How do we come to terms with loss? How do we find love after tragedy? How can art and language help us to cope with life, and honor the dead? How does one act responsibly in a world that is both beautiful, full of suffering, and balanced precariously on the edge of despair and ruin? With humor, anger and great tenderness, Richard Michelson's poems explore the boundaries between the personal and the political, and the connections between history and memory. Growing up under the shadow of the Holocaust, in a Brooklyn neighborhood consumed with racial strife, Michelson's experiences were far from ordinary, yet they remain too much a part of the greater circle of poverty and violence to be dismissed as merely private concerns, safely past. It is Michelson's sense of humor and acute awareness of Jewish history, with its ancient emphasis on the fundamental worth of human existence that makes this accessible book, finally, celebratory and life-affirming.

As long as people have lived along Rhode Island's meandering coast, the ocean has provided them with a ready supply of food. Whether Native American or European transplants, fishermen sought to move beyond capturing individual fish to ensnaring entire schools. Searching for increasingly efficient ways to capture their prey, the trapping technologies that they invented evolved over time, and primitive stake traps gave way to fykes and weirs, much as they had along the entire New England coast. Fishermen from Rhode Island experimented with new designs capable of withstanding the punishing wind and waves, eventually creating a unique floating trap system. Today only four companies still use this ancient but effective technique. Author Markham Starr spent time on the docks, went to sea with the fishermen, and photographed them at work. His striking black-and-white images are accompanied by oral histories, poignantly documenting the industry. This book documents a tradition now hundreds of years old, the spirit and work ethic that drives these fishermen, and the austere beauty of working life on the coast.

Winner of the 2015 National Book Critics Circle Award, poetry category. Winner of the 2016 Kingsley Tufts Poetry Award. Finalist for the 2015 National Book Award, poetry category. Finalist for the 2015 NAACP Image Awards in Poetry.Catalog of Unabashed Gratitude is a sustained meditation on that which goes away - loved ones, the seasons, the earth as we know it - that tries to find solace in the processes of the garden and the orchard. That is, this is a book that studies the wisdom of the garden and orchard, those places where all - death, sorrow, loss - is converted into what might, with patience, nourish us.

The poems in Immigrant Model explore issues of individual and communal identity in the face of conflict, conflicting "truths" or histories, and uprootedness. They explore the notion of homeland as it relates to one's roots, adopted space, psychological terrain, gendered body. If the book reads as a collage of voices or shards rather than as a book with an identifiable arc, it's because that's the only way the poet has managed to answer, so far, the question, "What is it like to be of this world and this world and this world, while also of the elsewhere skirting these worlds? "

In poems initially inspired by Aeschylus' fifth-century B.C. trilogy "The Oresteia," which chronicles the fall of the House of Atreides, Loose Strife investigates the classical sense of loose strife, namely "to loose battle" or "sow chaos," a concept which is still very much with us more than twenty-five hundred years later.

This volume contains papers on the Eastern Neo-Aramaic dialects and the languages in contact with them. The papers make important contributions to the documentation of the dialects and to the understanding of their development in the context of non-Semitic contact languages.

As Jacques Derrida stated in Archive Fever, nothing is less reliable or less clear thanthe word “archive.” Nevertheless, it is precisely within the semantic openendedness of this notion that contemporary discursive practices of cinema and art have developed, thus reconfiguring the very idea of the archive. The single disciplines involved in this broad field – film and art history, film and art theory, aesthetics, semiotics, philology, etc. – are now beginning to question the concept of archive even in its “negative” sense: in other words, they are now starting to investigate – following Michel Foucault – what the archive is not, or does not seem to be. The archive is not the “library of libraries” or the “encyclopaedia;” it is not “memory” or a “database.” In recent years, much attention has been focused on these ideas, revealing new “impulses,” “turns” and specific forms of art (“art archive”), as well as highlighting how the notion of archive has gained importance on different interrelated levels (aesthetic, political, ethical and legal) across diverse disciplinary fields.

Poet, social justice advocate, and theologian Thomas Merton (1915--1968) is arguably the most influential American Catholic author of the twentieth century. In his short lifetime, he penned over seventy books and maintained a brisk correspondence with colleagues around the globe. However, many Merton scholars and fans remain unaware of the significant body of letters that were exchanged between the Trappist monk and Victor and Carolyn Hammer. Unable to leave his home at the Abbey of Gethsemani except on special occasions, Merton developed a unique friendship with this couple from nearby Lexington, Kentucky. Carolyn, who supplied Merton with many of the books he required for his writing and teaching, was a founder of the King Library Press at the University of Kentucky. Victor was an accomplished painter, sculptor, printer, and architect. The friendship and collaborations between Merton and the Hammers reveal their shared interest in the convergence of art, literature, and spirituality.In this volume, editors F. Douglas Scutchfield and Paul Evans Holbrook Jr. have collected the trio's complete correspondence for the first time. Their letters, arranged chronologically, vividly demonstrate a blossoming intellectual camaraderie and provide a unique opportunity to understand Merton's evolving philosophies. At times humorous, often profound, the letters in this volume shed light on a rare friendship and offer new insights into the creative intellect of Thomas Merton.

This book is a reissue of the travelogue of Adriaan van Berkel, first published in 1695 by Johan ten Hoorn in Amsterdam. The first part deals with Van Berkel’s adventures in the Dutch colony located on the Berbice River in the Guianas; the second part is a description of Surinam, the adjacent colony the Dutch took over from the British in 1667.This reissue, edited by Martijn van den Bel, Lodewijk Hulsman and Lodewijk Wagenaar, contains a new annotated English translation as well as an integral rendition of the original Dutch text. In addition, an in-depth introduction contextualizing Adriaan van Berkel and his travels is included. What was the raison d’être of the Dutch presence in the Guianas? Who was this young man who, at age 23, left the Netherlands to serve as a colonial secretary in Berbice? His four-year stay and fascinating encounters with local Amerindians are commented on by two specialists in Amerindian history: Van den Bel and Hulsman.During the 17th century the inhabitants of Netherlands knew little about the Dutch colonies in the Guianas, the area between Brazil and Venezuela. By studying newspapers, published between 1667 and 1695, Lodewijk Wagenaar (former Senior Curator of the Amsterdam Museum) discovered surprising news items. Van Berkel’s account of the armed conflict with the Indians for example closely matched the contemporary newspaper reports.The second part of Van Berkel’s book contains a description of his travels to Surinam. It was already known from research by Walter E. Roth that this part was largely based on a literal translation of a 1667 publication entitled An Impartial Description of Surinam by George Warren. Wagenaar’s recent research, however, proves that the final chapters of this section too were copied from other sources. Van Berkel’s ‘eye-witness-reports’ of the murder of Governor Cornelis van Aerssen in 1688, and the French raid of 1689, were in fact copied from Dutch newspapers. This second journey to Surinam was concocted by the publisher Johan ten Hoorn!

Foreword by Daniel A. Dombrowski. A central concern of nearly every environmental ethic is its desire to extend the scope of direct moral concern beyond human beings to plants, nonhuman animals, and the systems of which they are a part. Although nearly all environmental philosophies have long since rejected modernity's conception of individuals as isolated and independent substances, few have replaced this worldview with an alternative that is adequate to the organic, processive world in which we find ourselves. In this context, Brian G. Henning argues that the often overlooked work of Alfred North Whitehead has the potential to make a significant contribution to environmental ethics. Additionally inspired by classical American philosophers such as William James, John Dewey and Charles Sanders Pierce and environmental philosophers such as Aldo Leopold, Peter Singer, Albert Schweitzer, and Arne Naess, Henning develops an ethical theory of which the seminal insight is called "The Ethics of Creativity."By systematically examining and developing a conception of individuality that is equally at home with the microscopic world of subatomic events and the macroscopic world of ecosystems, The Ethics of Creativity correctly emphasizes the well-being of wholes, while not losing sight of the importance of the unique centers of value that constitute these wholes. In this way, The Ethics of Creativity has the potential to be a unique voice in contemporary moral philosophy.

Gertrude Stein is a seminal figure in modern and postmodern literature, yet her work is not easily defined and has had both fierce supporters and equally fierce detractors. In a series of linked essays, How Reading Is Written considers a set of questions associated with reading Gertrude Stein today. In particular, how can we read a body of work that is largely resistant to conventional and interpretation-based models of literary criticism? The book is structurally and conceptually an index to Stein's poetics, and it considers Stein alongside other writers and thinkers, and across discourses of philosophy, science, queer theory, and literary criticism. Like Charles Olson's Call Me Ishmael and Susan Howe's My Emily Dickinson, How Reading Is Written joins a tradition of books by poets about the writers who have intensely figured into their conception of poetry. Astrid Lorange recovers previously overlooked critical work on Stein and aims to construct a new intellectual episteme for Stein's work—one that connects with contemporary contexts as well as repositions Stein in her moment of transnational modernism.

First English translation of this 19th century novel tracing the relationship between traditional Greenlandic life and the interaction with the culture of their Danish colonizers.These first hand accounts of Greenlanders have rarely been recorded. Written in 1887, with exquisite poetic detail, the dynamics driving ritual, domestic affairs and women's place in society are described as never before. Signe Rink (née Miller, 1836–1909) was born and raised in Greenland. Eden of The North was written after Rink returned to Denmark in 1883, and was followed by two more novels in 1886 and 1902. She remains the first female interpreter of Greenlandic culture and maintains a poetic style only achieved by the deepest of empathies developed after many years of living and working among Inuit as a woman and a scientist. L.S. Johanson was born in San Diego,California. L.S. later moved to Scandinavia where she lived on a small farm in western Denmark for 25 years. As an interpreter, translator, and teacher, she studied languages and linguistics at Aalborg University and Aarhus University in Denmark (Cand.Phil., Cand.Mag.) She has been translating fiction and non-fiction professionally in the U.S. and Scandinavia for over two decades. She currently lives, writes, and works in Vermont.

Public Figures is an essay-poem with photographs and text that begins with a playful thought experiment: statues of people in public spaces have eyes, but what are they looking at? To answer that question, Jena Osman sets up a camera to track the gaze of a number of statues in Philadelphia - mostly 19th century military figures carrying weapons. How does their point of view differ from our own? And how does it compare, say, to the point of view of other watchful military figures, such as drone pilots? In this book, Osman combines the histories behind these statues with poetic narratives that ask us to think about our own relational positions, and how our own everyday gaze may be complicit with the gun-sights of war. Public Figures illustrates how history is transformed, and even erased, by monuments and other public records of events. Through poetry, those histories can be made visible again. Check for the online reader's companion at http://publicfigures.site.wesleyan.edu.

The fourth published colloquia of the International Syriac Language Project (ISLP), presenting papers from an international team of authors working to develop contemporary, interdisciplinary approaches to linguistics and lexicography.

In this new series from Paul Charles, formerly retired policeman Brendy McCusker is forced to return to work following his wife's flight to America with their nest-egg. On his first major case in Belfast he partners with DI Lily O'Carroll to locate the two missing sons of a wealthy businessman. But before that case is resolved, an American banker working in Belfast is brutally murdered down on leafy Cyprus Avenue and McCusker and O'Carroll are put on the case. While the list of suspects grows ever longer, McCusker find himself juggling his move to Belfast, O'Carroll's frequent blind dates, his status as a hired-back rent-a-cop, and being a single man while trying hard not to have his head turned by Belfast's beautiful women - one mysterious one in particular. There is no relief when McCusker and O'Carroll eventually find a suspect with an air-tight alibi , which only one of the detectives believes is genuine... "Continuously absorbing, with a nice rapport between the hero and heroine." - Kirkus Reviews "Introducing a new lead character and a new setting gives the book a real sense of freshness. Readers will definitely want to see more of Brendy McCusker." - Booklist "Charles launches his new Brendy McCusker series with this twist-filled tale of betrayal and revenge." - Publishers Weekly "Charles has created an endearing character in his new novel." - NY Journal of Books

Year after year, day after day, minute after minute, billions of non-human animals are slaughtered for several purposes and aims (food, clothing, entertainment, research). An analogous situation whose objects were humans instead of animals would obviously never be accepted. But why do we tolerate and even justify one practice while deploring the other? The answer is far from banal: this book is an attempt at finding it beyond the everyday life, through politics and philosophy.