Witty, humorous and wise reflections on loving
We constantly heal each other, love, true
to our senses, sharing our secret vaults
of fear and longing, faith and confusion,
doubt and delight.
Armbrust’s love poems are not ethereal, however, but rooted in real bodies…
My poetry honors your architecture’s mystery.
Fanciful, yet rooted in real experience, Armbrust’s one hundred-plus sonnets incite passion and introspection, so that the collection makes an inspired lover’s gift.
Religious piety has rarely been animated as vigorously as in Old English Poems of Christ and His Saints. Ranging from lyrical to dramatic to narrative, the individual poems show great inventiveness in reimagining perennial Christian topics. In different poems, for example, Christ expels Lucifer from heaven, resists the devil's temptation on earth, mounts the cross with zeal to face death, harrows hell at the urging of John the Baptist, appears in disguise to pilot a ship, and presides over the Last Judgment. Satan and the fallen angels lament their plight in a vividly imagined hell and plot against Christ and his saints.
In Andreas the poet relates, in language reminiscent of Beowulf, the tribulations of the apostles Andrew and Matthew in a city of cannibals. In The Vision of the Cross (also known as The Dream of the Rood), the cross speaks as a Germanic warrior intolerably torn between the imperative to protect his Lord and the duty to become his means of execution. In Guthlac A, an Anglo-Saxon warrior abandons his life of violence to do battle as a hermit against demons in the fens of Lincolnshire. As a collection these ten anonymous poems vividly demonstrate the extraordinary hybrid that emerges when traditional Germanic verse adapts itself to Christian themes.
Old English Poems of Christ and His Saints complements the saints' lives found in The Old English Poems of Cynewulf, DOML 23.
The Latin psalms figured prominently in the lives of the Anglo-Saxons, whether sung in the Divine Office by clerics, studied as a textbook for language learning by students, or recited in private devotion by lay people. They were also translated into Old English, first in prose and later in verse. Sometime in the middle of the eleventh century, the prose and verse translations were brought together and organized in a complementary sequence in a manuscript now known as the Paris Psalter. The prose version, traditionally attributed to King Alfred (d. 899), combines literal translation with interpretative clarification. In contrast, the anonymous Old English verse translation composed during the tenth century approaches the psalms in a spirit of prayer and devotion. Despite their differences, both reflect earnest attempts to capture the literal meaning of the psalms.
The complete text of all 150 prose and verse psalms is available here in contemporary English for the first time. With this translation readers encounter the beginnings and the continuation of a long tradition of psalm renderings in English.
“People’s lives are written on the fields of old farms. The rows of the fields are like lines on a page, blank and white in winter, filled in with each year’s story of happiness, disappointment, drought, rain, sun, scarcity, plenty. The chapters accumulate, and people enter and leave the narrative. Only the farm goes on.”—From the Introduction
In One Small Farm, Craig Schreiner’s evocative color photographs capture one family as they maintain the rhythms and routines of small farm life near Pine Bluff, Wisconsin. “Milk in the morning and milk at night. Feed the cows and calves. Plant crops. Grind feed. Chop and bale hay. Cut wood. Clean the barn. Spread manure on the fields. Plow snow and split wood in winter. In spring, pick rocks from the fields. Cultivate corn. Pick corn. Harvest oats and barley. Help calves be born. Milk in the morning and milk at night.”
There’s much more to life on the farm than just chores, of course, and Schreiner captures the rhythms and richness of everyday life on the farm in all seasons, evoking both the challenges and the joys and providing viewers a window into a world that is quickly fading. In documenting the Lamberty family’s daily work and life, these thoughtful photos explore larger questions concerning the future of small farm agriculture, Wisconsin cultural traditions, and the rural way of life.
When Melissa Clark purchased a box of old scrapbooks online, she knew only that she had bought something relating to the University of Utah and Zion Park. What came in the mail was much more than she had expected. Instead of random mementos, two albums arrived full of photographs and newspaper clippings dating to 1920 that document a trip made by six young women from the University of Utah into the newly formed Zion National Park. Part of a promotional campaign developed by the Los Angeles and Salt Lake Railroad to advertise its national park shuttle service, the women entered Zion Canyon as its first offical tourists. When Melissa bought those timeworn scrapbooks she found a forgotten treasure: the opening of Zion.
With text by John Clark, the scrapbooks are now the basis of a one-of-a-kind publication. Part fashion spread, part adventure guide, and all Utah cultural treasure, Opening Zion is a stunning visual record of the park. Remarkably detailed black-and-white photographs show the young adventurers scrambling over rocky outcrops, pondering the dizzying height of Zion's sheer walls, and singing camp songs by the campfire. We are introduced anew to the "gigantic grandeur" of Zion National Park. As one of the women wrote, "One can think only beautiful thoughts amid such splendor."
Looking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon.
This innovative volume will appeal to those interested in art history, theories of gender, and postcolonial studies.
Contributors. Jill Beaulieu, Roger Benjamin, Zeynep Çelik, Deborah Cherry, Hollis Clayson, Mark Crinson, Mary Roberts
When critics of poet Phillis Wheatley, the first African American to publish a collection of poetry, dismiss her work as derivative, they fail to see her writing as part of a new creative pantheon, sitting alongside other works that, like the popular copybooks in antebellum America, are structured as a conversation between artistic allies. Different kinds of copying in this period were distinctly feminized practices, such as artistic copying, pedagogical recitation, and literary imitation. Ekphrasis, the literary description of a work of visual art, reveals a particularly interesting form of copying, as the artwork in question becomes a kind of mediated space between author and reader; this practice, then, becomes the emblematic form of literature as collective production.
Original Copy frames ekphrasis and other forms of literary and visual copy-work as key concepts for understanding the discussions of nationalism, originality, and gender that dominated US literary circles during the first half of the nineteenth century. Christa Holm Vogelius focuses on four major writers of the period—Phillis Wheatley, Margaret Fuller, Sophia Hawthorne, and Henry Longfellow—to offer a narrative of a self-consciously feminine antebellum literary culture that was equally invested in literary nationality and convention. The explicitly feminized forms of the copy between and within media, she argues, became a productive means by which writers across a variety of genres interrogated the ill-defined but ubiquitous idea of an “original” American literature. Original Copy bridges three bodies of scholarship that have remained largely distinct—studies of literary nationalism and transnationalism, scholarship on gender in nineteenth century literary culture, and aesthetic and media theory—to argue for the significance of both imitation and intimate author-reader relations to the development of an American literature.
Our Lady of Victorian Feminism is about three nineteenth-century women, Protestants by background and feminists by conviction, who are curiously and crucially linked by their extensive use of the Madonna in arguments designed to empower women.
In the field of Victorian studies, few scholars have looked beyond the customary identification of the Christian Madonna with the Victorian feminine ideal—the domestic Madonna or the Angel in the House. Kimberly VanEsveld Adams shows, however, that these three Victorian writers made extensive use of the Madonna in feminist arguments. They were able to see this figure in new ways, freely appropriating the images of independent, powerful, and wise Virgin Mothers.
In addition to contributions in the fields of literary criticism, art history, and religious studies, Our Lady of Victorian Feminism places a needed emphasis on the connections between the intellectuals and the activists of the nineteenth-century women's movement. It also draws attention to an often neglected strain of feminist thought, essentialist feminism, which proclaimed sexual equality as well as difference, enabling the three writers to make one of their most radical arguments, that women and men are made in the image of the Virgin Mother and the Son, the two faces of the divine.
Adál’s artistry is neither conventional nor pleasing for the spectator, as it is acquired through the continuous questioning of the particular condition of Puerto Ricans in the United States. The blurry portraits in this collection reflect the Nuyorican experience, but such a lesson becomes an ethical one: we are requested to learn to appreciate them in their opacity, because just as Rev. Pedro Pietri proclaims in the accompanying text, the Out of Focus Nuyoricans are proud “to not be figured out,” ever. If there is anything we should clearly get out of these out-of-focus portraits it is that to look fuzzy to some and opaque to others is not a condition to be feared or dreaded, but an achievement to be attained.
This book was published as a companion to the exhibits “Auto-Portraits/Blue Bananas on Fire” and “Blueprints for a Nation” at the David Rockefeller Center for Latin American Studies in 2004.
Out of the Woods: A Bird Watcher’s Year is a journey through the seasons and a joyous celebration of growing old. In fifty-nine essays and poems, Ora E. Anderson, birder, bird carver, naturalist, and nature writer, reveals the insights and recollections of a keen-eyed observer of nature, both human and avian. The essays follow the rivers and creeks, the highways and little-known byways of Appalachia, and along the way we become nearly as familiar with its numerous bird, plant, and animal species as with the author himself.
These are not the memories of a single year, however, but of a long lifetime spent immersed in the natural world. Out of the Woods, presented with humor and passion, is an account of a well-lived, productive, and satisfying life. The essays offer an intimate portrait of a half century of Anderson's life on his beloved old farm (more nearly a nature preserve), where he lived in harmony with birds and nature and followed the rhythm of the seasons. We are invited to share the joys—and the disappointments and sorrows—inherent in such a life.
Generously illustrated with Julie Zickefoose’s detailed and evocative drawings, this book will delight bird watchers, artists, naturalists, backyard gardeners, and anyone who is ever tempted to take a rutted, overgrown path just to see where it leads.
Honored with the 1990 American Institute of Architects Gold Medal for a lifetime of outstanding achievement, Fay Jones is an Arkansas original. In receiving the medal from Prince Charles of Great Britain, Jones was hailed as a “powerful and special genius who embodies nearly all the qualities we admire in an architect” and as an artist who used his vision to craft “mysterious and magical places” not only in Arkansas but all over the world.
This book accompanied a special museum exhibit of Jones’s life and work at the Old State House in Little Rock. It traces Jones’s development from his early years as a student of Frank Lloyd Wright and Bruce Goff, to the culmination of his ability in such arresting structures as Pinecote Pavilion in Picayune, Mississippi; Thorncrown Chapel in Eureka Springs, Arkansas; and Chapman University Chapel in Orange, California. Through the black-and-white photographs of the homes, chapels, and other buildings that Jones has created and the accompanying captions and interviews of the architect, the reader is allowed a view into this man’s remarkable talent.
Designing structures that fuse architecture and landscape, the organic and the man-made, Jones has created special places which touch their viewers with the power and subtlety of poetry. Herein we learn why.
From the Foreword by Robert Adams Ivy Jr.:
“Fay Jones’s architecture begins in order and ends in mystery. . . . His role can perhaps best be understood as mediator, a human consciousness that has arisen from the Arkansas soil and scoured the cosmos, then spoken through the voices of stone and wood, steel and glass. Art, philosophy, craft, and human aspiration coalesce in his masterworks, transformed from acts of will into harmonies: Jones lets space sing.”
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