From two leading scholars, a thrilling and rich investigation of the life and work of Dante Alighieri.
 
Numerous books have attempted to chronicle the life of Dante Alighieri, yet essential questions remain unanswered. How did a self-taught Florentine become the celebrated author of the Divine Comedy? Was his exile from Florence so extraordinary? How did Dante make himself the main protagonist in his works, in a literary context that advised against it? And why has his life interested so many readers? In Dante’s New Lives, eminent scholars Elisa Brilli and Giuliano Milani answer these questions and many more. Their account reappraises Dante’s life and work by assessing archival and literary evidence and examining the most recent scholarship. The book is a model of interdisciplinary biography, as fascinating as it is rigorous.

John Adams' Diary, partially published in the 1850's, has proved a quarry of information on the rise of Revolutionary resistance in New England, the debates in the early Continental Congresses, and the diplomacy and financing of the American Revolution; but it has remained unfamiliar to the wider public. "It is an American classic," Zoltán Haraszti said recently, "about which Americans know next to nothing." Yet the Diary’s historical value may well prove secondary to its literary and human interest. Now that it is presented in full, we have for the first time a proper basis for comprehending John Adams—an extraordinary human being, a master of robust, idiomatic language, a diarist in the great tradition.

The Autobiography, intended for John Adams' family, consists of three large sections. The first records his boyhood, his legal and political career, and the movement that culminated in American independence. The second and third parts deal with his diplomatic experiences, and serve among other things as a retrospective commentary on the Diary; they are studded with sketches of Adams' associates, which are as scintillating as they are prejudiced, parts and in some cases all of which were omitted from Charles Francis Adams' 19th-century edition.

John Adams’s Diary, partially published in the 1850s, has proved a quarry of information on the rise of Revolutionary resistance in New England, the debates in the early Continental Congresses, and the diplomacy and financing of the American Revolution; but it has remained unfamiliar to the wider public. “It is an American classic,” Zoltán Haraszti said recently, “about which Americans know next to nothing.” Yet the Diary’s historical value may well prove secondary to its literary and human interest. Now that it is presented in full, we have for the first time a proper basis for comprehending John Adams—an extraordinary human being, a master of robust, idiomatic language, a diarist in the great tradition.

The Autobiography, intended for John Adams’s family, consists of three large sections. The first records his boyhood, his legal and political career, and the movement that culminated in American independence. The second and third parts deal with his diplomatic experiences, and serve among other things as a retrospective commentary on the Diary; they are studded with sketches of Adams’s associates, which are as scintillating as they are prejudiced, parts and in some cases all of which were omitted from Charles Francis Adams’s nineteenth-century edition.

John Adams’s Diary, partially published in the 1850s, has proved a quarry of information on the rise of Revolutionary resistance in New England, the debates in the early Continental Congresses, and the diplomacy and financing of the American Revolution; but it has remained unfamiliar to the wider public. “It is an American classic,” Zoltán Haraszti said recently, “about which Americans know next to nothing.” Yet the Diary’s historical value may well prove secondary to its literary and human interest. Now that it is presented in full, we have for the first time a proper basis for comprehending John Adams—an extraordinary human being, a master of robust, idiomatic language, a diarist in the great tradition.

The Autobiography, intended for John Adams’s family, consists of three large sections. The first records his boyhood, his legal and political career, and the movement that culminated in American independence. The second and third parts deal with his diplomatic experiences, and serve among other things as a retrospective commentary on the Diary; they are studded with sketches of Adams’ associates, which are as scintillating as they are prejudiced, parts and in some cases all of which were omitted from Charles Francis Adams’s nineteenth-century edition.

John Adams’s Diary, partially published in the 1850s, has proved a quarry of information on the rise of Revolutionary resistance in New England, the debates in the early Continental Congresses, and the diplomacy and financing of the American Revolution; but it has remained unfamiliar to the wider public. “It is an American classic,” Zoltán Haraszti said recently, “about which Americans know next to nothing.” Yet the Diary’s historical value may well prove secondary to its literary and human interest. Now that it is presented in full, we have for the first time a proper basis for comprehending John Adams—an extraordinary human being, a master of robust, idiomatic language, a diarist in the great tradition.

The Autobiography, intended for John Adams’s family, consists of three large sections. The first records his boyhood, his legal and political career, and the movement that culminated in American independence. The second and third parts deal with his diplomatic experiences, and serve among other things as a retrospective commentary on the Diary; they are studded with sketches of Adams’s associates, which are as scintillating as they are prejudiced, parts and in some cases all of which were omitted from Charles Francis Adams’s nineteenth-century edition.

These four volumes begin the publication of the Adams archives, a collection which Edward Everett Hale called a "manuscript history of America in the diaries and correspondence" of a single family.

The Diary, partially published in the 1850's, has proved a quarry of information on the rise of Revolutionary resistance in New England, the debates in the early Continental Congresses, and the diplomacy and financing of the American Revolution; but it has remained unfamiliar to the wider public. "It is an American classic," Mr. Zoltán Haraszti said recently, about which Americans know next to nothing." Actually the Diary's historical value may well prove secondary to its literary and human interest. Now that it is presented in full, we have for the first time a proper basis for comprehending John Adams--an extraordinary human being, a master of robust, idiomatic language, a diarist in the great tradition. From none of the other founders of the Republic do we have anything like a record at once so copious and so intimate.

The Autobiography, intended for John Adams' family but never finished, consists of three large sections. The first records his boyhood, his legal and political career, and the movement that culminated in American independence. The second and third parts deal with his diplomatic experiences, and serve among other things as a retrospective commentary on the Diary: they are studded with sketches of Adams' associates which are as scintillating as they are prejudiced. Parts and in some cases all of these sketches were omitted from Charles Francis Adams' nineteenth-century edition.

In 1779 John Adams wrote, "I am but an ordinary Man. The Times alone have destined me to Fame--and even these have not been able to give me, much." Then he added, "Yet some great Events, some cutting Expressions, some mean Hypocrisies, have at Times, thrown this Assemblage of Sloth, Sleep, and littleness into Rage a little like a Lion." Both the ordinary Man and the Lion live on in these volumes.

What is an “American” identity? The tension between populism and pluralism, between homogeneity and heterogeneity, has marked the United States since its inception. In The Divided States, leading scholars and critics argue that the US is, and has always been, a site where multiple national identities intersect in productive and challenging ways. Scrutinizing conflicting nationalisms and national identities, the authors ask, Whose stories get told and whose do not? Who or what promotes the idea of a unified national identity in the United States? How is the notion of a unified national identity disrupted? What myths and stories bind the US together? How representative are these stories? What are the counternarratives? And, if the idea of national homogeneity is a fallacy, what does tie us together as a nation?

Working across auto/biography studies, American studies, and human geography—all of which deal with the current interest in competing narratives, “alternative facts,” and accountability—the essays engage in and contribute to critical conversations in classrooms, scholarship, and the public sphere. The authors draw from a variety of fields, including anthropology; class analysis; critical race theory; diasporic, refugee, and immigration studies; disability studies; gender studies; graphic and comix studies; Indigenous studies; linguistics; literary studies; sociology; and visual culture. And the genres under scrutiny include diary, epistolary communication, digital narratives, graphic narratives, literary narratives, medical narratives, memoir, oral history, and testimony.

This fresh and theoretically engaged volume will be relevant to anyone interested in the multiplicity of voices that make up the US national narrative.