Alain Badiou and Slavoj Žižek together have emerged as two of Europe’s most significant living philosophers. In a shared spirit of resistance to global capitalism, both are committed to bringing philosophical reflection to bear upon present-day political circumstances. These thinkers are especially interested in asking what consequences the supposed twentieth-century demise of communism entails for leftist political theory in the early twenty-first century.
Badiou, Žižek, and Political Transformations examines Badiouian and Žižekian depictions of change, particularly as deployed at the intersection of philosophy and politics. The book details the origins of Badiou’s concept of the event and Žižek’s concept of the act as related theoretical visions of revolutionary happenings, delineating a number of difficulties arising from these similar concepts. Johnston finds that Badiou and Žižek tend to favor models of transformation that risk discouraging in advance precisely the efforts at changing the world of today that these uncompromising leftists so ardently desire. Badiou, Žižek, and Political Transformations will surely join Johnston’s Žižek’s Ontology as an instant classic in its field.
Borrowing from Romare Bearden’s aesthetic palette and inspired by his Odysseus series, Bearden’s Odyssey gathers, for the first time, poems from thirty-five of the most revered African diaspora poets in the United States. Poetic echoes come forth in themes of inspiration with historical intersections of one of the greatest visual artists of the twentieth century.
The award-winning editors, Kwame Dawes and Matthew Shenoda, assemble an esteemed literary congregation, with original poems by Chris Abani, Rita Dove, Lyrae Van Clief-Stefanon, Ed Roberson, Aracelis Girmay, Yusef Komunyakaa, and more. With a powerful foreword by Nobel laureate Derek Walcott and stunning visual reproductions of select Bearden masterpieces, this anthology fuses art and literature, standing as a testament to Romare Bearden’s power and influence in the contemporary artistic world.
Winner of the Global Humanities Translation Prize
A classic of modern Provençal literature, Jóusè d’Arbaud’s 1926 masterpiece “The Beast of Vacarés” (also known as “The Beast of Vaccarès”) is a haunting parable. Set during the fifteenth century, the tale is narrated by a solitary bull herder—known as a gardian—who stumbles upon a starving creature that is half man, half goat. Terrified, the gardian is nonetheless drawn to the eloquent Beast, a dying demigod who laments the loss of his glorious past even as he wields power over the animals around him. Torn between pity and fear, unable to understand his experiences and afraid he will be condemned for heresy, the gardian records his encounters in a journal, hoping that one day readers will make sense of what he cannot.
Set in the vast, lonely landscape of the Camargue delta, where the Rhône meets the Mediterranean, The Beast seamlessly melds fantasy with naturalistic detail about the region’s flora and fauna. Three additional stories—“The Caraco,” “Pèire Guilhem’s Remorse,” and “The Longline”—explore the lives of twentieth-century gardians in the region. Each man succumbs to fears and social pressure, tragically losing what he most loves.
Among the best-represented authors in Samuel Beckett’s library was Ludwig Wittgenstein, yet the philosopher’s relevance to the Nobel laureate’s work is scarcely acknowledged and seldom elucidated. Beckett after Wittgenstein is the first book to examine Beckett’s formative encounters with, and profound affinities to, Wittgenstein’s thought, style, and character.
While a number of influential critics, including the philosopher Alain Badiou, have discerned a transition in Beckett’s work beginning in the late 1950s, Furlani is the first to identify and clarify how this change occurs in conjunction with the writer’s sustained engagement with Wittgenstein’s thought on, for example, language, cognition, subjectivity, alterity, temporality, belief, hermeneutics, logic, and perception. Drawing on a wealth of Beckett’s archival materials, much of it unpublished, Furlani’s study reveals the extent to which Wittgenstein fostered Beckett’s views and emboldened his purposes.
A man of extraordinary and seemingly limitless talents—musician, inventor, composer, poet, and even amateur mycologist—John Cage became a central figure of the avant-garde early in his life and remained at that pinnacle until his death in 1992 at the age of eighty. Award-winning biographer Kenneth Silverman gives us the first comprehensive life of this remarkable artist. Silverman begins with Cage’s childhood in interwar Los Angeles and his stay in Paris from 1930 to 1931, where immersion in the burgeoning new musical and artistic movements triggered an explosion of his creativity. Cage continued his studies in the United States with the seminal modern composer Arnold Schoenberg, and he soon began the experiments with sound and percussion instruments that would develop into his signature work with prepared piano, radio static, random noise, and silence. Cage’s unorthodox methods still influence artists in a wide range of genres and media. Silverman concurrently follows Cage’s rich personal life, from his early marriage to his lifelong personal and professional partnership with choreographer Merce Cunningham, as well as his friendships over the years with other composers, artists, philosophers, and writers.
Drawing on interviews with Cage’s contemporaries and friends and on the enormous archive of his letters and writings, and including photographs, facsimiles of musical scores, and Web links to illustrative sections of his compositions, Silverman gives us a biography of major significance: a revelatory portrait of one of the most important cultural figures of the twentieth century.
As animals recede from our world, what tale is being told by literature’s creatures? Behold an Animal: Four Exorbitant Readings examines incongruous animals in the works of four major contemporary French writers: an airborne horse in a novel by Jean-Philippe Toussaint, extinct orangutans in Éric Chevillard, stray dogs in Marie NDiaye, vanishing (bits of) hedgehogs in Marie Darrieussecq. Resisting naturalist assumptions that an animal in a story is simply—literally or metaphorically—an animal, Thangam Ravindranathan understands it rather as the location of something missing. The animal is a lure: an unfinished figure fleeing the frame, crossing bounds of period, genre, even medium and language. Its flight traces an exorbitant (self-)portrait in which thinking admits to its commerce with life and flesh. It is in its animals, at the same time unbearably real and exquisitely unreal, that literature may today be closest to philosophy.
This book’s primary focus is the contemporary French novel and continental philosophy. In addition to Toussaint, Chevillard, NDiaye, and Darrieussecq, it engages the work of Jean de La Fontaine, Eadweard Muybridge, Edgar Allan Poe, Lewis Carroll, Samuel Beckett, and Francis Ponge.
With a new translation of the Duino Elegies
“Who, if I cried out, would hear me among the angels’/orders?” Rainer Maria Rilke’s Duino Elegies opens with one of the most powerful poetic expressions of the search for meaning in the modern world. Published in 1923, the Elegies would influence important philosophers on the Continent, including Heidegger. But with a few exceptions, Rilke’s poetry has not had an impact on philosophy in the Anglo-American world. In Being Here Is Glorious, James D. Reid offers a fresh translation of the Elegies, which hews to the form of the original and provides his own meditation on the place of poetry in philosophy. Reid makes a convincing case that poetry and philosophy can address the problem of finding things significant and worth affirming in light of various reasons to doubt the value of the world in which we find ourselves cast.
“Hole torn in the language, / How shall we speak?” The first lines of the first poem in Paul Breslin’s artful second collection of poetry demand an answer, of both poet and reader, to the seemingly unspeakable tragedies of modern life. Between My Eye and the Light forms a beautifully insistent exercise in the power of language to engage experiences both mundane and profound. Breslin queries far-flung corners of experience for answers, engaging childhood, his longtime home of Chicago, small moments of life, and encounters with artists such Rainer Maria Rilke and Derek Walcott. The poems even query the volume’s opening question, How shall we speak? While pat answers elude us, poetry acts as a bulwark against cliché and cynicism, strengthening those who have the courage to question and explore.
The great modernist eccentric Alexei Remizov was a “writers’ writer” whose innovative poetic prose has long since entered the Russian literary canon. Gradually expanding his working methods to make drawing an integral part of the writing process, during the 1930s and 1940s, Remizov created hundreds of albums that combined texts with collages and india ink and watercolor illustrations. In Beyond Symbolism and Surrealism, Julia Friedman provides the first extensive examination of the dynamic interplay between text and image in Remizov’s albums, revealing their coequal roles in his oneiric and synaesthetic brand of storytelling. A participant in the Russian symbolist movement, an intellectual ally of many futurists, and during his émigré years, a collaborator of the surrealists, Remizov had unique insight into artistic cultures of the European avant-garde. His reinterpretation of the medieval illuminated manuscripts carries forward the traditions of symbolist mysticism and
This long-overdue examination of Remizov’s visual art addresses modernism’s key theoretical questions surrounding the relationships between image and text. Beyond Symbolism and Surrealism introduces a generous sampling of Remizov’s graphic work, much of which is currently held in private collections.
In Beyond the Public Sphere: Film and the Feminist Imaginary, the renowned philosopher and critical theorist María Pía Lara challenges the notion that the bourgeois public sphere is the most important informal institution between social and political actors and the state.
Drawing on a wide range of films—including The Milk of Sorrow, Ixcanul, Wadja, The Stone of Patience, Marnie, A Streetcar Named Desire, and Talk to Her—Lara dissects cinematic images of women’s struggles and their oppression. She builds on this analysis, developing a concept of the feminist social imaginary as a broader and more complex space that provides a way of thinking through the possibilities for emancipatory social transformation in response to forms of domination perpetuated by patriarchal capitalism.
Awaiting a TV talk show appearance, John Townley is quaking with dread. He has published a best-selling memoir about the Iraq War, a page-turner climaxing in atrocity. In a green room beyond the soundstage, he braces himself to confront the charismatic soldier at the violent heart of it. But John has never actually seen the man before—nor served in Iraq, nor the military. Even so, and despite the deception, he knows his fabricated memoir contains stunning truths.
By turns comic, suspenseful, bitingly satirical, and emotionally potent, A Big Enough Lie pits personal mistruths against national ones of life-and-death consequence. Tracking a writer from the wilds of Florida to New York cubicles to Midwestern workshops to the mindscapes of Baghdad—and from love to heartbreak to solitary celebrity—Bennett’s novel probes our endlessly frustrated desire to grab hold of something (or somebody) true.
The Bilingual Muse analyzes the work of seven Russian poets who translated their own poems into English, French, German, or Italian. Investigating the parallel versions of self-translated poetic texts by Vladimir Nabokov, Joseph Brodsky, Andrey Gritsman, Katia Kapovich, Marina Tsvetaeva, Wassily Kandinsky, and Elizaveta Kul’man, Adrian Wanner considers how verbal creativity functions in different languages, the conundrum of translation, and the vagaries of bilingual identities.
Wanner argues that the perceived marginality of self-translation stems from a romantic privileging of the mother tongue and the original text. The unprecedented recent dispersion of Russian speakers over three continents has led to the emergence of a new generation of diasporic Russians who provide a more receptive milieu for multilingual creativity.
In this remarkable debut book of poems, winner of the Native Writers First Book Award, Suzanne S. Rancourt, presents her experience as a mixed-raced person seeking understanding through relationship with the natural world and dominant culture. Her family portraits are reminiscent of E. A. Robinson; her sensuous nature poems are imbued with love of earth as a "blessing."
Dance
my legs are explosions
expressions
of lustful wind
i converse through cracks in the walls
slipping in my true intention like a snow drift
on the inside
side of a door i pound
your chest
has become my wailing wall
i crave your tongue dusted
with words and implications
i have something you need
Binga is the definitive full-length biography of Jesse Binga, the first black banker in Chicago. Born into a large family in Detroit, Binga arrived in Chicago in 1892 in his late twenties with virtually nothing. Through his wits and resourcefulness, he rose to wealth and influence as a real estate broker, and in 1908 he founded the Binga Bank, the first black-owned bank in the city. But his achievements were followed by an equally notable downfall. Binga recounts this gripping story about race, history, politics, and finance.
The Black Belt, where Binga’s bank was located, was a segregated neighborhood on Chicago’s South Side—a burgeoning city within a city—and its growth can be traced through the arc of Binga’s career. He preached and embodied an American gospel of self-help and accrued wealth while expanding housing options and business opportunities for blacks. Devout Roman Catholics, he and his wife Eudora supported church activities and various cultural and artistic organizations; their annual Christmas party was the Black Belt’s social event of the year. But Binga’s success came at the price of a vicious backlash. After he moved his family into a white neighborhood in 1917, their house was bombed multiple times, his offices were attacked twice, and he became a lightning rod for the worst race riots in Chicago history, which took place in 1919. Binga persevered, but, starting with the stock market crash of October 1929, a string of reversals cost him his bank, his property, and his fortune.
A quintessentially Chicago story, Binga tells the history of racial change in one of the most segregated cities in America and how an extraordinary man stood as a symbol of hope in a community isolated by racial animosity.
In this remarkable testimony, Cuban novelist and anthropologist Miguel Barnet presents the narrative of 105-year-old Esteban Montejo, who lived as a slave, as fugitive in the wilderness, and as a soldier in the Cuban War of Independence. Honest, blunt, compassionate, shrewd, and engaging, his voice provides an extraordinary insight into the African culture that took root in the Caribbean.
Fiftieth Anniversary Edition
Originally published in 1966, Miguel Barnet’s Biography of a Runaway Slave provides the written history of the life of Esteban Montejo, who lived as a slave, as a fugitive in the wilderness, and as a soldier fighting against Spain in the Cuban War of Independence. A new introduction by one of the most preeminent Afro-Hispanic scholars, William Luis, situates Barnet’s ethnographic strategy and lyrical narrative style as foundational for the tradition of testimonial fiction in Latin American literature. Barnet recorded his interviews with the 103-year-old Montejo at the onset of the Cuban Revolution. This insurgent’s history allows the reader into the folklore and cultural history of Afro-Cubans before and after the abolition of slavery. The book serves as an important contribution to the archive of black experience in Cuba and as a reminder of the many ways that the present continues to echo the past.
Honorable Mention for the DAAD/GSA Book Prize for the Best Book in Germanistik or Cultural Studies
Biological Modernism identifies an intellectual current in the Weimar Republic that drew on biology, organicism, vitalism, and other discourses associated with living nature in order to redefine the human being for a modern, technological age. Contrary to the assumption that any turn toward the organic indicated a reactionary flight from modernity or a longing for wholeness, Carl Gelderloos shows that biology and other discourses of living nature offered a nuanced way of theorizing modernity rather than fleeing from it. Organic life, instead of representing a stabilizing sense of wholeness, by the 1920s had become a scientific, philosophical, and disciplinary problem. In their work, figures such as Alfred Döblin, Ernst Jünger, Helmuth Plessner, and August Sander interrogated the relationships between technology, nature, and the human and radically reconsidered the relationship between the disciplines as well as the epistemological and political consequences for defining the human being. Biological Modernism will be of interest to scholars of German literature and culture, literary modernism, photography, philosophical anthropology, twentieth-century intellectual history, the politics of culture, and the history of science.
With their intense lyricism, Meena Alexander’s poems convey the fragmented experience of the traveler, for whom home is both nowhere and everywhere. The landscapes she evokes, whether reading Bashō in the Himalayas, or walking a city street, hold echoes of otherness. Place becomes a palimpsest, composed of layer upon layer of memory, dream, and desire. There are poems of love and poems of war—we see the rippling effects of violence and dislocation, of love and its aftermath. The poems in Birthplace with Buried Stones range widely over time and place, from Alexander’s native India to New York City. We see traces of mythology, ritual, and other languages. Uniquely attuned to life in a globalized world, Alexander’s poetry is an apt guide, bringing us face to face with the power of a single moment and its capacity to evoke the unseen and unheard.
With faculty and alumni that included John Cage, Robert Creeley, Merce Cunningham, Buckminster Fuller, Charles Olson, Josef and Anni Albers, Paul Goodman, and Robert Rauschenberg, Black Mountain College ranked among the most important artistic and intellectual communities of the twentieth century. In his groundbreaking history, Martin Duberman uses interviews, anecdotes, and research to depict the relationships that made Black Mountain College what it was. Black Mountain documents the college’s twenty-three-year tenure, from its most brilliant moments of self-reinvention to its lowest moments of petty infighting. It records the financial difficulties that beleaguered the community throughout its existence and the determination it took to keep the college in operation. Duberman creates a nuanced portrait of this community so essential to the development of American arts and counterculture.
The Blackademic Life critically examines academic fiction produced by black writers. Lavelle Porter evaluates the depiction of academic and campus life in literature as a space for black writers to produce counternarratives that celebrate black intelligence and argue for the importance of higher education, particularly in the humanistic tradition. Beginning with an examination of W. E. B. Du Bois’s creative writing as the source of the first black academic novels, Porter looks at the fictional representations of black intellectual life and the expectations that are placed on faculty and students to be racial representatives and spokespersons, whether or not they ever intended to be. The final chapter examines blackademics on stage and screen, including in the 2014 film Dear White People and the groundbreaking television series A Different World.
Winner of the 2020 Cave Canem Northwestern University Press Poetry Prize
At once interested in the cyclical nature of domestic dysfunction and what we do when secrets of buried harm come to light, Blessed Are the Peacemakers asks what it means to make peace in the wake of intrafamilial violence and child sexual assault. These poems explore the ways the truth is often hidden behind layers of bleach and shame, and the ways we fail survivors by dismissing their stories and tolerating their abusers.
Filled with elegies to the people who have been murdered by state violence, racism, and anti-Blackness in the United States, Blessed Are the Peacemakers interrogates the lengths and limitations of grace. Brionne Janae examines what it means to survive—particularly as a Black girl, woman, queer person, or human—and uses self-portraiture to explore how familial and communal trauma plague our mental health. How do we survive the grief of the past and present without becoming numb to or consumed by it? How do we remember, despite our pain, to enjoy our bodies and our lives while we still have them?
Not since Don DeLillo and George Saunders has a writer caught the humor and irreverent seriousness of our time like Barkan has through his protagonist Paul Berger, a flawed hero whose so-called fate drives him toward enlightenment just as surely as it propels him to destruction. Berger is stunned when he receives an ominous palm reading from a savvy guru at a health retreat in Iowa, of all places. And now it seems the prophecy is coming true. His fiancée, who is about to leave him, is shot at a historic reenactment of the Revolutionary War in Concord. One of his brothers, an astronaut, dies on 9/11 in the Pentagon. And his more famous brother, a lawyer and politician, kidnaps him in a media campaign to win an election. But is Paul’s life really controlled by fate? Or is the prophecy a lie he has latched onto ever since his band went under, leaving him almost famous yet unknown—a teacher at a community college, struggling to keep his job?
Blind Speed is a wildly entertaining exploration of intersecting lives in which what happens is never solely by chance or choice. Barkan has built a uniquely American satirical novel, a thoroughly twisted journey of discovery that pops and fires from its first shot in Concord to its last rifle blast, which echoes across the heartland. With global warming, 9/11, government and corporate deceit, and ecoterrorism, the novel dives into epic ideas, capturing America in all its dangerous myths.
Blooming Fiascoes is a collective of verse that deconstructs identity. We are beautiful and monstrous. We live in a beautiful and monstrous world. Ellen Hagan poetically mirrors these metaphoric adversaries, drawing on her experiences as a woman, an artist, a mother, a transplanted southerner, and above all, a human being. She plumbs origins in history, body, and living to question how we reckon our whole selves in the catacombs of a world gone mad:
We mourn, we bless, / we blow, we wail, we / wind—down, we sip, / we spin, we blind, we / bend, bow & hem. We / hip, we blend, we bind, / we shake, we shine, / shine. We lips & we / teeth, we praise & protest.
In these poems, Assyrian, Italian, and Irish lines seep deeper into a body that is growing older but remains engaged with unruly encounters: the experience of raising daughters, sexual freedom, and squaring body image against the body’s prohibitions. This is a work where the legacy is still evolving and always asking questions in real time. Blooming Fiascos spindles poetry that is not afraid to see itself and the lives it inhabits.
A mystery linking Manhattan circa 1991 to eastern Afghanistan in 2012, Blue Hours tells of a life-changing friendship between two memorable heroines. When we first meet Mim, she is a recent college graduate who has disavowed her lower middle class roots to befriend Kyra, a dancer and daughter of privilege, until calamity causes their estrangement. Twenty years later, Kyra has gone missing from her NGO’s headquarters in Jalalabad, and Mim—now a recluse in rural New England—embarks on a journey to find her. In its nuance, originality, and moral complexity, Blue Hours becomes an unexpected page-turner.
Bodily Desire, Desired Bodies examines the diverse ways that literary works and paintings can be read as screens onto which new images of masculinity and femininity are cast. Esther Bauer focuses on German and Austrian writers and artists from the 1910s and 1920s —specifically authors Franz Kafka, Vicki Baum, and Thomas Mann, and painters Otto Dix, Christian Schad, and Egon Schiele—who gave spectacular expression to shifting trends in male and female social roles and the organization of physical desire and the sexual body.
Bauer’s comparative approach reveals the ways in which artists and writers echoed one another in undermining the gender duality and highlighting sexuality and the body. As she points out, as sites of negotiation and innovation, these works reconfigured bodies of desire against prevailing notions of sexual difference and physical attraction and thus became instruments of social transformation.
In Bogotá, a taut, moving novel set in present-day Colombia, Wilfredo decides to uproot his family from their small town, where his ferry service on the river subjects him to the gruesome errands demanded by the local paramilitary. Moving in with relatives in a slum in Bogotá, the family tries desperately to achieve the smallest measure of comfort and hope in a world of almost total ruin, wracked by deprivation, fear, and ceaseless violence.
Alan Grostephan depicts with startling immediacy an urban landscape of extreme harshness and oppressive instability. The tension between the desperate conditions surrounding his characters and their efforts to hold on to their humanity gives Bogotá a ferocious energy. As Wilfredo and his family fight to stay alive and stay together, their plight emerges as equally enraging and uplifting, constituting a portrait of a society always on the verge of disintegration.
Winner of the 2017 Manfred Lautenschlaeger Award for Theological Promise
Foreword by Martín Espada
This chapbook collection offers new poems from the prolific career of a community leader, activist, and healer. Luis J. Rodríguez’s work asks profound questions of us as readers and fellow humans, such as, "If society cooperates, can we nurture the full / and healthy development of everyone?" In his introductory remarks, Martín Espada describes the poet as a man engaged in people and places: "Luis Rodríguez is a poet of many tongues, befitting a city of many tongues. He speaks English, Spanish, ‘Hip Hop,’ ‘the Blues,’ and ‘cool jazz.’ He speaks in ‘mad solos.’ He speaks in ‘People’s Sonnets.’ He speaks in the language of protest. He speaks in the language of praise."
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