A student’s avatar navigates a virtual world and communicates the desires, emotions, and fears of its creator. Yet, how can her writing instructor interpret this form of meaningmaking?Today, multiple modes of communication and information technology are challenging pedagogies in composition and across the disciplines. Writing instructors grapple with incorporating new forms into their curriculums and relating them to established literary practices. Administrators confront the application of new technologies to the restructuring of courses and the classroom itself. Multimodal Literacies and Emerging Genres examines the possibilities, challenges, and realities of mutimodal composition as an effective means of communication. The chapters view the ways that writing instructors and their students are exploring the spaces where communication occurs, while also asking \u201cwhat else is possible.\u201d The genres of film, audio, photography, graphics, speeches, storyboards, PowerPoint presentations, virtual environments, written works, and others are investigated to discern both their capabilities and limitations. The contributors highlight the responsibility of instructors to guide students in the consideration of their audience and ethical responsibility, while also maintaining the ability to \u201cspeak well.\u201d Additionally, they focus on the need for programmatic changes and a shift in institutional philosophy to close a possible \u201cdigital divide\u201d and remain relevant in digital and global economies. Embracing and advancing multimodal communication is essential to both higher education and students. The contributors therefore call for the examination of how writing programs, faculty, and administrators are responding to change, and how the many purposes writing serves can effectively converge within composition curricula.

Phallos is a 2004 novel by the acclaimed novelist and critic Samuel R. Delany. Taking the form of a gay pornographic novella, with the explicit sex omitted, Phallos is set during the reign of the second-century Roman emperor Hadrian, and circles around the historical account of the murder of the emperor's favorite, Antinous. The story moves from Syracuse to Egypt, from the Pillars of Hercules to Rome, from Athens to Byzantium, and back. Young Neoptolomus searches after the stolen phallus of the nameless god of Hermopolis, crafted of gold and encrusted with jewels, within which are reputedly the ancient secrets of science and society that will lead to power, knowledge, and wealth. Vivid and clever, the original novella has been expanded by nearly a third. Appended to the text are an afterword by Robert F. Reid-Pharr and three astute speculative essays by Steven Shaviro, Kenneth R. James, and Darieck Scott.

In Jan Beatty’s fourth collection, The Switching/Yard, she takes us through the ravaged landscape of the American West. In unflinching lines of burning lyric and relentless narrative, she forges the constructed body into movement. What is still stereotyped as the romantic journey—now becomes as scarred as the Rust Belt. What lives in our collective unconscious as the Golden West becomes almost surreal, as these poems snap that vision in half with extended description of ghost explorers.We see the open truck cab, the farm workers on the corner waiting for pick-up; we see the speaker returning west to find the long-abandoned story of the birthfather. There is no stable landscape here except the horizontal action of moving through. Landscape becomes story. In this extended tale of the idea of family, we find stand-ins for the father in the form of a hit man, Jim Morrison, and ultimately the unyielding road takes the place of the body. The Switching/Yard is at once the horizontal world of the birth table where babies are switched, the complex yard of the body where gender routinely shifts and switches, and the actual switching yard of the trains that run the inevitable tracks of this book.

This book is the first attempt to apply formal pragmatics to Judaic studies as a discipline under the auspices of cultural studies, reconstructing the pragmatic approach in Judaism and defining some of the pragmatic limits assumed in the Torah. It is a continuation of previous work considering Judaic reasoning from the standpoint of analytic philosophy and logic. The present volume aims to explicate the Judaic pragmatic point of view with an emphasis on logic, political studies, ethics, and speech act theory.

Called "one of our brightest cultural commentators" by Publishers Weekly, Kit Reed draws from life-with a difference. This new collection brings together thirty-four of her strong, original stories, from early classics like "The Wait" and "Winter" to six never-before-collected short stories, including "The Legend of Troop 13" and "Wherein We Enter the Museum." An early favorite, "Automatic Tiger," is the first in a series of Reed's stories about animals. There's a monkey who grinds out bestsellers with the help of a "creative writing" app. Her uncanny black dog can enter a crowded room and sit down at the feet of the next man to die. Her characters confront war in various arenas: mother/daughter battles, the war of the sexes, the struggles of men scarred by war. Kit Reed's self-described "transgenred" fiction is confirmation of an "extraordinary talent" (The Financial Times). The range and complexity of her work speaks for itself in The Story Until Now.

Daisy Fried’s third book of poetry is a book of unsettling, unsettled Americans. Fried finds her Americans everywhere, watching Henry Kissinger leave the Louvre, trapped on a Tiber bridge by a crowd of neo-fascist thugs, yearning outside a car detailing garage for a car lit underneath by neon lavender, riding the train with Princeton seniors who have been rejected by recession-bound Wall Street, feeding stray cats drunk at midnight, bitching at her mother in the labor room, shopping with wide-bodied hunters for deer-dismembering band saws in the world’s largest supplier of seasonal camouflage, cursing her cell phone and husband at eighty-five miles an hour, hiding behind the mask of an advice column to proclaim Charles Bukowski \u201cAmerica’s greatest poetess.\u201d There is nothing like this book, because there is nothing in it but America. No comfort, no consolation, no life-affirming pats on the back, no despair about God, no fear or acceptance of death, no irrational exuberance, no guilt or weariness, no misery even in the middle of personal and political crisis. Plenty of humor and plenty of seriousness. Joy. And a new kind of poetry: not nice, but rich and real.

Fifteen papers present the results of new research into various aspects of material culture and historical archaeology that reflect culture, trade and social interaction shared by Britain and Colonial America during the Tudor and Stuart periods. Recurrent themes include the use, significance and, in some cases, trade in specific types of pottery, including the ubiquitous stoneware flasks or canteens for sailors and solders on both sides of the Atlantic, and commodities such as wine and copper objects; the architectural history of manor houses and archaeology of plantations; aspects of the historical archaeology of Jamestown and Martins Hundred; the role of specific individuals in the development of Tudor-Stuart life and our new understand of a London destroyed the Great Fire based on Noel Humes rescue digs in a London destroyed by the Blitz. Overall the papers reflect the wide-ranging interests of Ivor Noël Hume, to whom the volume is dedicated.

This anthology brings to English-language readers the riches of the Judaeo-Persian literary tradition produced by the Jewish community of Iran between the eighth and nineteenth centuries. Most of the translations were prepared specifically for this anthology from unpublished manuscripts. Extensive notes accompany each selection to clarify its meaning in Jewish and Islamic history and legend.

Drunk on the sun and the sea, Kazim Ali's new poems swoop linguistically but ground themselves vividly in the daily and real. Both imprisoned by endlessness and dependent on it for nurturing and care, in Sky Ward Ali goes further than ever before in sounding out the spaces between music and silence, between sky and ocean, between human and eternal. "Daily I wish stitched here to live," moans his Prometheus, wondering what release from familiar bondage might actually portend. "So long liberation," his Icarus sings as he plummets from the sky with desperation and grace, ready to unfeather and plunge into the everything-new. Whether in the extended poem-prayer to Alice Coltrane or in the "deleted scenes" and "alternate endings" to his critically acclaimed volume Bright Felon, or in the spirit-infused and multi-faceted lyrics he has become known for, Ali once again reinvents possibilities for the personal lyric and narrative.

The Half-Inch Himalayas is a stellar collection of early work by the poet Agha Shahid Ali (1949-2001). His most recent volumes of poetry are Rooms Are Never Finished and The Country Without a Post Office. He is also the editor of Ravishing Disunities: Real Ghazals in English.

Translations from the Flesh, Elton Glaser's seventh full-length collection of poetry, is driven by the powerful engines of love and desire. In poems long and brief, playful and intense, Glaser evokes what it feels like "to fall into / Love and its infinite mistakes." In a style that might be described as "flamboyant stoicism" (a phrase from Simon Callow,) he explores our human urgencies and weaknesses, following wherever our appetites lead us, whether hormonal or spiritual, cravings that we struggle to understand. The voice that says "Apprentice me to mysteries of the flesh" speaks for everyone intent on making sense of the body's restless yearning for fulfillment. These poems, with their witty brio and passionate precision of language, agree with Gerald Stern that "the brain / is the best organ for love." At the same time, they are not afraid to get down in the dirt, among the more primitive pleasures. Whatever their bent, from moony aspirations to "rare positions only the wicked know," the poems express Glaser's mission to give voice to those deep pressures that move us, body and soul: "I put my native tongue / To work, open to / The dark instincts of ecstasy."

Fantasy worlds are never mere backdrops. They are an integral part of the work, and refuse to remain separate from other elements. These worlds combine landscape with narrative logic by incorporating alternative rules about cause and effect or physical transformation. They become actors in the drama-interacting with the characters, offering assistance or hindrance, and making ethical demands. In Here Be Dragons, Stefan Ekman provides a wide-ranging survey of the ubiquitous fantasy map as the point of departure for an in-depth discussion of what such maps can tell us about what is important in the fictional worlds and the stories that take place there. With particular focus on J. R. R. Tolkien's The Lord of the Rings, Ekman shows how fantasy settings deserve serious attention from both readers and critics. Includes insightful readings of works by Steven Brust, Garth Nix, Robert Holdstock, Terry Pratchett, Charles de Lint, China Miéville, Patricia McKillip, Tim Powers, Lisa Goldstein, Steven R. Donaldson, Robert Jordan, and Neil Gaiman and Charles Vess.

In Just Saying, improbable and even untenable speakers are briefly constituted-only to disappear. The result is part carnival, part nightmare. A television pundit's rhetoric segues into an unusual succulent with writhing maroon tongues. When the world suddenly becomes legible, is that revelation or psychosis? In this book, the voice of the Lord and/or the voice of the security state can come from anyplace. The problem of identity becomes acute. The poems in Just Saying may be imagined as chimeras, creatures that appear when old distinctions break down and elements generally kept separate combine in new ways. Here Armantrout both worries (as a dog worries a bone) and celebrates the groundless fecundity of being and of language.

Finalist, National Book Critics Circle Award. In Blowout, Denise Duhamel asks the same question that Frankie Lyman & the Teenagers asked back in 1954—"Why Do Fools Fall in Love?" Duhamel's poems readily admit that she is a love-struck fool, but also embrace the "crazy wisdom" of the Fool of the Tarot deck and the fool as entertainer or jester. From a kindergarten crush to a failed marriage and beyond, Duhamel explores the nature of romantic love and her own limitations. She also examines love through music, film, and history—Michelle and Barak Obama's inauguration and Cleopatra's ancient sex toy. Duhamel chronicles the perilous cruelties of love gone awry, but also reminds us of the compassion and transcendence in the aftermath. In "Having a Diet Coke with You," she asserts that "love poems are the most difficult poems to write / because each poem contains its opposite its loss / and that no matter how fierce the love of a couple / one of them will leave the other / if not through betrayal / then through death." Yet, in Blowout, Duhamel fiercely and foolishly embraces the poetry of love.

An original and approachable account of how archaeology can tell the story of the English village. Shapwick lies in the middle of Somerset, next to the important monastic centre of Glastonbury: the abbey owned the manor for 800 years from the 8th to the 16th century and its abbots and officials had a great influence on the lives of the peasants who lived there. It is possible that abbot Dunstan, one of the great reformers of tenth century monasticism directed the planning of the village. The Shapwick Project examined the development and history of an English parish and village over a ten thousand-year period. This was a truly multi-disciplinary project. Not only were a battery of archaeological and historical techniques explored - such as field walking, test-pitting, archaeological excavation, aerial reconnaissance, documentary research and cartographic analysis - but numerous other techniques such as building analysis, dendrochronological dating and soil analysis were undertaken on a large scale. The result is a fascinating study about how the community lived and prospered in Shapwick. In addition we learn how a group of enthusiastic and dedicated scholars unravelled this story. As such there is much here to inspire and enthuse others who might want to embark on a landscape study of a parish or village area. Seven of the ten chapters begin with a fictional vignette to bring the story of the village to life. Text-boxes elucidate re-occurring themes and techniques. Extensively illustrated in colour including 100 full page images.This title was the winner of the 2014 British Archaeological Association's Best Archaeological Book Award.

This is the second volume of a trilogy (the first was The Plum Flower Dance) in which Weaver analyzes his life, striving to become the ideal poet. In The Government of Nature, Afaa Michael Weaver explores the trauma of his childhood—including sexual abuse—using a "cartography and thematic structure drawn from Chinese spiritualism." Weaver is a practitioner of Daoism, and this collection deals directly with the abuse in the context of Daoist renderings of nature as metaphor for the human body.