Charles Pagan and Dick Baron, who served together in WWI, embark on a walking holiday in the Vosges Mountains in France, in 1930. En route they meet Cecil and his sister Clare who is recovering from the loss of her fiancé during the war. Pagan and Baron pitch camp at a guesthouse, but the strange behaviour of locals piques their interest in the surroundings: in particular the old battlefield nearby. They express an interest in visiting it and are told by their host in no uncertain terms that it is not the place to go at night. When they discover they have been locked in their bedrooms, the pair lose no time in putting a rope out of the window and shinning down it, intent on exploring the forbidden territory and viewing the apparition Pagan thinks he has glimpsed briefly by moonlight. Pagan, like W. F. Morris’s preceding novel Bretherton, is a mystery story, but one which could only have been written as a result of the war. Bretherton himself is mentioned in passing by his brothers in arms. It is exciting, spine-chilling, funny, and romantic, but the Great War taints all these elements like a colour filter on a camera. The war is only a decade away and wounds, both mental and physical, are raw. The novel works brilliantly as a thriller in its own right, and but also a commentary on post-war Europe.

The Whistlers' Room is the surprisingly gentle, sensitive story of a section in a German hospital where three soldiers try to recover from battle injuries. They are known as the Whistlers, as all were shot in the throat and their breathing results in a sound "like the squeaking of mice". The author vividly captures the strong young men the soldiers used to be and the battered, wounded people they have become. Pointner, whose obstinacy in holding onto an English sniper's cap means he is mistaken for the enemy, is the worst injured of the trio. Kollin continually dreams that he is cured, and for a brief, heart-breaking moment his breathing appears to be free when he awakes. The precarious balance of life in the hospital shifts when Harry, an English prisoner of war, becomes another whistler. His initial reception by the other patients, and his eventual acceptance into their group, reminds us of what must be so blatant day-in day-out in a hospital: men are all the same regardless of the country they fight for. The story progresses through a simple series of vignettes which are delicately presented without demanding empathy or flinging the reader into a maelstrom of emotion. It is all the more rare, precious and powerful as a result.

Teaching Queer looks closely at student writing, transcripts of class discussions, and teaching practices in first-year writing courses to articulate queer theories of literacy and writing instruction, while also considering the embodied actuality of being a queer teacher. Rather than positioning queerness as connected only to queer texts or queer teachers/students (as much work on queer pedagogy has done since the 1990s), this book offers writing and teaching as already queer practices, and contends that the overlap between queer theory and composition presents new possibilities for teaching writing. Teaching Queer argues for and enacts "queer forms"—non-normative and category-resistant forms of writing—those that move between the critical and the creative, the theoretical and the practical, and the queer and the often invisible normative functions of classrooms.

Bandits seem ubiquitous in Latin American culture. Even contemporary actors of violence are framed by narratives that harken back to old images of the rural bandit, either to legitimize or delegitimize violence, or to intervene in larger conflicts within or between nation-states. However, the bandit escapes a straightforward definition, since the same label can apply to the leader of thousands of soldiers (as in the case of Villa) or to the humble highwayman eking out a meager living by waylaying travelers at machete point. Dabove presents the reader not with a definition of the bandit, but with a series of case studies showing how the bandit trope was used in fictional and non-fictional narratives by writers and political leaders, from the Mexican Revolution to the present. By examining cases from Argentina, Brazil, Mexico, Peru, and Venezuela, from Pancho Villa's autobiography to Hugo Chávez's appropriation of his "outlaw" grandfather, Dabove reveals how bandits function as a symbol to expose the dilemmas or aspirations of cultural and political practices, including literature as a social practice and as an ethical experience.

Approaching poems as utterances designed and packaged for pleasurable reanimation, How to Play a Poem leads readers through a course that uses our common experience of language to bring poems to life. It mobilizes the speech genres we acquire in our everyday exchanges to identify "signs of life" in poetic texts that can guide our co-creation of tone. How to Play a Poem draws on ideas from the Bakhtin School, usually associated with fiction rather than poetry, to construct a user-friendly practice of close reading as an alternative to the New Critical formalism that still shapes much of teaching and alienates many readers. It sets aside stock questions about connotation and symbolism to guide the playing out of dynamic relations among the human parties to poetic utterances, as we would play a dramatic script or musical score. How to Play a Poem addresses critics ready to abandon New Criticism, teachers eager to rethink poetry, readers eager to enjoy it, and students willing to give it a chance, inviting them to discover a lively and enlivening way to animate familiar and unfamiliar poems.

The Journal of Language Relationship is an international periodical publication devoted to the issues of comparative linguistics and the history of the human language. The Journal contains articles written in English and Russian, as well as scientific reviews, discussions and reports from international linguistic conferences and seminars.

This book interprets rhetorical style within a theoretical frame, and it aims to give a more unifying account than has been given in most publications on style. The aim is to establish the concept of rhetorical style that will not only achieve a greater conceptual consensus, but also help make it both powerful and useful in line with other concepts in the practical and critical disciplines of rhetoric. The examination of rhetorical style is aimed at conceptual development based on theoretical reflection and rhetorical analysis. The goal is to achieve a clearer understanding of some of the ways in which rhetorical style supplies the conceptual frameworks for reflecting, perceiving, arguing, and gaining influence in practical life.

Latin American comics and graphic novels have a unique history of addressing controversial political, cultural, and social issues. This volume presents new perspectives on how comics on and from Latin America both view and express memory formation on major historical events and processes. The contributors, from a variety of disciplines including literary theory, cultural studies, and history, explore topics including national identity construction, narratives of resistance to colonialism and imperialism, the construction of revolutionary traditions, and the legacies of authoritarianism and political violence. The chapters offer a background history of comics and graphic novels in the region, and survey a range of countries and artists such as Joaquín Salvador Lavado (a.k.a Quino), Héctor G. Oesterheld, and Juan Acevedo. They also highlight the unique ability of this art and literary form to succinctly render memory. In sum, this volume offers in-depth analysis of an understudied, yet key literary genre in Latin American memory studies and documents the essential role of comics during the transition from dictatorship to democracy.

In the last 20 years or so, the 1994 genocide in Rwanda has inspired a number of creative writers who were eager to represent that genocide itself, its aftermath and, in some cases, the situation that they perceived as paving the way for it decades before it occurred. Unlike other parts of Africa, where the novel already had a deeply rooted tradition, the Rwandan novel is a recent phenomenon that dates back to the late 1990s. In this book, the author focuses on 10 Rwandan-authored novels of genocide, which he considers to be excellent memory texts that reveal a lot about memory processes in post-genocide Rwanda. The author argues that the freedom the novelists enjoy to create their own Rwanda enable them to explore the most controversial aspects of the relationships amongst the Hutu and the Tutsi, the main ethnic groups in Rwanda. Unlike non-fiction writers who are restricted by their discipline-specific constraints and ethical considerations, novelists use their invented Rwanda to expose ethnicity-related issues in a less formal, and often provocative, way. In so doing, however, they seem to exacerbate tensions, by for instance stereotyping the ethnic Other, by providing the ethnic Other with certain attributes and memory-loaded names, and by embracing certain ideological truths. As a follow up to Complexities and Dangers of Remembering and Forgetting in Rwanda [Volume 1 of the Memory Traps series, 2013], Novels of Genocide invites scholars, researchers, students and all those interested in collective memory, genocide studies, fiction, and propaganda studies, to go beyond the traditional fiction-versus-reality dichotomy, and to look at post-genocide Rwanda through the lenses of fiction. The author engages six Tutsi-authored novels and four Hutu-authored counterparts and contends that what happens in fictional Rwanda is so close to, and highly instructive about, what happens in real Rwanda.

Gina Athena Ulysse’s Because When God Is Too Busy: Haïti, me, & THE WORLD is a lyrically vivid meditative journey that is unapologetic in its determination to name, embrace and reclaim a revolutionary Blackness that has been historically stigmatized and denied. Crafting experiments with “ethnographic collectibles” of word, performative sounds, and imagery to blur genres and the lines between the geopolitical and the personal, this collection is a testament to postcolonial inheritances. Ulysse’s work remixes samples from a range of references as it beckons readers to bear witness to a coming of age as she shifts between time and place and plays with languages to stretch the margins of aesthetics in the academic. These poems, performance texts, and photographs gather fractured memories—longings laced with Vodou chants confronting a past that looms too largely in the present. Because When God Is Too Busy searches for humility while honoring sacred and ancestral imperatives to recognize and salute power beyond Western attachments to reason.

These articles on Aramaic, Hebrew, and Greek lexicography have arisen from papers presented at the International Syriac Language Project's 14th International Conference in St. Petersburg in 2014.

The volume is devoted to images in painting, photography and cinema invented by literature. At the same time it intends to question, through this perspective, the relationship between text and image, between verbal and visual in modern and contemporary literature. The authors involved study the mutual boundaries between literature and arts from the point of view of aesthetics, visual culture and literary theory, trying to build a map of the notional ekphrasis, a description which constitutes the work of art while telling it.

How is one to learn in a time of globalization? And in particular: how is one to learn if the research “object” is a non-European culture, such as that of Japan? What are the methodologies appropriate for working in the field of “Nippon/Japan” in a bi-directional approach from West to East and from East to West? Based on an interdisciplinary and intercultural orientation, specialists from Europe and Japan analyze topics focusing on History, Philosophy, Aesthetics, Literature, Linguistics, Sociology, Economics and Religious Studies.

Ellen Emerson may be the last living survivor of the Johnstown flood. She was only four years old on May 31, 1889, when twenty million tons of water decimated her hometown of Johnstown, Pennsylvania. Thousands perished in what was the worst natural disaster in U. S. history at the time. As we witness in The Johnstown Girls, the flood not only changed the course of history, but also the individual lives of those who survived it.A century later, Pittsburgh Post-Gazette reporters Ben Bragdon and Nina Collins set out to interview 103-year-old Ellen for Ben’s feature article on the flood. When asked the secret to her longevity, Ellen simply attributes it to “restlessness.” As we see, that restlessness is fueled by Ellen’s innate belief that her twin sister Mary, who went missing in the flood, is somehow still alive. Her story intrigues Ben, but it haunts Nina, who is determined to help Ellen find her missing half.Novelist Kathleen George masterfully blends a history of the Johnstown flood into her heartrending tale of twin sisters who have never known the truth about that fateful day in 1889—a day that would send their lives hurtling down different paths. The Johnstown Girls is a remarkable story of perseverance, hard work, and never giving up hope in the face of seemingly insurmountable odds. It’s also a tribute to the determination and indomitable spirit of the people of Johnstown through one hundred years, three generations, and three different floods.

WINNER OF THE 2015 DRUE HEINZ LITERATURE PRIZE Selected by Jill McCorkleThis Angel on My Chest is a collection of unconventionally linked stories, each about a different young woman whose husband dies suddenly and unexpectedly. Ranging from traditional stories to lists, a quiz, a YouTube link, and even a lecture about creative writing, the stories grasp to put into words the ways in which we all cope with unspeakable loss. Based on the author's own experience of losing her husband at age thirty-seven, this book explores the resulting grief, fury, and bewilderment, mirroring the obsessive nature of grieving. The stories examine the universal issues we face at a time of loss, as well as the specific concerns of a young widow: support groups, in-laws, insurance money, dating, and remarriage. This Angel on My Chest ultimately asks, how is it possible to move forward with life while "till death do you part" rings in your ears—and, how is it possible not to?

Planetary Noise: Selected Poetry of Erín Moure gathers four decades of poetry from a celebrated Canadian poet and translator who has persistently reconfigured the linguistic and material relations of English. Moure’s poems and networked sequences are hybrid and often polylingual; they work with contradiction, paradox, and verbal detritus— linguistic hics and blips often too quickly dismissed as noise—to create new conditions for thought and pleasure. From postdramatic theatre to queer and feminist theory, from the politics of citizenship and genocide to the minutiae of digital poetics, from the clamor of love to the shadows of grief and memory, Moure has joyously toppled hierarchies of meaning and parasited dominant discourses to create poetry that crosses borders, embracing hope, not war. This volume, edited by poet and literary scholar Shannon Maguire, also features an extensive introduction to Moure’s poetry, a section of poetry by others translated by Moure, and an afterword on translation by the poet. An online reader’s companion is available at XXXX.site.wesleyan.edu.