Anthology of new work honoring the legacy of a celebrated African American poet/>/>This carefully and generously curated mosaic of essays, letters, and poems reveals the profound impact that poet Yusef Komunyakaa has had on poets, educators, and readers worldwide. The anthology brings together creative and critical offerings from fellow poets, former students, literary entities, and other admirers. There are emerging and established voices—from previously unpublished writers to Pulitzer Prize winning poets. Together these pieces honor one of the most influential writers of the last half century, one, it turns out, who is as beloved for his teaching as he is celebrated for his creative work. Contributors include Terrance Hayes, Sharon Olds, Carolyn Forché, Toi Derricotte, and Martín Espada, among others. Dear Yusef affirms Komunyakaa's transformative influence, showcasing how his mentoring has ignited creativity, nurtured passion, and fostered a sense of belonging among countless individuals. Through the artistry of these testimonials, we witness the transformative power of poetry and the enduring legacy of a true literary icon./>/>Sample Poem:/>/>from "Reading Yusef," by Major Jackson/>/>Over powdered beignets,/>over a demitasse of chicory/>near Royal, I came to grips I am the lonely sort/>for I am ever seeking potions,/>my head sideways, a book winged/>in my hand, its words from the chitlin circuit,/>fried dough going cold and congealing,/>passing tourists drowned out,/>a sullen look on my face. It is when I most/>want to make love./>/>Dostoevsky was a way out of my confusion,/>as was Baraka whom I gave my reverence freely./>/>Nothing I believed stayed, and thus, my melancholy/>deepened though banjos and clarinets played/>the streets through late afternoon rain, maybe/>Black Bottom Stomp, eucalyptus and live oaks/>aging against arpeggio-runs./>/>from "The Forty-Fourth Poem," by Jennifer Grotz/>The first student in my correspondence course who completed the final lesson on Dien Cai Dau was, like many students in that course, incarcerated in the Indiana State Penitentiary. In his essay, he wrote that Dien Cai Dau was the first book of poems he'd ever read. He'd been so taken with the experience that he'd proceeded to read poems from it aloud to his fellow inmates, after which they'd exchanged stories about being in the military, about Vietnam. He wrote about what it was like to witness violence. About what it was like to be numb, or to want to be numbHe also wrote about appreciating beauty, especially natural beauty, and of an awareness of gratitude for some grace that had nonetheless kept him alive, about how the poems still gave him hope. Dien Cai Dau had had a profound effect on him./>/>from "Dear Yusef," by Emily Jungmin Yoon/>The framework of your class was always care. Because you cared for us, we cared for one another. From then on, my poetry was always about love, even when it spoke through ugly histories, because I wanted to love the people in those narratives.

The story of the “conflict thesis” between science and religion—the notion of perennial conflict or warfare between the two—is part of our modern self-understanding. As the story goes, John William Draper (1811–1882) and Andrew Dickson White (1832–1918) constructed dramatic narratives in the nineteenth century that cast religion as the relentless enemy of scientific progress. And yet, despite its resilience in popular culture, historians today have largely debunked the conflict thesis. Unravelling its origins, James Ungureanu argues that Draper and White actually hoped their narratives would preserve religious belief. For them, science was ultimately a scapegoat for a much larger and more important argument dating back to the Protestant Reformation, where one theological tradition was pitted against another—a more progressive, liberal, and diffusive Christianity against a more traditional, conservative, and orthodox Christianity. By the mid-nineteenth century, narratives of conflict between “science and religion” were largely deployed between contending theological schools of thought. However, these narratives were later appropriated by secularists, freethinkers, and atheists as weapons against all religion. By revisiting its origins, development, and popularization, Ungureanu ultimately reveals that the “conflict thesis” was just one of the many unintended consequences of the Protestant Reformation.

Winner of the Donald Hall Prize for Poetry from the 2023 AWP Award Series.

Classic and new work by poet and jazz writer A. B. Spellman/>/>A.

This volume is part of a series of English translations of the Syriac Peshitta along with the Syriac text carried out by an international team of scholars. Healey has translated the text, while Kiraz has prepared the Syriac text in the west Syriac script, fully vocalized and pointed. The translation and the Syriac text are presented on facing pages so that both can be studied together.

The series Perspectives on the Linguistics of Ancient Languages publishes research papers presented at the annual meetings of the International Syriac Language Project. The papers in this volume are specialised lexicographical studies in Hebrew, Aramaic, Syriac, and Greek. Several of them concern the lexicography of the ancient Bible translations. There is also a chapter on Hebrew lexicography by the late David Clines, to whom the volume is dedicated.

The specialization thesis—the idea that nineteenth-century science fragmented into separate forms of knowledge that led to the creation of modern disciplines—has played an integral role in the way historians have described the changing disciplinary map of nineteenth-century British science. This volume critically reevaluates this dominant narrative in the historiography. While new disciplines did emerge during the nineteenth century, the intellectual landscape was far muddier, and in many cases new forms of specialist knowledge continued to cross boundaries while integrating ideas from other areas of study. Through a history of Victorian interdisciplinarity, this volume offers a more complicated and innovative analysis of discipline formation. Harnessing the techniques of cultural and intellectual history, studies of visual culture, Victorian studies, and literary studies, contributors break out of subject-based silos, exposing the tension between the rhetorical push for specialization and the actual practice of knowledge sharing across disciplines during the nineteenth century.

Inventive poetry explores Jewish identity in America/>/>"How can I teach a prayer / I only know how to recite?" "America, whose death / didn't you come from?" These are some of the questions that poet Joshua Gottlieb-Miller wrestles with in his beautiful, gripping new collection. By turns experimental and documentary, Dybbuk Americana draws out the questions around Jewish identity in the United States, and what it means to pass on Jewish identity to one's child. This hybrid text draws on art, mysticism, and history, taking the dybbuk, a figure from Jewish folklore, as its central metaphor. A dybbuk is a restless spirit who inhabits another's body, and as a possessing spirit the dybbuk is often treated as a demonic force, but it can be read as merely trying to climb the ladder of the afterlife. In other words, a kind of striver. Enacting the idea of competing selves in one body, Dybbuk Americana plays with form via a series of text boxes that create a multi-channel effect on the page. The body of the poem can be read with surrounding and intercutting text boxes to generate multiple interpretations. This innovative poetic technique maintains a dialogue with Jewish literary lineages: Talmudic commentary and interpretation of the oral law, as well as the fragmented nature of geniza, a place where Jews store sacred documents when they fall out of use. Dybbuk Americana weaves together the father-son arc within a larger socio-political commentary and historical narrative. Poems move deftly between the ironic and the mystic, from aphoristic questioning and inventive narratives, to interview, oral history, and archival materials. In these lines, "the angels./ They get as close as they can." Witty, curious, warm, and searching, Dybbuk Americana signals a fresh voice in Jewish-American poetry./>/>[sample text]/>/>CHAIN MIGRATION/>/>It took ten men/>to make a minyan,/>/>but only one name/>of G-d for us to share,/>/>so we settled on/>America, one by one,/>/>we settled on America,/>man and woman./>/>My grandfather/>earned his way over/>/>shoveling coal/>in the hold of a boat./>/>Grandmother sewed/>gold into her coat. In secret/>/>they sewed, they sold,/>they glowed. I dream of/>/>gold. G-d's name in gold/>milked and honeyed/>/>in the dust/>beneath our boots—/>/>our dust. And when they made/>a minyan and didn't/>/>realize it? And when/>they married in/>/>and didn't realize it?/>No matter: they sewed,/>/>they sold, they glowed./>Yes, they sold/>/>their solid gold, sold gold/>into gold, sewed gold/>/>together into dust./>When I was born/>/>they gave me/>a dead man's name./>/>But that's true/>for everyone.

September 1862.After John Pope’s devastating defeat at Second Bull Run, George McClellan reconstitutes the Army of the Potomac and marches in pursuit of Robert E. Lee’s invading Army of Northern Virginia. The Confederates have pushed north of the Potomac River into the border state of Maryland in search of one more decisive victory that might bring about Southern independence. Fortune smiles on “Little Mac” when a lost copy of Lee’s orders falls into his hands, revealing the Rebel general’s plan to divide his army and capture the Union garrison at Harper’s Ferry. McClellan pushes his army and catches Lee by surprise at South Mountain, where he inflicts a decisive defeat that turns Lee’s plan on its head and his army back against the Potomac for a final stand at Sharpsburg on September 17. The resulting battle could decide the fate of the nation.Alexander Rossino brilliantly weaves together these momentous hours in The Guns of September: A Novel of McClellan’s Army in Maryland, 1862. Readers live the high-stakes drama through the gritty minutiae experienced by a host of historical characters—including a diligent General McClellan, the hard-fighting Joseph Hooker, a frustrated Ambrose Burnside, and the aggressive George Armstrong Custer. Rossino also displays a keen understanding of daily travails undergone by the common foot soldier, including experienced veterans from Ohio and greenhorns from central Pennsylvania.The Guns of September is a sweeping account, superbly written with a “you-are-there” sense that will linger with you long after you finish the book. It is a masterful conclusion to his earlier volume Six Days in September: A Novel of Lee’s Army in Maryland, 1862, which is written from the Confederate perspective.

Winner of the 2024 Agnes Lynch Starrett Poetry Prize

A chapbook of love poems from Pulitzer Prize winner Yusef Komunyakaa/>/>I Said That Love Heals From Inside: Love Poems is a small treasure featuring five decades of love poems by Pulitzer Prize winning poet Yusef Komunyakaa. Komunyakaa is a poet whose work aches with a longing that is rarely easily resolved but rather burns fiercely in each line. Every poem in this collection longs for life, for passion, for a different history, a past long lost, and ultimately to love and to be loved. This selection of poems captures a broad understanding of the love poetry category–there is love and the lack of it everywhere: in the bedroom and on the basketball court in the Jazz club and on the battlefield. As Komunyakaa writes, "Hard love, it's hard love."

The Passover Haggadah, the quintessential Jewish book, began taking shape in the period of the Mishnah and the Talmud (ca. 100-600 CE). Even by 600, it did not look like it does today. Major portions were wanting, e.g., the story of eminent sages at a seder in Bene Beraq; the typology of the four sons; the midrashic expansion of the story of the exodus; the song Dayyenu. Those compositions (mostly) or borrowings were incorporated into the Haggadah between ca. 600-900 (the Geonic period). Such selections completed the Haggadah, producing the book used at Passover Seders to the present day. This study shows how the section of the Passover Haggdah known as maggid (“recounting”) achieved its comprehensive structure and contents between ca. 600 and 900 CE (the geonic period).