Salvator Rosa (1615--1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa's tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa's life and work in the world of French letters.

In Elegy on Toy Piano, Dean Young's sixth book of poems, elegiac necessity finds itself next to goofy celebration. Daffy Duck enters the Valley of the Eternals. Faulkner and bell-bottoms cling to beauty's evanescence. Even in single poems, Young's tone and style vary. No one feeling or idea takes precedence over another, and their simultaneity is frequently revealed; sadness may throw a squirrelly shadow, joy can find itself dressed in mourning black. As in the agitated \u0022Whirlpool Suite\u0022: \u0022Pain / and pleasure are two signals carried / over one phoneline.\u0022 In taking up subjects as slight as the examination of a signature or a true/false test, and as pressing as the death of friends, Young's poems embrace the duplicity of feeling, the malleability of perception, and the truth telling of wordplay.

Mary Blachford Tighe was born in Dublin in 1772 and became a poet by the age of seventeen. Her enormously popular 1805 epic poem "Psyche; or, The Legend of Love" made her a fixture of English literary history for much of the nineteenth century. For much of the twentieth century, however, Tighe was better known for her influence on Keats's poetry than the considerable merits of her own work. The Collected Poems and Journals of Mary Tighe restores Tighe to the general canon of English literature of the period. With over eighty-five poems, including the complete Psyche, and extracts from several journals, both by and about Tighe, Harriet Kramer Linkin's annotated edition is the most complete collection of Mary Tighe's work to be published in one volume.

Heather McHugh's new book, Eyeshot, is a brooding, visionary work that takes aim at the big questions-those of love and death. The poems suggest that such immensities balance on the smallest details, and that a range of human blindness is inescapable. The power of this new work comes from its delicate yet tenacious fidelity to the ever-unfolding senses of sense. The poems invite the reader to follow careening words and insights through passages both playful and profound. Her "Fido, Jolted by Jove" reveals the tension endemic to both language and living: "the world itself is worried." Yet the same poem remarks the high price of any reductive fix: "a brain this insecure may need another bolt be driven in it." This movement between anxiety and the human compulsion for order informs Eyeshot's darkly comic, 20/20 acuity.

This work aims at explaining how the recension of the Ugaritic text--based on the Northwest Semitic Philological Data Bank--originated and how it is produced.

" Today, Thomas Dixon is perhaps best known as the author of the best-selling early twentieth-century trilogy that included the novel The Clansman (1905), which provided the core narrative for D.W. Griffith's groundbreaking and still-controversial film The Birth of a Nation. It was The Sins of the Father, however, that Dixon regarded as the most aesthetically satisfying child of his Ku Klux Klan saga. In this novel he telescopes the trilogy's sprawling historical canvas into one tightly scripted narrative. A best-seller in 1912, the novel's themes of interracial sex and incest outraged many upon its publication.A century later, Dixon's work is undergoing a critical reevaluation. A new introduction by Steven Weisenburger lends a valuable historical and critical perspective to this important and divisive classic of American literature.

Stars in My Pocket Like Grains of Sand is a science fiction masterpiece, an essay on the inexplicability of sexual attractiveness, and an examination of interstellar politics among far-flung worlds. First published in 1984, the novel's central issues-technology, globalization, gender, sexuality, and multiculturalism-have only become more pressing with the passage of time.The novel's topic is information itself: What are the repercussions, once it has been made public, that two individuals have been found to be each other's perfect erotic object out to "point nine-nine-nine and several nines percent more"? What will it do to the individuals involved, to the city they inhabit, to their geosector, to their entire world society, especially when one is an illiterate worker, the sole survivor of a world destroyed by "cultural fugue," and the other is-you!

The bizarre idea that the earth's interior is hollow and, perhaps, even populated has been put to effective literary use by writers ranging from Edgar Allen Poe and Jules Verne to Rudy Rucker and Edgar Rice Burroughs. This notion had respectability as a scientific hypothesis until the early 1800s, and the theory that the earth "is hollow and inhabitable within" continues to find believers as an alternative description of the earth to this day. The hollow earth is one of the most important settings in the literature of the imagination that fed into early science fiction. Subterranean Worlds presents a fascinating look at the theme of the hollow earth and its history, as well as the geological theories which produced many of these stories. It excerpts key passages from the major subterranean world fictions, some translated into English for the first time. With helpful introductions to each selection and a comprehensive bibliography, this book is the definitive treatment of this entertaining topic.

In 1991 Spitalfields Market in London's East End was relocated, paving the way for one of the largest and most complex excavations ever launched in London, taking place on a site measuring almost thirteen acres. This superb book tells the story of the excavation and the 2000-year history of the area from the Roman period to the present day. Details on the finds recovered, and the methods and recording systems used, are interspersed with a narrative history of the site. The book begins with the Roman burial ground and the remains of a wealthy Roman woman and her sarcophagus which became the focus of a memorable episode of Meet the Ancestors . The book then moves on to the medieval period and the 12th-century hospital which was founded at Spitalfields along with its church, infirmaries and other buildings, and burials. Finds from this period are supplemented with broader discussion of life in medieval London, such as disease and medicine, and the changing landscape around the site. During the Reformation, the hospital and priory were closed but the story of the site continued. The land was taken by the Crown, parts of the site were leased, most notably as artillery ground, with new housing and cottage industries to follow. Finds dating to the English Civil War, evidence relating to the transformation of the site from an aristocractic enclave to a suburb of immigrants, the redevelopment of the area in the 17th and 18th centuries, through to the opening of Spitalfields Market in 1682, brings us full circle.

The world of literature responds to the "spirit of carnival" in ways that are both social and cultural, mythological and archetypal. Literature provides a mirror in which carnival is reflected and refracted through the multifarious perspectives of verbal art. In his original, wide-ranging book, David K. Danow catches the various reflections in that mirror, from the bright, life-affirming magical side of carnival, as revealed in the literature of Latin American writers, to its dark, grotesque, death-embracing aspect as illustrated in numerous novels depicting the dire experience of the Second World War.The remarkable meshing of these two diametrically opposed yet inextricably intertwined facets of literature (and of life) makes for an intriguing sphere of investigation, for the carnival spirit is animated by a human need to dissolve borders and eliminate boundaries -- including, symbolically, those between life and death -- in an ongoing effort to merge opposing forces into new configurations of truth and meaning.Expanding upon the seminal ideas of Mikhail Bakhtin, carnival, argues Danow, is designed to allow one extreme to flow into another, to provide for one polarity (official culture) to confront its opposite (unofficial culture), much as individuals engage in dialogue. In this case the result is "dialogized carnival" or "carnivalized dialogue." In their artmaking, Danow claims, human beings are animated by a periodic predisposition toward the bright side of carnival, matched by an equally strong, far darker predilection. Carnival forms of thinking are firmly embedded within the human psyche as archetypal patterns.In this engaging exploratory book, we are shown the distinctive imprint of these primordial structures within a multitude of seemingly disparate literary works.

Babel features more of the rhetorical acrobatics that fueled Barbara Hamby's earlier work. These whirlwinds of words and sounds form vistas, images, and scenes that are at once unique and immediately recognizable.In poems such as “Six, Sex, Say,” she displays a linguistic bravado that moves effortlessly through translations, cognates, and homonyms. This love of words permeates the poems, from the husband wooing his future wife “with a barrage of words so cunningly fluent, / so linguistically adroit” in “Flesh, Bone, and Red,” to the alphabetic sampler woven from memory and love in “Ode on My Mother's Handwriting.”Hamby's poems drift across histories and continents, from early writing and culture in Mesopotamia through the motion-picture heaven that seems so much like Paris, to odes on such thoroughly American subjects as hardware stores, bubblegum, barbecue, and sharp-tongued cocktail waitresses giving mandatory pre-date quizzes to lawyers and “orangutans in the guise of men.” As Booklist noted in reviewing her previous collection, Hamby's poems “are tsunamis carrying you far out to sea and then back to shore giddy and glad to be alive.”

A boxer who brings his legs with him comes to the ring with the strength and stamina to make it through every round of a tough fight. In this new collection, winner of the prestigious Drue Heinz Literature Prize, Darrell Spencer delivers fiction with just that kind of power.Bring Your Legs with You contains nine interconnected stories set in Las Vegas. Featuring various perspectives and narrators, they are filled with unforgettable characters, including Carl T. Plugg, a sharp-dressed, smooth-talking, non-hustling pool shark; Spinoza, the philosophical day laborer with "Department of Big Thoughts" lettered on the door of his pickup; Jacob, an arrogant lawyer who learns too late the dangers of swimming with the sharks; Gus, a man who has never seen his son fight despite his insatiable fascination with the sweet science; and Jane, a woman wary of her ex-husband, but still in love enough to share her bed with him.Above them all looms Tommy Rooke, retired prizefighter and self-employed roofer. Undefeated in the ring, Rooke walked away from boxing at the top of his game, to the confusion and consternation of his friends and family. As his father, former manager, and various other hangers-on encourage him to stage a comeback, Tommy moves through the gated communities and sun-blasted strip malls of Las Vegas, wrestling with personal choice, the caprices of fate, and the price the gods demand for our sins.More than a book about boxing, gambling, luck, and broken dreams, Bring Your Legs with You delves deeply into the life of its flawed but intelligent hero, a man deeply devoted to his friends but lost in a violent world. A writer unafraid to show the connections between people, Spencer delivers a hard-hitting collection filled with rich dialogue and spare prose.

In her second collection of poems, Rachel Zucker returns to a more autobiographical stance and writes about the particulars of marriage, pregnancy, childbirth, and motherhood-experiences that radically surprised her. But this is no simple reportage. With candor, humor, and compassion, Zucker discovers a new poetic territory: a landscape between story and fragment, a way of telling that is neither confessional nor intellectually detached. At the cliff-edge of narrative, a high place where language is the rope and falling the perception, Zucker's poems are unsentimental, true to the disjunctive experiences of loving, giving birth, raising a child, being lonely, being alive. A poetry of the body, of desire, about human frailty and strength, The Last Clear Narrative fills a void in the history of women writing about everyday experience and speaks to the nature of narrative itself.

Nationally acclaimed poet, photographer, filmmaker, and novelist James Baker Hall has long been regarded as one of Kentucky's most profound artists. Hall's growing body of work is an essential part of Kentucky's literary tradition, and yet his poetry in particular transcends the borders of the Commonwealth.The Total Light Process collects poems spanning Hall's celebrated career as well as new poems that have never before been published. The subjects of Hall's poems range from humorous and revealing portraits of his fellow writers and friends Wendell Berry, Ed McClanahan, and Gurney Norman, to the traumatic experience of his mother's suicide when he was eight years old, to the Israeli-Palestinian conflict and the tragic murder of Matthew Shepherd.

Everyday mindreading, a house full of Buddhas, and the papaya scent of the soul. An interview with Custer at a place of his choosing, “probably a steakhouse.” The ability of dogs to smell the uncool. Hitler's barber imagines what might have been if only he'd leaned his weight into the razor. An oblivious Coronado narrowly avoids an ambush on the American plains. Freud lecherously lifts the skirt of a Mexican housekeeper who has far too much work to be bothered by “a pillar of modern thought. Or just some dirty old man.”In lesser hands such disparate elements might fly wildly out of control. But in David Shumate's understated, brilliant prose poems, they come together in miraculously vivid riffs.The narrator of the title poem rhapsodizes, “I wouldn't mind seeing another good flood before I die. It's been dry for decades. Next time I think I'll just let go and drift downstream and see where I end up.” Shumate's deft and refreshing collection takes us to amazing places with its plainspoken meditations.

In this chilling dystopian novel, four men and women attempt an escape to legendary Avalon after the "Movement" threatens the liberty and comforts they have taken for granted. Visa for Avalon takes place in an unnamed country and an unnamed time. In it, Bryher uses her knowledge of history and psychology to examine political crisis in a familiar setting. First published in 1965, it resonates profoundly today. The style is understated and tense as Bryher suggests that closing our eyes to growing restrictions and loss of liberties does not protect us. She offers a provocative commentary about the paradise of King Arthur's Avalon as well. This is a wake-up book that encourages readers of all ages and backgrounds to defend democracy.