The volume is devoted to images in painting, photography and cinema invented by literature. At the same time it intends to question, through this perspective, the relationship between text and image, between verbal and visual in modern and contemporary literature. The authors involved study the mutual boundaries between literature and arts from the point of view of aesthetics, visual culture and literary theory, trying to build a map of the notional ekphrasis, a description which constitutes the work of art while telling it.

How is one to learn in a time of globalization? And in particular: how is one to learn if the research “object” is a non-European culture, such as that of Japan? What are the methodologies appropriate for working in the field of “Nippon/Japan” in a bi-directional approach from West to East and from East to West? Based on an interdisciplinary and intercultural orientation, specialists from Europe and Japan analyze topics focusing on History, Philosophy, Aesthetics, Literature, Linguistics, Sociology, Economics and Religious Studies.

Ellen Emerson may be the last living survivor of the Johnstown flood. She was only four years old on May 31, 1889, when twenty million tons of water decimated her hometown of Johnstown, Pennsylvania. Thousands perished in what was the worst natural disaster in U. S. history at the time. As we witness in The Johnstown Girls, the flood not only changed the course of history, but also the individual lives of those who survived it.A century later, Pittsburgh Post-Gazette reporters Ben Bragdon and Nina Collins set out to interview 103-year-old Ellen for Ben’s feature article on the flood. When asked the secret to her longevity, Ellen simply attributes it to “restlessness.” As we see, that restlessness is fueled by Ellen’s innate belief that her twin sister Mary, who went missing in the flood, is somehow still alive. Her story intrigues Ben, but it haunts Nina, who is determined to help Ellen find her missing half.Novelist Kathleen George masterfully blends a history of the Johnstown flood into her heartrending tale of twin sisters who have never known the truth about that fateful day in 1889—a day that would send their lives hurtling down different paths. The Johnstown Girls is a remarkable story of perseverance, hard work, and never giving up hope in the face of seemingly insurmountable odds. It’s also a tribute to the determination and indomitable spirit of the people of Johnstown through one hundred years, three generations, and three different floods.

WINNER OF THE 2015 DRUE HEINZ LITERATURE PRIZE Selected by Jill McCorkleThis Angel on My Chest is a collection of unconventionally linked stories, each about a different young woman whose husband dies suddenly and unexpectedly. Ranging from traditional stories to lists, a quiz, a YouTube link, and even a lecture about creative writing, the stories grasp to put into words the ways in which we all cope with unspeakable loss. Based on the author's own experience of losing her husband at age thirty-seven, this book explores the resulting grief, fury, and bewilderment, mirroring the obsessive nature of grieving. The stories examine the universal issues we face at a time of loss, as well as the specific concerns of a young widow: support groups, in-laws, insurance money, dating, and remarriage. This Angel on My Chest ultimately asks, how is it possible to move forward with life while "till death do you part" rings in your ears—and, how is it possible not to?

Planetary Noise: Selected Poetry of Erín Moure gathers four decades of poetry from a celebrated Canadian poet and translator who has persistently reconfigured the linguistic and material relations of English. Moure’s poems and networked sequences are hybrid and often polylingual; they work with contradiction, paradox, and verbal detritus— linguistic hics and blips often too quickly dismissed as noise—to create new conditions for thought and pleasure. From postdramatic theatre to queer and feminist theory, from the politics of citizenship and genocide to the minutiae of digital poetics, from the clamor of love to the shadows of grief and memory, Moure has joyously toppled hierarchies of meaning and parasited dominant discourses to create poetry that crosses borders, embracing hope, not war. This volume, edited by poet and literary scholar Shannon Maguire, also features an extensive introduction to Moure’s poetry, a section of poetry by others translated by Moure, and an afterword on translation by the poet. An online reader’s companion is available at XXXX.site.wesleyan.edu.

In Science Fiction and the Mass Cultural Genre System, John Rieder asks literary scholars to consider what shape literary history takes when based on a historical, rather than formalist, genre theory. Rieder starts from the premise that science fiction and the other genres usually associated with so-called genre fiction comprise a system of genres entirely distinct from the pre-existing classical and academic genre system that includes the epic, tragedy, comedy, satire, romance, the lyric, and so on. He proposes that the field of literary production and the project of literary studies cannot be adequately conceptualized without taking into account the tensions between these two genre systems that arise from their different modes of production, distribution, and reception. Although the careful reading of individual texts forms an important part of this study, the systemic approach offered by Science Fiction and the Mass Cultural Genre System provides a fundamental challenge to literary methodologies that foreground individual innovation.

In this fourth book in a series of award-winning survival narratives, Dungy writes positioned at a fulcrum, bringing a new life into the world even as her elders are passing on. In a time of massive environmental degradation, violence and abuse of power, a world in which we all must survive, these poems resonate within and beyond the scope of the human realms, delicately balancing between conflicting loci of attention. Dwelling between vibrancy and its opposite, Dungy writes in a single poem about a mother, a daughter, Smokin’ Joe Frazier, brittle stars, giant boulders, and a dead blue whale. These poems are written in the face of despair to hold an impossible love and a commitment to hope.

With this volume, we present a collection of writings, each offering their own novel perspective regarding the question of realism. Realism has undoubtedly attracted a lot of attention during recent philosophical debates, and one of its characteristic aspects that has made the most notable impact is the way it challenges rigid traditional demarcations between “continental” and “analytic” philosophy. We maintain that there is still much more to be said on the matter and that a renewal of the discussion on realism is necessary and should bypass old divisions. Therefore, this volume offers a contribution to some of the many discussions on the subject without entirely departing from the “old” realism and without treating its object of study as something that can be created ex nihilo. Instead, this work is based on the broadly shared conviction that a certain historicism cannot be left out of the picture if we are to reposition realism and see its present or future as yet to be determined rather than set in stone.

The book addresses Merleau-Ponty’s so-called ontology of the flesh, a rather obscure expression that the book explains in depth by drawing from Merleau-Ponty’s lecture courses, published in the last years. In light of these publications, the book shows the importance and the novelty of Merleau-Ponty’s later philosophy, which until recently has been seldom addressed in its entirety. Thanks to the knowledge of the whole range of Merleau-Ponty’s now published body of work and of the as yet unpublished texts, as well as a scholarship acquired through more than 20 years spent working on these themes, the author of the book is able to offer a ground-breaking interpretation of one of the most important philosophers of the 20th century, whose philosophical relevance is now widely acknowledged both in Europe and the USA, and whose scholarship is fast growing, while at the same time still lacking an overall systematic assessment, which this book aims to provide.

As the title implies, this beautifully written collection bursts with stories reminiscent of blackberries----small, succulent morsels that are inviting and sweet, yet sometimes bitter. Crystal Wilkinson provides an almost voyeuristic glimpse into the lives of her characters: Two misfit teenagers seek stolen moments of love and acceptance in the cloak of night ("Hushed"); a woman spends every waking hour obsessed with dying yet ironically watching her loved ones pass away before her ("Waiting on the Reaper"); a wife confronts her husband's mistress in a diner over potato skins and cornbread ("Need"); and a pious young woman's torment erupt in a violent and unsuspecting resolution ("No Ugly Ways").The stories in this award-winning collection are terse and transient, like snippets taken from random dreams, thoughts, or conversations. Wilkinson is able to embed a vibrancy into each stunningly descriptive and evocative tale. Infused with humor, sadness and honesty, this provocative and haunting work features a new foreword and a new afterword by nationally acclaimed authors Nikky Finney and Honorée Jeffers.

The residents of Water Street are hardworking, God-fearing people who live in a seemingly safe and insulated neighborhood within a small Kentucky town: "Water Street is a place where mothers can turn their backs to flip a pancake or cornmeal hoecake on the stove and know our children are safe." But all is not as it seems as the secret lives of neighbors and friends are revealed in interconnected tales of love, loss, truth, and tragedy.In this critically acclaimed short story collection, Crystal Wilkinson peels back the intricate layers that form the fabric of this community and its inhabitants -- revealing emotionally raw, multifaceted tales of race, class, gender, mental illness, and interpersonal relationships. The thirteen succinct stories offer fragmented glimpses of an overarching narrative that emerges, lyrical and fierce. Featuring a new foreword and a new afterword which illuminate Wilkinson's artistic achievement, this captivating work is poised to delight a new generation of readers.

A short guide for studying, editing and translating medieval texts in manuscript form, outlining the technical steps for preparing a medieval manuscript for print: evaluating and describing the manuscript itself (transmission, provenance, and physical description), textual criticism (reconstruction, emendation, authenticity, dating, and authorship), and steps to preparing an edition or translation.

A honeycomb long vacated by honeybees still possesses an "echo of the swarm, / a lingering song ." Living things are made and make themselves: "My bones came first. / Like long needles, / they knitted muscle / and tendon / and tissue and skin. / Filled themselves / with marrow."In her debut collection, Brianna Noll fuses the scientific and fantastic, posing probing questions that explore the paradoxes of experience. Interweaving themes of creation, art, and nature, the poet gives voice to animate and inanimate figures such as woolly mammoths, star-nosed moles, cells, mylar balloons, and puzzle boxes. Her vivid poems obscure the line between what is literal and what is figurative. The result is alchemic and ethereal -- each verse intricately layered with sharp observation as well as emotional and intellectual exploration and questioning.Collectively, the poems draw significantly on Japanese culture and language in their imagery, with cultural nuances and implications embedded in words and expressions. They tend to be tied, not to subjects, but to ways of seeing and considering the world. Noll's lyrical voice reflects a curious and imaginative approach that results in tight poems, typically enjambed, which build together into a thoughtful collection. Her work offers ways of seeing and considering the world that exceed our lived experience, begging the reader to consider how far we are willing to go when faced with roadblocks, doubts, and uncertainties.

BAX 2016: Best American Experimental Writing is the third volume of this annual literary anthology compiling the best experimental writing in poetry, fiction, and creative nonfiction. This year’s volume, guest-edited by Charles Bernstein and Tracie Morris, features seventy-five works by some of the most exciting American poets and writers today, including established authors—like Sina Queyras, Tan Lin, Christian Bök, Myung Mi Kim, Juliana Spahr, Samuel R. Delany, and even Barack Obama—as well as emerging voices. Intended to provoke lively conversation and debate, Best American Experimental Writing is an ideal literary anthology for contemporary classroom settings.

Entanglements is the product of a years-long interest in science, particularly physics by Pulitzer Prize winning poet, Rae Armantrout. The collection includes poems from her previous books, as well as four new poems. Armantrout delved into books intended to make science accessible for the average person, as well as engaged in conversations with physicists. The title is inspired by the way particles can become so entangled that any space between them becomes irrelevant, but also by the way in which the author’s daily life became entangled with the exploration of physics.

In Jackknife: New and Selected Poems, Beatty travels the turns and collisions of over twenty years of work. She moves from first-person narratives to poems that straddle the page in fragments, to lines that sprawl with long lines of train tracks. Always landing in meaning, we are inside the body—not in a confessional voice, not autobiography—but arriving through the expanded, exploded image of many stories and genders. The new poems leap imagistically from the known world to the purely imagined, as in the voice in "Abortion with Gun Barrel": "I am the counselor,/there are cracks in the barrel of the gun/there is aiming/shots of sorrow—/ shots of light." Commitment to a rabid feminist voice continues, but arrival has a new ring to it, with beginnings rescripted: "I am a bastard./I walk around in this body of mine." Beatty's fascination with the highway and the breakout West jackknifes at the crossroads of the brutal and the white plains of loss—the body torn down and resurrected in the twenty first century.