Rosser’s poems have always given a squinty sideways glance at cultural foibles and assumptions. Her distinctive brand of cheery skepticism implies that the genuine pursuit of truth is a virtue that renders tolerable the intolerable. These poems achieve a lyricism that gives free reign to the lush energies of language while remaining transparent enough to communicate something precise, fresh, and unsettling. A driving force behind the poems in Mimi’s Trapeze is Rosser’s profound curiosity about all forms and conditions of life. Without distorting fact or motive, her speakers seek to navigate the mazes of our messy quotidian infelicities, ranging from imperfect love to squashing turtles on the road—from the history of artistic misrepresentations of women to global warming—attempting to calibrate the beautifully complex balance between desire and responsibility. This collection dwells more on mortality and the lamentable state of the planet (and the spiritual unsoundness of its denizens) than her previous work. Another new vein can be traced in several poems that seek to distill a state like adolescence into a single word (“Dyahe”), reduce vast movements and disciplines into epigrammatic nutshells (Miniature Histories of the World”), or isolate a condition like grief in an element as simple as salt (“After the Service, the Widow Considers the Etymology of Salary”). In Mimi’s Trapeze, her fourth book, Rosser takes a lighthearted view of dark subjects (see “Final Invitation”), and a dark view of light ones (“Intro to Happiness”). She has refined her vision, reaffirming her belief that poetry is the most direct and effective way for humans to alleviate their loneliness.

In Lucky Bones, Peter Meinke moves fluidly through free and formal shapes, taking the reader on a tour through America in the 21st century: family, politics, love, war and peace, old age and death are looked at in ways that are surprising, clear, and warm-hearted. Lit by flashes of anger and laughter as he surveys his territory from the vantage point of old age, the poems are, in the end, both sane and profound, set to Meinke’s own music. Consisting of over sixty new poems, the book begins with a house-shaped poem about a family in a beloved old home, and then moves out into the world with poems about a fire-bug, drive-by shootings, and the often violent human condition before circling back to the home and a final epitaph. A clear-eyed feeling of loss permeates Lucky Bones, but not despair: in the midst of conflict, Meinke’s world is full of wonder, and wonderful people.

David Roderick's second book, The Americans, pledges its allegiance to dirt. And to laptops. And to swimming pools, the Kennedys, a flower in a lapel, plastic stars hanging from the ceiling of a child's room, churning locusts, a jar of blood, a gleam of sun on the wing of a plane. His poems swarm with life. They also ask an unanswerable question: What does it mean to be an American? Restless against the borders we build—between countries, between each other—Roderick roams from place to place in order to dig into the messy, political, idealistic and ultimately inexplicable idea of American-ness. His rangy, inquisitive lyrics stitch together a patchwork flag, which he stakes alongside all the noise of our construction, our obsessive building and making, while he imagines the fate of a nation built on desire.Winner of the 2014 Julie Suk Award for the best poetry book published by an independent press.

This book concentrates on the conversation between Socrates and Gorgias which takes place in the first part of Plato's Gorgias. Scholars have tended to concentrate on the following two conversations held by Socrates with Polus and, especially, with Callicles. This first, relatively short, conversation is usually taken to be a kind of preface coming before Plato's 'real' philosophy. The present study challenges this assumption, arguing that the conversation between Socrates and Gorgias actually anticipates the message of the whole dialogue, which concerns the essence of rhetoric and its implications.

The American Shore: Meditations on a Tale of Science Fiction by Thomas M. Disch—"Angouleme" was first published in 1978 to the intense interest of science fiction readers and the growing community of SF scholars. Recalling Nabokov's commentary on Pushkin's Eugene Onegin, Roland Barthes' commentary on Balzac's Sarazine, and Grabinier's reading of The Heart of Hamlet, this book-length essay helped prove the genre worthy of serious investigation. The American Shore is the third in a series of influential critical works by Samuel R. Delany, beginning with The Jewel-Hinged Jaw and Starboard Wine, first published in the late seventies and reissued over the last five years by Wesleyan University Press, which helped win Delany a Pilgrim Award for Science Fiction Scholarship from the Science Fiction Research Association of America. This edition includes the author's corrected text as well as a new introduction by Delany scholar Matthew Cheney.

Selections from the Syriac romance about the evils of Julian the Apostate, made into a reading for students with complete glossary.

Self and Other explores the complex dynamic between the individual and the collectivity, narrative and identity that define the short fiction of Yūsuf al-Shārūnī, pioneer of Arab literary modernism. With a range of translated extracts, Kate V.M. Daniels offers English-speaking readers an invaluable introduction to one of Egypt's greatest short story-writers.

"So wise were our elders!" Thus exclaims Mariano Chicunque, himself an elder, expressing in a single phrase the thrust of the mythic narrative tradition he simultaneously presents and represents in his storytelling.A remarkable body of mythology is documented for the first time in this volume. John Homes McDowell's study revolves around thirty-two mythic narratives of the Kamsá Indians who live in the Sibundoy Valley of the Colombian Andes, collected by the author from several renowned Kamsá storytellers. Each myth is given in the native language with parallel English translations that seek to capture the flavor of the original performances. Textual annotation and commentary assess the grounding of the myths in the language and culture of the Kamsá indigenous community.Introductory chapters describe the process of transcription and translation and highlight important characteristics of the collection. McDowell stresses the collaborative nature of the enterprise, which benefits from the shared vision of the ethnographer and of indigenous consultants who were involved in every step of the process. The narratives are portrayed as a residual mythology in transit toward folktale but still evocative of a traditional cosmos. The myths are much more than inert "literary" objects, and under McDowell's scrupulous analysis they emerge as a storehouse of narrative potential whose performances still have meaning in Kamsá society and culture today."So Wise Were Our Elders" is a companion volume to McDowell's Sayings of the Ancestors: The Spiritual Life of the Subundoy Indians (1989).

Spain's Golden Age, the seventeenth century, left the world one great legacy, the flower of its dramatic genius -- the comedia. The work of the Golden Age playwrights represents the largest combined body of dramatic literature from a single historical period, comparable in magnitude to classical tragedy and comedy, to Elizabethan drama, and to French neoclassical theater.A History of Spanish Golden Age Drama is the first up-to-date survey of the history of the comedia, with special emphasis on critical approaches developed during the past ten years. A history of the comedia necessarily focuses on the work of Lope de Vega and Calderon de la Barca, but Ziomek also gives full credit to the host of lesser dramatists who followed in the paths blazed by Lope and Calderon, and whose individual contributions to particular genres added to the richness of Spanish theater. He also examines the profound influence of the comedia on the literature of other cultures.

In this provocative study Rose Zimbardo examines a crucial revolution in aesthetics that took place in the late seventeenth century and that to this day dominates our response to literature. Although artists of that time continued to follow the precept "imitate nature," that nature no longer corresponds to the earlier understanding of the term. What had been in essence an allegorical mode came to be a literal one. Focusing on the drama of the period as an exemplary form, Zimbardo shows how it moved from depicting a metaphysical reality of idea to portraying an inner reality of individual experience. But drama is constrained in expressing the inner experience since its medium is limited to human action. The novel arose to replace drama as the popular literary form, Zimbardo argues, because it could better and more freely convey man's inner world and thereby imitate the "new" nature.The study concluded that the changes which took place in drama during this period and which led to the invention of the novel resulted not from any "change of heart" or sensibility but from a fundamental change in the understanding of the nature which art was thought to imitate. Neither the drama of the 1690s nor the early novel, Zimbardo finds, was in the least "sentimental."A Mirror to Nature brings a new critical perspective to bear on literary developments at the end of the seventeenth century -- one that must be considered by critics and historians of the period.

Although The Tin Drum has often been called one of the great novels of the 20th century, most critics have been baffled in attempting to draw its apparent chaos into a single literary framework. Here is the full-length study to penetrate the brilliance of Gunter Grass's style and uncover the novel's mythopoetic core. In A Mythic Journey: Gunter Grass's Tin Drum, author Edward Diller convincingly demonstrates the still valid relationship between modern and classical literary criticism. By reading The Tin Drum as both modern myth and historical epic, he provides a profound and sensitive interpretation of one of the masterpieces of 20th century literature.

This collection is the first full-length literary study on Machaut, France's leading poet and musician of the 14th century. Machaut's narrative poems, called dits, have only been lightly studied. Here, author William Calin examines the works for their intrinsic merit and for their historical importance in influencing many writers, most notably Chaucer.

In this lucid book a distinguished scholar and critic measures British fiction from World War I through the convulsive effects of the Depression and World War II, and the importance of the writing that has been done since Finnegan's Wake.Webster presents a moving account of the shattering impact of the Great War upon British writers, particularly Rose Macaulay, Aldous Huxley, Evelyn Waugh, and Ivy Compton-Burnett. The cynicism and despair which afflicted them also bore heavily on the novelists of the thirties and forties -- Graham Greene, Joyce Cary, L. P. Hartley, C. P. Snow, who endured the disorder and violence of the Depression and World War II. Though all of these writers spoke with individual voices ranging from pessimism to joyful affirmation, they were all marked ineradicably by the turmoil of the period. The book closes with an overview of the writers who have developed since World War II.Penetrating, fresh, affirmative in its values, the book is an important assessment of this protean group of writers.

Literary allegory has deep roots in early reading and interpretation of Scripture and classical epic and myth. In this substantial study, Mindele Treip presents an overview of the history and theory of allegorical exegesis upon Scripture, poetry, and especially the epic from antiquity to the seventeenth and early eighteenth centuries, with close focus on the Renaissance and on the triangular literary relationship of Tasso, Spenser, and Milton.Exploring the different ways in which the term allegory has been understood, Treip finds significant continuities-within-differences in a wide range of critical writings, including texts of postclassical, patristic and rabbinical writers, medieval writers, notably Dante, Renaissance theorists such as Coluccio Salutati, Bacon, Sidney, John Harrington and rhetoricians and mythographers, and the neoclassical critics of Italy, England and France, including Le Bossu. In particular, she traces the evolving theories on allegory and the epic of Torquato Tasso through a wide spectrum of his major discourses, shorter tracts and letters, giving full translations. Treip argues that Milton wrote, as in part did Spenser, within the definitive framework of the mixed historical-allegorical epic erected by Tasso, and she shows Spenser's and Milton's epics as significantly shaped by Tasso's formulations, as well as by his allegorical structures and images in the Gerusalemme liberata.In the last part of her study Treip addresses the complex problematics of reading Paradise Lost as both a consciously Reformation poem and one written within the older epic allegorical tradition, and she also illustrates Milton's innovative use of biblical "Accommodation" theory so as to create a variety of radical allegorical metaphors in his poem.This study brings together a wide range of critical issues -- the Homeric-Virgilian tradition of allegorical reading of epic; early Renaissance theory of all poetry as "translation" or allegorical metaphor; midrashic linguistic techniques in the representation of the Word; Milton's God; neoclassical strictures on Milton's allegory and allegory in general -- all of these are brought together in new and comprehensive perspective.

Andrey Bely, novelist, essayist, theoretician, critic, and poet, was a central figure in the Russian Symbolist movement of the 1920s, the most important literary movement in Russia in this century. Bely articulated a Symbolist aesthetic and originated a new approach to the study of Russian metrics and versification, giving rise to a new scholarly discipline that still thrives in the West.Although regarded by some critics, including Vladimir Nabokov, as the author of the greatest Russian novel of this century, Bely has been nearly forgotten in his native country for ideological reasons. In the West he remains little known and generally under-valued. But with recent English translations of Kotik Letaev and his masterpiece, Petersburg, interest in Bely is increasing. Janecek's book brings together some of the best modern scholarship on Bely and the Russian Symbolist movement of the 1920s.

Death, a perennial problem for philosophers and theologians, is especially crucial in the thought of Martin Heidegger. This penetrating commentary presents the concept of death as a unifying motif that illuminates many of the difficulties and obscurities of Heidegger's philosophy. Heidegger comes to see death as revealing the ultimate meaning not only of human existence, but of being itself. He thus confers upon the concept a force and sharpness, an ontological depth which is found in perhaps no other philosopher.This study corroborates the much-debated "turning" in Heidegger's philosophy. Demslce finds death to be the key not only to Heidegger's treatment of man and being, but also the key to his shift of focus from man to being. All Heidegger's various approaches to the theme of death are considered -- his existential-phenomenological analysis of Dasein, his discussions of art, poetry, history, and language, and his new phenomenological approach to the ordinary things of life.The author approaches Heidegger on his own terms, allowing the philosopher to speak for himself. The present reading of Heidegger grows smoothly out of Heidegger's own intentions. The result is a revealing study of Heidegger's philosophy in its entirety, which answers some persistently perplexing questions about this difficult modern philosopher.