Death of a Poet is rhyming couplets meet etched illustrations in this whimsically dark chapbook about poets and their deaths.In hyperbolic fashion, the preface to Thirty Polite Things to Say reads, "There are times in the lives of us all in which we are at a loss for words. This volume attempts a partial solution. " What follows are thirty things perhaps we shouldn't say, but find ourselves saying anyway. The book is pointedly funny.Dog Truths includes absurd graphs, charts, and diagrams that tell the truth about dogs—their size, attitude, and likeability is laid bare for all to read and enjoy.

This is the first book-length study of one of the most prominent and prolific Latino academics, Ilan Stavans. He has written extensively on Latino culture, Jewish culture, dictionaries, immigration, language, Spanglish, soccer, translation, travel, selfies, and God. The Restless Ilan Stavans surveys his interests, achievements, and flaws while he is still in the midst of an extraordinarily productive career. A native of Mexico who became a U.S. citizen, he is an outsider to both the Chicano community that often resents him as an interloper and the American Jewish community that he, who grew up speaking Yiddish in Mexico City, often chides. The book examines his unlikely rise to prominence within the context of the spread of multiculturalism as a seminal principle within American culture. A self-proclaimed cosmopolitan who rejects borders, Stavans is both insider and outsider to the myriad of subjects he approaches.

Lagartijas Tiradas al Sol (Lizards Lounging in the Sun) is a Mexican theater company that performs what is known as theater of the real.By taking reality as its subject, this genre claims a special relationship to reality, truth, and authenticity. In A Shared Truth, Julie Ann Ward traces the development of this contemporary and cutting-edge collective’s unique aesthetic. Based on performances, play texts, videos, and interviews, this in-depth look at a single theatrical troupe argues that the company’s work represents a larger trend in which Latin American theater positions itself as a source of and repository for truth in the face of unreliable official narratives. A Shared Truth critically examines the work of an influential company whose collaborative methods and engagement with the real challenge the bounds of theater.

Spilled and Gone, Jessica Greenbaum's third collection marries the world through metaphor so that a serrated knife on its back is as harmless as "the ocean on a shiny day," and two crossed daisies in Emily Dickinson's herbarium "might double as the logo /for a roving band of pacifists."At heart, the poems themselves seek peace through close observation's associative power to reveal cohering relationships and meaning within the 21st century-and during its dark turn. In the everyday tally of "the good against the violence" the speaker asks, "why can't the line around the block on the free night/ at the museum stand for everything, why can't the shriek /of the girls in summer waves . . . / be the call and response of all people living on the earth?" A descendant of the New York school and the second wave, Greenbaum "spills" details that she simultaneously replaces-through the spiraling revelations only poems with an authentic life-force of humanism can nurture.

A new collection of poetry from a founding member of the Pittsburgh Poetry Exchange.

Iranian libraries hold only few manuscripts that testify to the extended and intensive Muʿtazilite past in the various centers of Zaydi scholarship in the Caspian region, in Ḫurāsān, and in Rayy. Among the few Muʿtazilite Zaydi works preserved in the libraries of Iran is a miscellany held by the library of the Faculty of Medicine at the University of Shiraz (ʿAllāma Ṭabāṭabāʾī Library). The maǧmūʿa, a facsimile of which is included in the present publication, was written between 673/1274-75 and 676/1277 and contains doctrinal works by Imāmi and Zaydi theologians from both Iran and from Yemen. Most of the codex consists of a theological summa, a taʿlīq that had been composed or transcribed by one Abū Ṭāhir b. ʿAlī al-Ṣaffār which was based on the Kitāb al-Uṣūl by Abū ʿAlī Muḥammad b. Ḫallād al-Baṣrī, the distinguished disciple of the Muʿtazilite theologian and founder of the Bahšamiyya, Abū Hāšim al-Ǧubbāʾī (d. 321/933), with an unknown number of commentary layers in between.

Author of two previous collections of poetry: BLACK HOPE (1997) and ANTIDOTE FOR NIGHT (2015). de la O is also the publisher of the journal ASKEW.Keats at Fourteen She dozes, her nails fretted against the linen’s border,a hectic rose flaming each cheek. Her lips move, no words. The boy is guardian spirit, no one but he enters this sickroom where his mother fades, home finally after six years—failures,disgrace. Scarlet daughter, neighbors hiss, slave to appetite, but John is single-minded—she will live. No one but he gives her the tincture of mercury—one tenth of a grain daily, dabs the sweat of her fevers away, a basket of withered poppies at his feet. He pierces each capsule with a needle, drops it in a small glazed crock to warm near the stove, sweat out the opium. Then he’ll add wine, saffron, nutmeg. It takes time, the hour darkens. He cups his hand to light the votive. She moans a furred voice from webbed lungs, a cup of black blood brimming, the pilgrim is fleeing the City, he leans in closer, the City of Destruction, takes her clammy hand, that place also where he was born, so close now he’s breathing her, “Johnny,” she cries, “lift me up, Johnny, your father is here in the room.

11 / 22 / 17A good day for a drive to the country underneath the apple tree with Carmen McRaeproving you can sing and talk at the same time“and hear the bluebirds sing” she sings as if there were a hyphen separating “blue” from “birds”and we “shoot up” with summertime

The notion of contingency plays a central role in Althusser’s attempt to recast Marxist philosophy and to free the Marxist conception of history from notions such as teleology, necessity and origin. Drawing on a wealth of published and unpublished material, Stefano Pippa discusses how Althusser’s unfaltering commitment to contingency should encourage us to revisit our understanding of his conceptions of structural change, ideology, politics and materialism. As grounded on contingency, Althusser’s so-called ‘Structural Marxism’ originates in fact a ‘logic of interruption’ and a notion of structurally under-determined becoming; just like his theory of ideology is radically reinterpreted on the basis of his notion of ‘overinterpellation’. Though constant, Althusser’s relationship with contingency has not been monolithic throughout his career. As observed by Pippa, it is possible to distinguish a ‘political’ and a ‘philosophical’ moment in Althusser’s late materialism of contingency. Perhaps, as this volume suggests, the problematic coexistence of these two aspects might account for the unstable character of Althusser’s late philosophical project.

"The people of Greenland possess a robust spirit, born of the land, which speaks to me. At this time of the Age of Man, the Anthropocene, of human-induced climate change, I recognize that a tradition of respect for the land prevails in Greenland. With all the community dependent on the land, a spirit of cooperation has evolved through a melding of Inuit communal culture with Scandinavian social democracy. I write of Greenland, of its culture and people in possession of an existence, which is based on hunter-gatherer knowledge of the land." From the introduction.

Nominated for the Nordic Council Literature Award, 2014. Paul Erik returns to Nuuk after spending the summer in his hometown of Uummannaq, Greenland. In Nuuk he attends high school where people from all over the country are housed in dormitories. But the school systems are Danish – and not adapted to the life and circumstances in Greenland, and the young grow increasingly frustrated. The story takes place in 1969, and we gain an insight into a significant period of Greenlandic history, as well as the dominating worldly cultural influences of the times. First English translation.

In April 1994, two as-yet-unreleased letters by Sartre and one by Merleau-Ponty were published in the "Magazine Littéraire". Their publication sparked new interpretative hypotheses on the political and philosophical motivations behind the break of the relationship of mutual esteem, friendship, and fruitful intellectual collaboration between Merleau-Ponty and Sartre. The bright tone of their personal contrasts testified the profound theoretical differences between the two thinkers, both at philosophical level and political praxis. This volume covers the period between the launch of the magazine "Les Temps Moderns" in 1945 and Sartre’s decision to no longer accept Merleau-Ponty’s contributions in 1953, offering a detailed analysis of the respective position of the two philosophers and of an irreducible intellectual distance between them.

Foundations of a Free Society brings together some of the most knowledgeable Ayn Rand scholars and proponents of her philosophy, as well as notable critics, putting them in conversation with other intellectuals who also see themselves as defenders of capitalism and individual liberty. United by the view that there is something importantly right—though perhaps also much wrong—in Rand’s political philosophy, contributors reflect on her views with the hope of furthering our understandings of what sort of society is best and why. The volume provides a robust elaboration and defense of the foundation of Rand’s political philosophy in the principle that force paralyzes and negates the functioning of reason; it offers an in-depth scholarly discussion of Rand’s view on the nature of individual rights and the role of government in defending them; it deals extensively with the similarities and differences between Rand’s thought and the libertarian tradition (to which she is often assimilated) and objections to her positions arising from this tradition; it explores Rand’s relation to the classical liberal tradition, specifically with regard to her defense of freedom of the intellect; and it discusses her views on the free market, with special attention to the relation between these views and those of the Austrian school of economics.

In Codrescu’s own words: “I wrote my first book of poems, License to Carry a Gun (Big Table, 1970), when I first lived in New York City, 1967–1970. Those were troubled times and I was 21 years-old. Decades later the city has changed and the times are still troubled. These poems, 2016–2018, try to find out just how changed my dear city and how troubled my days.”

The Journal of Language Relationship is an international periodical publication devoted to the issues of comparative linguistics and the history of the human language. The Journal contains articles written in English and Russian, as well as scientific reviews, discussions and reports from international linguistic conferences and seminars.

Writing begins with unconscious feelings of something that insistently demands to be responded to, acted upon, or elaborated into a new entity. Writers make things that matter—treaties, new species, software, and letters to the editor—as they interact with other humans of all kinds. As they write, they also continually remake themselves. In The Animal Who Writes, Cooper considers writing as a social practice and as an embodied behavior that is particularly important to human animals. The author argues that writing is an act of composing enmeshed in nature-cultures and is homologous with technology as a mode of making.