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The Invasion of America: Indians, Colonialism, and the Cant of Conquest by Francis Jennings. New York. 1976. Norton. paperback. 369 pages. Cover design by Jay J. Smith. keywords: History America Colonialism Conquest. 0393008304.

 

0393008304FROM THE PUBLISHER -

 

 

   Traditionally, historians have thought of American society as a transplantation of European culture to a new continent—a ‘virgin land.’ In this important and disturbing new book, Francis Jennings examines the real history of the relations hips between Europeans and Indians in what is ordinarily called the colonial period of United States history. From the Indian viewpoint, it was the period of the invasion of America. In Mr. Jennings’ view, the American land during the period of discovery and settlement was more like a widow than a virgin. ‘Europeans did not find a wilderness here,’ he writes; ‘rather, however involuntarily, they made one. The so-called settlement of America was a resettlement, a reoccupation of a land made waste by the diseases and demoralization introduced by the newcomers.’ Basing his interpretation on an enormous amount of hitherto unused ethnographical and anthropological literature, Mr. Jennings summarizes what is now known about the Atlantic Coast Indians encountered by the Europeans. He then concentrates on a single region, New England, as an illustrative case study. The result is a radically revisionist interpretation of Puritan history (both as the Puritans wrote and lived it) in relation to the aboriginal population.

 

 

Jennings FrancisFrancis Jennings is Director of the Center for the History of the American Indian at the Newberry Library, Chicago, Illinois. ‘The Invasion of America fills a void in historical studies on American Indians. Mr. Jennings demonstrates that the story Of the tribes east of the Alleghenies has been as filled with myths and is equally as dramatic and tragic as that of the better-known horse Indians of the Western Plains. He has done so in a richly documented narrative that will surprise many readers with its revelations of the colonial period of America’s past.’ - Dee Brown, author, Bury My Heart at Wounded Knee.

 

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Heimskringla - 3 Volumes by Snorri Sturluson. New York and London. 1964. Everyman’s Library. hardcover. 717, 722, and 847. Volume 1 - Dustjacket drawing by Eric Fraser. Volume 2 - Dustjacket drawing by Aleksander Werner. Translated from the Icelandic by Samuel Lang, Volumes 1 and 2 - New Introduction by Jacqueline Simpson, M.A. Volume 3 - Revised with Introduction and Notes by Peter Foote. 

 

 

heimskringla 3 volumes

 

FROM THE PUBLISHER -

 

 

   VOLUME 1 - Saga literature boasts no work with a prouder name than that of Snorri Sturluson’s Heimskringla. Not only is it a window opened fully on an unfamiliar aspect of the medieval world, but it is an experience shared with a thirteenth-century chieftain who was at once lawyer, poet and patriot, writing of events and figures in the stormy era in which the kingdom of Norway was forged. In these pages he captures the savage glow of the great deeds of Olaf Haraldsson and Olaf Tryggvason, both dominating figures, honoured for their valour, the former revered as a saint within a few years of his death, and the latter, though never actually proclaimed a saint, nevertheless extolled as a hero of Christendom. To Norwegians and Icelanders alike, Olaf Haraldsson was the glorious martyr king, destroyer of heathendom, ‘ God’s Sunbeam’, ‘the Christ of the North.’ His predecessor Olaf Tryggvason vas the driving force in a missionary movement that made Christianity the official religion not only of Norway but of the Faroes, of Iceland and of Greenland. Four lives of Saint Olaf and two of Olaf Tryggvason are known to have been written before those of Snorri, who improved upon the work of his predecessors (who represented largely the ecclesiastical point of view) in the more effective use of the most ancient sources. His port rait of St Olaf is not idealized; his complex nature is shown in all its facets of pride, ambition, religious zeal, cruelty and holiness. It may well be reckoned among the most accomplished portraits of an historical figure in medieval literature. This volume also contains the Tale of the Greenlanders, an anonymous account of the Norse expeditions from Greenland to the coast of America. The notes have been revised in the present edition, and many of the verses recast in the interests of closer accuracy. Snorri’s history of the ages that preceded and followed the reigns of the two Olafs will be found in the second part of Heimskringla: Sagas of the Norse Kings, No. 847 in Everyman’s Library.

VOLUME 2 - This volume contains the histories of the kings of Norway from the dynasty’s mythical origins down to 1177. The sagas of the individual kings range far outside the borders of Norway itself and much information will be found in them concerning the rest of Scandinavia, Iceland, Russia and, not least, the British Isles. Apart from the great Norwegian and Danish settlements during the Viking Age, one need only recall that King Hakon the Good was fostered by King Athelstan of Wessex early in the tenth century, that King Harald the Stern fell at Stamford Bridge in 1066, and that King Magnus Bareleg was killed in battle in Ireland in 1103. The Heimskringla was written in Icelandic between 1223 and 1235. The author, Snorri Sturluson, besides being a great chieftain, lawyer and poet, was an historian deeply versed in Icelandic and Norwegian historical tradition, written and unwritten, possessed of keen psychological insight, and a master of the art of narrative prose. His work is of first importance both as an historical source and as an outstanding example of the characteristic virtues of c1assical Icelandic saga-literature. Dr Samuel Laing’s translation is clear and vigorous. The new Introduction views Snorri against the background of early Icelandic historical writing, of which his work is the culminating achievement considers the sources available to him and his treatment of them, and illustrates his skill as an historian and artist. In this reprint the notes have been thoroughly revised and a large new index added.

 

 

 

Sturluson SnorriSnorri Sturluson (1179 – 23 September 1241) was an Icelandic historian, poet, and politician. He was elected twice as a lawspeaker at the Icelandic parliament, the Althing. He was the author of the Prose Edda or Younger Edda, which consists of Gylfaginning ('the fooling of Gylfi'), a narrative of Norse mythology, the Skáldskaparmál, a book of poetic language, and the Háttatal, a list of verse forms. He was also the author of the Heimskringla, a history of the Norwegian kings that begins with legendary material in Ynglinga saga and moves through to early medieval Scandinavian history. For stylistic and methodological reasons, Snorri is often taken to be the author of Egil's saga. As an historian and mythographer, Snorri is remarkable for proposing the hypothesis (in the Prose Edda) that mythological gods begin as human war leaders and kings whose funeral sites develop cults (see euhemerism). As people call upon the dead war leader as they go to battle, or the dead king as they face tribal hardship, they begin to venerate the figure. Eventually, the king or warrior is remembered only as a god.

 

 

 

 

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Haiti Noir by Edwidge Danticat (editor). New York. 2011. Akashic Books. hardcover. 315 pages. keywords: Mystery Anthology Haiti. 9781617750137.

 

9781617750137FROM THE PUBLISHER -

   'A wide-ranging collection from the beloved but besieged Caribbean island. [. ] The 36th entry in Akashic's Noir series (which ranges from Bronx to Delhi to Twin Cities) is beautifully edited, with a spectrum of voices.' --Kirkus Reviews. 'Danticat has succeeded in assembling a group portrait of Haitian culture and resilience that is cause for celebration.' --Publishers Weekly. 'A solid contribution to the [noir] series, especially for its showcasing of a setting not commonly portrayed in crime fiction.' --Booklist. 'Who can ever judge how important Danticat has been to Americans' understanding and re-evaluating Haiti's position and role in the hemisphere? Not just as a novelist and essayist in her own right, but as editor and guiding force behind this collection of short stories and the re-publication and English translation of the Chauvet triptych, the Haitian-born Danticat has brought her country's literature back into the world of English-speakers. Filled with delights and surprises, Haiti Noir, taken as a whole, provides a profound portrait of the country, from its crises to its triumphs, from the tiny bouks of the countryside to the shanties of the sprawling bidonvilles. Danticat herself has a lovely story in the collection, and permits two distinguished foreign writers on Haiti, Madison Smartt Bell and Mark Kurlansky, to slide in there among all the brilliant Haitians.' --Daily Beast. Includes brand-new stories by: Edwidge Danticat, Rodney Saint-Eloi, Madison Smartt Bell, Gary Victor, M.J. Fièvre, Marvin Victor, Yanick Lahens, Louis-Philipe Dalembert, Kettly Mars, Marie Ketsia Theodore-Pharel, Evelyne Trouillot, Katia Ulysse, Ibi Aanu Zoboi, Nadine Pinede, and others. Haiti has a tragic history and continues to be one of the most destitute places on the planet, especially in the aftermath of the earthquake. Danticat EdwidgeHere, however, Edwidge Danticat reveals that even while the subject matter remains dark, the caliber of Haitian writing is of the highest order.

 

 

Edwidge Danticat is the author of numerous books, including BREATH, EYES, MEMORY, KRIK? KRAK!, a National Book Award finalist, THE FARMING OF BONES, an American Book Award winner, and THE DEW BREAKER, a PEN/Faulkner Award finalist and winner of the first Story Prize. She lives in Miami with her husband and daughter.

 

 

 

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Geist and Zeitgeist: The Spirit In An Unspiritual Age - Six Essays by Hermann Broch. New York. 2002. Counterpoint. hardcover. 210 pages. December 2002. Jacket design by Rick Pracher. Translated from the German, Edited, & With An Introduction by John Hargraves. 158243168x.

 

 

158243168xFROM THE PUBLISHER -

   From one of the giants of European literature, six essays never before published in English. Hermann Broch achieved international recognition for his brilliant use of innovative literary techniques to present the entire range of human experience, from the biological to the metaphysical. Concerned with the problem of ethical responsibility in a world with no unified system of values, he turned to literature as the appropriate form for considering those human problems not subject to rational treatment. Late in life, Broch began questioning his artistic pursuits and turned from literature to devote himself to political theory. While he is well known and highly regarded throughout the world as a novelist, he was equally accomplished as an essayist. These six essays give us a fascinating glimpse into the mind of one of the twentieth century’s most original thinkers.

 

 

Broch HermannHERMANN BROCH (1886-1951) was born in Vienna. He studied philosophy and mathematics, was active in labor relations, and wrote sociological and literary essays. At the time of his death he was researching mass psychology at Yale University.

 

 

JOHN HARGRAVES. Ph.D. is the author of MUSIC IN THE WORLD OF BROCH, MANN AND KAFKA, and numerous articles on music and German literature. He has translated Canetti’s NOTES FROM HAMPSTEAD and DEAR MRS. STRIG (a memoir of Hermann Broch by H. F. Broch de Rothermann) into English, and has edited the German translations of several recent novels of Philip Roth. He teaches at Connecticut College and lives in New York City.

 

 

 

 

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Spies of the Balkans: A Novel by Alan Furst. New York. 2010. Random House. hardcover. 268 pages. Jacket design by Robbin Schiff. 9781400066032.

 

9781400066032FROM THE PUBLISHER -

   Greece, 1940. In the port city of Salonika, with its wharves and brothels, dark alleys and Turkish mansions, a tense political drama is being played out. As Adolf Hitler plans to invade the Balkans, spies begin to circle--and Costa Zannis, a senior police official, must deal with them all. He is soon in the game, working to secure an escape route for fugitives from Nazi Berlin that is protected by German lawyers, Balkan detectives, and Hungarian gangsters--and hunted by the Gestapo. Meanwhile, as war threatens, the erotic life of the city grows passionate. For Zannis, that means a British expatriate who owns the local ballet academy, a woman from the dark side of Salonika society, and the wife of a shipping magnate. With extraordinary historical detail and a superb cast of characters, Spies of the Balkans is a stunning novel about a man who risks everything to fight back against the world's evil. Furst Alan

 

 

 

Alan Furst (born February 20, 1941) is an American author of historical spy novels. Furst has been called 'an heir to the tradition of Eric Ambler and Graham Greene,' whom he cites along with Joseph Roth and Arthur Koestler as important influences. Most of his novels since 1988 have been set just prior to or during the Second World War and he is noted for his successful evocations of Eastern Europe peoples and places during the period from 1933 to 1944.

 

 

 

 

 

 

 

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Philby: The Long Road To Moscow by Patrick Seale and Maureen McConville. London. 1973. Hamish Hamilton. hardcover. 282 pages. Jacket design by JEANNE CROSS. Jacket photograph by Jane Bown. 024102367x.

 

philby the long road to moscowFROM THE PUBLISHER -

 

 

   Traitor? Martyr to his conscience? Victim of the 20th century? Who was Kim Philby? What drove him on his lonely and perilous career as Soviet Russia’s top spy in the West? What sort of human being emerged from a lifetime of deception and terror? This life of Philby is a psychological thriller unfolding in such dramatic grounds as Hitler’s Berlin, Dollfuss’s Vienna, Franco’s Spain, wartime London, Washington in the Cold War, the Middle East and finally Moscow. Like a novel by Sartre, Kim’s career is a diagram of problems. Can loyalty to an international ideal override loyalty to one’s country? How long can a civilised mind withstand the assaults of fear? For the younger generation this is history, revealing a Cambridge of the 1930s as racked by student politics as the universities of today (and perhaps thereby giving us an insight into the Philbys of the 1970s). On the technical side, the book throws new lights on the transition of modern espionage from dependency on agents such as Philby to the electronic automation of today.

 

 

Patrick Seale and Maureen McConville are both British journalists. Patrick Seale and Maureen McConville have worked together since 1967, the year they set off on the Philby trail by helping Eleanor Philby write her memoir of her husband, THE SPY I LOVED. Then, in Paris, as joint correspondents for The Observer during 1968, they wrote French Revolution, an account of that year’s student revolution. Patrick Seale first met Kim Philby in Beirut in 1960, when Seale was writing his first book, a study of Arab politics, The Struggle for Syria, and Philby, nearing the end of his espionage career, was the Middle East correspondent for The Economist and The Observer, appointments which Patrick Seale would take over when Philby fled to Moscow in 1963. Patrick Seale was educated at Balliol College, Oxford and then spent five years at Reuter’s before returning to Oxford in 1 959 to do research at St Antony’s College on modern Middle East history. A graduate of London University, Maureen McConville began her career in provincial newspapers and joined The Observer in 1964.

 

 

 

 

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The Ascent Of Mount Fuji by Chingiz Aitmatov and Kaltai Mukhamedzhanov. New York. 1975. Farrar Straus Giroux. hardcover. 211 pages. Jacket design by Antonio Frasconi. A Bilingual Edition. Translated from the Russian by Nicholas Bethell. 0374106290.

 

0374106290FROM THE PUBLISHER -

 

 

   In the winter of of 1973 an extraordinarily provocative play was presented on the Moscow stage. THE ASCENT OF MOUNT FUJI jolted Russian audiences with its frank discussion of moral compromises made by individuals in the past. The play’s exploration of human ethics reaches beyond the scope of the recent Soviet experience to all people, regardless of nationality and history. Four former schoolmates, three of their wives, and their favorite old schoolteacher gather for a reunion on a mountain in Kirghizia. The four had grown up and gone to war together, but had rarely made contact in the past twenty years. They are now all respectable members of Soviet society: a schoolteacher, an agronomist on a state farm, an international journalist, and a director of a history institute. It soon becomes apparent that there is a missing fifth member of the: Sabur, a poet, who refused to come to the reunion because he had been denounced by one of these friends during the war. Even now, after so many years, none of them will admit responsibility for Sabur’s fate. It is at this point that the significance of the play’s title is explained by one of the characters: an old Japanese legend says that one must climb to the top of Mount Fuji and there justify the actions of one’s entire life before God. And so, on a remote mountain, the old friends attempt to understand and confront the truths of their past and, in a surprising ending, find themselves faced with moral problems in their present life as well

 

 

 

Both Aitmatov and his co-author, Mukhamedzhanov, are from Central Asian republics in the Soviet Union. Aitmatov, the principal author, a Kirghiz, is winner of a Lenin Prize, the country’s highest literary honor. 

 

 

Aitmatov ChingizChyngyz Aitmatov (12 December 1928 – 10 June 2008) was a Soviet and Kyrgyz author who wrote in both Russian and Kyrgyz. He is the best known figure in Kyrgyzstan's literature. He was born to a Kyrgyz father and Tatar mother. Aitmatov's parents were civil servants in Sheker. In 1937 his father was charged with ‘bourgeois nationalism‘ in Moscow, arrested and executed in 1938. Aitmatov lived at a time when Kyrgyzstan was being transformed from one of the most remote lands of the Russian Empire to a republic of the USSR. The future author studied at a Soviet school in Sheker. He also worked from an early age. At fourteen he was an assistant to the Secretary at the Village Soviet. He later held jobs as a tax collector, a loader, an engineer's assistant and continued with many other types of work. In 1946 he began studying at the Animal Husbandry Division of the Kirghiz Agricultural Institute in Frunze, but later switched to literary studies at the Maxim Gorky Literature Institute in Moscow, where he lived from 1956 to 1958. For the next eight years he worked for Pravda. His first two publications appeared in 1952 in Russian. His first work published in Kyrgyz was White rain (1954), and his well-known work ‘Jamila‘ (Jamila) appeared in 1958. In 1961 he was a member of the jury at the 2nd Moscow International Film Festival. In 1971 he was a member of the jury at the 7th Moscow International Film Festival. 1980 saw his first novel The Day Lasts More than a Hundred Years; his next significant novel, The Scaffold was published in 1988. The Day Lasts More than a Hundred Years and other writings were translated into several languages. In 1994 he was a member of the jury at the 44th Berlin International Film Festival. In 2002 he was the President of the Jury at the 24th Moscow International Film Festival. Aitmatov suffered kidney failure, and on 16 May 2008 was admitted to a hospital in Nuremberg, Germany, where he died of pneumonia on 10 June 2008 at the age of 79. After his death, Aitmatov was flown to Kyrgyzstan, where there were numerous ceremonies before he was buried in Ata Beyit cemetery, which he helped found and where his father most likely is buried, in Chong-Tash village, Alamüdün district, Chüy oblast, Kyrgyzstan. His obituary in The New York Times characterized him as ‘a Communist writer whose novels and plays before the collapse of the Soviet Union gave a voice to the people of the remote Soviet republic of Kyrgyz’ and adds that he ‘later became a diplomat and a friend and adviser to the Soviet leader Mikhail Gorbachev.’ Chinghiz Aitmatov belonged to the post-war generation of writers. His output before ‘Jamila‘ was not significant, a few short stories and a short novel called Face to Face. But it was Jamila that came to prove the author's work. Seen through the eyes of an adolescent boy, it tells of how Jamilia, a village girl, separated from her soldier husband by the war, falls in love with a disabled soldier staying in their village as they all work to bring in and transport the grain crop. Aitmatov's representative works also include the short novels Farewell, Gulsary!, The White Ship, The Day Lasts More Than a Hundred Years, and The Scaffold. Aitmatov was honoured in 1963 with the Lenin Prize for Tales of the Mountains and Steppes (a compilation including ‘Jamila’, ‘First Teacher’ and ‘Farewell Gulsary’) and was later awarded a State prize for Farewell, Gulsary!. Aitmatov's art was glorified by admirers. Even critics of Aitmatov mentioned the high quality of his novels. Aitmatov's work has some elements that are unique specifically to his creative process. His work drew on folklore, not in the ancient sense of it; rather, he tried to recreate and synthesize oral tales in the context of contemporary life. This is prevalent in his work; in nearly every story he refers to a myth, a legend, or a folktale. In The Day Lasts More Than a Hundred Years, a poetic legend about a young captive turned into a mankurt serves as a tragic allegory and becomes a significant symbolic expression of the philosophy of the novel. A second aspect of Aitmatov's writing is his ultimate closeness to our ‘little brothers’ the animals, for their and our lives are intimately and inseparably connected. The two center characters of Farewell, Gulsary! are a man and his stallion. A camel plays a prominent role in The Day Lasts More Than a Hundred Years; one of the key turns of the novel which decides the fate of the main character is narrated through the story of the camel's rut and riot. The Scaffold starts off and finishes with the story of a wolf pack and the great wolf-mother Akbara and her cub; human lives enter the narrative but interweave with the lives of the wolves. Some of his stories were filmed, like ‘Red Scarf’ (1970) as The Girl with the Red Scarf (1978). In addition to his literary work, Chinghiz Aitmatov was first the ambassador for the Soviet Union and later for Kyrgyzstan, to the European Union, NATO, UNESCO and the Benelux countries. 

 

 

 

 

 

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Dead Souls by Nikolai Gogol. New York. 1996. Pantheon Books. hardcover. 403 pages. February 1996. Jacket image: (Front) detail of 'Peasant Women at Church', 1911, by Kazimir Malevich, Stedelijk Museum, Amsterdam. (Back) Full painting. Jacket design: Kathleen DiGrado. Translated from the Russian by Richard Pevear & Larissa Volokhonsky. 0679430229.

 

0679430229FROM THE PUBLISHER -

 

 

   DEAD SOULS is the great comic masterpiece of Russian literature - Nikolai Gogol’s satirical epic of life, both real and fantastic, in the benighted provinces. Here are the isolated villages, the pot-holed highways, the country houses, and the hovels. Even more memorably, here is an amazing swarm of characters: rogues and scoundrels, landowners and serfs, officials and more officials-all of them, like Chaucer’s pilgrims and Dickens’s Londoners, both utterly lifelike and alarmingly larger than life. And setting everything in motion is the unstoppable, supremely acquisitive anti-hero, Chichikov, the trafficker in ‘souls’-those peasants who, even if dead, could still be bought, sold, and mortgaged for profit. Of all the classic Russian writers, it is Gogol whose work has suffered the most at the hand of translators: Vladimir Nabokov pronounced all English translations of Dead Souls ‘absolutely worthless. dry and flat.’ Now-as they have done in their award-winning translations of Dostoevsky - Richard Pevear and Larissa Volokhonsky have produced a text that is altogether faithful to the style and intent of the author’s own language. For the first time, Chichikov and his world are brought to life in an English that captures the writer’s vibrantly comic and lyrical style. English-speaking readers finally have the opportunity to appreciate fully Gogol’s remarkable achievement: a novel, eighteen years in the writing, in which he hoped to show the world ‘the untold riches of the Russian soul.’ Here is Dead Souls in what is certain to become the standard, definitive edition.Gogol Nikolai

 

 

Nikolai Gogol was born in the Ukraine in 1809 and died in 1852. Originally trained as a painter, he became interested in the theater, and was soon known for his plays and short stories, notably DIARY OF A MADMAN (1834), THE NOSE (1836), THE INSPECTOR(1836), and THE OVERCOAT (1842). DEAD SOULS, his masterpiece, was published in 1842.

 

 

Richard Pevear, a native of Boston, and Larissa Volokhonsky, a native of Leningrad, are married and live in France. Their translation of Fyodor Dostoevsky’s THE BROTHERS KARAMAZOV won the PEN/Book-of-the-Month Club Translation Prize.

 

 

 

 

 

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Divagations by Stephane Mallarme. Cambridge. 2007. Harvard University Press. hardcover. 302 pages. Jacket photograph: Kamil Vojmar. Jacket design by Annamarie McMahon Why. Translated from the French by Barbara Johnson. 9780674024380.

 

9780674024380FROM THE PUBLISHER -

 

   ‘This is a book just the way I don’t like them,’ the father of French Symbolism, Stéphane Mallarmé, informs the reader in his preface to Divagations: ‘scattered and with no architecture.’ On the heels of this caveat, Mallarmé’s diverting, discursive, and gorgeously disordered 1897 masterpiece tumbles forth—and proves itself to be just the sort of book his readers like most. The salmagundi of prose poems, prose-poetic musings, criticism, and reflections that is Divagations has long been considered a treasure trove by students of aesthetics and modern poetry. If Mallarmé captured the tone and very feel of fin-de-siècle Paris, he went on to captivate the minds of the greatest writers of the twentieth century—from Valéry and Eliot to Paul de Man and Jacques Derrida. This was the only book of prose he published in his lifetime and, in a new translation by Barbara Johnson, is now available for the first time in English as Mallarmé arranged it. The result is an entrancing work through which a notoriously difficult-to-translate voice shines in all of its languor and musicality. Whether contemplating the poetry of Tennyson, the possibilities of language, a masturbating priest, or the transporting power of dance, Mallarmé remains a fascinating companion—charming, opinionated, and pedantic by turns. As an expression of the Symbolist movement and as a contribution to literary studies, Divagations is vitally important. But it is also, in Johnson’s masterful translation, endlessly mesmerizing.

 

 

Mallarme StephaneStéphane Mallarmé was the son of Numa Mallarmé, a civil servant, and Elisabeth Desmolins. Mallarmé did not follow his father's or grandfather's path of civil servitude, instead excelling at languages and writing often, influenced by poets Victor Hugo and Charles Baudelaire. Mallarmé received his baccalaureate in 1860 and went on to publish his first poem ‘Placet’ in the French magazine Le Papillon in 1862. He pursued further studies in London to improve his knowledge of English. In 1863, he married German governess Christina ‘Maria’ Gerhard and obtained his certificate for teaching English. He and Maria traveled to Tournon where he taught in a provincial secondary school. In 1864, Maria gave birth to their daughter, Genevieve. Mallarmé's teaching career took him to Besancon, Avignon, and back to Paris again until he retired in 1893. One of Mallarmé's most well-known poems, L'Aprés Midi D'un Faun (The Afternoon of a Faun) (1865), inspired Debussy's tone poem (1894) of the same name and was illustrated by Edouard Manet. Among his other works are Hérodiade (1896) and Toast Funèbre (A Funeral Toast), which was written in memory of the author Théopile Gautier. Mallarmé's later works include the experimental poem Un Coup de Dés (1914), published posthumously. Besides his own writings, Mallarmé was well-known for his Tuesday evening salons at his home on the Rue de Rome in Paris. These gatherings were a hub of Parisian intellectual life and attracted the likes of writers André Gide, Paul Valéry, Oscar Wilde, Paul Verlaine, Rainer Maria Rilke, and W.B. Yeats, the painters Renoir, Monet, Degas, Redon, and Whistler, and the sculptor Rodin, among others. Those who attended became known as Les Mardistes, derived from the French word for Tuesday. In the 1880s, Mallarmé was at the center of a group of French writers including Andre Gide, Paul Valéry and Marcel Proust. Mallarmé referred to their group as The Decadents, a comment on their bohemian lifestyles. He and Valéry, following Baudelaire, would later become known as two of the leaders of the Symbolist movement in poetry. While French poetry had traditionally held fairly strict conventions of rhyme, meter and theme, Mallarmé and his contemporaries departed from these traditions, employing condensed figures and unorthodox syntax. Mallarmé's work was often termed as difficult or obscure. His later works, including Un Coup de Des, explored the relationship between content and form, between the text and the arrangement of words and spaces on the page. Mallarmé died in Valvin, Vulaines-sur-Seine on September 9, 1898, before finishing what he called his ‘Grande Oeuvre.’

 

Barbara Johnson taught in the departments of English and Comparative Literature at Harvard University and was the Frederic Wertham Professor of Law and Psychiatry in Society. She is the author of The Critical Difference, A World of Difference, and The Wake of Deconstruction.

 

 

 

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Los Angeles: A Guide to Recent Architecture by Dian Phillips-Pilverman (with Peter Lloyd). London. 1996. Ellipsis/Konemann. paperback. 320 pages. Cover photograph: (front) Erhard Pfeiffer, Gary Group Office Building; (back) Paul Warchol, Creative Artists Agency. 3895082856.

 

3895082856FROM THE PUBLISHER -

 

 

   This book describes and illustrates more than 100 buildings of the last ten years — ranging in scale from shops and family residences to the rediscovery of public space seen in schemes such as Pershing Square, taking in housing for the homeless, schools, daycare facilities, libraries, churches, offices and restaurants along the way. It features the work of the internationally known ‘LA School’ (including Morphosis, Frank Gehry, Eric Moss, and Frank Israel), architects such as Ray Kappe and Pierre Koenig with a long record of interesting work, and the younger architects (BAM Construction/Design Inc and studio bau:ton, among many others) whose work continues the L.A. tradition of innovation.
 

Dian Phillips-Pulverman is an architect. She trained at the Architectural Association School in London and lives in Santa Monica.

 

 

 

 

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The Saga of the Volsungs: The Norse Epic of Sigurd the Dragon Slayer by Jesse L. Byock (translator and editor). Berkeley. 1990. University of California Press. hardcover. 146 pages. Jacket design: Donna L. Wittlin. Translated from the Icelandic and with an introduction by Jesse L. Byock. 0520069048.

 

0520069048FROM THE PUBLISHER -

 

 

   THE SAGA OF THE VOLSUNGS is essential reading for students of oral traditions and for anyone investigating the historical and mythic past of northern Europe. This outstanding new translation by Jesse L. Byock is a welcome and significant addition to the great books of world literature. The saga is an Icelandic prose epic whose anonymous thirteenth-century author based his story on ancient myth and legend grounded in the folk culture of Old Scandinavia. A trove of traditional lore, the saga tells of jealousies stirred by the god Odin, unrequited love, arcane runic knowledge, the vengeance of a barbarian queen, schemes of Attila the Hun, and the mythic deeds of the dragon-slayer, Sigurd the Volsung. As the stories of royal families unfold, the saga recounts the progress of the wars among Burgundians, Huns, and Goths. Some of the episodes may be linked with the events of the fourth and fifth centuries A. D., the period of the great folk migrations in Europe when the Roman Empire collapsed. The saga treats some of the same legends as the Middle High German epic poem, the NIBELUNGENLIED. In both accounts, though in different ways, Sigurd (Siegfried in the German tradition) acquires the Rhinegold and becomes tragically enmeshed in a love triangle involving a supernatural woman. In the Norse tradition she is a Valkyrie, one of Odin’s warrior-maidens. THE SAGA OF THE VOLSUNGS is of special interest to admirers of Richard Wagner, who drew heavily upon this Norse source in writing his Ring Cycle. With its magical ring acquired by the hero, and the sword to be reforged, the saga has also been a primary source for writers of fantasy such as J.R.R. Tolkien and romantics such as William Morris. Byock’s comprehensive introduction explores the history, legends, and myths contained in the saga and traces the development of the Byock Jesse Lnarrative.

 

 

 

JESSE L. BYOCK teaches Old Norse and medieval Scandinavian subjects in the Department of Germanic Languages at the University of California, Los Angeles. His previous books, FEUD IN THE ICELANDIC SAGA (1982), and MEDIEVAL ICELAND: SOCIETY, SAGAS, AND POWER (1988), were published by the University of California Press.

 

 

 

 

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Part-Time Crime: An Ethnography of Fiddling & Pilferage by Jason Ditton. London. 1977. Macmillan. hardcover. 195 pages. 0333214668.

 

0333214668FROM THE PUBLISHER -

 

 

   In this book Jason Ditton unravels the paradox of how fiddling - stealing from customers (which is a criminal offence) - is simultaneously ‘fiddling’, that is, felt to be practically and psychologically trifling by those who do it. Through an ethnographic study of bakers’ roundsmen (the author worked as a baker for several months, and then extensively interviewed the other roundsmen) at the ‘Wellbread’ bakery, the novel thesis of ‘part-time’ crime is carefully teased out and documented. The roundsmen are initially taught to fiddle by the bakery management. The customer’s expectation that the roundsmen should be servile is a bitter experience and guarantees that the customer will continue to be fiddled. The roundsmen protect themselves both practically (by practising a portfolio of fiddles which could not all be exposed at once) and psychologically by wrapping themselves in cosy rationalisations like ‘I was told to do it’, ‘we all do it’, or ‘they can afford it’. In the end they (and the rest of us) believe that fiddling ‘isn’t really criminal, is it?’. The book provides us all with a salutary lesson by showing how easily we convince ourselves that our deceptions - our ‘fiddles’ - are Ditton Jasonacceptable.

 

 

 

Jason Ditton is S.S.R.C. Senior Research Fellow in Sociology, University of Durham and Director of the Service Industries Reward Structure Project. He was brought up in Ipswich and educated at Durham. He has written articles on a wide range of subjects including the Sociology of time, boredom, output restriction deviancy theory, and the sociology of blame.

 

 

 

 

 

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Canary in the Cat House by Kurt Vonnegut Jr. Greenwich. 1961. Fawcett Gold Medal. paperback. 160 pages. September 1961. s1153. Cover illustration and design by Leo and Diane Dillon. 

 

 

fawcett gold medal canary in the cat house s1153FROM THE PUBLISHER -

 

 

   Off the top of his head – the short, wild fantasies of one of America’s most imaginative writers - Kurt Vonnegut, Jr. Scarifying satirist by trade, sings for his supper in a world he regards as a house of ill-repute, or worse - Twelve brilliant stories of today, and tomorrow and tomorrow and tomorrow.

 

 

 

Vonnegut Jr KurtKurt Vonnegut, Jr. (November 11, 1922 – April 11, 2007) was an American writer. His works such as Cat's Cradle (1963), Slaughterhouse-Five (1969), and Breakfast of Champions (1973) blend satire, gallows humor, and science fiction. As a citizen he was a lifelong supporter of the American Civil Liberties Union and a critical pacifist intellectual. He was known for his humanist beliefs and was honorary president of the American Humanist Association. The New York Times headline at the time of Vonnegut's passing called Vonnegut ‘the counterculture's novelist.’

 

 

 

 

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The African-American Novel In The Age Of Reaction: Three Classics by William L. Andrews (editor). New York. 1992. Mentor/New American Library. paperback. 587 pages. July 1992. ME2849. Edited & With An Introduction by William L. Andrews. Includes-IOLA LEROY by Frances E. W. Harper, THE MARROW OF TRADITION by Charles W. Chesnutt, & THE SPORT OF THE GODS by Paul Laurence Dunbar. 0451628497.

 

0451628497FROM THE PUBLISHER -

 

 

   ‘Out of the race must come its own defenders. With [African-Americans] the pen is mightier than the sword. It is the wagon of civilization, and they must use it in their own defense.’ - Frances E. W. Harper. In 1896 the Supreme Court ruled in favor of the South’s ‘separate but equal’ racial doctrine. Around this time, three powerful but very different black voices responded in protest, and they did so in the three exceptional novels collected here. Frances E. W. Harper’s IOLA LEROY follows the struggles and soul-searching of a light-skinned black woman during the turbulent years of the Civil War and Reconstruction. Charles W. Chesnutt’s THE MARROW OF TRADITION knits together the lives of a rich white family and a mixed-race couple who face the violent results of white supremacy in a North Carolina town. Dramatically different is Paul Laurence Dunbar’s THE SPORT OF THE GODS, the first extensive portrayal in fiction of twentieth-century Harlem - and a disturbing depiction of the plight of black families in the urban ghetto that anticipates the writings of Richard Wright. Widely read by Andrews William Lcontemporary audiences, these novels remain significant as works that influenced a nation’s conscience as well as fine examples of early African-American fiction whose time has come to be recognized and revered.

 

 

William L. Andrews is E. Maynard Adams Professor of English at the University of North Carolina at Chapel Hill.

 

 

 

 

 

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Collected Poems by Stephane Mallarme. Berkeley. 1994. University Of California Press. hardcover. 283 pages. Jacket illustration by Robert Garrison, 'la vache enragee'. Translated from the French & With A Commentary by Henry Weinfield. 0520081889.

 

 

0520081889FROM THE PUBLISHER -

 

 

   Stéphane Mallarmé (1842-1898) is one of the giants of nineteenth-century French poetry. Leader of the Symbolist movement, he exerted a powerful influence on modern literature and thought, which can be traced in the works of Paul Valéry, W.B. Yeats, and Jacques Derrida. From his early twenties until the time of his death, Mallarmé produced poems of astonishing originality and beauty, many of which have become classics. In the Collected Poems, Henry Weinfield brings the oeuvre of this European master to life for an English-speaking audience, essentially for the first time. All the poems that the author chose to retain are here, superbly rendered by Weinfield in a translation that comes remarkably close to Mallarmé's own voice. Weinfield conveys not simply the meaning but the spirit and music of the French originals, which appear en face. Whether writing in verse or prose, or inventing an altogether new genre--as he did in the amazing ‘Coup de Dés’--Mallarmé was a poet of both supreme artistry and great difficulty. To illuminate Mallarmé's poetry for twentieth-century readers, Weinfield provides an extensive commentary that is itself an important work of criticism. He sets each poem in the context of the work as a whole and defines the poems' major symbols. Also included are an introduction and a bibliography. Publication of this collection is a major literary event in the English-speaking world: here at last is the work of a major figure, masterfully translated.

 

 

Mallarme StephaneStéphane Mallarmé (18 March 1842 – 9 September 1898), whose real name was Étienne Mallarmé, was a French poet and critic. He was a major French symbolist poet, and his work anticipated and inspired several revolutionary artistic schools of the early 20th century, such as Dadaism, Surrealism, and Futurism. Mallarmé was the son of Numa Mallarmé, a civil servant, and Elisabeth Desmolins. Mallarmé did not follow his father's or grandfather's path of civil servitude, instead excelling at languages and writing often, influenced by poets Victor Hugo and Charles Baudelaire. Mallarmé received his baccalaureate in 1860 and went on to publish his first poem ‘Placet’ in the French magazine Le Papillon in 1862. He pursued further studies in London to improve his knowledge of English. In 1863, he married German governess Christina ‘Maria’ Gerhard and obtained his certificate for teaching English. He and Maria traveled to Tournon where he taught in a provincial secondary school. In 1864, Maria gave birth to their daughter, Genevieve. Mallarmé's teaching career took him to Besancon, Avignon, and back to Paris again until he retired in 1893. One of Mallarmé's most well-known poems, L'Aprés Midi D'un Faun (The Afternoon of a Faun) (1865), inspired Debussy's tone poem (1894) of the same name and was illustrated by Edouard Manet. Among his other works are Hérodiade (1896) and Toast Funèbre (A Funeral Toast), which was written in memory of the author Théopile Gautier. Mallarmé's later works include the experimental poem Un Coup de Dés (1914), published posthumously. Besides his own writings, Mallarmé was well-known for his Tuesday evening salons at his home on the Rue de Rome in Paris. These gatherings were a hub of Parisian intellectual life and attracted the likes of writers André Gide, Paul Valéry, Oscar Wilde, Paul Verlaine, Rainer Maria Rilke, and W.B. Yeats, the painters Renoir, Monet, Degas, Redon, and Whistler, and the sculptor Rodin, among others. Those who attended became known as Les Mardistes, derived from the French word for Tuesday. In the 1880s, Mallarmé was at the center of a group of French writers including Andre Gide, Paul Valéry and Marcel Proust. Mallarmé referred to their group as The Decadents, a comment on their bohemian lifestyles. He and Valéry, following Baudelaire, would later become known as two of the leaders of the Symbolist movement in poetry. While French poetry had traditionally held fairly strict conventions of rhyme, meter and theme, Mallarmé and his contemporaries departed from these traditions, employing condensed figures and unorthodox syntax. Mallarmé's work was often termed as difficult or obscure. His later works, including Un Coup de Des, explored the relationship between content and form, between the text and the arrangement of words and spaces on the page. Mallarmé died in Valvin, Vulaines-sur-Seine on September 9, 1898, before finishing what he called his ‘Grande Oeuvre.’

 

 

 

Henry Weinfield, Professor of Liberal Studies at the University of Notre Dame, is author of three collections of poetry and The Poet without a Name: Gray's Elegy and the Problem of History (1991).

 

 

 

 

 

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The President's Daughter by Barbara Chase-Riboud. New York. 1994. Crown. hardcover. 469 pages. October 1994.  Jacket art: Monticello, 1821, by Jefferson Vail. Jacket design by Ken Sansome. 0517598612.

 

0517598612FROM THE PUBLISHER -

 

 

   In 1979 Barbara Chase-Riboud made literary history when she published SALLY HEMINGS to critical praise. Not only did the novel spend six weeks on the New York Times best-seller list and sell 1.6 million copies worldwide, SALLY HEMINGS also accomplished the impossible: It breathed life into a historical enigma. The novel also established Sally Hemings as the emblematic incarnation of many things that were forbidden in this country at that time. Now, Barbara Chase-Riboud is back with THE PRESIDENT’S DAUGHTER, the provocative continuation of the irrefutable historical chronicle of Sally Hemings - Thomas Jefferson’s mistress, the mother of his children, and the slave he would never set free - even when the scandal nearly cost him the presidency. Epic in proportion, yet rendered in exquisite detail by a writer with the eye of a historian and the heart of a storyteller, THE PRESIDENT‘S DAUGHTER begins in 1822 and tells the story of Harriet Hemings, Thomas Jefferson and Sally Hemings’s beautiful and headstrong slave daughter. Harriet is allowed to run away from Monticello and pass for white, as Jefferson had promised Sally their children would be able to do. Harriet experiences the turbulent events leading up to the American Civil War and is eventually thrust into the very heart of the Battle of Gettysburg, where she becomes a kind of Philadelphian Scarlett O’Hara. As THE PRESIDENT’S DAUGHTER draws to a close during the 1876 Centennial celebration in Philadelphia, Harriet receives an anonymous letter that contains the memoirs of her brother Madison Hemings - who is living his life on the black side of the color line. Harriet realizes that someone in her entourage, perhaps even her own husband, knows she is indeed the president’s daughter. In the Chase-Riboud tradition, THE PRESIDENT’S DAUGHTER is more than just the good read it seems at first glance. In truth, not since Mark Twain in the classic masterpiece PUDD’NHEAD WILSON has a major American writer evoked the ambiguity, pathos, complexity, and emotion of the American identity so brilliantly. Barbara Chase-Riboud has written another classic masterpiece of race, love, and color in America.

 

 

Chase Riboud BarbaraBarbara Chase-Riboud (born June 26, 1939) is an American novelist, poet, sculptor and visual artist best known for her historical fiction. Much of her work has explored themes related to slavery and exploitation. Chase-Riboud attained international recognition with the publication of her first novel, SALLY HEMINGS, in 1979. The novel has been described as the ‘first full blown imagining’ of Hemings' life as a slave and her relationship with Jefferson. In addition to stimulating considerable controversy, the book earned Chase-Riboud the Janet Heidinger Kafka Prize for the best novel written by an American woman. She has received numerous honors for her work, including the Carl Sandburg Prize for poetry and the Women's Caucus for Art's lifetime achievement award. In 1965, she became the first American woman to visit the People's Republic of China after the revolution and in 1996, she was knighted by the French Government and received the Ordre des Arts et des Lettres.

 

 

 

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1852 Independence Day speech by Frederick Douglass. 

 

On the 4th of July, I am always reminded of the famous 4th of July Independence Day Speech at Rochester, 1852 given by Frederick Douglass.

 Douglass Frederick  The Meaning of July Fourth for the Negro - Fellow Citizens, I am not wanting in respect for the fathers of this republic. The signers of the Declaration of Independence were brave men. They were great men, too great enough to give frame to a great age. It does not often happen to a nation to raise, at one time, such a number of truly great men. The point from which I am compelled to view them is not, certainly, the most favorable; and yet I cannot contemplate their great deeds with less than admiration. They were statesmen, patriots and heroes, and for the good they did, and the principles they contended for, I will unite with you to honor their memory. Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? and am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us? Would to God, both for your sakes and ours, that an affirmative answer could be truthfully returned to these questions! Then would my task be light, and my burden easy and delightful. For who is there so cold, that a nation's sympathy could not warm him? Who so obdurate and dead to the claims of gratitude, that would not thankfully acknowledge such priceless benefits? Who so stolid and selfish, that would not give his voice to swell the hallelujahs of a nation's jubilee, when the chains of servitude had been torn from his limbs? I am not that man. In a case like that, the dumb might eloquently speak, and the lame man leap as an hart. But such is not the state of the case. I say it with a sad sense of the disparity between us. I am not included within the pale of glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you, this day, rejoice, are not enjoyed in common. The rich inheritance of justice, liberty, prosperity and independence, bequeathed by your fathers, is shared by you, not by me. The sunlight that brought light and healing to you, has brought stripes and death to me. This Fourth July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak to-day? If so, there is a parallel to your conduct. And let me warn you that it is dangerous to copy the example of a nation whose crimes, towering up to heaven, were thrown down by the breath of the Almighty, burying that nation in irrevocable ruin! I can to-day take up the plaintive lament of a peeled and woe-smitten people! By the rivers of Babylon, there we sat down. Yea! we wept when we remembered Zion. We hanged our harps upon the willows in the midst thereof. For there, they that carried us away captive, required of us a song; and they who wasted us required of us mirth, saying, Sing us one of the songs of Zion. How can we sing the Lord's song in a strange land? If I forget thee, 0 Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth. Fellow-citizens, above your national, tumultuous joy, I hear the mournful wail of millions! whose chains, heavy and grievous yesterday, are, to-day, rendered more intolerable by the jubilee shouts that reach them. If I do forget, if I do not faithfully remember those bleeding children of sorrow this day, may my right hand forget her cunning, and may my tongue cleave to the roof of my mouth! To forget them, to pass lightly over their wrongs, and to chime in with the popular theme, would be treason most scandalous and shocking, and would make me a reproach before God and the world. My subject, then, fellow-citizens, is American slavery. I shall see this day and its popular characteristics from the slave's point of view. Standing there identified with the American bondman, making his wrongs mine, I do not hesitate to declare, with all my soul, that the character and conduct of this nation never looked blacker to me than on this 4th of July! Whether we turn to the declarations of the past, or to the professions of the present, the conduct of the nation seems equally hideous and revolting. America. is false to the past, false to the present, and solemnly binds herself to be false to the future. Standing with God and the crushed and bleeding slave on this occasion, I will, in the name of humanity which is outraged, in the name of liberty which is fettered, in the name of the constitution and the Bible which are disregarded and trampled upon, dare to call in question and to denounce, with all the emphasis I can command, everything that serves to perpetuate slavery, the great sin and shame of America! I will not equivocate; I will not excuse; I will use the severest language I can command; and yet not one word shall escape me that any man, whose judgment is not blinded by prejudice, or who is not at heart a slaveholder, shall not confess to be right and just. But I fancy I hear some one of my audience say, It is just in this circumstance that you and your brother abolitionists fail to make a favorable impression on the public mind. Would you argue more, an denounce less; would you persuade more, and rebuke less; your cause would be much more likely to succeed. But, I submit, where all is plain there is nothing to be argued. What point in the anti-slavery creed would you have me argue? On what branch of the subject do the people of this country need light? Must I undertake to prove that the slave is a man? That point is conceded already. Nobody doubts it. The slaveholders themselves acknowledge it in the enactment of laws for their government. They acknowledge it when they punish disobedience on the part of the slave. There are seventy-two crimes in the State of Virginia which, if committed by a black man, subject him to the punishment of death; while only two of the same crimes will subject a white man to the like punishment. What is this but the acknowledgment that the slave is a moral, intellectual, and responsible being? The manhood of the slave is conceded. It is admitted in the fact that Southern statute books are covered with enactments forbidding, under severe fines and penalties, the teaching of the slave to read or to write. When you can point to any such laws in reference to the beasts of the field, then I may consent to argue the manhood of the slave. When the dogs in your streets, when the fowls of the air, when the cattle on your hills, when the fish of the sea, and the reptiles that crawl, shall be unable to distinguish the slave from a brute, then will I argue with you that the slave is a man! For the present, it is enough to affirm the equal manhood of the Negro race. Is it not astonishing that, while we are ploughing, planting, and reaping, using all kinds of mechanical tools, erecting houses, constructing bridges, building ships, working in metals of brass, iron, copper, silver and gold; that, while we are reading, writing and ciphering, acting as clerks, merchants and secretaries, having among us lawyers, doctors, ministers, poets, authors, editors, orators and teachers; that, while we are engaged in all manner of enterprises common to other men, digging gold in California, capturing the whale in the Pacific, feeding sheep and cattle on the hill-side, living, moving, acting, thinking, planning, living in families as husbands, wives and children, and, above all, confessing and worshipping the Christian's God, and looking hopefully for life and immortality beyond the grave, we are called upon to prove that we are men! Would you have me argue that man is entitled to liberty? that he is the rightful owner of his own body? You have already declared it. Must I argue the wrongfulness of slavery? Is that a question for Republicans? Is it to be settled by the rules of logic and argumentation, as a matter beset with great difficulty, involving a doubtful application of the principle of justice, hard to be understood? How should I look to-day, in the presence of Amercans, dividing, and subdividing a discourse, to show that men have a natural right to freedom? speaking of it relatively and positively, negatively and affirmatively. To do so, would be to make myself ridiculous, and to offer an insult to your understanding. There is not a man beneath the canopy of heaven that does not know that slavery is wrong for him. What, am I to argue that it is wrong to make men brutes, to rob them of their liberty, to work them without wages, to keep them ignorant of their relations to their fellow men, to beat them with sticks, to flay their flesh with the lash, to load their limbs with irons, to hunt them with dogs, to sell them at auction, to sunder their families, to knock out their teeth, to burn their flesh, to starve them into obedience and submission to their masters? Must I argue that a system thus marked with blood, and stained with pollution, is wrong? No! I will not. I have better employment for my time and strength than such arguments would imply. What, then, remains to be argued? Is it that slavery is not divine; that God did not establish it; that our doctors of divinity are mistaken? There is blasphemy in the thought. That which is inhuman, cannot be divine! Who can reason on such a proposition? They that can, may; I cannot. The time for such argument is passed. At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could reach the nation's ear, I would, today, pour out a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, and the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes against God and man must be proclaimed and denounced. What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy - a thin veil to cover up crimes which would disgrace a nation of savages. There is not a nation on the earth guilty of practices more shocking and bloody than are the people of the United States, at this very hour. Go where you may, search where you will, roam through all the monarchies and despotisms of the Old World, travel through South America, search out every abuse, and when you have found the last, lay your facts by the side of the everyday practices of this nation, and you will say with me, that, for revolting barbarity and shameless hypocrisy, America reigns without a rival. Allow me to say, in conclusion, notwithstanding the dark picture I have this day presented, of the state of the nation, I do not despair of this country. There are forces in operation which must inevitably work the downfall of slavery. The arm of the Lord is not shortened, and the doom of slavery is certain. I, therefore, leave off where I began, with hope. While drawing encouragement from the Declaration of Independence, the great principles it contains, and the genius of American Institutions, my spirit is also cheered by the obvious tendencies of the age. Nations do not now stand in the same relation to each other that they did ages ago. No nation can now shut itself up from the surrounding world and trot round in the same old path of its fathers without interference. The time was when such could be done. Long established customs of hurtful character could formerly fence themselves in, and do their evil work with social impunity. Knowledge was then confined and enjoyed by the privileged few, and the multitude walked on in mental darkness. But a change has now come over the affairs of mankind. Walled cities and empires have become unfashionable. The arm of commerce has borne away the gates of the strong city. Intelligence is penetrating the darkest corners of the globe. It makes its pathway over and under the sea, as well as on the earth. Wind, steam, and lightning are its chartered agents. Oceans no longer divide, but link nations together. From Boston to London is now a holiday excursion. Space is comparatively annihilated. -- Thoughts expressed on one side of the Atlantic are distinctly heard on the other. The far off and almost fabulous Pacific rolls in grandeur at our feet. The Celestial Empire, the mystery of ages, is being solved. The fiat of the Almighty, Let there be Light, has not yet spent its force. No abuse, no outrage whether in taste, sport or avarice, can now hide itself from the all-pervading light. The iron shoe, and crippled foot of China must be seen in contrast with nature. Africa must rise and put on her yet unwoven garment. 'Ethiopia, shall, stretch. out her hand unto Ood. In the fervent aspirations of William Lloyd Garrison, I say, and let every heart join in saying it: God speed the year of jubilee / The wide world o'er! / When from their galling chains set free, / Th' oppress'd shall vilely bend the knee, / And wear the yoke of tyranny / Like brutes no more. / That year will come, and freedom's reign, / To man his plundered rights again / Restore. / God speed the day when human blood / Shall cease to flow! / In every clime be understood, / The claims of human brotherhood, / And each return for evil, good, / Not blow for blow; / That day will come all feuds to end, / And change into a faithful friend / Each foe. / God speed the hour, the glorious hour, / When none on earth / Shall exercise a lordly power, / Nor in a tyrant's presence cower; / But to all manhood's stature tower, / By equal birth! / That hour will come, to each, to all, / And from his Prison-house, to thrall / Go forth. / Until that year, day, hour, arrive, / With head, and heart, and hand I'll strive, / To break the rod, and rend the gyve, / The spoiler of his prey deprive -- / So witness Heaven! / And never from my chosen post, / Whate'er the peril or the cost, / Be driven.

 

 

 

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Black Awakening in Capitalist America: An Analytic History by Robert L. Allen. Garden City. 1969. Doubleday. hardcover. 251 pages.  Jacket design by Al Nagy.

 

black awakening in capitalist americaFROM THE PUBLISHER -

 

 

   Robert L. Allen has written a profound and complete account of the awakening of oppressed black people in America’s capitalist economy, and the inability of that economy to deal with proletarian dissatisfaction, agitation and revolution. In analyzing the most significant black movements, the author traces a history peopled by the most significant figures of the black awakening (LeRoi Jones, Harold Cruse, Stokely Carmichael, Rap Brown, Roy Wilkins, Martin Luther King, Malcolm X and others.) And through their pronouncements and political tactics he illuminates the most significant forces in America’s revolutionary ferment. A lucid, impartial and courageous book, BLACK AWAKENING IN CAPITALIST AMERICA presents the colonial suppression of the black community in a society where racial prejudice is but one facet of an injustice largely spawned by corporate capitalism. The questions raised are not only about racial inequality, but whether our traditional capitalist morality can Allen Robert Laccommodate the needs of the underprivileged and alienated, not whether America is right or wrong, but whether or not it is a viable society for our drastically changing times.

 

 

 

 Robert L. Allen’s journalistic background has given him ample experience to assume the role of chronicler of the black awakening. As a reporter for the Guardian, a political newspaper in San Francisco, he observed firsthand many of the most significant black movements.

 

 

 

 

 

 

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All About H. Hatterr by G. V. Desani. New York. 1951. Farrar Straus & Young. 300 pages. Hardcover. 

 

 

all about h hatterr farrar straus young 1951FROM THE PUBLISHER -

 

 

   It is seldom that a publisher has a chance to present a book like ALL ABOUT H. HATTERR. In England, Mr. Desani’s book has already entered the literary scene as a succès d’estime on a prodigious scale. T. S. Eliot called it ‘Certainly a remarkab1e book. In all my experience, I have not met with anything quite like it. It is amazing that anyone should be able to sustain a piece of work in this style and tempo at such length.’ And other British critics, in an attempt to label this new Anglo-Indian writer, have said almost everything possible: ‘A literary hellzapoppin’ (The Tribune); ‘riotously funny . . . Mr. Desani is the playboy of the English language . . . the Danny Kaye of literature’ (Harold Brighouse in the Manchester Guardian); ‘Joyce, Sterne, Rabelais. Miller, Runyon and Saroyan - dash of them all, but unique enough to stand on its feet’ (Life and Letters). The author explains H. HATTERR simply as a portrait of a man. He is the popular mind expressing itself at its best, at its worst, now bawdy, then vulgar, but important because he’s us.’ H. HATTERR is Desani’s imaginary Anglo-Indian, who, by recounting amusing tales of his life, gives depth and viewpoint to the author’s own philosophical beliefs. This is a book of many ‘morals,’ some of which are accepted as moral. But Desani’s underlying feeling seems to be that life is tragic only because it is a joke of which we cannot see the point. Desani uses an unconventional style that is not ‘streams of consciousness’ but emphasizes the informal conversational approach of Hatterr, and aids in exaggerating the minor tragedies in the comedy of life. But Desani G Vthe only way to approach ALL ABOUT H. HATTERR is to read it.

 

 

G. V. Desani was born on July 8, 1909 in Nairobi, Kenya, the son of an Indian merchant, and was reared in India. In the late 1930s, and throughout the war, he was a BBC broadcaster and lectured on India throughout England. All About H. Hatterr was written and published in 1948, causing an immediate sensation and eventually achieving permanent fame as one of the greatest Anglo-Indian novels of the century. From the early 1950s to the mid-1960s, Mr. Desani studied Buddhism and Hindu culture in seclusion in India and Burma. He came to the United States in 1970 to teach at Boston University and subsequently the University of Texas at Austin, where he was Professor Emeritus of religion and philosophy. Dr. Desani died in November, 2000.

 

 

 

 

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Hunter's Trap by C. W. Smith. Dallas. 1996. 253 pages. hardcover. 0875651623. Cover art & design by Barbara Whitehead. 

 

 

0875651623FROM THE PUBLISHER -

 

 

   On the night of the vernal equinox in 1930, the novel's protagonist, Wilbur Smythe, puts in motion his plan to avenge the deaths of his wife and his employer, a wealthy Kiowa, both murdered by a banker greedy for the Kiowa's oil money. Smythe intends to kidnap the banker's seventeen-year-old daughter, Sissy, and hold her hostage to torment her father before killing him. Hunter's Trap further explores the clash of values and cultures that formed the core of Smith's earlier novel based on historical events, Buffalo Nickel. In this new novel, he has written a blend of early twentieth-century ‘western’ with Greek tragedy and has given the tension-filled story a sophisticated gloss of 1930s determinism and pre-Christian paganism, so that the horrific outcome of Smythe's plan to use the daughter of his nemesis has a fateful inevitability and a gruesome but implacable logic. Set largely in El Paso and its Mexican neighbor, Juarez, the story weaves together the strong political and social undercurrents of the Depression. Beneath its texture of place and time, however, the story reasserts the age-old wisdom of how thin the margin is between good and evil in members of the human ‘family.’

 

 

Smith C WC. W. Smith (born 1940) is a novelist, short-story and essay writer who serves as a Dedman Family Distinguished Professor in the Department of English at Southern Methodist University. C. W. Smith (full name Charles William Smith) was born in Corpus Christi, Texas, and grew up in Hobbs, New Mexico. He received a B.A. in English from the University of North Texas in 1964 and an M.A. in English from Northern Illinois University in 1967. After teaching at Southwest Missouri State University, he moved to Mexico for a year to work on his first novel, Thin Men of Haddam. Published by Viking/Grossman in 1973, the book won the Jesse H. Jones Award from the Texas Institute of Letters for the Best Novel by a Texan or about Texas and was recognized by the Southwestern Library Association for making a ‘distinguished contribution to an understanding of a vital social issue in the American Southwest.’ Smith has said that his goal since beginning his first novel has been ‘to document in a dramatic fashion the cultural conflicts of the American Southwest as well as the universal, existential dilemmas that arise from being human regardless of place and time.’ In pursuit of that goal, his second novel, set in West Texas among oil field workers and small-town citizens, sought to portray the lives of young people trapped in circumstances too small for their aspirations.

 

 

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Freud And Man's Soul by Bruno Bettelheim. New York. 1982. 114 pages. January 1983. hardcover. 0394524810. Jacket design by Robert Anthony. 

 

 

0394524810FROM THE PUBLISHER -

 

 

   The world-renowned psychoanalyst and child psychologist here gives us an unprecedented reading of Freud - and an exhilarating vision of the true uses of psychoanalysis. He demonstrates that the English translations of Freud’s writings not only distort some of the central concepts of psychoanalysis but actually make it impossible for the reader to recognize that Freud’s ultimate concern was man’s soul, the basic element of our common human what it is, how it manifests itself in everything we do and dream. And he shows that these translations, by masking much of the essential humanism of Freud’s work, have led to a tragic misunderstanding and widespread misuse of psychoanalysis, particularly in America. Reminding us that Freud analyzed his own dreams, his own slips of the tongue, and the reasons he himself made mistakes, Dr. Bettelheim makes clear that Freud created psychoanalysis not so much as a method of analyzing the behavior of other people but as a way for each of us to gain access to (and, where possible, control of) his own unconscious – a goal impeded by English translations in which Freud becomes impersonal esoteric, abstract, ‘scientific’ translations that discourage the reader from embarking on his own voyage of self-discovery and that make it easy for him to distance himself from what Freud sought to teach about the inner life of man and of the reader himself. Startling examples are given of mistranslations. Dr. Bettelheim (who is, as Freud was, a German-speaking Viennese) reveals how in the English versions nearly all of Freud’s references to the soul have been corrupted (for example, Seelentätigkeit – ‘activity of the soul’ – is translated as ‘mental activity’) He demonstrates that Freud’s English translators, because of their determination to perceive psychoanalysis as a medical science, have consistently resorted to the technical Greco-Latinisms of the medical profession - with such terms as ‘parapraxis,’ ‘cathexis,’ and ‘scopophilia’ - in rendering German words that Freud chose specifically for their humanistic resonance, for their power to evoke in his German readers not only an intellectual but also an emotional response. And Dr. Bettelheim makes us realize how these mistranslations - perhaps most notable among them the rendering into ‘English’ of the homely German words ich and es with the distant Latin ego and id - have had a profound effect on both the practice and the history of psychoanalysis. This eloquent, passionately argued, deeply illuminating book is urgent reading for everyone interested in psychoanalysis and for all who seek a humanistic approach to psychology - so central to Freud and so unrecognizable in the English translations of his writings. It is certain to take its place among the classic works of Bruno Bettelheim.

 

Bettelheim BrunoBruno Bettelheim (August 28, 1903 – March 13, 1990) was an Austrian-born psychologist, scholar, public intellectual and author who spent most of his academic and clinical career in the United States. An early writer on autism, Bettelheim's work focused on the education of emotionally disturbed children, as well as Freudian psychology more generally. In the U.S., he later gained a position as professor at the University of Chicago and director of the Sonia Shankman Orthogenic School for Disturbed Children, and after 1973 taught at Stanford University. Bettelheim's ideas, which grew out of those of Sigmund Freud, theorized that children with behavioral and emotional disorders were not born that way, and could be treated through extended psychoanalytic therapy, treatment that rejected the use of psychotropic drugs and shock therapy. During the 1960s and 1970s he had an international reputation in such fields as autism, child psychiatry, and psychoanalysis. His books include CHILDREN OF THE DREAM, THE INFORMED HEART, LOVE IS NOT ENOUGH, A HOME FOR THE HEART, SURVIVING AND OTHER ESSAYS, and, with Karen Zelan, ON LEARNING TO READ. In 1977 he won both the National Book Award and the National Book Critics Circle Award for THE USES OF ENCHANTMENT. Much of his work was discredited after his death due to fraudulent academic credentials, allegations of abusive treatment of patients under his care, accusations of plagiarism, and lack of oversight by institutions and psychological community.

 

 

 

 

 

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Race Men by Hazel V. Carby. Cambridge. 1998. Harvard University Press. hardcover. 228 pages.  Jacket art: Diedra Harris-Kelley. ‘Harmony,’ 1994. Jacket design by Annamarie McMahon Why. The W. E. B. Du Bois Lectures. 0674745582.

 

 

0674745582FROM THE PUBLISHER -

 

 

   Who are the 'race men' standing for black America? It is a question Hazel Carby rejects, along with its long-standing assumption: that a particular type of black male can represent the race. A searing critique of definitions of black masculinity at work in American culture, Race Men shows how these defining images play out socially, culturally, and politically for black and white society--and how they exclude women altogether. Carby begins by looking at images of black masculinity in the work of W. E. B. Du Bois. Her analysis of The Souls of Black Folk reveals the narrow and rigid code of masculinity that Du Bois applied to racial achievement and advancement--a code that remains implicitly but firmly in place today in the work of celebrated African American male intellectuals. The career of Paul Robeson, the music of Huddie Ledbetter, and the writings of C. L. R. James on cricket and on the Haitian revolutionary, Toussaint L'Ouverture, offer further evidence of the social and political uses of representations of black masculinity. In the music of Miles Davis and the novels of Samuel R. Delany, Carby finds two separate but related challenges to conventions of black masculinity. Examining Hollywood films, she traces through the career of Danny Glover the development of a cultural narrative that promises to resolve racial contradictions by pairing black and white men--still leaving women out of the picture. A powerful statement by a major voice among black feminists, Race Men holds out the hope that by understanding how society has Carby Hazel Vrelied upon affirmations of masculinity to resolve social and political crises, we can learn to transcend them.

 

 

HAZEL CARBY is Chair of African and African American Studies and a Professor of American Studies at Yale University. She is the author of RECONSTRUCTING WOMANHOOD: THE EMERGENCE OF THE AFRO-AMERICAN WOMAN NOVELIST.

 

 

 

 

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Danubia: A Personal History of Habsburg Europe by Simon Winder. New York. Farrar Straus Giroux. 551 pages. hardcover. 9780374175290. Jacket design and illustration by Oliver Munday. 

 

9780374175290FROM THE PUBLISHER -

 

 

   A charmingly personal history of Hapsburg Europe, as lively as it is informative, by the author of Germania For centuries much of Europe was in the hands of the very peculiar Habsburg family. An unstable mixture of wizards, obsessives, melancholics, bores, musicians and warriors, they saw off-through luck, guile and sheer mulishness-any number of rivals, until finally packing up in 1918. From their principal lairs along the Danube they ruled most of Central Europe and Germany and interfered everywhere-indeed the history of Europe hardly makes sense without them. Danubia, Simon Winder's hilarious new book, plunges the reader into a maelstrom of alchemy, skeletons, jewels, bear-moats, unfortunate marriages and a guinea-pig village. Full of music, piracy, religion and fighting, it is the history of a strange dynasty, and the people they ruled, who spoke many different languages, lived in a vast range of landscapes, believed in rival gods and often showed a marked ingratitude towards their oddball ruler in Vienna. Readers who discovered Simon Winder's storytelling genius and infectious curiosity in Germania will be delighted by the eccentric and fascinating tale of the Habsburgs and their world. Winder Simon

 

 

Simon Winder is the author of the highly praised The Man Who Saved Britain and the Sunday Times top-ten bestseller Germania. He works in publishing and lives in Wandsworth Town.

 

 

 

 

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Angelica's Smile: An Inspector Montalbano Mystery by Andrea Camilleri. New York. Penguin Books. 293 pages. paperback. 9780143123767. Cover design by Paul Buckley. Cover illustration by Andy Bridge. Translated from the Italian by Stephen Sartarelli. 

 

 

9780143123767FROM THE PUBLISHER -

 

 

   The seventeenth installment of the beloved New York Times bestselling series that boasts more than 600,000 books in print The last four books in Andrea Camilleri's Inspector Montalbano series have leapfrogged their way up the New York Times bestseller list, perfectly positioning Angelica's Smile to ascend to even greater heights. A rash of burglaries has got Inspector Salvo Montalbano stumped. The criminals are so brazen that their leader, the anonymous Mr. Z, starts sending the Sicilian inspector menacing letters. Among those burgled is the young and beautiful Angelica Cosulich, who reminds the inspector of the love-interest in Ludovico Ariosto's chivalric romance, Orlando Furioso. Besotted by Angelica's charms, Montalbano imagines himself back in the medieval world of jousts and battles. But when one of the burglars turns up dead, Montalbano must snap out of his fantasy and unmask his challenger. 

 

 

Camilleri AndreaAndrea Calogero Camilleri (6 September 1925 – 17 July 2019) was an Italian writer. Originally from Porto Empedocle, Sicily, Camilleri began university studies in the Faculty of Literature at the University of Palermo, but did not complete his degree. meanwhile publishing poems and short stories. From 1948 to 1950 he studied stage and film direction at the Silvio D'Amico Academy of Dramatic Arts (Accademia Nazionale d'Arte Drammatica) and began to take on work as a director and screenwriter, directing especially plays by Pirandello and Beckett. His parents knew, and were, reportedly, "distant friends" of, Pirandello, as he tells in his essay on Pirandello, Biography of the Changed Son. His most famous works, the Montalbano series, show many Pirandellian elements: for example, the wild olive tree that helps Montalbano think is on stage in his late work The Giants of the Mountain. With RAI, Camilleri worked on several TV productions, such as Le inchieste del commissario Maigret with Gino Cervi. In 1977 he returned to the Academy of Dramatic Arts, holding the chair of Film Direction and occupying it for 20 years. In 1978 Camilleri wrote his first novel Il Corso Delle Cose ("The Way Things Go"). This was followed by Un Filo di Fumo ("A Thread of Smoke") in 1980. Neither of these works enjoyed any significant amount of popularity. In 1992, after a long pause of 12 years, Camilleri once more took up novel writing. A new book, La Stagione della Caccia ("The Hunting Season") turned out to be a best-seller. In 1994 Camilleri published the first in a long series of novels: La forma dell'Acqua (The Shape of Water) featured the character of Inspector Montalbano, a fractious Sicilian detective in the police force of Vigàta, an imaginary Sicilian town. The series is written in Italian but with a substantial sprinkling of Sicilian phrases and grammar. The name Montalbano is a homage to the Spanish writer Manuel Vázquez Montalbán; the similarities between Montalban's Pepe Carvalho and Camilleri's fictional detective are noteworthy. Both writers make use of their protagonists' gastronomic preferences. This feature provides an interesting quirk which has become something of a fad among his readership even in mainland Italy. The TV adaptation of Montalbano's adventures, starring Luca Zingaretti, further increased Camilleri's popularity to such a point that in 2003 Camilleri's home town, Porto Empedocle – on which Vigàta is modelled – took the extraordinary step of changing its official name to that of Porto Empedocle Vigàta, no doubt with an eye to capitalising on the tourism possibilities thrown up by the author's work. On his website, Camilleri refers to the engaging and multi-faceted character of Montalbano as a "serial killer of characters," meaning that he has developed a life of his own and demands great attention from his author, to the demise of other potential books and different personages. Camilleri added that he writes a Montalbano novel every so often just so that the character will be appeased and allow him to work on other stories. In 2012, Camilleri's The Potter's Field (translated by Stephen Sartarelli) was announced as the winner of the 2012 Crime Writers' Association International Dagger. The announcement was made on 5 July 2012 at the awards ceremony held at One Birdcage Walk in London. In his last years Camilleri lived in Rome where he worked as a TV and theatre director. About 10 million copies of his novels have been sold to date and are becoming increasingly popular in the UK (where BBC Four broadcast the Montalbano TV series from mid-2011), Australia and North America. In addition to the degree of popularity brought him by the novels, Andrea Camilleri became even more of a media icon thanks to the parodies aired on an RAI radio show, where popular comedian, TV host and impressionist Fiorello presents him as a raspy voiced, caustic character, madly in love with cigarettes and smoking, since in Italy, Camilleri was well known for being a heavy smoker of cigarettes. He considered himself a "non-militant atheist". On 17 June 2019, Camilleri suffered a heart attack. He was admitted to hospital in a critical condition. He died on 17 July 2019. He has been buried in the Protestant Cemetery of Rome.

 

 

Stephen Sartarelli is an award-winning translator and poet. He lives in France.

 

 

 

 

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Believe in People: The Essential Karel Capek by Karel Capek. London. 2010. Faber & Faber. 358 pages. paperback. 9780571231621. Design by Faber. Selected and Translated from the Czech by Sarka Tobrmanova-Kuhnova. With a preface by John Carey. 

 

 

9780571231621FROM THE PUBLISHER -

 

 

   A hugely engaging collection of pieces by Karel Capek, one of the great European writers of the 1ast century. Playful and provocative, irreverent and inspiring, Capek is perhaps the best-loved Czech writer of all time. Novelist and playwright, famed for inventing the word ‘robot’ in his play RUR, Capek was a vital part of the burgeoning artistic scene of Czechoslovakia of the 1920s and 30s. But it is in his journalism - his brief, sparky and delightful columns - that Capek can be found at his most succinct, direct and appealing. This selection of Capek’s writing, translated into English for the first time, contains his essential ideas. The pieces are animated by his passion for the ordinary and the everyday - from laundry to toothache, from cats to cleaning windows - his love of language, his lyrical observations of the world and above all his humanism, his belief in people. His letters to his wife Olga, also published here, are extraordinarily moving and beautifully distinct from his other writings. Uplifting, enjoyable and endlessly wise, Believe in People is a collection to treasure.

 

 

 

Capek KarelKarel Capek (January 9, 1890 - December 25, 1938) was one of the most influential Czech writers of the 20th century. Capek was born in Malé Svatonovice, Bohemia, Austria-Hungary (now Czech Republic). He wrote with intelligence and humour on a wide variety of subjects. His works are known for their interesting and precise descriptions of reality, and Capek is renowned for his excellent work with the Czech language. He is perhaps best known as a science fiction author, who wrote before science fiction became widely recognized as a separate genre. He can be considered one of the founders of classical, non-hardcore European science fiction, a type which focuses on possible future (or alternative) social and human evolution on Earth, rather than technically advanced stories of space travel. However, it is best to classify him with Aldous Huxley and George Orwell as a speculative fiction writer, distinguishing his work from genre-specific hard science fiction. Many of his works discuss ethical and other aspects of revolutionary inventions and processes that were already anticipated in the first half of 20th century. These include mass production, atomic weapons, and post-human intelligent beings such as robots or intelligent salamanders. In addressing these themes, Capek was also expressing fear of impending social disasters, dictatorship, violence, and the unlimited power of corporations, as well as trying to find some hope for human beings. John Carey is Emeritus Merton Professor of English at Oxford University, a distinguished critic, reviewer and broadcaster, and the author of several books, including studies of Donne, Dickens and Thackeray, as well as The Intellectuals and the Masses. He is the editor of Faber anthologies of Reportage, Utopias and Science. His most recent book, What Good are the Arts?, was praised by Blake Morrison as 'incisive and inspirational'..

 

 

John Carey is Emeritus Merton Professor of English at Oxford University, a distinguished critic, reviewer and broadcaster, and the author of several books, including studies of Donne, Dickens and Thackeray, as well as The Intellectuals and the Masses. He is the editor of Faber anthologies of Reportage, Utopias and Science. His most recent book, What Good are the Arts?, was praised by Blake Morrison as 'incisive and inspirational'.

 

 

 

 

 

 

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Art and Craft of Approaching Your Head of Department to Submit a Request for a Raise by Georges Perec. London. 2011. Vintage Classics. 90 pages. hardcover. 9780099541226. Translated from the French by David Bellos. 

 

 

9780099541226FROM THE PUBLISHER -

 

 

   So having weighed the pros and cons you ve decided to approach your boss to ask for that well-earned raise in salary but before you schedule the all-important meeting you decide to dip into this handy volume in the hope of finding some valuable tips but instead find a hilarious, mind-bending farcical account of all the many different things that may or may not happen on the journey to see your boss which uses no punctuation or capitalisation and certainly no full stops. Georges Perec famously wrote a whole novel without using the letter e. Now, in this playful short novel, brilliantly translated by David Bellos, Perec once again dispenses with the normal rules for literary composition, with similarly pyrotechnic results.

 

 

 

Perec GeorgesGeorges Perec (7 March 1936 – 3 March 1982) was a French novelist, filmmaker, documentalist and essayist. He was a member of the Oulipo group. Perec was born the only son of Icek Judko and Cyrla (Schulewicz) Peretz – Polish Jews who had emigrated to France in the 1920s – in a working-class district of Paris. He was a distant relative of the Yiddish writer Isaac Leib Peretz. Perec's father, who enlisted in the French Army during World War II, died in 1940 from unattended gunfire or shrapnel wounds, and Perec's mother perished in the Nazi Holocaust, probably in Auschwitz after 1943. Perec was taken into the care of his paternal aunt and uncle in 1942, and in 1945 he was formally adopted by them. He started writing reviews and essays for La Nouvelle Revue française and Les Lettres nouvelles, prominent literary publications, while studying history and sociology at the Sorbonne. In 1958/59 Perec served in the army (XVIIIe Régiment de Chasseurs Parachutistes), and married Paulette Petras after being discharged. They spent one year (1960/1961) in Sfax (Tunisia), where Paulette worked as a teacher. In 1961, Perec began working at the Neurophysiological Research Laboratory in the unit's research library funded by the CNRS and attached to the Hôpital Saint-Antoine as an archivist, a low-paid position which he retained until 1978. A few reviewers have noted that the daily handling of records and varied data may have had an influence on his literary style. In any case, Perec's work on the reassesment of the academic journals under subscription was influenced by a talk about the handling of scientific information given by Eugene Garfield in Paris and he was introduced to Marshall McLuhan by Jean Duvignaud. Perec's other major influence was the Oulipo, which he joined in 1967, meeting Raymond Queneau, among others. Perec dedicated his masterpiece, La Vie mode d'emploi (Life A User's Manual) to Queneau, who died before it was published. Perec began working on a series of radio plays with his translator Eugen Helmle and the musician Philippe Drogoz in the late 60s; less than a decade later, he was making films. His first work, based on his novel Un Homme qui dort, was co-directed by Bernard Queysanne, and won him the Prix Jean Vigo in 1974. Perec also created crossword puzzles for Le Point from 1976 on. La Vie mode d'emploi (1978) brought Perec some financial and critical success—it won the Prix Médicis—and allowed him to turn to writing full-time. He was a writer in residence at the University of Queensland, Australia in 1981, during which time he worked on the unfinished 53 Jours (53 Days). Shortly after his return from Australia, his health deteriorated. A heavy smoker, he was diagnosed with lung cancer. He died the following year, only forty-five years old; his ashes are held at the columbarium of the Père Lachaise Cemetery. Many of his novels and essays abound with experimental word play, lists and attempts at classification, and they are usually tinged with melancholy. Perec's first novel, Les Choses (Things: A Story of the Sixties) was awarded the Prix Renaudot in 1965. His most famous novel, La Vie mode d'emploi (Life A User's Manual), was published in 1978. Its title page describes it as ‘novels’, in the plural, the reasons for which become apparent on reading. La Vie mode d'emploi is an immensely complex and rich work; a tapestry of interwoven stories and ideas as well as literary and historical allusions, based on the lives of the inhabitants of a fictitious Parisian apartment block. It was written according to a complex plan of writing constraints, and is primarily constructed from several elements, each adding a layer of complexity. The 99 chapters of his 600-page novel, move like a knight's tour of a chessboard around the room plan of the building, describing the rooms and stairwell and telling the stories of the inhabitants. At the end, it is revealed that the whole book actually takes place in a single moment, with a final twist that is an example of ‘cosmic irony’. It was translated into English by David Bellos in 1987. Some critics have cited the work as an example of postmodern fiction. Perec is noted for his constrained writing: his 300-page novel La disparition (1969) is a lipogram, written without ever using the letter ‘e’. It has been translated into English by Gilbert Adair under the title A Void (1994). The silent disappearance of the letter might be considered a metaphor for the Jewish experience during the Second World War. Since the name ‘Georges Perec’ is full of ‘e’s, the disappearance of the letter also ensures the author's own ‘disappearance’. His novella Les revenentes (1972) is a complementary univocalic piece in which the letter ‘e’ is the only vowel used. This constraint affects even the title, which would conventionally be spelt Revenantes. An English translation by Ian Monk was published in 1996 as The Exeter Text: Jewels, Secrets, Sex in the collection Three. It has been remarked by Jacques Roubaud that these two novels draw words from two disjoint sets of the French language, and that a third novel would be possible, made from the words not used so far (those containing both ‘e’ and a vowel other than ‘e’). W ou le souvenir d'enfance, (W, or the Memory of Childhood, 1975) is a semi-autobiographical work which is hard to classify. Two alternating narratives make up the volume: one, a fictional outline of a totalitarian island country called ‘W’, patterned partly on life in a concentration camp; and the second, descriptions of childhood. Both merge towards the end when the common theme of The Holocaust is explained. ‘Cantatrix sopranica L. Scientific Papers’ is a spoof scientific paper detailing experiments on the ‘yelling reaction’ provoked in sopranos by pelting them with rotten tomatoes. All the references in the paper are multi-lingual puns and jokes, e.g. ‘(Karybb & Szyla, 1973)’. David Bellos, who has translated several of Perec's works, wrote an extensive biography of Perec: Georges Perec: A Life in Words, which won the Académie Goncourt's bourse for biography in 1994. The Association Georges Perec has extensive archives on the author in Paris. In 2013, Perec's initially rejected novel ‘Gaspar pas mort’ (Gaspar is not dead), which was believed to be lost, was found by David Bellos amongst papers in the house of Perec's friend Alain Guérin. Asteroid no. 2817, discovered in 1982, was named after Perec. In 1994, a street in the 20th arrondissement of Paris was named after him, rue Georges-Perec. The French postal service issued a stamp in 2002 in his honour; it was designed by Marc Taraskoff and engraved by Pierre Albuisson. For his work, Perec won the Prix Renaudot in 1965, the Prix Jean Vigo in 1974, the Prix Médicis in 1978.

 

 

 

 

 

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Homage To The Lame Wolf: Selected Poems 1956-75 by Vasko Popa. Oberlin. 1979. Field Translation Series/Oberlin College. 132 pages. hardcover. 0932440029. Cover design & illustration by Stephen J. Farkas, Jr. Translated from the Serbian & With An Introduction by Charles Simic. Field Translations Series 2. 

 

0932440029FROM THE PUBLISHER -

 

 

   Vasko Popa, the most important living Yugoslav poet, is presented here in a book-length American translation for the first time. His poetry has received wide international recognition and has been translated into almost every European language. The poems in this selection cover his career from the mid-1950’s to the present. Popa lived and worked in Belgrade.

 

 

 

Popa VaskoVasko Popa (June 29, 1922 - January 5, 1991) was a Serbian poet of Romanian descent. Popa was born in the village of Grebenac, Vojvodina, Yugoslavia (present-day Serbia). After finishing high school, he enrolled as a student of the University of Belgrade Faculty of Philosophy. He continued his studies at the University of Bucharest and in Vienna. During World War II, he fought as a partisan and was imprisoned in a German concentration camp in Beckerek (today Zrenjanin, Serbia). After the war, in 1949, Popa graduated from the Romanic group of the Faculty of Philosophy at Belgrade University. He published his first poems in the magazines Književne novine (Literary Magazine) and the daily Borba (Struggle). From 1954 until 1979 he was the editor of the publishing house Nolit. In 1953 he published his first major verse collection, Kora (Bark). His other important work included Nepocin-polje (No-Rest Field, 1956), Sporedno nebo (Secondary Heaven, 1968), Uspravna zemlja (Earth Erect, 1972), Vucja so (Wolf Salt, 1975), and Od zlata jabuka (Apple of Gold, 1978), an anthology of Serbian folk literature. His Collected Poems, 1943–1976, a compilation in English translation, appeared in 1978, with an introduction by the British poet Ted Hughes. On May 29, 1972 Vasko Popa founded The Literary Municipality Vršac and originated a library of postcards, called Slobodno lišce (Free Leaves). In the same year, he was elected to become a member of the Serbian Academy of Sciences and Arts. Vasko Popa is one of the founders of Vojvodina Academy of Sciences and Arts, established on December 14, 1979 in Novi Sad. He is the first laureate of the Branko’s award (Brankova nagrada) for poetry, established in honour of the poet Branko Radicevic. In the year 1957 Popa received another award for poetry, Zmaj’s Award (Zmajeva nagrada), which honours the poet Jovan Jovanovic Zmaj. In 1965 Popa received the Austrian state award for European literature. In 1976 he received the Branko Miljkovic poetry award, in 1978 the Yugoslav state AVNOJ Award, and in 1983 the literary award Skender Kulenovic. In 1995, the town of Vršac established a poetry award named after Vasko Popa. It is awarded annually for the best book of poetry published in Serbian language. The award ceremony is held on the day of Popa’s birthday, 29 June. Vasko Popa died on January 5, 1991 in Belgrade and is buried in the Aisle of the Deserving Citizens in Belgrade’s New Cemetery. Vasko Popa wrote in a succinct modernist style that owed much to surrealism and Serbian folk traditions (via the influence of Serbian poet Momcilo Nastasijevic) and absolutely nothing to the Socialist Realism that dominated Eastern European literature after World War II; in fact, he was the first in post-World War II Yugoslavia to break with the Socialist Realism. He created a unique poetic language, mostly elliptical, that combines a modern form, often expressed through colloquial speech and common idioms and phrases, with old, oral folk traditions of Serbia – epic and lyric poems, stories, myths, riddles, etc. In his work, earthly and legendary motifs mix, myths come to surface from the collective subconscious, the inheritance and everyday are in constant interplay, and the abstract is reflected in the specific and concrete, forming a unique and extraordinary poetic dialectics.In The New York Times obituary, the author mentions that the English poet Ted Hughes lauded Popa as an ‘epic poet’ with a ‘vast vision’. The author also mentions that in his introduction to ‘Vasko Popa: Collected Poems 1943-1976,’ translated by Anne Pennington Hughes says: ‘As Popa penetrates deeper into his life, with book after book, it begins to look like a universe passing through a universe. It is one of the most exciting things in modern poetry, to watch this journey being made.’ Since his first book of verse, Kora (Bark), Vasko Popa has gained steadily in stature and popularity. His poetic achievement - eight volumes of verse written over a period of thirty eight years - has received extensive critical acclaim both in his native land and beyond. He is one of the most translated Serbian poets and at the Simic Charlestime he had become one of the most influential World poets.

 

 

 

Charles Simic is the author of six volumes of poetry, of which DISMANTLING THE SILENCE, RETURN TO A PLACE LIT BY A GLASS OF MILK, and CHARON’S COSMOLOGY are the most recent. A professor of English at the University of New Hampshire, he has published many other translations of Yugoslav poetry.

 

 

 

 

 

 

 

 

 

 

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Futbol! Why Soccer Matters in Latin America by Joshua H. Nadel. Gainesville. 2014. University Press of Florida. 288 pages. hardcover. 9780813049380. Front cover: Pele celebrating Brazil’s World Cup victory, June 21, 1970. copyright Sven Simon/imago/ZUMApress.com. 

 

9780813049380FROM THE PUBLISHER -

 

 

   ‘Lively and fascinating. Nadel shows beautifully how soccer and politics have long been deeply intertwined, serving both to further state agendas and open up space for protest and contestation.’--Laurent Dubois, author of Soccer Empire. ‘In much of Latin America, soccer is more than a game. It is linked to each nation's identity in similar yet unique ways. Nadel offers a comprehensive look at this process.’--Joseph L. Arbena, coeditor of Sport in Latin America and the Caribbean. ‘Thoughtful and engaging. Examining the history of the game, its powerful myths, and its engrossing reality, Nadel helps scholars, students, and fans to understand Latin Americans' passion for the world's sport.’--Gregg Bocketti, Transylvania University. ‘Nadel knows Latin American soccer like a professor, but he loves it like a fan, and his enthusiasm is contagious. He uses sports history to teach larger insights about Latin America. Fútbol! will make you smarter about the sport and about the region, too. It's a book you want to read.’--John Charles Chasteen, author of Born in Blood and Fire. ‘Here are the football cultures of Latin America in all their macho glory, but here too is the story of women's football and its challenge to Latino masculinities. Above all, here is an account of football and nationalism, erudite and engaged, that remains rooted in the realities of play.’--David Goldblatt, author of The Ball Is Round. Discover the dreams, passions, and rivalries that are at stake in Latin America's most popular sport. Fútbol! explains why competitors and fans alike are so fiercely dedicated to soccer throughout the region. From its origins in British boarding schools in the late 1800s, soccer spread across the globe to become a part of everyday life in Latin America--and part of the region's most compelling national narratives. This book illustrates that soccer has the powerful ability to forge national unity by appealing to people across traditional social boundaries. In fact, author Joshua Nadel reveals that what started as a simple game played an important role in the development of Latin American countries in the twentieth century. Examining the impact of the sport in Argentina, Honduras, Brazil, Uruguay, Paraguay, Chile, and Mexico, Nadel addresses how soccer affects politics, the media, race relations, and gender stereotypes. With inspiring personal stories and a sweeping historical backdrop, Fútbol! shows that soccer continues to be tied to regional identity throughout Central and South America today. Nadel Joshua HPeople live for it--and sometimes kill for it. It is a source of hope and a reason for suicide. It is a way out of poverty for a select few and an intangible escape for millions more. As soccer gains greater worldwide attention today, this book serves as an indispensable guide for understanding soccer’s especially vital importance in Latin America. 

 

 

Joshua H. Nadel is assistant professor of history and associate director of the Global Studies Program at North Carolina Central University.

 

 

 

 

 

 

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The 826 Quarterly: Volume 19 - Spring 2014 by Molly Parent (editor). San Francisco. 2014. 826 Valencia. 137 pages. 9781934750452. Poetry, Fiction, & Essays by Authors 6 to 18. 

 

 

9781934750452FROM THE PUBLISHER -

 

 

   This edition of the 826 Quarterly contains fiction, non-fiction, and poetry written by authors ages 6-18. The pieces are selected from all the 826 programs (drop-in tutoring, workshops, in-schools, projects, field trips) and at-large submissions. Pieces are chosen in a traditional literary journal style by an editorial board comprised of students and volunteer tutors. This issue includes a hard-hitting investigation into what one 11 year old writer calls "the hipster epidemic," poetry about real ships that are sunken under the streets of San Francisco, introspective personal essays on group identity, and short fiction about zoo animals who learn to embrace democracy. It's a wild ride with something to make readers of all ages smile and think. 1st trade appearance of work by Zora Rosenberg - ‘Siren’s Call’, excerpt of the unpublished short story by the samezozo reading animal farm2 name.

 

 

 

Zora Rosenberg was born and raised in San Francisco. She is a graduate of Mills College (Creative Writing) and is presently a pre-school teacher. Zora enjoys wearing pajamas and stomping around the house. She cringes when encountering hipsters and aspires to be a working class hero.

 

 

 

 

 

 

 

 

 

 

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The Essays: A Selection by Michel de Montaigne. New York. 2003. Penguin Books. 446 pages. paperback. 0140446028. The cover shows 'Melancholy' by Domencio Feti. Translated from the French by M. A. Screech. 

 

 

0140446028FROM THE PUBLISHER -

 

 

   To overcome a crisis of melancholy after the death of his father, Montaigne withdrew to his country estates and began to write, and in the highly original essays that resulted he discussed themes such as fathers and children, conscience and cowardice, coaches and cannibals, and, above all, himself. On Some Lines of Virgil opens out into a frank discussion of sexuality and makes a revolutionary case for the equality of the sexes. In On Experience he superbly propounds his thoughts on the right way to live, while other essays touch on issues of an age struggling with religious and intellectual strife, with France torn apart by civil war. These diverse subjects are united by Montaigne s distinctive voice - that of a tolerant man, sceptical, humane, often humorous and utterly honest in his pursuit of the truth.Screech M A

 

 

 

 

M. A. Screech is an emeritus fellow of All Souls College, Oxford. He is recognized as a world authority on the Renaissance and was inducted into the French Legion of Honor for his translation of Montaigne’s Essays.

 

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  • The Narrows by Ann Petry

    Zenosbooks - Zeno's Picks Nov 21, 2011 | 03:21 am

    The Narrows by Ann Petry The Narrows by Ann Petry. Boston. 1953. Houghton Mifflin. 428 pages.   FROM THE PUBLISHER -        Originally published in 1953, The Narrows spins the unforgettable tale of a forbidden love affair between Link Williams, a college-educated twenty-six-year-old black man, and Camilo Sheffield, a wealthy married white woman. Set in the sleepy New England town of Monmouth, Connecticut, and 'filled with dramatic force, earthy humor, and tragic intensity', this classic novel deftly evokes a divisive era in America's[…]

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  • Black Reconstruction in America 1860-1880 by W. E. B. Du Bois

    Zenosbooks - Zeno's Picks Nov 21, 2011 | 02:22 am

    Black Reconstruction in America 1860-1880 by W. E. B. Du Bois Black Reconstruction in America 1860-1880 by W. E. B. Du Bois. New York. 1938. Harcourt Brace & Company. 746 pages. March 1938.   FROM THE PUBLISHER -      A distinguished scholar introduces the pioneering work in the study of the role of black Americans during the Reconstruction by the most gifted and influential black intellectual of his time. BLACK RECONSTRUCTION IN AMERICA is a book by W. E. B. Du Bois, first published in 1935. It is revisionist approach[…]

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  • Incantations & Other Stories by Anjana Appachana

    Zenosbooks - Zeno's Picks Nov 21, 2011 | 02:11 am

    Incantations & Other Stories by Anjana Appachana Incantations & Other Stories by Anjana Appachana. New Brunswick. 1992. Rutgers University Press. 150 pages. Cover photograph by Kasha Dalal. Cover design by the Senate. 0813518288.   FROM THE PUBLISHER -        This first collection of fiction by Anjana Appachana provides stories that are beautifully written, the characters in them carefully and respectfully drawn. All the stories are set in India, but the people in them seem somehow displaced within their own society—a society in transition but a[…]

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  • The Street by Ann Petry

    Zenosbooks - Zeno's Picks Nov 21, 2011 | 00:20 am

    The Street by Ann Petry  The Street by Ann Petry. Boston. 1946. Houghton Mifflin. A Literary Fellowship Prize 1st Novel. 436 pages.   FROM THE PUBLISHER -      THE STREET tells the poignant, often heartbreaking story of Lutie Johnson, a young black woman, and her spirited struggle to raise her son amid the violence, poverty, and racial dissonance of Harlem in the late 1940s. Originally published in 1946 and hailed by critics as a masterwork, The Street was Ann Petry's first novel, a beloved[…]

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  • Roderick Random by Tobias Smollett

    Zenosbooks - Zeno's Picks Nov 20, 2011 | 23:59 pm

    Roderick Random by Tobias Smollett Roderick Random by Tobias Smollett. New York. 1995. Penguin Books. Edited & With An Introduction and Notes By David Blewett. 480 pages. The cover shows a detail of Lord George Graham in His Cabin by William Hogarth in the National Maritime Museum, London. 9780140433326.   RODERICK RANDOM was published in 1748 to immediate acclaim, and established Smollett among the most popular of eighteenth-century novelists. In this picaresque tale, Roderick Random suffers misfortune after misfortune as he drifts from one pummeling to another[…]

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  • Voltaire's Bastards: The Dictatorship Of Reason In The West by John Ralston Saul

    Zenosbooks - Zeno's Picks Nov 20, 2011 | 23:50 pm

    Voltaire's Bastards: The Dictatorship Of Reason In The West by John Ralston Saul Voltaire's Bastards: The Dictatorship Of Reason In The West by John Ralston Saul. New York. 1992. Free Press. 640 pages. Cover design by Michael Langenstein. 0029277256.   The pitfalls of rationalism and and the rise of bureaucracy.   FROM THE PUBLISHER -        In a wide-ranging, provocative anatomy of modern society and its origins, novelist and historian John Ralston Saul explores the reason for our deepening sense of crisis and confusion. Throughout the Western world we talk endlessly[…]

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Words Without Borders

New York Review of Books

  • Night Terrors

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Night Terrors If, like me, you’re a baby boomer who pleaded as a child to stay up with the big kids to watch The Twilight Zone, you might remember daring yourself to make it all the way through without taking cover behind[…]

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  • Grand Illusions

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Grand Illusions In Radical Hope: Ethics in the Face of Cultural Devastation (2006), Jonathan Lear writes of the intellectual trauma of the Crow Indians. Forced to move in the mid-nineteenth century from a nomadic to a settled existence, they catastrophically lost not[…]

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  • The Revival of Church Sanctuary

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    The Revival of Church Sanctuary Midway through last year, half a dozen Latin American immigrants scattered across the United States received “notices of intent to fine” from US Immigration and Customs Enforcement (ICE) for failing to leave the country. ICE has long had the authority[…]

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  • Where Health Care Is a Human Right

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Where Health Care Is a Human Right In 2004 the CBC—Canada’s publicly funded broadcaster—produced a TV competition called The Greatest Canadian, which sought to crown a national figure, living or dead, with the title. (The BBC had produced a similar program in the UK two years earlier.)[…]

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  • Things as They Are

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Things as They Are In 1966 the Museum of Modern Art held a retrospective devoted to Dorothea Lange—its first-ever solo exhibition of work by a female photographer. Lange’s photographs have now become part of our collective memory of the Great Depression. Migrant Mother (1936)—a[…]

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  • An Incandescent Inanity

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    An Incandescent Inanity Nikolai Gogol (1809–1852), Russia’s greatest comic writer, thoroughly baffled his contemporaries. Strange, peculiar, wacky, weird, bizarre, and other words indicating enigmatic oddity recur in descriptions of him. “What an intelligent, queer, and sick creature!” remarked Turgenev; another major prose writer,[…]

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  • Learning to Grieve

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Learning to Grieve “Maybe I didn’t die properly,” says Jamie (played by Alan Rickman) in Anthony Minghella’s early film Truly, Madly, Deeply. “Maybe that’s why I can come back.” His partner, Nina (Juliet Stevenson), has been driven mad with grief, following his sudden[…]

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  • China’s Clampdown on Hong Kong

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    China’s Clampdown on Hong Kong As the 1997 handover of Hong Kong from Britain to China approached, commentary in the English-language press about the future of the colony was written in the elegiac style of obituaries, extolling the past and lamenting the future. In June[…]

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  • Query

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    I am writing the biography of Morton Sobell, and would like to hear from anyone who knew him. David Evanier 917-671-7612 devanier@earthlink.net

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  • The Representative

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    The Representative After the election of 2018, the US Congress became the most racially and ethnically diverse it had ever been. The freshman class contained a record number of incoming women (thirty-six), including the four young progressives who came to be called[…]

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  • Measuring Slavery’s Impact

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    To the Editors: Fara Dabhoiwala in “Speech and Slavery in the West Indies” [NYR, August 20] makes two claims that cannot be correct. As one of the scholars working on the www .slavevoyages.org site, which he kindly references, I would[…]

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  • Boston

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    When I first moved to this city to take a job, and the snows began to fall, a slow sadness took hold of me. Someone left a tiny pencil drawing of a sailboat on the ceiling of my bedroom, and[…]

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  • Seeing Too Clearly

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    Seeing Too Clearly Not long ago, Hari Kunzru was asked in an interview, “What is the worst-case scenario for the future?” He answered with brutal lucidity: The US becomes an autocracy, and devolves into a weak and fractious patchwork of jurisdictions run by[…]

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  • Max Weber’s Agon

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    To the Editors: We appreciate Peter E. Gordon’s thoughtful review of Charisma and Disenchantment, our edition of Max Weber’s “vocation lectures” [NYR, June 11], but of course we’re not writing simply to say thank you. For all the care and[…]

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  • Rashly Filling the Void

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    In an essay about his landmark novel, Native Son, Richard Wright argued that while the racial identity of his protagonist was essential to the storyline, it was not exclusively tied to the book’s broader meaning. True, Bigger Thomas—that brooding, brutal,[…]

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  • Don’t Wish for a Restoration

    The New York Review of Books Oct 29, 2020 | 12:00 pm

    During the last few years—and increasingly during the last few months—Americans have more and more come to resemble the passengers on the steamboat Fidèle in Herman Melville’s The Confidence Man. A sign hanging from the barbershop bulkhead says “No Trust.”[…]

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