Winner, Arab American National Museum's 2015 George Ellenbogen Poetry Award
Tahrir Suite is a book-length poem that contemplates immigration, homeland, and diaspora in the twenty-first century. The poem, inspired by recent events in Egypt, cycles through the journey of two Egyptians moving across borders, languages, cultures, landscapes, and political systems while their life in the U.S. diaspora evolves and their home country undergoes revolutionary change.
Written from a perspective and about a place that is virtually unexplored in contemporary American poetry, Tahrir Suite works to capture the complicated essence of what it means to be from a specific place that is experiencing such radical change and how our understandings of “home” and “place” constantly evolve. Tahrir Suite is a musical meditation on what it means to be a global citizen in contemporary times.
From the printing press to the telegraph to the camera and beyond, technology has always been tied closely to journalism. In The Technology of Journalism, Patricia L. Dooley proposes a history of news that heeds the social and cultural environments in which both technology and the press emerge and exist.
By placing this history solidly in its cultural context, Dooley can explore the effects of shifts in social, economic, and political systems and the impact of war. One such development with far reaching implications was Matthew Brady’s use of photography during the Civil War. Growth or decline in readership can also influence technological changes in journalism; most recently, the shift toward digital and Web-based journalism has reshaped the press.
Finally, Dooley assesses the legacy and future of print, deciding what happens to print journalism—and all forms of reportage—will depend on the willingness of industry leaders to innovate in ways that will help them connect, through their reporting, to Americans of all ages and walks of life.
Stunning, highly original poems that celebrate the richness of the author's multicultural tradition, Teeth explores loves, wars, wild hope, defiance, and the spirit of creativity in a daring use of language and syntax. Behind this language one senses a powerful, inventive woman who is not afraid to tackle any subject, including rape, genocide, and love, always sustained by an optimistic voice, assuring us that in the end justice will triumph and love will persevere.
LOVE,
you be the reason why
we swagger & jive,
lift the guitar, & pick up the axe.
when it is i tilt my hat to the side,
wearing colors & perfumes, it's cause, love,
you did it to me. oh,
you do sure turn my tongue to fiddle,
& make the salt taste sweet. man,
i don't need a rooster, or peacock even,
to help me spend my time, nope,
just you, love, right & solid as
a line.
Queer stories about love, loneliness, the surreal, and the self
The stories in Tell Me feature queer men of various ages reckoning with loneliness, selfishness, and the struggle for self-discovery and identity. In “The Vanisher,” a young bisexual man struggling with his own desire to be seen receives a bandana that allows him to become invisible. In “Retreat,” a widower travels to an artists’ colony to seek an audience with his recently deceased husband. And in “We Are Rendered Silent,” people lose their ability to speak when a man they love dies. Through Baumann’s inventive employment of the strange and surreal, these stories set out to explore the bizarre and often confounding experience of navigating modern-day queerness. With his unique voice and magnificent imagination, Baumann fully immerses readers in the queer experience.
Poet Karen Gershon opens A Tempered Wind, the sequel to volume 1 of her autobiography A Lesser Child, in 1943. It begins tragically with the death of Karen’s sister Anne in England, where they had escaped from Nazi Germany with their third sister Lise via the Kindertransport mission. A Tempered Wind proceeds to chart the difficult period from 1939 to 1943 as Karen adapts to a new culture and undertakes the complicated passage from adolescence to adulthood in the British Isles.
Now orphans—their parents were murdered by the Nazis—the sisters are separated, and Karen is left haunted by feelings of abandonment by her sister as well as her parents who sent her away from them. Such feelings, along with her struggle with her imperiled Jewish identity, make their way into Karen’s writing, which includes stories, essays, and poems. In writing, she starts to find a home in language. Charting the creative growth of an astonishing Jewish author, A Tempered Wind concludes with Karen making her own urgent way as a writer with a mission to tell the world her archetypal German Jewish story.
What is the relation between thinking and the I that thinks? And what is the relation between thought and reality? The ordinary view shared by modern philosophers from Descartes to Kant, as well as by common sense, is that there is only thought when someone thinks something, and thoughts and concepts are mental acts that refer to objects outside us.
In Thinking and the I: Hegel and the Critique of Kant, Alfredo Ferrarin shows that Hegel’s philosophy entails a radical criticism of this ordinary conception of thinking. Breaking with the habitual presuppositions of both modern philosophy and common sense, Ferrarin explains that thought, negation, truth, reflection, and dialectic for Hegel are not properties of an I and cannot be reduced to the subjective activity of a self-conscious subject. Rather, he elucidates, thought is objective for Hegel in different senses. Reality as a whole is animated by a movement of thought and an unconscious logic as a spontaneity that reifies itself in determinate forms. Ferrarin concludes the book with a comprehensive comparison of Hegel’s and Kant’s concepts of reason.
While it mainly focuses on Hegel’s Phenomenology, Science of Logic, and Encyclopaedia, this ambitious book covers all aspects of Hegel’s philosophy. Its originality and strength lie in its recovery of the original core of Hegel’s dialectic over and above its currently predominant transcendental, neopragmatist, or realist appropriations. It will be essential reading for all students of Hegel, Kant, and German idealism in general for years to come.
Knowledge emerges from contexts, which are shaped by people’s experiences. The varied essays in Thinking the US South: Contemporary Philosophy from Southern Perspectives demonstrate that Southern identities, borders, and practices play an important but unacknowledged role in ethical, political, emotional, and global issues connected to knowledge production. Not merely one geographical region among others, the US South is sometimes a fantasy and other times a nightmare, but it is always a prominent component of the American national imaginary. In connection with the Global North and Global South, the US South provides a valuable perspective from which to explore race, class, gender, and other inter- and intra-American differences. The result is a fresh look at how identity is constituted; the role of place, ancestors, and belonging in identity formation; the impact of regional differences on what counts as political resistance; the ways that affect and emotional labor circulate; practices of boundary policing, deportation, and mourning; issues of disability and slowness; racial and other forms of suffering; and above all, the question of whether and how doing philosophy changes when done from Southern standpoints. Examining racist tropes, Indigenous land claims, Black Southern philosophical perspectives, migrant labor, and more, this incisive anthology makes clear that roots matter.
In this highly original interdisciplinary study incorporating close readings of literary texts and philosophical argumentation, Henry W. Pickford develops a theory of meaning and expression in art intended to counter the meaning skepticism most commonly associated with the theories of Jacques Derrida.
Pickford arrives at his theory by drawing on the writings of Wittgenstein to develop and modify the insights of Tolstoy’s philosophy of art. Pickford shows how Tolstoy’s encounter with Schopenhauer’s thought on the one hand provided support for his ethical views but on the other hand presented a problem, exemplified in the case of music, for his aesthetic theory, a problem that Tolstoy did not successfully resolve. Wittgenstein’s critical appreciation of Tolstoy’s thinking, however, not only recovers its viability but also constructs a formidable position within contemporary debates concerning theories of emotion, ethics, and aesthetic expression.
These plays by Andy Bragen examine the intimacies and shadows that exist between parents and children. In This Is My Office, a guided tour through an empty office becomes the unexpected portal to a forgotten New York and a father’s legacy. This play brings you face-to-face with a narrator who finds his way through doubt, soul-sickness, and doughnut cravings by telling you a story. Not the one he meant to tell, but a richer one about family, redemption, and love.
The autobiographical Notes on My Mother’s Decline evokes the final days of a woman’s life. Late at night, while his baby daughter sleeps, a son takes notes on his mother’s daily life and scenes from their complicated relationship. He is shaping a play, as well as a perspective. Two blocks away, his mother naps, smokes, reads, and drinks coffee. She is shaping her existence within encroaching confines. Bragen plumbs silences and one-sided conversations to ask how we come to know one another as parents and as children. How do we care for those we love, and what does it take to live with—and without—them?
A book lover today might sometimes feel like the fictional medieval friar William of Baskerville in Eco’s The Name of the Rose, watching the written word become lost to time. In This Is Not the End of the Book, that book’s author, Umberto Eco, and his fellow raconteur Jean-Claude Carriere sit down for a dazzling dialogue about memory and the pitfalls, blanks, omissions, and irredeemable losses of which it is made. Both men collect rare and precious books, and they joyously hold up books as hardy survivors, engaging in a critical, impassioned, and rollicking journey through book history, from papyrus scrolls to the e-book. Along the way, they touch upon science and subjectivity, dialectics and anecdotes, and they wear their immense learning lightly. A smiling tribute to what Marshall McLuhan called the Gutenberg Galaxy, this dialogue will be a delight for all readers and book lovers.
“HOLE”
One morning
they dig up the sidewalk and leave.
No sign of the truck—only the large,
dark shadow digging and digging,
piling up sludge with a hand shovel
beside the only tree.
Two o’clock I come by
and he’s slumbering in the grass beside rat holes.
Three and he’s stretched across a jagged stonewall,
folded hands tucked beneath one ear—
a beautiful young boy smiling,
not the heavy, large shadow who can’t breathe.
Four-thirty and the August heat
takes one down here.
He’s pulled up an elbow joint
some three feet round.
At seven I head home for the night,
pass the fresh gravel mound,
a soft footprint near the manhole
like the “x” abuelo would place beside his name
all the years he couldn’t write.
Craig Wright is one of the most widely produced, consistently entertaining playwrights of his generation. The three plays gathered in this volume—Melissa Arctic (winner of the 2005 Helen Hayes Award), Orange Flower Water, and The Pavilion—are all set in the fictional town of Pine City, Minnesota. The plays share a focus on love and relationships and feature a consistent undercurrent of observation and speculation about the nature of time. Melissa Arctic brings Shakespeare’s The Winter’s Tale into the present, retaining the original’s captivating mix of the comic and tragic. A brutally frank exploration of marriage, Orange Flower Water examines the irresistible lure and poisonous effects of unrealistic expectations within love, and portrays the inescapably compromised contours of relationships founded on adultery. The Pavilion, a lyrical and rueful homage to Our Town, is a meditation on dashed dreams and unquenchable hopes, set at a twenty-year high school reunion. In all three plays, Wright shows himself to be one of the most perceptive and engaging playwrights working today.
Scholarship on screen adaptation has proliferated in recent years, but it has remained largely focused on English- and Romance-language authors. Tolstoy on Screen aims to correct this imbalance with a comprehensive examination of film and television adaptations of Tolstoy’s fiction. Spanning the silent era to the present day, these essays consider well-known as well as neglected works in light of contemporary adaptation and media theory. The book is organized to facilitate a comparative, cross-cultural understanding of the various practices employed in different eras and different countries to bring Tolstoy’s writing to the screen. International in scope and rigorous in analysis, the essays cast new light on Tolstoy’s work and media studies alike.
The French philosopher Renaud Barbaras remarked that late in Maurice Merleau-Ponty’s career, “The phenomenology of perception fulfills itself as a philosophy of expression.” In Tracing Expression in Merleau-Ponty: Aesthetics, Philosophy of Biology, and Ontology, Véronique M. Fótiaddresses the guiding yet neglected theme of expression in Merleau-Ponty’s thought. She traces Merleau-Ponty’s ideas about how individuals express creative or artistic impulses through his three essays on aesthetics, his engagement with animality and the “new biology” in the second of his lecture courses on nature of 1957–58, and in his late ontology, articulated in 1964 in the fragmentary text of Le visible et l’invisible (The Visible and the Invisible). With the exception of a discussion of Merleau-Ponty’s 1945 essay “Cezanne’s Doubt,” Fóti engages with Merleau-Ponty’s late and final thought, with close attention to both his scientific and philosophical interlocutors, especially the continental rationalists. Expression shows itself, in Merleau-Ponty’s thought, to be primordial, and this innate and fundamental nature of expression has implications for his understanding of artistic creation, science, and philosophy.
Early modernity rediscovered tragedy in the dramas and the theoretical writings of the ancient Greeks and Romans. Attempting to make new tragic fictions, writers like Shakespeare, Webster, Hardy, Corneille, and Racine created a dramatic form that would probably have been unrecognizable to the ancient Athenians. Tragedy and the Return of the Dead recovers a model of the tragic that fits ancient tragedies, early modern tragedies, as well as contemporary narratives and films no longer called “tragic” but which perpetuate the same elements.
Authoritative, wide-ranging, and thought provoking, Tragedy and the Return of the Dead uncovers a set of interlocking plots of family violence that stretch from Greek antiquity up to the popular culture of today. Casting aside the elite, idealist view that tragedy manifests the conflict between two equal goods or the human struggle against the divine, John D. Lyons looks closely at tragedy’s staging of gory and painful deaths, ignominious burials, and the haunting return of ghosts. Through this adjusted lens Le Cid, Hamlet, Frankenstein, The Spanish Tragedy, Romeo and Juliet, Phèdre, Macbeth, and other early modern works appear in a striking new light. These works are at the center of a panorama that stretches from Aeschylus’s Agamemnon to Hitchcock’s Psycho and are placed against the background of the Gothic novel, Freud’s “uncanny,” and Burke’s “sublime.”
Lyons demonstrates how tragedy under other names, such as “Gothic fiction” and “thrillers,” is far from dead and continues as a vital part of popular culture.
In Transgenerational Remembrance, Jessica Nakamura investigates the role of artistic production in the commemoration and memorialization of the Asia-Pacific War (1931–1945) in Japan since 1989. During this time, survivors of Japanese aggression and imperialism, previously silent about their experiences, have sparked contentious public debates about the form and content of war memories.
The book opens with an analysis of the performance of space at Yasukuni Shinto Shrine, which continues to promote an anachronistic veneration of the war. After identifying the centrality of performance in long-standing dominant narratives, Transgenerational Remembrance offers close readings of artistic performances that tackle subject matter largely obscured before 1989: the kamikaze pilot, Japanese imperialism, comfort women, the Battle of Okinawa, and Japanese American internment. These case studies range from Hirata Oriza’s play series about Japanese colonial settlers in Korea and Shimada Yoshiko’s durational performance about comfort women to Kondo Aisuke’s videos and gallery installations about Japanese American internment.
Working from theoretical frameworks of haunting and ethics, Nakamura develops an analytical lens based on the Noh theater ghost. Noh emphasizes the agency of the ghost and the dialogue between the dead and the living. Integrating her Noh-inflected analysis into ethical and transnational feminist queries, Nakamura shows that performances move remembrance beyond current evidentiary and historiographical debates.
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