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Spring & Fall 1999 Books:
LITERATURE, LITERARY CRITICISM/ LANGUAGE:
American, English, French, Spanish, Other
A Life in the Present
One of the most important writers of the twentieth century, André Gide also led what was probably one of the most interesting lives our century has seen. Gide knew and corresponded with many of the major literary figures of his day, from Mallarmé to Oscar Wilde. Though a Communist, his critical account of Soviet Russia in Return from the USSR earned him the enmity of the Left. A lifelong advocate of moral and political freedom and justice, he was a proscribed writer on the Vatican's infamous "Index." Self-published most of his life, he won the Nobel Prize for Literature in 1947, at the age of 77. An avowed homosexual, he nonetheless married his cousin, and though their marriage was unconsummated, at 53 he fathered a daughter for a friend.
Alan Sheridan's book is a literary biography of Gide, an intimate portrait of the reluctantly public man, whose work was deeply and inextricably entangled with his life. Gide's life provides a unique perspective on our century, an idea of what it was like for one person to live through unprecedented technological change, economic growth and collapse, the rise of socialism and fascism, two world wars, a new concern for the colonial peoples and for women, and the astonishing hold of Rome and Moscow over intellectuals. Following Gide from his first forays among the Symbolists through his sexual and political awakenings to his worldwide fame as a writer, sage, and commentator on his age, Sheridan richly conveys the drama of a remarkable life; the depth, breadth, and vitality of an incomparable oeuvre; and the spirit of a time that both so aptly expressed.
March 1999 6 x 9 1/4 inches 35 halftones 752 pages
ISBN 0-674-03527-5 $35.00 cloth
A CRITIQUE OF POSTCOLONIAL REASON
Toward a History of the Vanishing Present
GAYATRI CHAKRAVORTY SPIVAK
Are the "culture wars" over? When did they begin? What is their relationship to gender struggle and the dynamics of class? In her first full treatment of postcolonial studies, a field that she helped define, Gayatri Chakravorty Spivak, one of the world's foremost literary theorists, poses these questions from within the postcolonial enclave.
"We cannot merely continue to act out the part of Caliban," Spivak writes; and her book is an attempt to understand and describe a more responsible role for the postcolonial critic. A Critique of Postcolonial Reason tracks the figure of the "native informant" through various cultural practices--philosophy, history, literature--to suggest that it emerges as the metropolitan hybrid. The book addresses feminists, philosophers, critics, and interventionist intellectuals, as they unite and divide. It ranges from Kant's analytic of the sublime to child labor in Bangladesh. Throughout, the notion of a Third World interloper as the pure victim of a colonialist oppressor emerges as sharply suspect: the mud we sling at certain seemingly overbearing ancestors such as Marx and Kant may be the very ground we stand on.
A major critical work, Spivak's book redefines and repositions the postcolonial critic, leading her through transnational cultural studies into considerations of globality.
May 1999 6 1/8 x 9 1/4 1 line illus. 448 pages
ISBN 0-674-17763-0 $49.95 / £30.95 cloth
ISBN 0-674-17764-9 $24.95 / £15.50 paper
A Chronicle of a Cultural Obsession
In life, Elvis Presley went from childhood poverty to stardom, from world fame to dissipation and early death. As Greil Marcus shows in this remarkable book, Presley's journey after death takes him even further, pushing him beyond his own frontiers to merge with the American public consciousness--and the American subconscious. As he listens in on the public conversation that recreates Elvis after death, Marcus tracks the path of Presley's resurrection. He grafts together scattered fragments of the eclectic dialogue--snatches of movies and music, books and newspapers, photographs, posters, cartoons--and amazes us with not only what America has been saying as it raises its late king, but also what this strange obsession with a dead Elvis can tell us about America itself.
March 1999 7 x 9 1/4 inches 54 halftones, 5 line illus. 288 pages
ISBN 0-674-19422-5 $17.95 / £10.95 paper
A Curious History
The weapon of pedants, the scourge of undergraduates, the bête noire of the "new" liberated scholar: the lowly footnote, long the refuge of the minor and the marginal, emerges in this book as a singular resource, with a surprising history that says volumes about the evolution of modern scholarship. In Anthony Grafton's engrossing account, footnotes to history give way to footnotes as history, recounting in their subtle way the curious story of the progress of knowledge in written form.
Grafton treats the development of the footnote--the one form of proof normally supplied by historians in support of their assertions--as writers on science have long treated the development of laboratory equipment, statistical arguments, and reports on experiments: as a complex story, rich in human interest, that sheds light on the status of history as art, as science, and as an institution. The book starts in the Berlin of the brilliant nineteenth-century historian Leopold von Ranke, who is often credited with inventing documented history in its modern form. Casting back to antiquity and forward to the twentieth century, Grafton's investigation exposes Ranke's position as a far more ambiguous one and offers us a rich vision of the true origins and gradual triumph of the footnote.
Among the protagonists of this story are Athanasius Kircher, who built numerous documents into his spectacularly speculative treatises on ancient Egypt and China; Pierre Bayle, who made the footnote a powerful tool in philosophical and historical polemics; and Edward Gibbon, who transformed it into a high form of literary artistry. Proceeding with the spirit of an intellectual mystery and peppered with intriguing and revealing remarks by those who "made" this history, The Footnote brings what is so often relegated to afterthought and marginalia to its rightful place in the center of the literary life of the mind.
April 1999 5 1/2 x 8 1/4 inches 255 pages
ISBN 0-674-30760-7 $14.00 paper
GREEK IAMBIC POETRY
From the Seventh to the Fifth Centuries BC
EDITED AND TRANSLATED BY DOUGLAS E. GERBER
The poetry of the archaic period that the Greeks called iambic is characterized by scornful criticism of friend and foe and by sexual license. The purpose of these poems is unclear, but they seem to have some connection with cult songs used in religious festivals--for example, those honoring Dionysus and Demeter. In this completely new Loeb Classical Library edition of early Greek iambic poetry, Douglas Gerber provides a faithful and fully annotated translation of the fragments that have come down to us.
Archilochus expressed himself in colorful and vigorous language. Famous throughout antiquity for his winged barbs, he is often considered the archetypal poet of blame. Other major poets in this volume are Semonides, best known for a long misogynistic poem describing ten types of wives; and Hipponax, who was much admired by the poets of Hellenistic Alexandria, in part for his depictions of the licentious and seamy side of society.
June 1999 4 1/8 x 6 1/4 inches 427 pages
ISBN 0-674-99581-3 $19.95x / £12.95 cloth
TRANSLATED BY A. T. MURRAY
Revised by William F. Wyatt
Here is a new Loeb Classical Library edition of Homer's stirring heroic account of the Trojan war and its passions. The eloquent and dramatic epic poem captures the terrible anger of Achilles, "the best of the Achaeans," over a grave insult to his personal honor and relates its tragic result--a chain of consequences that proves devastating for the Greek forces besieging Troy, for noble Trojans, and for Achilles himself. The poet gives us compelling characterizations of his protagonists as well as a remarkable study of the heroic code in antiquity.
The works attributed to Homer include the two oldest and greatest European epic poems, the Odyssey and the Iliad. These have been published in the Loeb Classical Library for three quarters of a century, the Greek text facing a faithful and literate prose translation by A. T. Murray. William F. Wyatt now brings the Loeb's Iliad up to date, with a rendering that retains Murray's admirable style but is written for today's readers.
Volume 1: June 1999 4 1/8 x 6 1/4 336 pages ISBN 0-674-99579-1 $19.95x / £12.95 cloth
Volume 2: June 1999 4 1/8 x 6 1/4 416 pages ISBN 0-674-99580-5 $19.95x / £12.95 cloth
IN THE FASCIST BATHROOM
Punk in Pop Music, 1977-1992
Was punk just another moment in music history, a flash in time when a group of young rebels exploded in a fury of raw sound, outrageous styles, and in-your-face attitude? Greil Marcus, author of the renowned Lipstick Traces, delves into the after-life of punk as a much richer phenomenon--a form of artistic and social rebellion that continually erupts into popular culture. In more than seventy short pieces written over fifteen years, he traces the uncompromising strands of punk from Johnny Rotten to Elvis Costello, Sonic Youth, even Bruce Springsteen. Marcus's unparalleled insight into present-day culture and brilliant ear for music bring punk's searing half-life into deep focus. Originally published in the U.S. as Ranters and Crowd Pleasers.
March 1999 5 1/2 x 8 1/4 inches 9 line illus. 448 pages
ISBN 0-674-44577-5 $15.95 / £9.95 paper
A Life in Art
JOHN E. MALMSTAD AND NIKOLAY BOGOMOLOV
Mikhail Kuzmin (1872-1936), Russia's first openly gay writer, stood at the epicenter of the turbulent cultural and social life of Petersburg-Petrograd-Leningrad for over three decades. A poet of the caliber of Aleksandr Blok, Vladimir Mayakovsky, Boris Pasternak, Osip Mandelshtam, and Marina Tsvetaeva (and acknowledged as such by them and other contemporaries), Kuzmin was also a prose writer, playwright, critic, translator, and composer who was associated with every aspect of modernism's history in Russia, from Symbolism to the Leningrad avant-gardes of the 1920s.
Only now is Kuzmin beginning to emerge from the "official obscurity" imposed by the Soviet regime to assume his place as one of Russia's greatest poets and one of this century's most characteristic and colorful creative figures. This biography, the first in any language to be based on full and uncensored access to the writer's private papers, including his notorious Diary, places Kuzmin in the context of his society and times and contributes to our discovery and appreciation of a fascinating period and of Russia's long suppressed gay history.
April 1999 6 1/8 x 9 1/4 inches 11 halftones 512 pages
ISBN 0-674-53087-X $49.95x / £30.95 cloth
PROCEED WITH CAUTION, WHEN ENGAGED BY MINORITY WRITING IN THE AMERICAS
Let the reader beware. Educated readers naturally feel entitled to know what they're reading--often, if they try hard enough, to know it with the conspiratorial intimacy of a potential partner. This book reminds us that cultural differences may in fact make us targets of a text, not its co-conspirators. Some literature, especially culturally particular or "minority" literature, actually uses its differences and distances to redirect our desire for intimacy toward more cautious, respectful engagements. To name these figures of cultural discontinuity--to describe a rhetoric of particularism in the Americas--is the purpose of Proceed with Caution.
In a series of daring forays, from seventeenth-century Inca Garcilaso de la Vega to Julio Cortázar and Mario Vargas Llosa, Doris Sommer shows how ethnically marked texts use enticing and frustrating language games to keep readers engaged with difference: Gloria Estefan's syncopated appeal to solidarity plays on Whitman's undifferentiated ideal; unrequitable seductions echo through Rigoberta Menchú's protestations of secrecy, Toni Morrison's interrupted confession, the rebuffs in a Mexican testimonial novel. In these and other examples, Sommer trains us to notice the signs that affirm a respectful distance as a condition of political fairness and aesthetic effect--warnings that will be audible (and engaging for readings that tolerate difference) once we listen for a rhetoric of particularism.
August 1999 6 1/8 x 9 1/4 inches 416 pages
ISBN 0-674-53658-X $55.00x / £34.50 cloth
ISBN 0-674-53660-6 $24.95x / £15.50 paper
Literary Studies and Political Change
The discipline of literary criticism is strictly defined, and the most pressing issues of our time--racism, violence against women and homosexuals, cultural imperialism, and the like--are located outside its domain. In Professional Correctness, Stanley Fish raises a provocative challenge to those who try to turn literary studies into an instrument of political change, arguing that when literary critics try to influence society at large by addressing social and political issues, they cease to be literary critics at all. Anyone interested in the debate over the place of cultural studies in the field of literary criticism, or the more general question of whether academics can become the "public intellectuals" many aspire to be, needs to read Fish's powerful and unconventional argument for restoring discipline to the academy.
April 1999 5 1/2 x 8 1/4 160 pages ISBN 0-674-71220-X $14.95x / £9.50 paper
Narrative Perfomance in Modern Japanese Fiction
Offering the first systematic examination of five modern Japanese fictional narratives, all of them available in English translations, Atsuko Sakaki explores Natsume Soseki's Kokoro and The Three-Cornered World; Ibuse Masuji's Black Rain; Mori Ogai's Wild Geese; and Tanizaki Jun'ichiro's Quicksand. Her close reading of each text reveals a hitherto unexplored area of communication between narrator and audience, as well as between "implied author" and "implied reader." By using this approach, the author situates each of these works not in its historical, cultural, or economic contexts but in the situation the text itself produces.
May 1999 6 x 9 inches 275 pages
ISBN 0-674-75094-2 $39.50x / £24.50 cloth
SHREDDING THE TAPESTRY OF MEANING
The Poetry and Poetics of Kitasono Katue (1902-1978)
Kitasono Katue was a leading avant-garde literary figure, first in Japan and then throughout the world, from the 1920s to the 1970s. In his long career, Kitasono was instrumental in creating Japanese-language work influenced by futurism, dadaism, and surrealism before World War II and in contributing a Japanese voice to the international avant-garde movement after the war. This critical biography of Kitasono examines the life, poetry, and poetics of this controversial and flamboyant figure, including his wartime support of the Japanese state. Using Kitasono as a window on Japanese literature in the twentieth century, John Solt analyzes the relationship of Japanese writers to foreign literary movements and the influence of Japanese writers on world literature.
June 1999 6 x 9 inches 39 illus. 425 pages
ISBN 0-674-80733-2 $49.50x / £30.95 cloth
SRNGARAPRAKASA BY BHOJA, VOLUME 1
EDITED BY V. RAGHAVAN
This edition is based on new manuscripts of this important treatise on classical Sanskrit poetics. It was composed by the famous eleventh-century King Bhoja of Malwa (W. India), a patron of traditional learning.
The text has never received a complete critical edition. It is important not only because of the theoretical treatment of the erotic sentiment (srngara) in classical Sanskrit texts. It is also a mine of quotations from extant and also from lost Sanskrit and Prakrit poetical texts.
August 1999 7 x 10 inches 916 pages
ISBN 0-674-88340-6 $95.00x / £59.50 cloth
STILL THE NEW WORLD
American Literature in a Culture of Creative Destruction
In this bold reinterpretation of American culture, Philip Fisher describes generational life as a series of renewed acts of immigration into a new world. Along with the actual flood of immigrants, technological change brings about an immigration of objects and systems, ways of life and techniques for the distribution of ideas.
A provocative new way of accounting for the spirit of literary tradition, Still the New World makes a persuasive argument against the reduction of literature to identity questions of race, gender, and ethnicity. Ranging from roughly 1850 to 1940, when, Fisher argues, the American cultural and economic system was set in place, the book reconsiders key works in the American canon--from Emerson, Whitman, and Melville, to Twain, James, Howells, Dos Passos, and Nathanael West, with insights into such artists as Winslow Homer and Thomas Eakins. With striking clarity, Fisher shows how these artists created and recreated a democratic poetics marked by a rivalry between abstraction, regionalism, and varieties of realism--and in doing so, defined American culture as an ongoing process of creative destruction.
May 1999 6 1/8 x 9 1/4 inches 5 halftones, 1 line illus. 288 pages
ISBN 0-674-83859-9 $29.95x / £18.50 cloth
Journey through a Transformed Landscape
DAVID R. FOSTER
In 1977 David Foster took to the woods of New England to build a cabin with his own hands. Along with a few tools he brought a copy of the journals of Henry David Thoreau. Foster was struck by how different the forested landscape around him was from the one Thoreau described more than a century earlier. The sights and sounds that Thoreau experienced on his daily walks through nineteenth-century Concord were those of rolling farmland, small woodlands, and farmers endlessly working the land. As Foster explored the New England landscape, he discovered ancient ruins of cellar holes, stone walls, and abandoned cartways--all remnants of this earlier land now largely covered by forest. How had Thoreau's open countryside, shaped by ax and plough, divided by fences and laneways, become a forested landscape?
Part ecological and historical puzzle, this book brings a vanished countryside to life in all its dimensions, human and natural, offering a rich record of human imprint upon the land. Extensive excerpts from the journals show us, through the vividly recorded details of daily life, a Thoreau intimately acquainted with the ways in which he and his neighbors were changing and remaking the New England landscape. Foster adds the perspective of a modern forest ecologist and landscape historian, using the journals to trace themes of historical and social change.
Thoreau's journals evoke not a wilderness retreat but the emotions and natural history that come from an old and humanized landscape. It is with a new understanding of the human role in shaping that landscape, Foster argues, that we can best prepare ourselves to appreciate and conserve it today.
From the journal:
"I have collected and split up now quite a pile of driftwood--rails and riders and stems and stumps of trees--perhaps half or three quarters of a tree ... Each stick I deal with has a history, and I read it as I am handling it, and, last of all, I remember my adventures in getting it, while it is burning in the winter evening. That is the most interesting part of its history. It has made part of a fence or a bridge, perchance, or has been rooted out of a clearing and bears the marks of fire on it ... Thus one half of the value of my wood is enjoyed before it is housed, and the other half is equal to the whole value of an equal quantity of the wood which I buy."
--October 20, 1855
April 1999 6 1/8 x 9 1/4 inches 19 line illus. 288 pages
ISBN 0-674-88645-3 $27.95 / £17.50 cloth
Volume 2: 1927-1934
MICHAEL W. JENNINGS, GENERAL EDITOR
In the frenzied final years of the Weimar Republic, amid economic collapse and mounting political catastrophe, Walter Benjamin emerged as the most original practicing literary critic and public intellectual in the German-speaking world. Volume 2 of Selected Writings, covering the years 1927 to 1934, displays the full spectrum of Benjamin's achievements at this pivotal stage in his career.
Previously concerned chiefly with literary theory, Benjamin during these years does pioneering work in new areas, from the study of popular culture (a discipline he virtually created) to theories of the media and the visual arts. His writings on the theory of modernity--most of them new to readers of English--develop ideas as important to an understanding of the twentieth century as any contained in his widely anthologized essay "The Work of Art in the Age of Technological Reproducibility."
This volume brings together previously untranslated writings on major figures such as Brecht, Valery, and Gide, and on subjects ranging from film, radio, and the novel to memory, kitsch, and the theory of language. We find the manifoldly inquisitive Benjamin musing on the new modes of perception opened up by techniques of photographic enlargement and cinematic montage, on the life and work of Goethe at Weimar, on the fascination of old toys and the mysteries of food, and on the allegorical significance of Mickey Mouse. Also included are several of Benjamin's most entertaining radio scripts for a popular audience, as well as some rare and revealing glimpses into a fragmentary autobiography, in the form of diary entries, travel sketches, recollections, and personal meditations.
May 1999 6 3/8 x 9 1/4 inches 14 halftones, 2 line illus. 704 pages
ISBN 0-674-94586-7 $37.50 / £23.50 cloth
THE WORLD THROUGH A MONOCLE
The New Yorker at Midcentury
MARY F. COREY
Today The New Yorker is one of a number of general-interest magazines published for a sophisticated audience, but in the post-World War II era the magazine occupied a truly significant niche of cultural authority. A self-selected community of 250,000 readers, who wanted to know how to look and sound cosmopolitan, found in its pages information about night spots and polo teams. They became conversant with English movies, Italian Communism, French wine, the bombing of the Bikini Atoll, prêt-à-porter, and Caribbean vacations. A well-known critic lamented that "certain groups have come to communicate almost exclusively in references to the [magazine's] sacred writings." The World through a Monocle is a study of these "sacred writings."
Mary Corey mines the magazine's editorial voice, journalism, fiction, advertisements, cartoons, and poetry to unearth the preoccupations, values, and conflicts of its readers, editors, and contributors. She delineates the effort to fuse liberal ideals with aspirations to high social status, finds the magazine's blind spots with regard to women and racial and ethnic stereotyping, and explores its abiding concern with elite consumption coupled with a contempt for mass production and popular advertising. Balancing the consumption of goods with a social conscience which prized goodness, the magazine managed to provide readers with what seemed like a coherent and comprehensive value system in an incoherent world.
Viewing the world through a monocle, those who created The New Yorker and those who believed in it cultivated a uniquely powerful cultural institution serving an influential segment of the population. Corey's work illuminates this extraordinary enterprise in our social history.
April 1999 6 1/8 x 9 1/4 inches 256 pages
ISBN 0-674-96193-5 $25.95 / £15.95 cloth
WRITING WAS EVERYTHING
New York Times Book Review Notable Book of 1995
For more than sixty years Alfred Kazin has been one of the most eloquent witnesses to the literary life of the mind in America. Writing Was Everything is a summation of that life, a story of coming of age as a writer and critic that is also a vibrant cultural drama teeming with such characters as Hart Crane and Allen Ginsberg, Simone Weil and Flannery O'Connor, Hannah Arendt and Robert Lowell, Edmund Wilson and George Orwell.
A deft blend of autobiography, history, and criticism that moves from New York in the 1930s to wartime England to the postwar South, Writing Was Everything emerges as a reaffirmation of literature in an age of deconstruction and critical dogma. In his encounters with books, Kazin shows us how great writing matters and how it involves us morally, socially, and personally on the deepest level. Whether reflecting on modernism, southern fiction, or black, Jewish, and New Yorker writing or reliving the work of Richard Wright, Saul Bellow, and John Cheever, he gives a penetrating, moving account of literature observed and lived. In his life as a critic, Kazin personifies the lesson that living and writing are necessarily intimate.
Writing Was Everything encapsulates the lively wit and authority of this timeless critic's unmistakable voice. It stands as clear testimony to Kazin's belief that "literature is not theory but, at best, the value we can give to our experience, which in our century has been and remains beyond the imagination of mankind."
April 1999 5 x 7 1/2 inches 160 pages
ISBN 0-674-96238-9 $12.00 / £7.50 paper
THE ARCADES PROJECT
Translated by Howard Eiland and Kevin McLaughlin
"To great writers," Walter Benjamin once wrote, "finished works weigh lighter than those fragments on which they labor their entire lives." Conceived in Paris in 1927 and still in progress when Benjamin fled the Occupation in 1940, The Arcades Project (in German, Das Passagen-Werk) is a monumental ruin, meticulously constructed over the course of thirteen years--"the theater," as Benjamin called it, "of all my struggles and all my ideas."
Focusing on the arcades of nineteenth-century Paris-glass-roofed rows of shops that were early centers of consumerism--Benjamin presents a montage of quotations from, and reflections on, hundreds of published sources, arranging them in thirty-six categories with descriptive rubrics such as "Fashion," "Boredom," "Dream City," "Photography," "Catacombs," "Advertising," "Prostitution," "Baudelaire," and "Theory of Progress." His central preoccupation is what he calls the commodification of things--a process in which he locates the decisive shift to the modern age.
The Arcades Project is Benjamin's effort to represent and to critique the bourgeois experience of nineteenth-century history, and, in so doing, to liberate the suppressed "true history" that underlay the ideological mask. In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.
November 1999 6 1/2 x 10 inches 46 halftones 960 pages
ISBN 0-674-04326-X: $39.95 / £24.95 cloth
THE COMPLETE CORRESPONDENCE, 1928-1940
THEODOR ADORNO AND WALTER BENJAMIN
The correspondence between Walter Benjamin and Theodor Adorno, which appears here for the first time in its entirety in English translation, must rank among the most significant to have come down to us from that notable age of barbarism, the twentieth century. Benjamin and Adorno formed a uniquely powerful pair. Benjamin, riddle-like in his personality and given to tactical evasion, and Adorno, full of his own importance, alternately support and compete with each other throughout the correspondence, until its imminent tragic end becomes apparent to both writers. Each had met his match, and happily, in the other. This book is the story of an elective affinity. Adorno was the only person who managed to sustain an intimate intellectual relationship with Benjamin for nearly twenty years. No one else, not even Gershom Scholem, coaxed so much out of Benjamin.
The more than one hundred letters in this book will allow readers to trace the developing character of Benjamin's and Adorno's attitudes toward each other and toward their many friends. When this book appeared in German, it caused a sensation because it includes passages previously excised from other German editions of the letters--passages in which the two friends celebrate their own intimacy with frank remarks about other people. Ideas presented elliptically in the theoretical writings are set forth here with much greater clarity. Not least, the letters provide material crucial for understanding the genesis of Benjamin's Arcades Project
November 1999 6 1/8 x 9 1/4 inches384 pages
ISBN 0-674-15427-4 $39.95x / £24.95 cloth
FICTION IN THE AGE OF PHOTOGRAPHY
The Legacy of British Realism
Victorians were fascinated with how accurately photography could copy people, the places they inhabited, and the objects surrounding them. Much more important, however, is the way in which Victorian people, places, and things came to resemble photographs. In this provocative study of British realism, Nancy Armstrong explains how fiction entered into a relationship with the new popular art of photography that transformed the world into a picture. By the 1860s, to know virtually anyone or anything was to understand how to place him, her, or it in that world on the basis of characteristics that either had been or could be captured in one of several photographic genres. So willing was the readership to think of the real as photographs, that authors from Charles Dickens to the Brontës, Lewis Carroll, H. Rider Haggard, Oscar Wilde, D. H. Lawrence, E. M. Forster, and Virginia Woolf had to use the same visual conventions to represent what was real, especially when they sought to debunk those conventions. The Victorian novel's collaboration with photography was indeed so successful, Armstrong contends, that literary criticism assumes a text is gesturing toward the real whenever it invokes a photograph.
January 2000 6 1/8 x 9 1/4 inches 52 halftones 352 pages
ISBN 0-674-29930-2 $29.95x / £18.50 cloth
STORYTELLING IN THE NEW HOLLYWOOD
Understanding Classical Narrative Technique
In a book as entertaining as it is enlightening, Kristin Thompson offers the first in-depth analysis of Hollywood's storytelling techniques and how they are used to make complex, easily comprehensible, entertaining films. She also takes on the myth that modern Hollywood films are based on a narrative system radically different from the one in use during the Golden Age of the studio system.
Drawing on a wide range of films from the 1920s to the 1990s--from Keaton's Our Hospitality to Casablanca to Terminator 2--Thompson explains such staples of narrative as the goal-oriented protagonist, the double plot-line, and dialogue hooks. She domonstrates that the "three-act structure," a concept widely used by practitioners and media commentators, fails to explain how Hollywood stories are put together.
Thompson then demonstrates in detail how classical narrative techniques work in ten box-office and critical successes made since the New Hollywood began in the 1970s: Tootsie, Back to the Future, The Silence of the Lambs, Groundhog Day, Desperately Seeking Susan, Amadeus, The Hunt for Red October, Parenthood, Alien, and Hannah and Her Sisters. In passing, she suggests reasons for the apparent slump in quality in Hollywood films of the 1990s. The results will be of interest to movie fans, scholars, and film practitioners alike.
November 1999 7 x 9 inches 40 halftones432 pages
cloth: ISBN 0-674-83974-9 $49.95x / £30.95
paperback: ISBN 0-674-83975-7 $24.95x / £15.50
THE BIBLE AS IT WAS
JAMES L. KUGEL
This is a guide to the Hebrew Bible unlike any other. Leading us chapter by chapter through its most important stories--from the Creation and the Tree of Knowledge through the Exodus from Egypt and the journey to the Promised Land--James Kugel shows how a group of anonymous, ancient interpreters radically transformed the Bible and made it into the book that has come down to us today.
Was the snake in the Garden of Eden the devil, or the Garden itself "paradise"? Did Abraham discover monotheism, and was his son Isaac a willing martyr? Not until the ancient interpreters set to work. Poring over every little detail in the Bible's stories, prophecies, and laws, they let their own theological and imaginative inclinations radically transform the Bible's very nature. Their sometimes surprising interpretations soon became the generally accepted meaning. These interpretations, and not the mere words of the text, became the Bible in the time of Jesus and Paul or the rabbis of the Talmud.
Drawing on such sources as the Dead Sea Scrolls, ancient Jewish apocrypha, Hellenistic writings, long-lost retellings of Bible stories, and prayers and sermons of the early church and synagogue, Kugel reconstructs the theory and methods of interpretation at the time when the Bible was becoming the bedrock of Judaism and Christianity. Here, for the first time, we can witness all the major transformations of the text and recreate the development of the Bible "As It Was" at the start of the Common era--the Bible as we know it.
November 1999 6 1/2 x 10 inches First cloth edition: Fall 1997 24 halftones 700 pages
ISBN 0-674-06941-2 $19.95 / £12.50 paper
THE POEMS OF EMILY DICKINSON
EDITED BY R. W. FRANKLIN
Recipient of the Emily Dickinson International Society's Award for Outstanding Contribution
There is a word
Which bears a sword
Emily Dickinson, poet of the interior life, imagined words/swords, hurling barbed syllables/piercing. Nothing about her adult appearance or habitation revealed such a militant soul. Only poems, written quietly in a room of her own, often hand-stitched in small volumes, then hidden in a drawer, revealed her true self. She did not live in time but in universals--an acute, sensitive nature reaching out boldly from self-referral to a wider, imagined world.
Dickinson died without fame; only a few poems were published in her lifetime. Her legacy was later rescued from her desk--an astonishing body of work, much of which has since appeared in piecemeal editions, sometimes with words altered by editors or publishers according to the fashion of the day.
Now Ralph Franklin, the foremost scholar of Dickinson's manuscripts, has prepared an authoritative one-volume edition of all extant poems by Emily Dickinson--1,789 poems in all, the largest number ever assembled. This reading edition derives from his three-volume work, The Poems of Emily Dickinson: Variorum Edition (1998), which contains approximately 2,500 sources for the poems. In this one-volume edition, Franklin offers a single reading of each poem--usually the latest version of the entire poem--rendered with Dickinson's spelling, punctuation, and capitalization intact. The Poems of Emily Dickinson: Reading Edition is a milestone in American literary scholarship and an indispensable addition to the personal library of poetry lovers everywhere.
September 1999 6 x 9 1/4 inches704 pages
ISBN 0-674-67624-6 $29.95 / £18.50 cloth
READING THE MOUNTAINS OF HOME
Small farms once occupied the heights that John Elder calls home, but now only a few cellar holes and tumbled stone walls remain among the dense stands of maple, beech, and hemlocks on these Vermont hills. Reading the Mountains of Homeis a journey into these verdant reaches where in the last century humans tried their hand and where bear and moose now find shelter. As John Elder is our guide, so Robert Frost is Elder's companion, his great poem "Directive" seeing us through a landscape in which nature and literature, loss and recovery, are inextricably joined.
Over the course of a year, Elder takes us on his hikes through the forested uplands between South Mountain and North Mountain, reflecting on the forces of nature, from the descent of the glaciers to the rush of the New Haven River, that shaped a plateau for his village of Bristol; and on the human will that denuded and farmed and abandoned the mountains so many years ago. His forays wind through the flinty relics of nineteenth-century homesteads and Abenaki settlements, leading to meditations on both human failure and the possibility for deeper communion with the land and others.
An exploration of the body and soul of a place, an interpretive map of its natural and literary life, Reading the Mountains of Home strikes a moving balance between the pressures of civilization and the attraction of wilderness. It is a beautiful work of nature writing in which human nature finds its place, where the reader is invited to follow the last line of Frost's "Directive," to "Drink and be whole again beyond confusion."
October 1999 5 1/2 x 8 1/4 inches 12 line illustrations, 2 maps 272 pages
ISBN 0-674-74889-1 $14.00 / £8.50 paper
NIGHTMARE ON MAIN STREET
Angels, Sadomasochism, and the Culture of Gothic
Once we've terrified ourselves reading Anne Rice or Stephen King, watching Halloween or following the O. J. Simpson trial, we can rely on the comfort of our inner child or Robert Bly's bongos, an angel, or even a crystal. In a brilliant assessment of American culture on the eve of the millennium, Mark Edmundson asks why we're determined to be haunted, courting the Gothic at every turn--and, at the same time, committed to escape through any new scheme for ready-made transcendence.
Nightmare on Main Street depicts a culture suffused with the Gothic, not just in novels and films but even in the nonfictive realms of politics and academic theories, TV news and talk shows, various therapies, and discourses on AIDS and the environment. Gothic's first wave, in the 1790s, reflected the truly terrifying events unfolding in revolutionary France. What, Edmundson asks, does the ascendancy of the Gothic in the 1990s tell us about our own day?
And what of another trend, seemingly unrelated--the widespread belief that re-creating oneself is as easy as making a wish? Looking at the world according to Forrest Gump, Edmundson shows how this parallel culture actually works reciprocally with the Gothic.
An unchecked fixation on the Gothic, Edmundson argues, would result in a culture of sadomasochism. Against such a rancorous and dispiriting possibility, he draws on the work of Nietzsche and Shelley, and on the recent creations of Toni Morrison and Tony Kushner, to show how the Gothic and the visionary can come together in persuasive and renovating ways.
November 1999 ISBN 0-674-87484-6 5 1/4 x 8 1/4 inches 208 pages
ISBN 0-674-62463-7 $14.00 / £8.50 paper
THE ART OF SHAKESPEARE'S SONNETS
In detailed commentaries on Shakespeare's 154 sonnets, Vendler reveals previously unperceived imaginative and stylistic features of the poems, pointing out not only new levels of import in particular lines, but also the ways in which the four parts of each sonnet work together to enact emotion and create dynamic effect. The commentaries--presented alongside the original and modernized texts--offer fresh perspectives on the individual poems, and, taken together, provide a full picture of Shakespeare's techniques as a working poet. With the help of Vendler's acute eye, we gain an appreciation of "Shakespeare's elated variety of invention, his ironic capacity, his astonishing refinement of technique, and, above all, the reach of his skeptical imaginative intent."
November 1999 6 1/2 x 10 inches 154 facsimilies, 35 illustrations 692 pages
ISBN 0-674-63712-7 $18.95/ £11.95 paper
THE COLLECTED POEMS OF OLEH LYSHEHA
Translated by the Author and James Brasfield
Oleh Lysheha is considered the "poets' poet" of contemporary Ukraine. A dissident and iconoclast, he was forbidden to publish in the Soviet Union from 1972 to 1988. Since then, his reputation has steadily grown to legendary proportions. His work is informed by transcendentalism and Zen-like introspection, with meditations on the essence of the human experience and man's place in nature. James Brasfield studied poetry and translation with Joseph Brodsky, Derek Walcott, Daniel Halpern, and other luminaries. He served as an editorial assistant for poetry at The Paris Review, and now teaches English at Pennsylvania State University. The Collected Poems here include facing-page English and Ukrainian versions of selected poems and a play, "Friend Li Po. Brother Tu Fu." It represents a rare example of translations that are as beautiful as the original poetry and poems that anyone interested in the written word will appreciate.
October 1999 6 x 9 inches 2 illustrations 120 pages
ISBN 0-916458-90-3 $12.95x / £7.95 paper
NEITHER BLACK NOR WHITE YET BOTH
Thematic Explorations of Interracial Literature
Why can a "white" woman give birth to a "black" baby, while a "black" woman can never give birth to a "white" baby in the United States? What makes racial "passing" so different from social mobility? Why are interracial and incestuous relations often confused or conflated in literature, making "miscegenation" appear as if it were incest? Werner Sollors examines these questions and others in Neither Black nor White yet Both, a fully researched investigation of literary works that, in the past, have been read more for a black-white contrast of "either-or" than for an interracial realm of "neither, nor, both, and in-between." From the origins of the term "race" to the cultural sources of the "Tragic Mulatto," and from the calculus of color to the retellings of various plots, Sollors examines what we know about race, analyzing recurrent motifs in scientific and legal works as well as in fiction, drama, and poetry.
October 1999 6 1/8 x 9 1/4 inches 47 halftones 350 pages
ISBN 0-674-60780-5 $19.95x / £12.50 paper
THE STORY OF O
Prostitutes and Other Good-for-Nothings in the Renaissance
MICHELE SHARON JAFFE
This work unfolds the idea of "nothing" out of a Titian painting of Dana and the shower of gold. Jaffee's philological and pictorial argument links, across several languages, such seemingly disparate concepts as money, coins, mothers (through the mint's matrix), subjects, courtiers, prostitutes (through etymologies that join minting, standing-under, standing-for), ciphers, codes, and the codex form. This ambitious book is a cultural history of the "cipher" zero as code and as nothing, as the absence of value and the place-holder constructing value. It traces the wide-ranging implications of "nothing"--not only in mathematics but also in literature. Along the way, it makes important points about the orthography and editing of early modern texts, and about the material affinities of these texts with painting and minting.
September 1999 6 1/2 x 9 1/4 inches 21 halftones, 7 line illustrations
cloth: ISBN 0-674-83950-1 $40.00x / £24.95
paperback: ISBN 0-674-83951-X $20.00x / £12.50
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