Signs and Abominations is a radical tour de force that interrogates the relationship between religion and art at the end of the 20th century in penetrating and sensuous prosody. It can be read as a series of damaged likenesses: humans as the damaged image and likeness of God, poems and other works of art as necessarily incomplete attempts to approach and represent the numinous and the ineffable.The reader is guided through its five interconnected sections by diverse voices: Michelangelo, Andres Serrano, Flannery O'Connor, Emily Dickinson, Soren Kierkegaard, Augustine, to name a few. All of the book's figures -- the child-Crusaders stumbling toward Jerusalem, the man who wants to preserve for posterity his body entirely covered with tattoos, Andres Serrano submerging a crucifix in his own urine -- set out on a deformed search for signs of the divine among the abominations of the profane. These poems are brilliance cast back at the hypocritical religiosity of those who refuse to admit that the spiritual and the profane inextricably encompass each other, and that art and religion have more in common than not.

Is equitable global cultural exchange possible? Who determines this exchange and at whose expense? Can community and place survive the anonymity of the market and the patriarchy of the state? How can global practice provoke new modes of resistance in an age of globalization? The Politics of Cultural Practice defies the homogenizing and antidemocratic forces of globalization.Refuting the notion that the West is everywhere, Rustom Bharucha draws on the emergent cultures of secular struggle in contemporary India to engage with the volatile global issues of intellectual property rights, cultural tourism, and the marking of minorities on the basis of religion, caste, language, gender, and sexuality. A dazzling analysis of life, politics, and art in our globalizing world, his book demonstrates the power of the intercultural imaginary to radically shape the 21st century.

In recent years, the ghazal (pronounced "ghuzzle"), a traditional Arabic form of poetry, has become popular among contemporary English language poets. But like the haiku before it, the ghazal has been widely misunderstood and thus most English ghazals have been far from the mark in both letter and spirit. This anthology brings together ghazals by a rich gathering of 107 poets including Diane Ackerman, John Hollander, W. S. Merwin, William Matthews, Paul Muldoon, Ellen Bryant Voigt, and many others. As this dazzling collection shows, the intricate and self-reflexive ghazal brings the writer a unique set of challenges and opportunities. Agha Shahid Ali's lively introduction gives a brief history of the ghazal and instructions on how to compose one in English. An elegant afterword by Sarah Suleri Goodyear elucidates the larger issues of cultural translation and authenticity inherent in writing in a "borrowed" form.

Music and Cinema brings together leading scholars from musicology, music theory, film studies, and cultural studies to explore the importance of music in the cinematic construction of ideologies. The 15 essays include "Songlines: Alternative Journeys in Contemporary European Cinema" by Wendy Everett; "Strategies of Remembrance: Music and History in the New German Cinema" by Caryl Flinn; "Designing Women: Art Deco, the Musical, and the Female Body" by Lucy Fischer; "Kansas City Dreamin': Robert Altman's Jazz History Lesson" by Krin Gabbard; "Disciplining Josephine Baker: Gender, Race, and the Limits of Disciplinarity" by Kathryn Kalinak; "Finding Release: Storm Clouds and The Man Who Knew Too Much" by Murray Pomerance, and many more.

The richly textured poems in Lunch, companion volume to D. A. Powell's acclaimed debut collection, Tea, tell the story of a life; like a conversation stretched out over many lunch breaks. Hailed as "formally innovative, disjunctive but tender and always emotionally expressive" by Forrest Gander, its poems are both masticatibly small and immensely satisfying. The life in question is bifurcated by the diagnosis of HIV; "time splits," in these layered and evocative poems, as the poet's memories of childhood and adolescence are fractured by the knowledge of adulthood.

In Shorter Views, Hugo and Nebula award-winning author Samuel R. Delany brings his remarkable intellectual powers to bear on a wide range of topics. Whether he is exploring the deeply felt issues of identity, race, and sexuality, untangling the intricacies of literary theory, or the writing process itself, Delany is one of the most lucid and insightful writers of our time. These essays cluster around topics related to queer theory on the one hand, and on the other, questions concerning the paraliterary genres: science fiction, pornography, comics, and more. Readers new to Delany's work will find this collection of shorter pieces an especially good introduction, while those already familiar with his writing will appreciate having these essays between two covers for the first time.

"You Better Work!" is the first detailed study of underground dance music or UDM, a phenomenon that has its roots in the overlap and cross-fertilization of African American and gay cultural sensibilities that have occurred since the 1970s. UDM not only predates and includes disco, but also constitutes a unique performance practice in the history of American social dance. Taking New York City as its geographic focus,

This visceral collection by Jan Freeman takes the reader by the throat, combining a metaphysics of grief with gut-wrenching humor. Nominated for the National Book Critics Circle Award for Poetry.

New definitions of American femininity were formed in the pivotal 1920s, an era that vastly expanded the "market" for sexually explicit displays by women. Angela J. Latham shows how quarrels over and censorship of women's performance -- particularly in the arenas of fashion and theater -- uniquely reveal the cultural idiosyncracies of the period and provide valuable clues to the developing iconicity of the female body in its more recent historical phases. Through disguise, display, or judicious appropriation of both, performance became a crucial means by which women contested, affirmed, mitigated, and revolutionized norms of female self-presentation and self-stylization. Fashion was a hotly contested arena of bodily display. Latham surveys 1920s fashion trends and explores popular fashion rhetoric. Resistance to social mandates regarding women's fashion was nowhere more pronounced than in the matter of "bathing costumes." Latham critiques locally situated contests over swimwear, including those surrounding the first Miss America Pageant, and suggests how such performances sanctioned otherwise unacceptable self-presentations by women.Looking at American theater, Latham summarizes major arguments about censorship and the ideological assumptions embedded within them. Although sexually provocative displays by women were often the focus of censorship efforts, "leg shows," including revues like the Zeigfeld Follies, were in their heyday. Latham situates the popularity of such performances that featured women's bodies within the larger context of censorship in the American theater at this time.

Carl Freedman traces the fundamental and mostly unexamined relationships between the discourses of science fiction and critical theory, arguing that science fiction is (or ought to be) a privileged genre for critical theory. He asserts that it is no accident that the upsurge of academic interest in science fiction since the 1970s coincides with the heyday of literary theory, and that likewise science fiction is one of the most theoretically informed areas of the literary profession. Extended readings of novels by five of the most important modern science fiction authors illustrate the affinity between science fiction and critical theory, in each case concentrating on one major novel that resonates with concerns proper to critical theory. Freedman's five readings are: Solaris: Stanislaw Lem and the Structure of Cognition; The Dispossessed: Ursula LeGuin and the Ambiguities of Utopia; The Two of Them: Joanna Russ and the Violence of Gender; Stars in My Pocket Like Grains of Sand: Samuel Delany and the Dialectics of Difference; The Man in the High Castle: Philip K. Dick and the Construction of Realities.

In Jean Valentine's first book, her poems transformed dreams into living experience by means of luminous language that echoed the unconscious mind's revelations. In her later books, she almost reverses this process to show life as veiled and inconclusive, suggestive rather than definitive. The elliptical yet lucid craft of her poems presents experience as only imperfectly graspable. The poems ride lightly on the waves of thought, more textures than statements. Some readers have characterized Valentine as a "deep image" writer, but syntactically her work is more akin to the work of Mandelstam and Paul Celan than to that of Lorca and Neruda.The Cradle of the Real Life is divided into two sections, the shorter first section dealing with loss and death and the longer second section, entitled "Her Lost Book," which weaves memories with various metaphors for writing, and deals specifically with the "problem" of women's writing. These finely wrought pieces take stark subject matter and make it shimmer; the poems take their shape as much from the absences as from the words, just as life is given meaning by the losses we survive.

In the epigraph to Joe Wenderoth's new volume of poetry, a herdsman, exhorted by Oedipus to speak the truth, replies "It is if I speak that I will be destroyed."Wenderoth's poetry is sparse, nihilistic -- and sometimes witty. Publishers Weekly wrote that, "Like Stevens, Wenderoth has a passion for philosophical ideas; at the same time he follows Williams' dictum: no ideas but in things. The result is poetry that is intellectually charged but whose final fidelity is to the senses." His new book has the dignity of a sincere and ferocious despair. In the narratives of these poems, "owing is all that really happens," and lives are shaped by the refusal to "sink dumbly into tolerance of a spectacle."

Rockwell Kent is one of America's most famous graphic artists. He was also an avid traveler. Kent was especially fascinated by remote Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his travels. Voyaging, originally published in 1924, is the engaging story of Kent's sailing voyage to Tierra del Fuego. Kent is a charming writer and keen observer of both the land and its people. The book is beautifully and generously illustrated with Kent's distinctive woodcuts.The first edition was published to great critical acclaim. New Republic wrote, "the land lives. A land where roses are as big as sun-flowers, where gales gnaw against bleak cliffs . . . At the end of the earth, there is the paradox of the dwarf and the giant." The Nation said, "Kent has caught the wild beauty of this ominous region -- iron crags ringed with the froth of blown surf, wind-tortured trees, distant peaks incrusted with dazzling snow; but out of the very heart of this bewildering beauty emanates a sense of unseen presences appallingly, implacably hostile to man."

Ordinary Words is the luminous, wild, and lyrical collection of poetry that brought Ruth Stone the critical acclaim she long deserved with the National Book Critics Circle Award, and it paved the way to the National Book Award and long-deserved critical attention. Ordinary Words captures a unique vision of Americana, marked by Stone's characteristic wit, poignancy, and lyricism. The poet addresses the environment, poverty, and aging with fearless candor and surprising humor. Sister poet to Nobel Prize-winner Wislawa Syzmborska, Ruth Stone offers a view of her country and its citizens that is tender humorous, and filled with hard political truths as well as love, beauty, cruelty, and sorrow. Ruth Stone is a poet of the people, and poet's poet. Ordinary Words shows that poetry is about everyday life, our life. Poems are set in Rutland, Vermont; Indianapolis; Chattanooga; Houston; Boise; and Troy, New York (where celluloid collars were made). Stone's subjects are trailer parks, state parks, prefab houses, school crossing guards, bears, snakes, hummingbirds, bottled water, Aunt Maud, Uncle Cal, lost love, dry humping at the Greyhound bus terminal, and McDonalds as a refuge from loneliness. Her heroes are dead husbands, wild grandmothers, struggling daughters: ordinary Americans leading simple and extraordinary lives.

Performance studies have been increasingly influential on recent developments in musicology, theater, art, and dance history, as these fields shift from primarily text-based disciplines to consider performativity, subjective experience, and particularized practice. At the same time, the editors argue, investigations into the pre- and early-modern periods have been rare in performance studies. Acting on the Past assembles some of the foremost scholars to theorize particular historical performances -- in dance, opera, theater, and music. Exploring relationships between archive and act, text and sounding, subject and practice, this collection expands and redefines our understanding of both past and performance.CONTRIBUTORS: Annette Richards, Karen Bassi, Joseph Roach, Shelby Rchardson, Catherine M. Soussloff, Mary Carruthers, John Butt, Carolyn Dean, Susan McClary, James Miller.

In Puritan New England, with its abiding concern for things not of this world and its distrust of forms and ceremonies, one art flourished: the symbolic art of mortuary monument stonecarvers. This carefully researched, beautifully illustrated work was the first to consider this art in depth as a meaningful aesthetic-spiritual expression. It is reissued for today's readers, with a new preface outlining changes in the field since the book appeared in 1966.