Poetry in America offers extravagantly formed lyric and narrative poems that function like works of social realism for our times: hard times, wartime, divorce, times of downturn and dissipated resources. Where, in such times, can poetry emerge, the book asks—and answers—again and again. Largely set in rural places and small towns, these poems are politically committed but deeply sensuous, emotionally complex and compassionate. They take up the everyday in meaningful ways, and deliver it with blunt force, yet not without hope or bright humor.

Winner of the 2010 Donald Hall Prize in PoetryIn her third poetry collection, Quan Barry explores the universal image of war as evidenced in Afghanistan and Iraq as well as Vietnam, the country of her birth. In the long poem \u201cmeditations\u201d Barry examines her own guilt in initially supporting the invasion of Iraq. Throughout the manuscript she investigates war and its aftermath by negotiating between geographically disparate landscapes—from the genocide in the Congo—to a series of pros poem \u201csnapshots\u201d of modern day Vietnam. Despite the gravity of war, Barry also turns her signature lyricism to other topics such as the beauty of Peru or the paintings of Ana Fernandez.

From February 2003 to March 2005, Oxford Archaeology (OA) carried out a programme of archaeological work in King's Lynn comprising evaluation, strip and map, excavation and watching brief integrated with the redevelopment of the Vancouver Centre and the construction of the Clough Lane multi-storey car park. The work was carried out on behalf of Alfred McAlpine Capital Projects. Despite extensive modern construction, archaeological features, structures and deposits of medieval date (12th-15th centuries) were recorded along the existing frontages of Broad Street and New Conduit Street. Archaeological deposits, building foundations and yard surfaces of late medieval/post-medieval date (15th and 16th-18th centuries) were recorded in localised areas in the car parks to the rear of Sainsburys, the rear of Broad Street and to the south west of New Conduit Street. Piezometers were installed in order to carry out a two-year monitoring programme on the physical and chemical effects of the development's piled construction on the underlying, and otherwise unexposed, reclaimed marine and estuarine sediments. Evaluation of the Clough Lane car park site revealed an intact marine sediment sequence underlying all of the development area as well as localised medieval structures and features.

This volume introduces the letters of the Syriac alphabet a few at the time, and each set of letters is accompanied by guides to pronunciation and the correct way to write the letters, including helpful charts and illustrations. Practice exercises at the end of each section provide the user with copious opportunities for review to facilitate rapid acquisition. This volume will be helpful to all who want to learn the basics of Syriac pronunciation and orthography without being inundated with technical linguistic jargon.

Practical Water is, like Brenda Hillman's previous two books, Cascadia and Pieces of Air in the Epic, both an elemental meditation and an ecopoetics; this time her subject is water: Taoist water, baptismal water, water from the muses' fountains, the practical waters of hydrology from which we draw our being-and the stilled water in a glass in a Senate chamber. Not since Allen Ginsberg tried to levitate the Pentagon has American poetry seen the likes of the hallucinatory wit and moral clarity that Hillman brings to Washington in her poems about Congressional Hearings on the Iraq War. Here also-because it is about many kinds of power-is a sequence of twinned lyrics for the moon, governess of tides and night vision, for visible and invisible faces. Violence and the common world, fact and dream, science and magic, intuition and perception are reconfigured as the poet explores matters of spirit in political life and earthly fate. If it is time to weep by the waters of Babylon, it is also time to touch water's living currents. No one is reimagining the possibilities of lyric poetry with more inventiveness; this is masterful work by one of our finest poets.

Isaac Taylor (1829-1901) is best known for his archaeological and philological works, especially his detailed study of the alphabets published in 1883. This book on the Semitic alphabets comprises the first volume of Taylor’s 1883 study. Taylor begins with a discussion on the invention of writing and the origin of the alphabet, then gives a discussion of three alphabetic families, what he calls the Phoenician alphabet, the Aramean alphabets (covering Palmyra, Hebrew, Syriac, Mongolian, and Arabic), and the south Semitic alphabets (covering Sabean and Ethiopic).

This volume studies the strophic patterns used by Ephrem the Syrian, which the author divides into five types. An appendix deals with possible relationships between Byzantine (esp. Romanos) and Syriac poetic forms.

The present work, Michel Feghali’s doctoral dissertation, is the first large scale investigation of the survival of Syriac linguistic features in Arabic dialects; he examines in particular, the Lebanese dialects.

Mark Lidzbarski (1868-1928) here presents annotated German translations of Neo-Aramaic stories, tales, and songs, including a version of the Ahiqar legend.

Semitist Friedrich Schulthess (d. 1922) here presents a study of forty-nine homonyms in Syriac considered in light of comparative Semitics. Language indices conclude the study.

This brief Syriac grammar for students, along with a prolegomena showing how Syriac fits in among other Aramaic dialects, includes the standard grammatical items. The paradigms are unique for including Jewish Aramaic forms side by side with the Syriac.

Cowper, having reasoned that English students of Syriac deserve an affordable and complete, yet not too cumbersome and detailed, guide to the language, here offers an abridged and edited English version of Hoffmann’s grammar, originally published in Latin in 1827.

Soleil cou coupé (Solar Throat Slashed) is Aimé Césaire's most explosive collection of poetry. Animistically dense, charged with eroticism and blasphemy, and imbued with an African and Vodun spirituality, this book takes the French surrealist adventure to new heights and depths. A Césaire poem is an intersection at which metaphoric traceries create historically aware nexuses of thought and experience, jagged solidarity, apocalyptic surgery, and solar dynamite. The original 1948 French edition of Soleil cou coupé has a dense magico-religious frame of reference. In the late 1950s, Césaire was increasingly politically focused and seeking a wider audience, when he, in effect, gelded the 1948 text-eliminating 31 of the 72 poems, and editing another 29. Until now, only the revised 1961 edition, called Cadastre, has been translated. The revised text lacks the radical originality of Soleil cou coupé. This Wesleyan edition presents all the original poems en face with the new English translations. Includes an introduction by A. James Arnold and notes by Clayton Eshleman.

In the spring of 1968, the English faculty at the University of Wisconsin-Madison (UW) voted to remedialize the first semester of its required freshman composition course, English 101. The following year, it eliminated outright the second semester course, English 102. For the next quarter-century, UW had no real campus-wide writing requirement, putting it out of step with its peer institutions and preventing it from fully joining the \u201ccomposition revolution\u201d of the 1970s. In From Form to Meaning, David Fleming chronicles these events, situating them against the backdrop of late 1960s student radicalism and within the wider changes taking place in U.S. higher education at the time. Fleming begins with the founding of UW in 1848. He examines the rhetorical education provided in the universityÆs first half-century, the birth of a required, two semester composition course in 1898, faculty experimentation with that course in the 1920s and 1930s, and the rise of a massive \u201ccurrent-traditional\u201d writing program, staffed primarily by graduate teaching assistants (TAs), after World War II. He then reveals how, starting around 1965, tensions between faculty and TAs concerning English 101-102 began to mount. By 1969, as the TAs were trying to take over the committee that supervised the course, the English faculty simply abandoned its long-standing commitment to freshman writing. In telling the story of compositionÆs demise at UW, Fleming shows how contributing factors—the growing reliance on TAs; the questioning of traditional curricula by young instructors and their students; the disinterest of faculty in teaching and administering general education courses—were part of a larger shift affecting universities nationally. He also connects the events of this period to the long, embattled history of freshman composition in the United States. And he offers his own thoughts on the qualities of the course that have allowed it to survive and regenerate for over 125 years.

Oceans Odyssey 2 presents the results of the discovery and archaeological survey of ten deep-water wrecks by Odyssey Marine Exploration. In the Western Approaches and western English Channel, a mid-17th century armed merchantman, the guns of Admiral Balchin's Victory (1744), the mid-18th century French privateer La Marquise de Tourny and six German U-boats lost at the end of World War II are examined in depth. From the Atlantic coast of the United States, the Jacksonville 'Blue China' wreck's British ceramics, tobacco pipes and American glass wares bring to life the story of a remarkable East Coast schooner lost in the mid-19th century. These unique sites expand the boundaries of human knowledge, highlighting the great promise of deep-sea wrecks, the technology needed to explore them and the threats from nature and man that these wonders face. Challenges to managing underwater cultural heritage are also discussed, along with proposed solutions for curating and storing collections.

The beauty and difficulty of Jack Spicer's poetry continues to resonate with contemporary audiences nearly fifty years after his death. After Spicer brings together work by ten eminent literary scholars to provide a long overdue exploration of Spicer's legacy even as it continues to unfold. As editor John Emil Vincent notes, it is Spicer's "boundary crashing"-in his poetry, poetics, and politics-that makes his work so powerful and relevant today. After Spicer extends the conversation between poet and reader that Spicer considered essential to the composition and survival of poems. Incisive essays by Maria Damon, Norman Finkelstein, Kelly Holt, Catherine Imbriglio, Kevin Killian, Michael Snediker, Anita Sokolsky, and Keith and Rosmarie Waldrop, provide an overview of Spicer's oeuvre-his poetry, letters, plays, and his only novel-and explore his work in relation to queer theory, audience, religion, the lyric, and seriality. These essays give us crucial insights into Spicer's transition from a regional cult figure to a canonical postmodern poet.