Robert Duncan's poetic creativity does not exist without a language of illness, nor the revelation and insight that such language generates. This ground-breaking interdisciplinary work is one of the first book-length studies of Robert Duncan's poetry, and it includes a treatment of his influences (H.D. and Freud) and those he influenced (Nathaniel Mackey and John Taggart). Through close readings of crucial poems, Peter O'Leary shows how Duncan's poetry locates a gnostic insight expressed through a language of illness in the realms of religion. Gnosticism is a doctrine of salvation by knowledge.In addition to studying Duncan's poetry and his life, O'Leary considers the psychological impact Freud's ideas of the unconscious and dream interpretation had on the poet. O'Leary continues with an analysis of Duncan's work in light of the theories of shamanism put forth by religion historian Mircea Eliade. Along the way, O'Leary undertakes detailed discussions of gnosticism, hermeticism, spiritualism, psychoanalysis, shamanism and religions of the African diaspora.

The Battle of the Sexes in Science Fiction is a lively account of the role of women and feminism in the development of American science fiction during its formative years, the mid-20th century. Beginning in 1926, with the publication of the first issue of Amazing Stories, Justine Larbalestier examines science fiction's engagement with questions of femininity, masculinity, sex and sexuality. She traces the debates over the place of women and feminism in science fiction as it emerged in stories, letters and articles in science fiction magazines and fanzines. The book culminates in the story of James Tiptree, Jr. and the eponymous Award. Tiptree was a successful science fiction writer of the 1970s who was later discovered to be a woman. Tiptree's easy acceptance by the male-dominated publishing arena of the time proved that there was no necessary difference in the way men and women wrote, but that there was a real difference in the way they were read.

Compiled with the student in mind, Costaz’s Syriac-French-English-Arabic dictionary provides for each Syriac gloss its meaning in French, English, and Arabic. Under each root lemma, all derivatives of the root are given with their morphological data. The entries are typeset so that the French, English or Arabic definitions are easily found. The dictionary also contains a mini dictionary of proper names..

Since Romanticism, poetry has reigned as the most exalted of literary forms; consequently, as Joseph Harrington argues in this new study, public debates about the nature and function of poetry are really debates about larger cultural and political values. In Poetry and the Public, Harrington sheds new light on changes in the textual form of poems, the critical reception of poems, debates in the popular press about the nature of poetry and the poetic theories of poets. The period 1910-1940 represents a major transition in the social meaning of poetry in the U. S. Harrington focuses on three important factions of the US poetry scene during these years. The first, popularizers, wished to retain the older, popular notion of poetry as a public art, a communal experience shared between writer and readers. The second, high modernists, responded with the well-known notions of the self-sufficient art object and the autonomous artist who held no responsibility to a reading public or public affairs. The third group, poets of the radical labor movement of the 1910s, combined aspects of both popular and modernist poetries in order to intervene in specific historical settings or to interact with specific audiences. Poetry and the Public shows how this more public tendency in poetry evolved into the latter half of the 20th century in forms such as poetry slams and community-based workshops, and how the history of poetry can help us understand the genre's relative absence from histories of American literature.

Dickens scholar Jerome Meckier's acclaimed Hidden Rivalries in Victorian Fiction examined fierce literary competition between leading novelists who tried to establish their credentials as realists by rewriting Dickens's novels. Here, Meckier argues that in Great Expectations, Dickens not only updated David Copperfield but also rewrote novels by Lever, Thackeray, Collins, Shelley, and Charlotte and Emily Brontë. He periodically revised his competitors' themes, characters, and incidents to discredit their novels as unrealistic fairy tales imbued with Cinderella motifs. Dickens darkened his fairy tale perspective by replacing Cinderella with the story of Misnar's collapsible pavilion from The Tales of the Genii (a popular, pseudo-oriental collection). The Misnar analogue supplied a corrective for the era's Cinderella complex, a warning to both Haves and Have-nots, and a basis for Dickens's tragicomic view of the world.

The last book Giles published before her death in 1979, Wellspring has been out of print for years.The nineteen selections bring together Giles's fiction, nonfiction, autobiography, and fictionalized autobiography to reveal a behind-the-scenes look at her life, her family, her love for her adopted state of Kentucky and its people, her politics, her favorite authors, her thoughts on writing, and her views of her own work. Wellspring is available again for old and new readers of Janice Holt Giles. Janice Holt Giles (1905-1979), author of nineteen books, lived and wrote near Knifley, Kentucky, for thirty-four years. Her biography is told in Janice Holt Giles: A Writer's Life.

This extraordinary poetic voyage uses explorations of the material culture of our past and present as points of departure. Sandra McPherson succeeds in drawing us into her examination of objects from the 20th and late 19th centuries through her weaving together of images both familiar and startling into deeply satisfying poems. She is especially interested in articles that might seem useless, extinct, or "irrelevant" to us now, such as children's military playthings, diaries and scrapbooks of unknown and unfamous people, quilts from people of Mennonite and Amish convictions, "primitive" utilitarian wooden objects, telegrams and curious photographs. These poems are characteristically simple and unadorned, bringing readers closer and closer to a physical world we often overlook, but which is filled with sensation and meaning. From traditional stanzaic poems to collages and prose ghazals, the author embraces "civilization" by visiting the spirit of the secret voices of its people.

In the South, railroads have two meanings: they are an economic force that can sustain a town and they are a metaphor for the process of southern industrialization. Recognizing this duality, Joseph Millichap's Dixie Limited is a detailed reading of the complex and often ambivalent relationships among technology, culture, and literature that railroads represent in selected writers and works of the Southern Renaissance. Tackling such Southern Renaissance giants as Thomas Wolfe, Eudora Welty, Robert Penn Warren, and William Faulkner, Millichap mingles traditional American and Southern studies -- in their emphases on literary appreciation and evaluation in terms of national and regional concerns -- with contemporary cultural meaning in terms of gender, race, and class. Millichap juxtaposes Faulkner's semi-autobiographical families with Wolfe's fiction, which represents changing attitudes toward the "Southern Other." Faulkner's later fiction is compared to that of Warren, Welty, and Ellison, and Warren's later poetry moves toward the contemporary post-Southernism of Dave Smith. These disparate examples suggest the subject of the final chapter -- the continuing search for post-Southern patterns of persistence and change that reiterate, reject, and perhaps reconfigure the Southern Renaissance. As we enter the twenty-first century, that we recall how much the twentieth-century South was shaped by railroads built in the nineteenth century. It is also important that we recognize how much our future will be determined by the technological and cultural tracks we lay.

These nine stories are teeming with people on the margins, where destitute New Yorkers and determined immigrants are as much at the mercy of social services, media attention, opportunistic politicians, and \u0022quality-of-life\u0022 campaigns as they are prey to grinding poverty, dangerous streets, and their own haunting memories. Delving into Lucy Honig's fiction, one is willingly drawn into an intimacy with these resilient, but flawed characters—among them, a woman who cleans a beauty salon, a high school kid who\u2019s lost a parent, a runaway Cambodian bride, an actress, and a homeless woman. Crossing paths, these difficult characters often misunderstand and sometimes demean each other, yet they also redeem and rescue one other in odd and unexpected ways. In The Truly Needy, Lucy Honig has created a heartbreaking, imaginative world that is the American urban landscape.

Hard-hitting, sophisticated, lyrical exploration of the meaning of the body. Questions icons and invokes taboos.

Donald Revell's new work, Arcady, draws its inspiration from Charles Ives and Henry David Thoreau to create a distinctly American poetic music. Triggered by a series of deaths in the poet's intimate circle, anchored in the deserts of the Spring Mountains of Nevada, this book is nonetheless replete with lush, still moments. Many of the poems begin as meditations on loss and then transform themselves, thanks to the poet's awareness of the spaciousness and openness of the void following grief. The attention to rhythm and the exploration of seen and unseen worlds lead the poet to find solace in the earthly rhythms of seasons' passage and seasonal rituals. Revell's sparse, experimental lines are soundings within which the music of language harnesses us to the present and its infinite resonance. Like Ives's notion of music heard through and against other music, Revell's words and images well up against each other and a profound language of images, meter and rhythm emerges.

At a time when Verne is making a comeback in the US as a mainstream literary figure, Wesleyan is pleased to publish a new translation of one of his best-known novels, The Mysterious Island. Although several editions under the same title are in print, most reproduce a bowdlerized nineteenth-century translation which changes the names of the characters, omits several important scenes, and ideologically censors Verne's original text.The Mysterious Island was published in 1874, and it is one of Verne's longest novels. The plot depicts a group of men who have become castaways stranded on an island in the Pacific during the American Civil War. The novel describes their attempts not only to survive but also, with the aid of the scientific and technological know-how, to rebuild their world from the meager resources of the island. At the end, however, it is realized that Captain Nemo, from Twenty Thousand Leagues Under the Sea, has secretly been helping the settlers. A marvelous adventure story, The Mysterious Island is also notable for its modern retelling of the utopian deserted-island myth, with repeated echoes of Robinson Crusoe and the Swiss Family Robinson. This Wesleyan edition features notes, appendices and an introduction by Verne scholar William Butcher, as well as reproductions of the illustrations from the original French edition.

The Syriac manuscript collection at the British Library is one of the largest and most important collections in any Western library. A great deal of it comes from Deir al-Suryan in Egypt, and without it our knowledge of Syriac Christianity today would not have been possible.

This Cambridge collection includes manuscripts that were formerly in private hands, most notably the manuscripts of John Moore, Bishop of Ely, which were presented to the University by King George I in 1715.

Companion Spider is the accumulated work of a poet and translator who goes more deeply into the art and its process and demands than anyone since Robert Duncan. Clayton Eshleman is one of our most admired and controversial poets, the translator of such great international poets as César Vallejo, Aimé Césaire and Antonin Artaud, and founder and editor of two important literary magazines, Sulfur and Caterpillar. As such, Eshleman writes about the vocation of poet and of the poet as translator as no one else in America today; he believes adamantly that art must concern itself with vision, and that poets learn best by an apprenticeship that is a kind of immersion in the work of other poets. Companion Spider opens with a unique eighty page essay called "Novices: A Study of Poetic Apprenticeship" addressed to the poet who is just starting out. Subsequent sections take up the art of translation, poets and their work, and literary magazine editing. The title is drawn from an extraordinary visionary experience which the author had, which becomes a potent metaphor for the creative process. Through the variety of poets and artists to whom he pays homage, Eshleman suggests a community which is not of a single place or time; rather, there is mutual recognition and responsiveness, so that the reader becomes aware of a range of artistic practices s/he might explore

Dean Young is one of the premier surrealist poets writing today. In Skid, his fifth book of poems, social outrage vies with comic excess. He embraces the autobiographical urge with fury and musically lush exclamations. Whether through the dark facts of mortality or the celebratory surprises of the imagination, these poems proclaim vitality and alertness, wasting nothing. From Wile E. Coyote and the Roadrunner’s "Meep! Meep!" to remembrances of lost loves and laments about the future, Young’s poems reveal his faith in the genius of calamity and the redemptive power of fun.