Like many men of his generation, poet Robert Graves was indelibly marked by his experience of trench warfare in World War I. The horrific battles in which he fought and his guilt over surviving when so many perished left Graves shell-shocked and disoriented, desperately seeking a way to bridge the rupture between his conventional upbringing and the uncertainties of postwar British society.
In this study of Graves's early poetry, Frank Kersnowski explores how his war neurosis opened a door into the unconscious for Graves and led him to reject the essential components of the Western idea of reality—reason and predictability. In particular, Kersnowski traces the emergence in Graves's early poems of a figure he later called "The White Goddess," a being at once terrifying and glorious, who sustains life and inspires poetry. Drawing on interviews with Graves's family, as well as unpublished correspondence and drafts of poems, Kersnowski argues that Graves actually experienced the White Goddess as a real being and that his life as a poet was driven by the purpose of celebrating and explaining this deity and her matriarchy.
Why do the paintings and poetry of the Italian Renaissance—a celebration of classical antiquity—also depict the Florentine countryside populated with figures dressed in contemporary silk robes and fleur-de-lys crowns? Upending conventional interpretations of this well-studied period, Charles Dempsey argues that a fusion of classical form with contemporary content, once seen as the paradox of the Renaissance, can be better understood as its defining characteristic.
Dempsey describes how Renaissance artists deftly incorporated secular and popular culture into their creations, just as they interwove classical and religious influences. Inspired by the love lyrics of Parisian troubadours, Simone Martini altered his fresco Maestà in 1321 to reflect a court culture that prized terrestrial beauty. As a result the Maestà scandalously revealed, for the first time in Italian painting, a glimpse of the Madonna’s golden locks. Modeled on an ancient statue, Botticelli’s Birth of Venus went much further, featuring fashionable beauty ideals of long flowing blonde hair, ivory skin, rosy cheeks, and perfectly arched eyebrows. In the only complete reconstruction of Feo Belcari’s twelve Sybilline Octaves, Dempsey shows how this poet, patronized by the Medici family, was also indebted to contemporary dramatic modes. Popularizing biblical scenes by mixing the familiar with the exotic, players took the stage outfitted in taffeta tunics and fanciful hats, and one staging even featured a papier-maché replica of Jonah’s Whale. As Dempsey’s thorough study illuminates, Renaissance poets and artists did not simply reproduce classical aesthetics but reimagined them in vernacular idioms.
Walter Benjamin became a published writer at the age of seventeen. Yet the first stirrings of this most original of critical minds—penned during the years in which he transformed himself from the comfortable son of a haute-bourgeois German Jewish family into the nomadic, uncompromising philosopher-critic we have since come to appreciate—have until now remained largely unavailable in English. Early Writings, 1910-1917 rectifies this situation, documenting the formative intellectual experiences of one of the twentieth century's most resolutely independent thinkers.
Here we see the young Benjamin in his various roles as moralist, cultural critic, school reformer, and poet-philosopher. The diversity of interest and profundity of thought characteristic of his better-known work from the 1920s and 30s are already in evidence, as we witness the emergence of critical projects that would occupy Benjamin throughout his intellectual career: the role of the present in historical remembrance, the relationship of the intellectual to political action, the idea of truth in works of art, and the investigation of language as the veiled medium of experience.
Even at this early stage, a recognizably Benjaminian way of thinking comes into view—a daring, boundary-crossing enterprise that does away with classical antitheses in favor of the relentlessly-seeking critical consciousness that produced the groundbreaking works of his later years. With the publication of these early writings, our portrait of one of the most significant intellects of the twentieth century edges closer to completion.
Earth Gods presents the early writings of Taras Prokhasko, one of Ukraine’s most prominent contemporary writers. Collected here for the first time in one book, these works span various genres yet form a single chronicle. Anna’s Other Days, Prokhasko’s first publication, testifies to the desire to free Ukrainian culture of overt influences of voices, styles, and genres that have dominated it for centuries. FM Galicia collects reflections delivered by the author at a Ukrainian radio show over a five-month period. Emphasizing the relevance of the oral genre as the origin of the text, Prokhasko has created a unique diary that strives to exist outside of literature and invites the reader to meditate on the human condition. The UnSimple—a novel whose action unfolds between the two world wars near Ialivets, in the Ukrainian Carpathian Mountains—documents the collapse of the grand narratives of the past, embodied here by the Carpathian earth gods who, despite their magical powers, are unable to save the patriarchal community they’ve been entrusted with from being overrun by the forces of modernization.
A master of reflexive, finely nuanced prose, Prokhasko weaves together narrative strands testifying to the sophistication and integration of Ukrainian culture with the world.
A renowned Renaissance poet’s homage to Naples makes its debut in modern English translation.
Giovanni Pontano (1429–1503), whose academic name was Gioviano, was one of the great scholar-poets of the Renaissance as well as a leading statesman who served as prime minister to the Aragonese kings of southern Italy. The dominant literary figure of quattrocento Naples, Pontano produced literary works in several genres and was the leader of the Neapolitan academy. The two works included in the present volume, broadly inspired by Virgil, might be considered Pontano’s love songs to the landscapes of Naples. The Eclogues offer a spectacular, panoramic tour of the Bay of Naples region, even as they focus on intimate domestic scenes and allegorize the people and places of the poet’s world. The Garden of the Hesperides is a work of brilliant erudition on an unprecedented poetic topic: the cultivation of citrus trees and the splendid pleasures of gardens. This volume features a newly established Latin text of the Garden of the Hesperides as well as the first published translations of both works into English.
The clearest and most up-to-date account of the achievements—and setbacks—of the European Union since 1945.
Europe has been transformed since the Second World War. No longer a checkerboard of entirely sovereign states, the continent has become the largest single-market area in the world, with most of its members ceding certain economic and political powers to the central government of the European Union. This shift is the product of world-historical change, but the process is not well understood. The changes came in fits and starts. There was no single blueprint for reform; rather, the EU is the result of endless political turmoil and dazzling bureaucratic gymnastics. As Brexit demonstrates, there are occasional steps backward, too. Cutting through the complexity, Richard Pomfret presents a uniquely clear and comprehensive analysis of an incredible achievement in economic cooperation.
The Economic Integration of Europe follows all the major steps in the creation of the single market since the postwar establishment of the European Coal and Steel Community. Pomfret identifies four stages of development: the creation of a customs union, the deepening of economic union with the Single Market, the years of monetary union and eastward expansion, and, finally, problems of consolidation. Throughout, he details the economic benefits, costs, and controversies associated with each step in the evolution of the EU. What lies ahead? Pomfret concludes that, for all its problems, Europe has grown more prosperous from integration and is likely to increase its power on the global stage.
Reevaluates early modern poems of praise as, paradoxically, challenging an artistic economy that values exchange and productivity
Early modern poems of praise typically insist that they do not have a purpose or enact real labor beyond their effortless listing of laudable qualities. And yet the poets discussed in this study, including Ben Jonson, Andrew Marvell, Anne Bradstreet, Lucy Hutchinson, and John Milton, hint at an alternative aesthetic economy at work in their verse. Poetic praise, it turns out, might show us a social world outside the organizing principle of exchange.
In Economies of Praise: Value, Labor, and Form in Seventeenth‑Century English Poetry, Ryan Netzley explores how poems of praise imagine alternatives to market and gift economies and point instead to a self-contained aesthetic economy that works against a more expansive and productivist understanding of literary art. By depicting exchange as inconsequential, unproductive, and redundant rather than a necessary constituent of social order, these poems model for modern readers a world without the imperative to create, appraise, and repeatedly demonstrate one’s own value.
This edition offers texts from Bathsua Makin and Mary More, and Robert Whitehall’s response to More’s argument. Makin describes the appropriate education for London merchants’ daughters, arguing that girls should be educated and should aspire to follow learned women in history, and that educated women improve their families and themselves. More argues that women have the right to an education, and that such an education shows that the inequality of married women under English law is a man-made institution. More’s argument drew objections from her Oxford reader, Robert Whitehall, who preserved her manuscript with his own. Makin and More enjoyed a measure of public recognition and esteem, yet after their deaths, they and their texts were largely ignored until the late twentieth century.
In 1837, when Queen Victoria came to the throne, no institution of higher education in Britain was open to women. By the end of the century, a quiet revolution had occurred: women had penetrated even the venerable walls of Oxford and Cambridge and could earn degrees at the many new universities founded during Victoria's reign. During the same period, novelists increasingly put intellectually ambitious heroines students, teachers, and frustrated scholars—at the center of their books. Educating Women analyzes the conflict between the higher education movement's emphasis on intellectual and professional achievement and the Victorian novel's continuing dedication to a narrative in which women's success is measured by the achievement of emotional rather than intellectual goals and by the forging of social rather than institutional ties.
Focusing on works by Charlotte Brontë, George Eliot, Anna Leonowens, and Thomas Hardy, Laura Morgan Green demonstrates that those texts are shaped by the need to mediate the conflict between the professionalism and publicity increasingly associated with education, on the one hand, and the Victorian celebration of women as emblems of domesticity, on the other. Educating Women shows that the nineteenth-century “heroines” of both history and fiction were in fact as indebted to domestic ideology as they were eager to transform it.
Fascination with ancient Egypt is a recurring theme in Western culture, and here Brian Curran uncovers its deep roots in the Italian Renaissance, which embraced not only classical art and literature but also a variety of other cultures that modern readers don’t tend to associate with early modern Italy. Patrons, artists, and spectators of the period were particularly drawn, Curran shows, to Egyptian antiquity and its artifacts, many of which found their way to Italy in Roman times and exerted an influence every bit as powerful as that of their more familiar Greek and Roman counterparts.
Curran vividly recreates this first wave of European Egyptomania with insightful interpretations of the period’s artistic and literary works. In doing so, he paints a colorful picture of a time in which early moderns made the first efforts to decipher Egyptian hieroglyphs, and popes and princes erected pyramids and other Egyptianate marvels to commemorate their own authority. Demonstrating that the emergence of ancient Egypt as a distinct category of historical knowledge was one of Renaissance humanism’s great accomplishments, Curran’s peerless study will be required reading for Renaissance scholars and anyone interested in the treasures and legacy of ancient Egypt.
Eighteenth-Century Contexts offers a lively array of essays that consider literary, intellectual, political, theological, and cultural aspects of the years 1650–1800, in the British Isles and Europe. At the center of the book is Jonathan Swift; several essays delve into his poetry, his similarities to Bernard Mandeville, his response to Anthony Collins’s Discourse of Free-Thinking, and the relationship between his Gulliver’s Travels and Thomas More’s Utopia. Other essays discuss Alexander Pope, eighteenth-century music and poetry, William Congreve, James Boswell, Samuel Richardson, and women’s novels of the eighteenth century.
Making use of invaluable archival material, Feinberg's biographical account is followed by a study of Tabori's experimental theatre work. As did prominent avant-gardists such as Grotowski or Chaikin, Tabori sought to open up new vistas in an otherwise mainstream theatre system. Feinberg pays special attention to Tabori's theatrical innovations, most movingly found in his Holocaust plays. There Feinberg shows the ways in which Tabori's theatre becomes a locus of remembrance (Gedächtnisort) and of unique, engaging memory-work (Erinnerungsarbeit).
Taking seriously Ireland’s euphemism for World War II, “the Emergency,” Anna Teekell’s Emergency Writing asks both what happens to literature written during a state of emergency and what it means for writing to be a response to an emergency.
Anchored in close textual analysis of works by Samuel Beckett, Elizabeth Bowen, Flann O’Brien, Louis MacNeice, Denis Devlin, and Patrick Kavanagh, and supported by archival material and historical research, Emergency Writing shows how Irish late modernism was a response to the sociopolitical conditions of a newly independent Irish Free State and to a fully emerged modernism in literature and art. What emerges in Irish writing in the wake of Independence, of the Gaelic Revival, of Yeats and of Joyce, is a body of work that invokes modernism as a set of discursive practices with which to counter the Free State’s political pieties.
Emergency Writing provides a new approach to literary modernism and to the literature of conflict, considering the ethical dilemma of performing neutrality—emotionally, politically, and rhetorically—in a world at war.
Emma, perhaps the most technically accomplished of all of Austen’s novels, is also, after Pride and Prejudice, her most popular one. Its numerous film and television adaptations testify to the world’s enduring affection for the headstrong, often misguided Emma Woodhouse and her many romantic schemes. Like the previous volumes in Harvard’s celebrated annotated Austen series, Emma: An Annotated Edition is a beautiful and illuminating gift edition that will be treasured by readers.
Stimulating and helpful annotations appear in the book’s margins, offering information, definitions, and commentary. In his Introduction, Bharat Tandon suggests several ways to approach the novel, enabling a larger appreciation of its central concerns and accomplishments. Appearing throughout the book are many illustrations, often in color, which help the reader to better picture the Regency-era world that serves as the stage for Emma’s matchmaking adventures.
Whether explaining the intricacies of early nineteenth-century dinner etiquette or speculating on Highbury’s deliberately imprecise geographical location, Tandon serves as a delightful and entertaining guide. For those coming to the novel for the first time or those returning to it, Emma: An Annotated Edition offers a valuable portal to Austen’s world.
"The Empire Inside is unique in its tight focus on the objects from one geographical location, and their deployment in one genre of fiction. This combination results in a powerful study with a wealth of fine formal analyses of literary texts and a similar trove of marvelous historical data."
---Elaine Freedgood, New York University
"In The Empire Inside, Suzanne Daly does a wonderful job integrating an array of primary materials, especially novels and journal essays, to show the extent to which these ‘foreign’ colonial products of India represented absolutely central aspects of domestic life, at once part of the unremarkable everyday experience of Victorians and rich with meanings."
---Timothy Carens, College of Charleston
By the early nineteenth century, imperial commodities had become commonplace in middle-class English homes. Such Indian goods as tea, textiles, and gemstones led double lives, functioning at once as exotic foreign artifacts and as markers of proper Englishness. The Empire Inside: Indian Commodities in Victorian Domestic Novels reveals how Indian imports encapsulated new ideas about both the home and the world in Victorian literature and culture. In novels by Charlotte Brontë, Charles Dickens, and Anthony Trollope, the regularity with which Indian commodities appear bespeaks their burgeoning importance both ideologically and commercially. Such domestic details as the drinking of tea and the giving of shawls as gifts point us toward suppressed connections between the feminized realm of private life and the militarized realm of foreign commerce.
Tracing the history of Indian imports yields a record of the struggles for territory and political power that marked the coming-into-being of British India; reading the novels of the period for the ways in which they infuse meaning into these imports demonstrates how imperialism was written into the fabric of everyday life in nineteenth-century England. Situated at the intersection of Victorian studies, material cultural studies, gender studies, and British Empire studies, The Empire Inside is written for academics, graduate students, and advanced undergraduates in all of these fields.
Suzanne Daly is Associate Professor of English, University of Massachusetts Amherst.
The Empty Garden draws a portrait of Milton as a cultural and religious critic who, in his latest and greatest poems, wrote narratives that illustrate the proper relationships among the individual, the community, and God. Rushdy argues that the political theory implicit in these relationships arises from Milton’s own drive for self-knowledge, a kind of knowledge that gives the individual freedom to act in accordance with his or her own understanding of God’s will rather than the state’s. Rushdy redefines Milton’s creative spirit in a way that encompasses his poetic, political, and religious careers.
There are separate languages to be understood in the writings of French and English Romantics, Margery Sabin tells us. Instead of minimizing the importance of national characteristics, as comparatistes frequently do, she demonstrates that national traditions of thought and language have a determining influence throughout the Romantic period. In tracking the differing courses pursued by the best French and English writers of the period, she shows that the idea of the transcendental imagination never took hold among the French-Romantics; that Wordsworth's ideal of the marriage between mind and nature did not inform the vision of the French, who were preoccupied with the isolated human spirit thrown back on its own resources of conscience or faith.
A detailed and far-ranging comparison of Rousseau's Confessions and Wordsworth's Prelude establishes her provocative argument. The idea gains force from the wealth of examples that follow. Sabin examines Wordsworth, Coleridge, and George Eliot as representative of varieties of English Romanticism in the genres of lyric poetry, critical theory, and the novel. Contrasts between these writers and Hugo, Baudelaire, and Flaubert offer new and more precise ways of understanding both Romanticism and later departures from it. Her sensitive readings of Pascal, La Rochefoucauld, Addison, Samuel Johnson, Gerard Manley Hopkins, Thomas Hardy, Yeats, T. S. Eliot, and others yield further evidence. This fresh critical perspective will generate further thought about major writers and about national differences in literature.
Greece sits at the center of a geopolitical storm that threatens the stability of the European Union. To comprehend how this small country precipitated such an outsized crisis, it is necessary to understand how Greece developed into a nation in the first place, Paschalis Kitromilides contends. Enlightenment and Revolution identifies the intellectual trends and ideological traditions that shaped a religiously defined community of Greek-speaking people into a modern nation-state--albeit one in which antiliberal forces have exacted a high price.
Kitromilides takes in the vast sweep of the Greek Enlightenment in the eighteenth and nineteenth centuries, assessing key developments such as the translation of Voltaire, Locke, and other modern authors into Greek; the conflicts sparked by the Newtonian scientific revolution; the rediscovery of the civilization of classical Greece; and the emergence of a powerful countermovement. He highlights Greek thinkers such as Voulgaris and Korais, showing how these figures influenced and converged with currents of the Enlightenment in the rest of Europe.
In reconstructing this history, Kitromilides demonstrates how the confrontation between Enlightenment ideas and Church-sanctioned ideologies shaped the culture of present-day Greece. When the Greek nation-state emerged from a decade-long revolutionary struggle against the Ottoman Empire in the early nineteenth century, the Enlightenment dream of a free Greek polity was soon overshadowed by a romanticized nationalist and authoritarian vision. The failure to create a modern liberal state at that decisive historic moment, Kitromilides insists, is at the root of Greece's recent troubles.
The late eighteenth century witnessed an explosion of intellectual activity in Scotland by such luminaries as David Hume, Adam Smith, Hugh Blair, William Robertson, Adam Ferguson, James Boswell, and Robert Burns. And the books written by these seminal thinkers made a significant mark during their time in almost every field of polite literature and higher learning throughout Britain, Europe, and the Americas.
In this magisterial history, Richard B. Sher breaks new ground for our understanding of the Enlightenment and the forgotten role of publishing during that period. The Enlightenment and the Book seeks to remedy the common misperception that such classics as The Wealth of Nations and The Life of Samuel Johnson were written by authors who eyed their publishers as minor functionaries in their profession. To the contrary, Sher shows how the process of bookmaking during the late eighteenth-century involved a deeply complex partnership between authors and their publishers, one in which writers saw the book industry not only as pivotal in the dissemination of their ideas, but also as crucial to their dreams of fame and monetary gain. Similarly, Sher demonstrates that publishers were involved in the project of bookmaking in order to advance human knowledge as well as to accumulate profits.
The Enlightenment and the Book explores this tension between creativity and commerce that still exists in scholarly publishing today. Lavishly illustrated and elegantly conceived, it will be must reading for anyone interested in the history of the book or the production and diffusion of Enlightenment thought.
Srinivas Aravamudan here reveals how Oriental tales, pseudo-ethnographies, sexual fantasies, and political satires took Europe by storm during the eighteenth century. Naming this body of fiction Enlightenment Orientalism, he poses a range of urgent questions that uncovers the interdependence of Oriental tales and domestic fiction, thereby challenging standard scholarly narratives about the rise of the novel.
Lucrezia Marinella (1571–1653) is, by all accounts, a phenomenon in early modernity: a woman who wrote and published in many genres, whose fame shone brightly within and outside her native Venice, and whose voice is simultaneously original and reflective of her time and culture. In Enrico; or, Byzantium Conquered, one of the most ambitious and rewarding of her numerous narrative works, Marinella demonstrates her skill as an epic poet.
Now available for the first time in English translation, Enrico retells the story of the conquest of Byzantium in the Fourth Crusade (1202–04). Marinella intersperses historical events in her account of the invasion with numerous invented episodes, drawing on the rich imaginative legacy of the chivalric romance. Fast-moving, colorful, and narrated with the zest that characterizes Marinella’s other works, this poem is a great example of a woman engaging critically with a quintessentially masculine form and subject matter, writing in a genre in which the work of women poets was typically shunned.
Bringing psychoanalysis to bear on the diagnosis of ecological crisis
Why has psychoanalysis long been kept at the margins of environmental criticism despite the many theories of eco-Marxism, queer ecology, and eco-deconstruction available today? What is unique, possibly even traumatic, about eco-psychoanalysis? The Environmental Unconscious addresses these questions as it provides an innovative and theoretical account of environmental loss focused on the counterintuitive forms of enjoyment that early modern poetry and psychoanalysis jointly theorize.
Steven Swarbrick urges literary critics and environmental scholars fluent in the new materialism to rethink notions of entanglement, animacy, and consciousness raising. He introduces concepts from psychoanalysis as keys to understanding the force of early modern ecopoetics. Through close readings of Edmund Spenser, Walter Ralegh, Andrew Marvell, and John Milton, he reveals a world of matter that is not merely hyperconnected, as in the new materialism, but porous and off-kilter. And yet the loss these poets reveal is central to the enjoyment their works offer—and that nature offers.
As insightful as it is engaging, The Environmental Unconscious offers a provocative challenge to ecocriticism that, under the current regime of fossil capitalism in which everything solid interconnects, a new theory of disconnection is desperately needed. Tracing the propulsive force of the environmental unconscious from the early modern period to Freudian and post-Freudian theories of desire, Swarbrick not only puts nature on the couch in this book but also renews the psychoanalytic toolkit in light of environmental collapse.
From humble beginnings, Bartolomeo Scala (1430–1497) trained in the law and rose to prominence as a leading citizen of Florence, serving as secretary and treasurer to the Medicis and chancellor of the Guelf party before becoming first chancellor of Florence, a post he held for fifteen years. His palace in Borgo Pinti, modeled on classical designs, was emblematic of his achievements as a humanist as well as a public official. Along with his professional writings as chancellor, Scala’s personal treatises, fables, and dialogues—widely read and admired by his contemporaries—were deeply indebted to classical sources. This volume collects works from throughout his career that show his acquaintance with recently rediscovered ancient writers, whose works he had access to through the Medici libraries, and the influence of fellow humanists such as Marsilio Ficino, Aeneas Silvius Piccolomini (Pope Pius II), and Giovanni Pico della Mirandola. Perhaps the most significant is the Defense against the Detractors of Florence, a key document in the development of modern republicanism.
This volume presents fresh translations by Renée Neu Watkins of five of the texts based on Latin editions by Alison Brown, who also contributes an introduction to Scala’s life and works.
Winner, 2015 USC Book Award in Literary and Cultural Studies, for outstanding monograph published on Russia, Eastern Europe or Eurasia in the fields of literary and cultural studies
The Ethics of Witnessing investigates the reactions of five important Polish diaristswriters—Jaroslaw Iwaszkiewicz, Maria Dabrowska, Aurelia Wylezynska, Zofia Nalkowska, and Stanislaw Rembek—during the period when the Nazis persecuted and murdered Warsaw’s Jewish population. The responses to the Holocaust of these prominent prewar authors extended from insistence on empathic interaction with victims to resentful detachment from Jewish suffering. Whereas some defied the dehumanization of the Jews and endeavored to maintain intersubjective relationships with the victims they attempted to rescue, others selfdeceptively evaded the Jewish plight. The Ethics of Witnessing examines the extent to which ideologies of humanism and nationalism informed the diarists’ perceptions, proposing that the reality of the Final Solution exposed the limits of both orientations and ultimately destroyed the ethical landscape shaped by the Enlightenment tradition, which promised the equality and fellowship of all human beings.
A long-awaited corrective to the controversial idea of world literature, from a major voice in the field.
Katerina Clark charts interwar efforts by Soviet, European, and Asian leftist writers to create a Eurasian commons: a single cultural space that would overcome national, cultural, and linguistic differences in the name of an anticapitalist, anti-imperialist, and later antifascist aesthetic. At the heart of this story stands the literary arm of the Communist International, or Comintern, anchored in Moscow but reaching Baku, Beijing, London, and parts in between. Its mission attracted diverse networks of writers who hailed from Turkey, Iran, India, and China, as well as the Soviet Union and Europe. Between 1919 and 1943, they sought to establish a new world literature to rival the capitalist republic of Western letters.
Eurasia without Borders revises standard accounts of global twentieth-century literary movements. The Eurocentric discourse of world literature focuses on transatlantic interactions, largely omitting the international left and its Asian members. Meanwhile, postcolonial studies have overlooked the socialist-aligned world in favor of the clash between Western European imperialism and subaltern resistance. Clark provides the missing pieces, illuminating a distinctive literature that sought to fuse European and vernacular Asian traditions in the name of a post-imperialist culture.
Socialist literary internationalism was not without serious problems, and at times it succumbed to an orientalist aesthetic that rivaled any coming from Europe. Its history is marked by both promise and tragedy. With clear-eyed honesty, Clark traces the limits, compromises, and achievements of an ambitious cultural collaboration whose resonances in later movements can no longer be ignored.
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