defining and describing the features of what rappers commonly call flow, the authors establish a theory of the rap line as they trace rap’s deepest roots and stylistic evolution—from Anglo-Saxon poetry to Lil Wayne—and contextualize its complex poetics. Rhymes in the Flow helps explain rap’s wide appeal by focusing primarily on its rhythmic and thematic power, while also claiming its historical, cultural, musical, and poetic importance.
In Rice, her second volume of poetry, Nikky Finney explores the complexity of rice as central to the culture, economy, and mystique of the coastal South Carolina region where she was born and raised. The prized Carolina Gold rice paradoxically made South Carolina one of the most oppressive states for slaves and also created the remarkable Gullah culture on the coastal islands. The poems in Rice compose a profound and unflinching journey connecting family and the paradoxes of American history, from the tragic times when African slaves disembarked on the South Carolina coast to the triumphant day when Judge Ernest A. Finney Jr., Nikky’s father, was sworn in as South Carolina’s first African American chief justice. Images from the Finney family archive illustrate and punctuate this collection. Rice showcases Finney’s hungry intellect, her regional awareness and pride, and her sensitivity to how cultures are built and threatened.
What made the classical scholar Richard Bentley deserve to be so viciously skewered by two of the literary giants of his day—Jonathan Swift in the Battle of the Books and Alexander Pope in the Dunciad? The answer: he had the temerity to bring classical study out of the scholar's closet and into the drawing rooms of polite society. Kristine Haugen’s highly engaging biography of a man whom Rhodri Lewis characterized as “perhaps the most notable—and notorious—scholar ever to have English as a mother tongue” affords a fascinating portrait of Bentley and the intellectual turmoil he set in motion.
Aiming at a convergence between scholarship and literary culture, the brilliant, caustic, and imperious Bentley revealed to polite readers the doings of professional scholars and induced them to pay attention to classical study. At the same time, Europe's most famous classical scholar adapted his own publications to the deficiencies of non-expert readers. Abandoning the church-oriented historical study of his peers, he worked on texts that interested a wider public, with spectacular and—in the case of his interventionist edition of Paradise Lost—sometimes lamentable results.
If the union of worlds Bentley craved was not to be achieved in his lifetime, his provocations show that professional humanism left a deep imprint on the literary world of England's Enlightenment.
In 1968 Jim Morrison, founder and lead singer of the rock band the Doors, wrote to Wallace Fowlie, a scholar of French literature and a professor at Duke University. Morrison thanked Fowlie for producing an English translation of the complete poems of Rimbaud. He needed the translation, he said, because, "I don’t read French that easily. . . . I am a rock singer and your book travels around with me." Fourteen years later, when Fowlie first heard the music of the Doors, he recognized the influence of Rimbaud in Morrison’s lyrics.
In Rimbaud and Jim Morrison Fowlie, a master of the form of the memoir, reconstructs the lives of the two youthful poets from a personal perspective. In their twinned stories he discovers an uncanny symmetry, a pattern far richer than the simple truth that both led lives full of adventure and both made poetry of their thirst for the liberation of the self. The result is an engaging account of the connections between an exceptional French symbolist who gave up writing poetry at the age of twenty, died young, and whose poems are still avidly read to this day, and an American rock musician whose brief career ignited an entire generation and has continued to fascinate millions around the world in the twenty years since his death in Paris. In this dual portrait, Fowlie gives us a glimpse of the affinities and resemblances between European literary traditions and American rock music and youth culture in the late twentieth century.
A personal meditation on two unusual, yet emblematic, cultural figures, this book also stands as a summary of a noted scholar’s lifelong reflections on creative artists.
In a new interpretation of a poet who has swayed the course of modern poetry--in France and elsewhere--James Lawler focuses on what he demonstrates is the crux of Rimbaud's imagination: the masks and adopted personas with which he regularly tested his identity and his art.
A drama emerges in Lawler's urbane and resourceful reading. The thinking, feeling, acting Drunken Boat is an early theatrical projection of the poet's self; the Inventor, the Memorialist, and the Ingénu assume distinct roles in his later verse. It is, however, in Illuminations and Une Saison en enfer that Rimbaud enacts most powerfully his grandiose dreams. Here the poet becomes Self Creator, Self-Critic, Self-Ironist; he takes the parts of Floodmaker, Oriental Storyteller, Dreamer, Lover; and he recounts his descent into Hell in the guise of a Confessor.
In delineating and exploring the poet's "theatre of the self" Lawler shows us the tragic lucidity and the dramatic coherence of Rimbaud's work.
The greatest classic of Sindhi literature presented here in an authoritative and vivid modern English translation.
Shah Abdul Latif’s Risalo is acknowledged across Pakistan and the wider diaspora as the greatest classic of Sindhi literature. In this collection of short Sufi verses, originally composed for musical performance, the poet creates a vast imaginative world of interlocking references to traditional Islamic themes of mystical and divine love and the scenery, society, and legends of the Sindh region.
Latif (1689–1752), a contemporary of the Panjabi poet Bullhe Shah, belonged to the class of Sufi saints whose shrines remain prominent features of the Sindhi landscape. The Risalo reflects Latif’s profound engagement with the fundamental literature of Islam as well as his openness to varied local traditions, including notable poems praising the spiritual devotion of local Hindu yogis.
This edition presents, alongside the original text in the Sindhi Naskh script, the first translation of the Risalo into modern English prose, offering a new readership access to the writings of one of the masters of Sufi poetry.
Winner of the Agha Shahid Ali Poetry Prize
In The Rival, Sara Wallace takes her readers on an intimate journey through a woman’s solitary, surreal rural childhood and her brutal, sexually fraught first marriage to the conflicted redemption she finds in motherhood and a second chance at love. In this debut poetry collection, Wallace reveals how closely emotional devastation and transcendence can coexist. The Rival is sensuous, darkly humorous, and frequently luminous in its unflinching exploration of the inner life.
In Roads Not Taken, Earl J. Wilcox and Jonathan N. Barron bring a new freshness and depth to the study of one of America's greatest poets. While some critics discounted Frost as a poet without technical skill, rhetorical complexity, or intellectual depth, over the past decade scholars have begun to view Robert Frost's work from many new perspectives. Critical hermeneutics, culture studies, feminism, postmodernism, and textual editing all have had their impact on readings of the poet's life and work. This collection of essays is the first to account for the variety of these new perceptions.
Appealing to a wide literary community, and in keeping with Frost's own poetic goals, these twelve essays fall into four distinct categories: gender, biography and cultural studies, the intertext, and poetics and theory.
All the contributors, many of whom have written books on Frost, are widely recognized scholars. Their diverse viewpoints and collective expertise make this volume of essays the most significant contribution to Frost criticism to be published in over twenty years.
Roam explores the loss of a parent to cancer and the resulting uprootedness that loss can create. In searching for a sense of home and belonging, this collection of free verse looks both inward and outward, to landscapes rural and urban, and speaks in haunting and musical lyrics. Unexpected voices emerge from history and myth—those of Joan of Arc, Ophelia, Circe, Daedalus and Icarus, and Achilles’ mother, Thetis—and mingle with the author’s own voice. From the naming of the first woman, Eve, to the naming of the first European child born in the Americas, Virginia Dare, these characters seek full houses and, instead, discover empty ones. In a voice that is southern, feminist, and unflinching in its assessments of the self, Susan B. A. Somers-Willett treats personal loss without ceremony or nostalgia. The poems of Roam look homeward while acknowledging that one can never return to such elusive comforts. Her lyrics reveal the dangers and delights of an ever-changing, ever-traveling sense of self.
This collection of essays by leading critics and poets charts Robert Hayden’s growing reputation as a major writer of some of the twentieth century’s most important poems on African-American themes, including the famed “Middle Passage” and “Frederick Douglass.” The essays illuminate the themes and techniques that established Hayden as a modernist writer with affinities to T. S. Eliot, Federico Garcia Lorca, and W. B. Yeats, as well as to traditions of African-American writings that include such figures as Countee Cullen and Langston Hughes.
Robert Hayden: Essays on the Poetryis the first and only book to collect significant essays on this distinguished poet. Covering sixty years of commentary, book reviews, essays, and Hayden’s own published materials, this volume is an invaluable contribution to our understanding of the poet’s vision of experience, artistry, and influence. The book includes forty different works that examine the life and poetry of Hayden, the first African-American to serve as Consultant in Poetry to the Library of Congress (the post now called Poet Laureate) and to receive the Grand Prix de la Poesie at the First World Festival of Negro Arts, Dakar, Senegal, in 1966.
This book sheds new light on the work of Robert Hayden (1913–80) in response to changing literary scholarship. While Hayden’s poetry often reflected aspects of the African American experience, he resisted attempts to categorize his poetry in racial terms. This fresh appreciation of Hayden’s work recontextualizes his achievements against the backdrop of the Black Arts Movement and traces his influence on contemporary African American poets. Placing Hayden at the heart of a history of African American poetry and culture spanning the Harlem Renaissance to the Hip-Hop era, the book explains why Hayden is now a canonical figure in 20th-century American literature.
In deep readings that focus on Hayden’s religiousness, class consciousness, and historical vision, author Derik Smith inverts earlier scholarly accounts that figure Hayden as an outsider at odds with the militancy of the Black Arts movement. Robert Hayden in Verse offers detailed descriptions of the poet’s vigorous contributions to 1960s discourse about art, modernity, and blackness to show that the poet was, in fact, an earnest participant in Black Arts-era political and aesthetic debates.
The narrator in this latest collection of poems by Ray Young Bear is alter ego and spiritual seeker Edgar Bearchild, who balances the hapless polarities of life in the Black Eagle Child Settlement with wry humor, a powerful intelligence, and the occasional designer drug. Bearchild is forever infused with revelations both modern and ancient, forever influenced by tribal history, animism, supernaturalism, religion, and mythology.
Whether faced with tragedy or comedy, Bearchild lives in a world replete with signs and portents, from the Lazy-Boy recliner that visually accesses a faraway crime to the child's handprint that mysteriously appears on a frosty ladder. Edgar and his wife, Selene Buffalo Husband, and the other members of the Black Eagle Child Settlement create and recreate prophecies that “quietly wait and glow” in the “mythical darkness that would follow the stories.”
Poet, novelist, and performing artist Ray Young Bear is a tribal member of the Meskwaki Nation of central Iowa. He is the author of Winter of the Salamander, The Invisible Musician, Black Eagle Child: The Facepaint Narratives (Iowa, 1992), and Remnants of the First Earth.
Meshing her own wit, verve, and gusto with that of the Roman poets she translates, Dorothea Wender strips both the cloak of awe and the dusty mantle of boredom from the classics.
Available for the first time in paper, these English verse translations of the major classical Roman poets feature hefty selections from the savage urban satire of Juvenal, the moving philosophy of Lucretius, the elegance of Horace, the grace and humor of Catullus, the grave music of Virgil, the passion of Propertius, the sexy sophistication of Ovid, and the obscenity of Martial.
Noting Wender’s “candor,” the Classical Outlook reported that in “20th-century terms, she makes the poems lively and pertinent.”
The Boston Globe said, “The conciseness is astonishing, the information [in the introductions to each poet] provocative. The freshness of the selections should do much to augment the audience for these poets and may even inspire examination of the originals.”
The best advice came from Wender herself: “Read these good poems.”
James Allen Hall returns to poetry with Romantic Comedy, a sophomore collection sounding the parameters of genre to subvert cultural notions of literary value and artistic legitimacy. What realities do stories authorize, and which remain untold? “This story,” they profess in “Biography,” “is mine: there was / a wound, then a world.” Rather than playing into the attention economy’s appetite for sensationalism, Hall’s poems resist the formulaic while paying homage to the oeuvre, a formal balancing act that celebrates queer life.The poems create liberatory narratives that break constraints or speak through them. Hall parses music from the blizzard — as when “one year / [they] watched the snow / pile to [their] door / all December, all / January,” “the year [they] wanted / to die,” and, faced with winter’s architecture, “learned / another song. Sang / another way.” Whether grieving the death of their father, documenting the survival of sexual assault, interrogating the scripts of addiction, or revisiting an ’80s crime thriller, Hall’s second collection constantly affirms the ingenuity of self-definition as a technology of survival.
Few can match Charles Rosen's cultivation and discernment, whether as pianist, music historian, or critic. Here he gives us a performance of literary criticism as high art, a critical conjuring of the Romantic period by way of some of its central texts.
"What is the real business of the critic?" Rosen asks of George Bernard Shaw in one of his essays. It is a question he answers throughout this collection as he demonstrates and analyzes various critical approaches. In writing about the Romantic poets Lord Byron, William Wordsworth, William Cowper, and Friedrich Hölderlin, he examines the kind of criticism which attempts to uncover concealed code. He investigates the relationship between Romantic aesthetic theory and artworks, and explores the way Romantic art criticism has been practiced by critics from Friedrich Schlegel to Walter Benjamin. In essays on Honoré de Balzac, Robert Schumann, Gustave Flaubert, and others, he highlights the intersections between Romantic art and music; the artist's separation of life and artistic representations of it; and the significance of the established text.
With an apt comparison or a startling juxtaposition, Rosen opens whole worlds of insight, as in his linking of Caspar David Friedrich's landscape painting and Schumann's music, or in his review of the theory and musicology of Heinrich Schenker alongside the work of Roman Jakobson.
Throughout this volume we hear the voice of a shrewd aesthetic interpreter, performing the critic's task even as he redefines it in his sparkling fashion.
A Romantic View of Poetry was first published in 1944. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Poetry is of the very essence of living. In this belief Joseph Warren Beach discusses the ways in which poet and reader create and live "a being more intense" and thereby fulfill the function of poetry. "Wherever there is life," says Beach, "there poetry is present potentially and in its rudiments . . . and poetry, as I conceive it, is the sovereign means we have of realizing the satisfaction which we take in living."
Against the background of the Romantic School, he develops a pattern for the understanding of poetry that applies to all schools and to all readers. Poetry of realization and release cannot be circumscribed. Wordsworth, Coleridge, Byron, Keats, and Shelley stand here as examples of the poetic artist. And every person who responds to the work of the poet shares with him the imaginative stimulus of poetic creation.
A Romantic View of Poetry consists of a series of lectures delivered by Mr. Beach at the Johns Hopkins University in 1941 on the Percy Turnball Memorial Foundation.
Exploring the full range of Novalis's (the pen name of the German poet and philosopher Friedrich von Hardenberg) work, von Molnar shows how he dealt, in theory and practice, with a central issue in Romanticism-the emerging concept of the autonomous self and its relation.
Romey's Order is an indelible sequence of poems voiced by an invented (and inventive) boy-speaker called Romey, set alongside a river in the South Carolina lowcountry.
As the word-furious eye and voice of these poems, Romey urgently records--and tries to order--the objects, inscape, injuries, and idiom of his "blood-home" and childhood world. Sounding out the nerves and nodes of language to transform "every burn-mark and blemish," to “bind our river-wrack and leavings," Romey seeks to forge finally (if even for a moment) a chord in which he might live. Intently visceral, aural, oral, Atsuro Riley's poems bristle with musical and imaginative pleasures, with story-telling and picture-making of a new and wholly unexpected kind.
Traveling to the most intimate extremes of the human heart
Fraught with madness, brutality, and ecstasy, Traci Brimhall’s Rookery delves into the darkest and most remote corners of the human experience. From the graveyards and battlefields of the Civil War to the ancient forests of Brazil, from desire to despair, landscapes both literal and emotional are traversed in this unforgettable collection of poems. Brimhall guides readers through ever-winding mazes of heartbreak and treachery, and the euphoric dreams of missionaries. The end of days, the intoxication of religion that at times borders on terror, and the post-evangelical experience intertwine with the haunting redemptions and metamorphoses found in violence. These tender yet ruthless poems, brimming with danger and longing, lure readers to “a place where everyone is transformed by suffering.”
The Room Withinis a retrospective survey of a poetic career dating back to the late fifties. A student of Yvor Winters at Stanford, Moore Moran has deservedly earned a reputation, along with fellow Winters students Turner Cassity and Edgar Bowers, as a “poet’s poet.” He stands, though, not as a disciple, but as a poet who has earned his own voice over the decades, a voice at once familiar and haunting, down-to-earth and carefully wrought—a unique sensibility that emerges not full blown, but rather line by careful line.
Emily Dickinson wrote a "letter to the world" and left it lying in her drawer more than a century ago. This widely admired epistle was her poems, which were never conventionally published in book form during her lifetime. Since the posthumous discovery of her work, general readers and literary scholars alike have puzzled over this paradox of wanting to communicate widely and yet apparently refusing to publish. In this pathbreaking study, Martha Nell Smith unravels the paradox by boldly recasting two of the oldest and still most frequently asked questions about Emily Dickinson: Why didn't she publish more poems while she was alive? and Who was her most important contemporary audience?
Regarding the question of publication, Smith urges a reconception of the act of publication itself. She argues that Dickinson did publish her work in letters and in forty manuscript books that circulated among a cultured network of correspondents, most important of whom was her sister-in-law, Susan Huntington Gilbert Dickinson. Rather than considering this material unpublished because unprinted, Smith views its alternative publication as a conscious strategy on the poet's part, a daring poetic experiment that also included Dickinson's unusual punctuation, line breaks, stanza divisions, calligraphic orthography, and bookmaking—all the characteristics that later editors tried to standardize or eliminate in preparing the poems for printing.
Dickinson's relationship with her most important reader, Sue Dickinson, has also been lost or distorted by multiple levels of censorship, Smith finds. Emphasizing the poet-sustaining aspects of the passionate bonds between the two women, Smith shows that their relationship was both textual and sexual. Based on study of the actual holograph poems, Smith reveals the extent of Sue Dickinson's collaboration in the production of poems, most notably "Safe in Their Alabaster Chambers." This finding will surely challenge the popular conception of the isolated, withdrawn Emily Dickinson.
Well-versed in poststructuralist, feminist, and new textual criticism, Rowing in Eden uncovers the process by which the conventional portrait of Emily Dickinson was drawn and offers readers a chance to go back to original letters and poems and look at the poet and her work through new eyes. It will be of great interest to a wide audience in literary and feminist studies.
Winner, 2020-2021 Northeastern Minnesota Book Award
Over the course of the book, she explores how a child grows from a hint, a rumor, to a full force of intelligence and knowing. "Motherland" and "Last Wave" amplify voices, respectively, of exploited children in the brutal Thai sex trade and the victims in the aftermath of the 2004 tsunami in the Indian Ocean. The fragmentary nature of rumor, whether in the form of tabloid gossip or in the spread of partial knowledge, has consequence on a personal and even a world historical scale in Triplett's powerful poems.
These poems deal honestly with the realities of urban life, whether dramatizing the effects of drive-by shootings, unfolding a labor protest that "spreads across the city like a prayer," or summoning a ghostlike immigrant damned to retrace his journey across the border. Daily and historical struggles are elevated to the level of myth. Yet, amid these poems there are images of life and love: a girl leaving hickeys rich as chocolate, a boy pledging to rescue his mother from poverty, a man studying the desert ground for tracks signaling immigrants in distress.
Delgado is unflinching in showing us the harshness surrounding the lives he cherishes, and with resonant details and lyrical language he urges us to examine those lives-and ultimately our own. A Rush of Hands is a spellbinding book that will captivate both the ear and the heart.
A writer who defies categorization, Daniil Kharms has come to be regarded as an essential artist of the modernist avant-garde. His writing, which partakes of performance, narrative, poetry, and visual elements, was largely suppressed during his lifetime, which ended in a psychiatric ward where he starved to death during the siege of Leningrad. His work, which survived mostly in notebooks, can now be seen as one of the pillars of absurdist literature, most explicitly manifested in the 1920s and ’30s Soviet Union by the OBERIU group, which inherited the mantle of Russian futurism from such poets as Vladimir Mayakovsky and Velimir Khlebnikov. This selection of prose and poetry provides the most comprehensive portrait of the writer in English translation to date, revealing the arc of his career and including a particularly generous selection of his later work.
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