Dark Traffic creates landmarks through language, by which its speakers begin to describe traumas in order to survive and move through them. With fine detail and observation, these poems work in some way like poetic weirs: readers of Kane’s work will see the artic and subarctic, but also, more broadly, America, and the exigencies of motherhood, indigenous experience, feminism, and climate crises alongside the near-necropastoral of misogyny, violence, and systemic failures. These contexts catch the voice of the poems’ speakers, and we perceive the currents they create.

The historiography of feminist rhetorical research raises ethical questions about whose stories are told and how. Women and other marginalized people have been excluded historically from many formal institutions, and researchers in this field often turn to alternative archives to explore how women have used writing and rhetoric to participate in civic life, share their lived experiences, and effect change. Such methods may lead to innovation in documenting practices that took place in local, grass-roots settings. The chapters in this volume present a frank conversation about the ways in which feminist scholars engage in the work of recovering hidden rhetorics, and grapple with the ethical challenges raised by this recovery work.

Winner of the 2020 Cave Canem Poetry Prize"Some writers write poetry to flex what they can do. Aurielle Marie writes reckoning poems themselves come to work. Gumbo Ya Ya kicks with this lit lit magic, this insistent electricity, pages what sweat ink, bleed it, weep it, drip it. Aurielle Marie will cuss, but an Aurielle Marie poem can curse; that what she has seen, felt, or known, is trans-amplified in the room she gives the poem to do what it’s gonna do. Gumbo Ya Ya is Aurielle Marie’s Dirty-Dirty grimoire drawn from a vernacular trickbag at once up to something and down for whatever. These poems are spell weaving. They are bound to work you." - Douglas Kearney - Final Judge CitationWinner of the 2020 Cave Canem Poetry Prize. Gumbo Ya Ya is a cauldron of multifaceted poems confronting race, binaries, and violence, soaring against the backdrop of a contemporary South. Armed with a poetic dexterity that employs urgent subject matter and sultry lyricism, Aurielle Marie’s debut is as stunning as it is timely. The collection opens with a heartrending indictment of injustice. What follows is a striking reimagination of the world, one where no Black girl dies “by the barrel of the law” or “for loving another Black gxrl.” Part ancestral and familial archival, part ethnography of Black femme resistance, Gumbo Ya Ya catalogues the wide gamut of Black life at its intersections, with cultural commentary and personal narrative. It asks us to chew upon both the rich meat and tough gristle, and in doing so we walk away, washed anew and more than satisfied. Upon both the rich meat and tough gristle, and in doing so we walk awaymore whole than we began and thoroughly satisfied.

Ingenuity in the Making explores the myriad ways in which ingenuity shaped the experience, discourse and conceptualization of materials and their manipulation in early modern Europe. Contributions range widely across the arts and sciences, examining objects and texts, professions and performances, concepts and practices. The book considers subjects such as spirited matter, the conceits of nature, and crafty devices, investigating the ways in which wit acted in and upon the material world through skill and technique. Contributors ask how ingenuity informed the “maker’s knowledge” tradition, where the perilous borderline between the genius of invention and disingenuous fraud was drawn, and what were the ambitions of material ingenuity in a rapidly globalizing world.

Winner of the 2020 Agnes Lynch Starrett Prize for PoetryThe title Little Pharma is both a doppelgänger and a cri de coeur: as the poet’s dreamlike double, the character Little Pharma navigates the murky channels of the hospital and clinic, the borderlands of the living and the dead, and the journey from novice to healer. At the same time, the poems plead for a return to a littler pharma, a space for stolen intimacy and momentary quiet amidst the impersonal and engulfing chill that floods the anatomical theater and the corridors of illness. The poems trace the arc of a young woman’s life, from being a hesitant and anxious, newly-minted medical trainee to becoming an adept of the otherworldly logic of the hospital wards. In between, interludes on love, family life, and escapes into art and history bob and weave among the hospital poems, bringing back the hot clamor of the outside world. Little Pharma is a Dantean journey from the depths of an institution, and of a pervading personal dread, to a renewed celebration of human contact, the body, and the giddy, terrifying excitement of ongoing life.

In 1915, Major Richard Francis Fitz-Gerald was the last Australian to leave an exposed position at Gallipoli. He was awarded the DSO for that and served on the Western Front through to the end of the Great War. Everywhere he went, often while in danger, he collected materials that marked his experience - photographs, orders, his battalion’s timetable for evacuation, and a souvenir map of Gallipoli that he annotated by hand. He wrote careful comments on everything he kept, transforming public documents into personal sites of memory and retrieval. He also kept a diary for the first year of his experience, covering Gallipoli, Egypt, and France. 'Major Fitz-Gerald and the Matter of War' personalises the difficult position of a front-line officer by closely examining the things he carried, collected, and preserved for the rest of his life.

The poems of My Wilderness often take place on the wooded hillside in Oregon where Maxine Scates has lived since the mid-1970s. They chronicle how the woods, which were once a refuge, have turned into a landscape of change where trees once numerous are now threatened by storm and the presence of the humans who live among them. These poems also engage her partner's threatening illness, the death of her closest friend, and the death, at age one hundred, of her mother, an indomitable figure who led Scates through a working-class childhood in Los Angeles fraught with domestic violence. Grounded in the shifting borders of migrations and extinctions plant, animal, and human, of memory and grief, My Wilderness inevitably asks us to consider not only our own mortality but also our impact on the world around us.

Between 1890 and 1893, Ignaty Potapenko published a number of works (including Not a Hero) in which he presented the Russian intelligentsia with a new role model, the “mediocre but commonsensical man” whose diligence and steady devotion to the improvement of society are depicted as being more productive than the reckless heroism of the regime’s most outspoken, and often violent, opponents. Not a Hero introduces the twenty-first-century reader to an important debate of the pre-revolutionary period, a debate that is still relevant today: how to bring about social change within an oppressive and ossified political system without resorting to violence.

The present study represents the first attempt to expand the methodological and practical framework of textual scholarship on the Greek New Testament from an Orthodox perspective. Its focus is on the Antoniades edition of 1904, commonly known as the Patriarchal Edition. The examination of the creation and reception of this edition shows that its textual principles are often misrepresented. In particular, it is shown to be more closely related to the Textus Receptus than to lectionary manuscripts. This is confirmed by an analysis of lectionary manuscripts using the Text und Textwert methodology and a detailed comparison of the Antoniades edition with the recent Editio Critica Maior of the Catholic Epistles. A textual commentary is provided on key verses in order to formulate guidelines for preparing an edition of the Greek New Testament that would satisfy the needs of Orthodox users in different contexts. This study offers a foundation for the further development of New Testament textual scholarship from an Orthodox perspective, informed both by modern critical scholarship and Orthodox tradition. It also provides a fresh translation of Antoniades’ introduction in an Appendix.

Other Worlds is true to its title, from a look at our everyday joys and griefs as interpreted by the Mars of classic science fiction and the crazy domain of quantum physics; to studies of the many conflicting realities that America uneasily accommodates in time of pandemic and protests; to elegiac poems informed by the realms of memory, ghosts, and imagined afterlives. From a poem of one line to a sequence of twelve sections, from comic hijinks to despair, and from private revelation to public declaiming, this is a bravura performance by the only poet to have twice received the National Book Critics Circle Award and who, at age seventy-three, is writing at the height of his powers.

In the steam-powered mechanical age of the eighteenth and nineteenth centuries, the work of late Georgian and early Victorian mathematicians came to depend on far more than the properties of number. British mathematicians came to rely on industrialized paper and pen manufacture, railways and mail, and the print industries of the book, disciplinary journal, magazine, and newspaper. Although not always physically present with one another, the characters central to this book—from George Green to William Rowan Hamilton—relied heavily on communication technologies as they developed their theories in consort with colleagues. The letters they exchanged, together with the equations, diagrams, tables, or pictures that filled their manuscripts and publications, were all tangible traces of abstract ideas that extended mathematicians into their social and material environment. Each chapter of this book explores a thing, or assembling of things, needed by mathematicians to do their work—whether a textbook, museum, journal, library, diagram, notebook, or letter—all characteristic of the mid-nineteenth-century British taskscape, but also representative of great change to a discipline brought about by an industrialized world in motion.

If 2019 was an "Adornian year" because of the 50th anniversary of the untimely death of Theodor W. Adorno in August 1969, also 2020 has been an "Adornian year" because of the 50th anniversary of the posthumous publication of Adorno’s great but unfinished masterpiece Aesthetic Theory, first published in 1970. Adorno’s intellectual legacy is still alive today and indeed important for the conceptual tools as it still provides to develop a critical, active and negative (instead than acritical, passive and affirmative) relationship with the real. In the vast and complex corpus of Adorno’s entire philosophical oeuvre, his aesthetic theory deserves an especially close and renewed attention today for the variety of intellectual provocations that are still richly offered to us in order to critically understand our age.

What contribution can the atmospherological approach make to the debate on collective feelings? In answering this question, the book provides a brief introduction to the so-called "atmospheric turn", examines the complex emotional "games" to which atmospheres give rise and the rest realist background underlying their inclusion in the unprecedented ontological category of quasi-things. It then investigates what the power of atmospheric feelings is and how there may be an "atmospheric competence" relating both to the intentional generation of atmospheres and to the ability not to be manipulated by them, thus also addressing the problem of whether collective feelings are atmospheres or moods. It finally explores what kind of "we" a collective atmosphere is based on and applies this perspective both to the notion of "well being" and two oppressive atmospheres like permanent emergency and the uncanny.

The Core of Learning presents the philosophical framework of N.F.S. Grundtvig’s educational, poetic, theological, and political writings. In each of these fields he made a major contribution to the formation of modern Denmark. He situates humanity in the wider background of creation and nature, and in his alternative programme of enlightenment he focuses on the core and advance of Learning in the history of human civilization, and the role of emotions for all philosophical reflection. As part of its agenda to digitalise and translate Grundtvig’s vast output, the Grundtvig Study Centre at Aarhus University is pleased to publish this fifth volume in the series, ‘N.

The Morning Line is David Lehman's most ambitious book to date, combining wit, quotidian charm, and off-the-cuff spontaneity of poems written with candid and moving meditations on life, love, aging, disease, friendship, chance, and the possibility of redemption in a godless age. Lehman is a poetic ventriloquist, and he expertly imitates Catullus and François Villon in new poems and offers his fresh translations of Mayakovsky's "Cloud in Trousers" and Hölderlin's "Half-Life." The element of joie de vivre in Lehman's work is distinctive and unusual in contemporary poetry.

Vernon Lee Walker, a young Englishman from industrial Wolverhampton, meets his death on a beach on Pentecost Island in the South Pacific on the eve of Christmas 1887. Why did Vernon die, in what circumstances, and who was responsible? Was he, as once branded, simply a 'bad colonist'? Or was he a Candide, an innocent abroad, mixing invisibly with the rich and famous, manipulated by a calculating brother, unable to change the world around him? An historian finds Vernon’s letters home to England, spanning a dozen years. With decreasing frequency, these follow his trajectory, first in Melbourne and Sydney, then as he yields to the spell of the Pacific. But what happens between the lines? Does he fall in love with his brother’s wife? What does a boy not tell his mother? The novelist steps in. This is a unique fusion of authentic history and informed invention - a tragic story of colonialism in Australia and the Pacific, told with compassion, humour and a deep understanding of time and place.