Your cart is empty
First published in 1911, Ameen Rihani's Book of Khalid is widely considered the first Arab American novel. The semiautobiographical work chronicles the adventures of two young men, Khalid and Shakib, who leave Lebanon for the United States to find work as peddlers in Lower Manhattan. After mixed success at immersing themselves in American culture, the two return to the Middle East at a time of turmoil following the Young Turk Revolution in the Ottoman Empire. Khalid attempts to integrate his Western experiences with Eastern spiritual values, becoming an absurd, yet all too serious, combination of political revolutionary and prophet. The Book of Khalid offers readers a heady mix of picaresque, philosophical dialogue, and immigrant story. In this critical edition, Fine includes the text of the original 1911 edition, a substantial glossary, and supplemental essays by leading Rihani scholars. Demonstrating the reach and significance of the work, these essays address a variety of themes, including Rihani's creative influences, philosophical elements, and the historical context of the novel. Attracting a new generation of readers to Rihani's innovative work, this edition reveals his continued resonance with contemporary Arab American literature.
Mark Twain (Samuel Langhorne Clemens, 1835-1910) has had an intriguing relationship with China that is not as widely known as it should be. Although he never visited the country, he played a significant role in speaking for the Chinese people both at home and abroad. After his death, his Chinese adventures did not come to an end, for his body of works continued to travel through China in translation throughout the twentieth century. Were Twain alive today, he would be elated to know that he is widely studied and admired there, and that Adventures of Huckleberry Finn alone has gone through no less than ninety different Chinese translations, traversing China, Taiwan, and Hong Kong. Looking at Twain in various Chinese contexts-his response to events involving the American Chinese community and to the Chinese across the Pacific, his posthumous journey through translation, and China's reception of the author and his work, Mark Twain in China points to the repercussions of Twain in a global theater. It highlights the cultural specificity of concepts such as "race," "nation," and "empire," and helps us rethink their alternative legacies in countries with dramatically different racial and cultural dynamics from the United States.
A beautiful translation of one of the most-loved classics of Japanese literature.
Bash (1644-1694)--a great luminary of Asian literature who elevated the haiku to an art form of utter simplicity and intense spiritual beauty--is renowned in the West as the author of Narrow Road to the Interior, a travel diary of linked prose and haiku recounting his journey through the far northern provinces of Japan. This edition features a masterful translation of this celebrated work. It also includes an insightful introduction by translator Sam Hamill detailing Bash 's life and the art of haiku, three other important works by Bash --Travelogue of Weather-Beaten Bones, The Knapsack Notebook, and Sarashina Travelogue--and two hundred and fifty of his finest haiku, making this the most complete single-volume collection of Bash 's writings.
This book is part of the Shambhala Pocket Library series.
The Shambhala Pocket Library is a collection of short, portable teachings from notable figures across religious traditions and classic texts. The covers in this series are rendered by Colorado artist Robert Spellman. The books in this collection distill the wisdom and heart of the work Shambhala Publications has published over 50 years into a compact format that is collectible, reader-friendly, and applicable to everyday life.
"Characters" are those fictive beings in novels whose coherent patterns of behavior make them credible as people. "Character" is also used to refer to the capacity--or incapacity--of individuals to sustain core principles. When characters are inconsistent, they risk coming across as dangerous or immoral, not to mention unconvincing. But what is behind our culture's esteem for unwavering consistency?" Out of Character" examines literary characters who defy our culture's models of personal integrity. It argues that modernist writers Henry James, Gertrude Stein, and T. S. Eliot drew inspiration from vitalism as a way of reinventing the means of depicting people in fiction and poetry. Rather than regarding a rigid character as something that inoculates us against the shifting tides of circumstance, these writers insist on the ethical necessity of forming improvisational, dynamic social relationships. Charting the literary impact of William James, Charles Darwin, Friedrich Nietzsche, and, in particular, Henri Bergson, this book contends that vitalist understandings of psychology, affect, and perception led to new situational and relational definitions of selfhood. As Moses demonstrates, the modernists stirred by these vital life lessons give us a sense of what psychic life looks like at its most intricate, complex, and unpredictable.
Ever since it was first published in 1930, William Empson (TM)s Seven Types of Ambiguity has been perceived as a milestone in literary criticism "far from being an impediment to communication, ambiguity now seemed an index of poetic richness and expressive power. Little, however, has been written on the broader trajectory of Western thought about ambiguity before Empson; as a result, the nature of his innovation has been poorly understood. A History of Ambiguity remedies this omission. Starting with classical grammar and rhetoric, and moving on to moral theology, law, biblical exegesis, German philosophy, and literary criticism, Anthony Ossa-Richardson explores the many ways in which readers and theorists posited, denied, conceptualised, and argued over the existence of multiple meanings in texts between antiquity and the twentieth century. This process took on a variety of interconnected forms, from the Renaissance delight in the ~elegance (TM) of ambiguities in Horace, through the extraordinary Catholic claim that Scripture could contain multiple literal "and not just allegorical "senses, to the theory of dramatic irony developed in the nineteenth century, a theory intertwined with discoveries of the double meanings in Greek tragedy. Such narratives are not merely of antiquarian interest: rather, they provide an insight into the foundations of modern criticism, revealing deep resonances between acts of interpretation in disparate eras and contexts. A History of Ambiguity lays bare the long tradition of efforts to liberate language, and even a poet (TM)s intention, from the strictures of a single meaning.
Elizabeth Hardwick's iconic essay collection Seduction and Betrayal is a radical portrait of women and literature, reissued with a new introduction by Deborah Levy.
'Hardwick's sentences are burned in my brain.' - Susan Sontag
Sidelined. Betrayed. Killed off. Elizabeth Hardwick dissects the history of women and literature.
In her most virtuoso work of criticism, she explores the lives of the Brontės, Woolf, Eliot and Plath; the fate of literary wives such as Zelda Fitzgerald and Jane Carlyle; and the destinies of fictional heroines from Richardson's Clarissa to Ibsen's Nora. With fierce empathy and biting wit, Hardwick mines their childhoods, families, and personalities to probe the costs of sex, love, and marriage. Shattering the barrier between writing and life, she asks who is the seducer and who the seduced; who the victim and who the victor.
First published in 1974, yet both urgently timely and timeless, Seduction and Betrayal explodes the conventions of the essay: and the result is nothing less than a reckoning.
In this brilliant collection, the follow-up to her New York Times bestseller Reading Like a Writer, the distinguished novelist, literary critic, and essayist celebrates the pleasures of reading and pays homage to the works and writers she admires above all others, from Jane Austen and Charles Dickens to Jennifer Egan and Roberto Bolano. In an age defined by hyper-connectivity and constant stimulation, Francine Prose makes a compelling case for the solitary act of reading and the great enjoyment it brings. Inspiring and illuminating, What to Read and Why includes selections culled from Prose's previous essays, reviews, and introductions, combined with new, never-before-published pieces that focus on her favorite works of fiction and nonfiction, on works by masters of the short story, and even on books by photographers like Diane Arbus. Prose considers why the works of literary masters such as Mary Shelley, Charles Dickens, George Eliot, and Jane Austen have endured, and shares intriguing insights about modern authors whose words stimulate our minds and enlarge our lives, including Roberto Bolano, Karl Ove Knausgaard, Jennifer Egan, and Mohsin Hamid. Prose implores us to read Mavis Gallant for her marvelously rich and compact sentences, and her meticulously rendered characters who reveal our flawed and complex human nature; Edward St. Aubyn for his elegance and sophisticated humor; and Mark Strand for his gift for depicting unlikely transformations. Here, too, are original pieces in which Prose explores the craft of writing: "On Clarity" and "What Makes a Short Story." Written with her sharp critical analysis, wit, and enthusiasm, What to Read and Why is a celebration of literature that will give readers a new appreciation for the power and beauty of the written word.
After apartheid, South Africa established a celebrated new political order that imagined the postcolonial nation as belonging equally to the descendents of indigenous people, colonizing settlers, transported slaves, indentured laborers, and immigrants. Its constitution, adopted in 1996, was the first in the world to include gays and lesbians as full citizens. Brenna M. Munro examines the stories that were told about sexuality, race, and nation throughout the struggle against apartheid in order to uncover how these narratives ultimately enabled gay people to become imaginable as fellow citizens. She also traces how the gay, lesbian, or bisexual person appeared as a stock character in the pageant of nationhood during the transition to democracy. In the process, she offers an alternative cultural history of South Africa. Munro asserts that the inclusion of gay people made South Africans feel OC modernOCOOCoat least for a while. Being gay or being lesbian was reimagined in the 1990s as distinctly South African, but the OC newnessOCO that made these sexualities apt symbols for a transformed nation can also be understood as foreign and un-African. Indeed, a Western-style gay identity is often interpreted through the formula OC gay equals modernity equals capitalism.OCO As South AfricaOCOs reentrance into the global economy has failed to bring prosperity to the majority of its citizens, homophobic violence has been on the rise. Employing a wide array of textsOCoincluding prison memoirs, poetry, plays, television shows, photography, political speeches, and the postapartheid writings of Nobel Laureates Nadine Gordimer and J. M. CoetzeeOCoMunro reports on how contemporary queer activists and artists are declining to remain ambassadors for the OC rainbow nationOCO and refusing to become scapegoats for the perceived failures of liberation and liberalism.
When Vladimir Nabokov's translation of Pushkin's masterpiece Eugene Onegin was first published in 1964, it ignited a storm of controversy that famously resulted in the demise of Nabokov's friendship with critic Edmund Wilson. While Wilson derided it as a disappointment in the New York Review of Books, other critics hailed the translation and accompanying commentary as Nabokov's highest achievement. Nabokov himself strove to render a literal translation that captured "the exact contextual meaning of the original," arguing that, "only this is true translation." Nabokov's Eugene Onegin remains the most famous and frequently cited English-language version of the most celebrated poem in Russian literature, a translation that reflects a lifelong admiration of Pushkin on the part of one of the twentieth century's most brilliant writers. Now with a new foreword by Nabokov biographer Brian Boyd, this edition brings a classic work of enduring literary interest to a new generation of readers.
Roland Barthes, whose centenary falls in 2015, was a restless, protean thinker. A constant innovator, often as a daring smuggler of ideas from one discipline to another, he first gained an audience with his pithy essays on mass culture and then went on to produce some of the most suggestive and stimulating cultural criticism of the late twentieth century, including Empire of Signs, The Pleasure of the Text, and Camera Lucida. In 1976, this one time structuralist outsider was elected to a chair at France's preeminent College de France, where he chose to style himself as professor of literary semiology until his death in 1980. The greater part of Barthes's published writings have been available to a French audience since 2002, but here, translator Chris Turner presents a collection of essays, interviews, prefaces, book reviews, and other journalistic material for the first time in English. Divided into five themed volumes, readers are presented in volume five, 'Simply a Particular Contemporary': Interviews, with four interviews Barthes conducted between 1970 and 1979, varying widely in style and content.
A History Today Best Book of the Year A Choice Outstanding Academic Title of the Year Virgil, Ovid, Cicero, Horace, and other authors of ancient Rome are so firmly established in the Western canon today that the birth of Latin literature seems inevitable. Yet, Denis Feeney boldly argues, the beginnings of Latin literature were anything but inevitable. The cultural flourishing that in time produced the Aeneid, the Metamorphoses, and other Latin classics was one of the strangest events in history. "Feeney is to be congratulated on his willingness to put Roman literary history in a big comparative context... It is a powerful testimony to the importance of Denis Feeney's work that the old chestnuts of classical literary history-how the Romans got themselves Hellenized, and whether those jack-booted thugs felt anxiously belated or smugly domineering in their appropriation of Greek culture for their own purposes-feel fresh and urgent again." -Emily Wilson, Times Literary Supplement "[Feeney's] bold theme and vigorous writing render Beyond Greek of interest to anyone intrigued by the history and literature of the classical world." -The Economist
Simone de Beauvoir’s 1949 book The Second Sex is a masterpiece of feminist criticism and philosophy. An incendiary take on the place of women in post-war French society, it helped define major trends in feminist thought for the rest of the 20th century, and its influence is still felt today.
The book’s success owes much to Beauvoir’s brilliant writing style and passion, but both are rooted in the clarity of her critical thinking skills. She builds a strong argument against the silent assumptions that continually demoted (and still demote) women to “second place” in a society dominated by men. Beauvoir also demonstrates the central skills of reasoning at their best: presenting a persuasive case, organising her thoughts, and supporting her conclusions.
Above all, though, The Second Sex is a masterclass in analysis. Treating the structures of contemporary society and culture as a series of arguments that tend continuously to demote women, Beauvoir is able to isolate and describe the implicit assumptions that underpin male domination. Her demolition of these assumptions provides the crucial ammunition for her argument that women are in no way the “second” sex, but are in every way the equal of men.
"Criticism" includes twenty-four interpretive essays by T. S. Eliot, Daniel Albright, Douglas Archibald, Harold Bloom, George Bornstein, Elizabeth Cullingford, Paul de Man, Richard Ellman, R. F. Foster, Stephen Gwynn, Seamus Heaney, Marjorie Howes, John Kelly, Declan Kiberd, Lucy McDiarmid, Michael North, Thomas Parkinson, Marjorie Perloff, James Pethica, Jahan Ramazani, Ronald Schuchard, Michael J. Sidnell, Anita Sokolsky, and Helen Vendler. A Chronology and Selected Bibliography are included.
I feel that my work is but a feeble expression of something that in itself is vague and doubtful Sometimes when I probe myself I find that my intentions in art aren't as sincere as they should be I realize that I m fairly good at drawing, but you see that s only because I've done so much of it, and it seems sometimes that the only reason I have stuck at it so diligently is because I have to sort of get even with society for not accepting me Subconsciously I want to make myself immortal among men, leave my mark on the earth to compensate for social inadequacy So I draw. R. Crumb, 9/29/61
Spanning the most formative era of his life, from the painful years of adolescence to the fame and fortune of early adulthood, this collection of personal correspondences with two near-lifelong friends sheds light on the artistic development, bitter struggle, and ultimate triumph of the world s greatest living cartoonist.Crumb writes about many key events in his life: the dissolution of his first marriage, the pain of being separated from his first child, his troubles with the IRS, and his obsessions with comics, music and women, most notably his earliest experiences with Aline Kominsky-Crumb, now his wife of over 30 years. An entertaining and revealing look into the mind of a great artist and thinker; this is Crumb s sketchbook of words, featuring scores of rare art, including entire letters drawn in cartoon form."
Uncoversthe queer logics of premodern religious and secular texts Puttingpremodern theology and poetry in dialogue with contemporary theory andpolitics, Queer Faith reassess thecommonplace view that a modern veneration of sexual monogamy and fidelity findsits roots in Protestant thought. What if this narrative of "history andtradition" suppresses the queerness of its own foundational texts? Queer Faith examines key works of theprehistory of monogamy-from Paul to Luther, Petrarch to Shakespeare-to showthat writing assumed to promote fidelity in fact articulates the affordances ofpromiscuity, both in its sexual sense and in its larger designation of all thatis impure and disorderly. At the same time, Melissa E. Sanchez resists castingpromiscuity as the ethical, queer alternative to monogamy, tracing instead howideals of sexual liberation are themselves attached to nascent racial andeconomic hierarchies. Because discourses of fidelity and freedom are alsodiscourses on racial and sexual positionality, excavating the complexhistorical entanglement of faith, race, and eroticism is urgent to contemporaryqueer debates about normativity, agency, and relationality. Deliberatelyunfaithful to disciplinary norms and national boundaries, this book assemblesnew conceptual frameworks at the juncture of secular and religious thought,political and aesthetic form. It thereby enlarges the contexts, objects, andauthorized genealogies of queer scholarship. Retracinga history that did not have to be, Sanchez recovers writing that inscribesradical queer insights at the premodern foundations of conservative andheteronormative culture.
Realism has long been associated with the secular, but in early nineteenth-century England a realist genre existed that was highly theological: popular natural histories informed by natural theology. The Divine in the Commonplace explores the 'reverent empiricism' of English natural history and how it conceives observation and description as a kind of devotion or act of reverence. Focusing on the texts of popular natural historians, especially seashore naturalists, Amy M. King puts these in conversation with English provincial realist novelists including Austen, Gaskell, Eliot and Trollope. She argues that English provincial novel has a 'reverent form' as a result of its connection to the practices and representational strategies of natural history writing in this period, which was both literary, empirical and reverent. This book will appeal to students and scholars of nineteenth-century literature, science historians and those interested in interdisciplinary connections between pre-Darwinian natural history, religion and literature.
Few works of scholarship have so comprehensively recast an existing debate as Chinua Achebe’s essay on Joseph Conrad's Heart of Darkness. Achebe – a highly distinguished Nigerian novelist and university teacher – looked with fresh eyes at a novel that was set in Africa, but in which Africans appear only as onlookers or as indistinguishable "savages". Dismissing the prevailing portrayal of Joseph Conrad as a liberal hero whose anti-imperialist views insulated him from significant criticism, Achebe re-cast the Polish author as a "bloody racist" in an analysis so cogent it changed the way in which his discipline looked not only at Conrad, but also at all works with settings indicative of racial conflict.
The creative contribution of Achebe’s essay lies in delving far beneath the surface of Conrad’s novel; he not only generated new and highly influential hypotheses about the author's modes of thought and motivations, but also redefined the entire debate over Heart of Darkness. Just because the novel had been accepted into the "canon", and now falls into the class of “permanent literature”, Achebe says, does not mean we should not question it closely – or criticize its author.
The eye is sovereign in every art but music. Reading, writing and painting are all but soundless deeds of sight."" These are the words of Reynolds Price (1933-2011), one America's greatest writers. In his novels, short stories, poems and plays - forty-one books in all - Price renders with keenness, clarity and profound eloquence the experience of life, both the visible and invisible, the outward and the interior. What is not well known is that Price was also a visionary collector. In his modest North Carolina house, nestled among southern pines and hardwoods, Price - confined to a wheelchair for the last three decades of his life - curated and arranged his books, photographs, paintings, sculptures, masks, religious icons, and objects he collected, purchased, or was given over the years, creating a visual environment that directly reflected his life, his experiences, his passions and preoccupations. After his death in 2011, Price's family invited acclaimed photographer, Alex Harris to photograph the house. In this remarkably intimate and revealing book, Harris and his wife, writer Margaret Sartor, pair sixty of Harris's color photographs with excerpts from Price's fiction, non-fiction, poetry, and interviews. As longtime neighbors and friends who spent time in his house over many years, they show the ways in which the art and memorabilia Price collected inspired his writing and illuminates connections between the visible world he constructed and the creations of his mind. As we turn the pages of this book, it is as if Reynolds Price himself takes us on a guided tour of his home. And as we walk through his rooms, he reveals his private world, recounts significant episodes in his life, and speaks with wisdom and humor about the people, ideas, and beliefs most important to him. As readers we follow, we listen, and we see. Reynolds Price's connection to his house - where he lived and worked for over four decades - offers insight into our own lives and loves, teaches us about the importance of place, shows how to be fully engaged in the world, how to strive to live a meaningful life.
James Salter's exalted place in American letters is based largely on the intense admiration of other writers, but his work resonates far beyond the realm of fellow craftsmen, addressing themes--youth, war, erotic love, marriage, life abroad, friendship--that speak to us all. Following the publication of his first novel, Salter left behind a military career of great promise to write full-time and--through decades of searching, exacting work--became one of American literature's master stylists. Only months before he died, at the age of eighty-nine, he agreed to serve as the first Kapnick Writer-in-Residence at the University of Virginia, where he composed and delivered the three lectures presented in this book and introduced by his friend and fellow novelist, National Book Award-winning author John Casey. Salter speaks to us here with an easy intimacy, sharing his unceasing enchantment with the books that made up his reading life, including works by Balzac, Flaubert, Babel (whose prose is ""like a handful of radium""), Dreiser, Celine, Faulkner. These talks provide an invaluable opportunity to see the way in which a great writer reads. They also offer a candid look at the writing life--the rejection letters, not one but two negative reviews in the New York Times for the same book, writing in the morning or at night and worrying about money during the long afternoons. Salter raises the question, Why does one write? For wealth? For admiration, or a sense of ""importance""? Confronting a blank sheet that always offers too many choices, practicing a vocation that often demands one write instead of live, the answer for Salter was creating a style that captured experience, in a world where anything not written down fades away. Kapnick Foundation Distinguished Writer-in-Residence Lectures
It may seem obvious -- but it is not! How to read a book, a novel? How to increase your joy at reading an old or a new work? How to inject new vitality into an old and, perhaps, boring activity? Is there a method or a technique in reading a novel which can illuminate the meanings behind the story? This book answers these questions in a bold, imaginative and accessible manner! Reading is similar to a treasure hunt. You set out, you collect clues and you hope to discover a treasure, or solve a mystery. How does it work? Great detectives start out with an open mind, unaware of what lies ahead of them. They investigate, they examine the evidence, they collect the clues, they ask questions, they think things through, until they solve the mystery. Glen Hammond argues that anybody -- a casual reader, a student, or a teacher -- can learn the techniques of this new kind of literary detection. In eighteen chapters -- Sleuthing, The Creative Relationship, Tools of the Trade, Villains, Method, Title, Repetition, Characterisation, Setting, Associative Pairing, Page Space, Case Closed, Expert Witnesses -- Glenn Hammond introduces you to the excitement of reading and the treasures to be found in literary work.
You may like...
Gilgamesh - The Life of a Poem
Michael Schmidt Hardcover
Pushing Boulders - Oppressed To Inspired
Athol Williams Paperback (2)
The Bad Boy of Athens - From the Greeks…
Daniel Mendelsohn Hardcover (1)
Sociable Places - Locating Culture in…
Kevin Gilmartin Hardcover
Ek Ken Jou Goed Genoeg - Die…
J C Kannemeyer Paperback R225 Discovery Miles 2 250
Cambridge International Examinations…
Olivia Sudjic Paperback
The Song of Songs - A Biography
Ilana Pardes Hardcover
The Cambridge World History of…
John Considine Hardcover R2,647 Discovery Miles 26 470
Marketing Modernisms - Self-Promotion…
Kevin J H Dettmar, Stephen Watt Paperback R1,046 Discovery Miles 10 460