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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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A Taste of Eternity: A Novel by Gisèle Pineau. Lubbock. 2014. Texas Tech University Press. 161 pages. paperback. 9780896728707. Cover design by Ashley Beck. Translated from the French by C. Dickson. The Americas Series. 

 

 

9780896728707FROM THE PUBLISHER -

 

 

   Two women, separate but bound by hope When Sybille arrives in Paris from Guadeloupe with her infant son, she encounters the extravagant and marvelous Lila. Sybille is young and black with her life still ahead of her; an ex-actress, Lila is white and seventy years old. Despite their differences, the women become inseparable. Haunted by memories, Lila confides in Sybille and, among other things, relates the endless cycle of lovers in her life. Her most cherished memories are of Henry, a black man from the British Caribbean whom she met during the Liberation Day celebrations in Paris. Gradually, Sybille and Lila discover that the West Indies and the charm of Guadeloupe create a deep and common bond between them. The narrative leaps from one side of the Atlantic to the other, playing black against white, past against present, rural Caribbean culture against the urban life of Paris and New York. Sybille's memories of her own tragic childhood form a counterpoint to tales of Henry growing up on the island of St. John. The stories contain mysterious and magical elements revolving around one central theme: how fate works to draw lovers apart. Despite repeated defeats, love still survives. In tales and in legends, mocking all obstacles, it circumvents the game of destiny and the tragic vanity of mankind.Pineau Gisele

 

 

Gisèle Pineau is a French novelist, writer, and former psychiatric nurse. Although born in Paris, her origins are Guadeloupean and she has written several books on the difficulties and torments of her childhood as a black person growing up in Parisian society. She now divides her time between France and Guadeloupe.

 

Growing up, C. Dickson travelled extensively with family and lived in all parts of the United States. She left the United States in 1976 for travel in South America, Europe, and Africa and learned French fluently during this time. Now living in France, C. Dickson has acquired dual nationality.

 

 

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Viga-Glums Saga with Tales of Ogmund Bash and Thorvald Chatterbox by John McKinnell (translator). Edinburgh. 1987. Canongate Books/UNESCO. 160 pages. paperback. 0862410843. Unesco collection of representative works. 

 

 

0862410843FROM THE PUBLISHER -

 

 

   Set amid the power struggles of 10th-century Iceland, VIGA-GLUMS SAGA is a tale of cunning, courage, and unscrupulous ambition. Glum, a tough and self-assertive realist, vanquishes his oppressors to regain his ancestral home, and enjoys wealth and power for forty years. Yet in old age and defeat he shows a steadfast courage more admirable than the successful aggression of his youth, and his verses reveal a dignity and pathos in direct contrast to the sly cunning of his triumphant rivals. A distinguished addition to The New Saga Library (General Editor Hermann Pálsson), this translation is based on the version in the Mödruvallabók codex of the mid-14th century.

 

 

John McKinnell is a lecturer in Medieval Literature at the University of Durham. His published work includes articles on Old English poetry, Chaucer, and medieval drama, as well as Icelandic literature and manuscripts.

 

 

 

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A Treatise On Poetry by Czeslaw Milosz. New York. 2001. Ecco Press. 125 pages. hardcover. 0060185244. Jacket design by Angela Voulangas.  Translated from the Polish by the Author & Robert Hass. 

 

 

0060185244FROM THE PUBLISHER -

 

 

   The Nobel Prize-winning poet Czeslaw Milosz began his remarkable A TREATISE ON POETRY in the winter of 1955 and finished it in the spring of 1956. It was published originally in parts in the Polish émigré journal Kultura. Now it is available in English for the first time in this expert translation by the award-winning American poet Robert Hass. A TREATISE ON POETRY is a great poem about some of the most terrible events in the twentieth century. Divided into four sections, the poem begins at the end of the nineteenth century as a comedy of manners and moves with a devastating momentum through World War I to the horror of World War II. Then it takes on directly and plainly the philosophical abyss into which the European cultures plunged. ‘Author's Notes’ on the poem appear at the end of the volume. A stunning literary composition, these notes stand alone as brilliant miniature portraits that magically re-create the lost world of prewar Europe. A TREATISE ON POETRY evokes the European twentieth century, its comedy and terror and grief, with the force and expressiveness of a great novel. A tone poem to a lost time, a harrowing requiem for the century's dead, and a sober meditation on history, consciousness, and art: here is a masterwork that confronts the meaning of the twentieth century with a directness Milosz Czeslawand vividness that are without parallel. 

 

 

Czeslaw Milosz was born in Lithuania in 1911. His books of poetry in English include The Collected Poems, 1931-1987, UNATTAINABLE EARTH, THE SEPARATE NOTEBOOKS, PROVINCES, BELLS IN WINTER, and SELECTED POEMS. He was a member of the American Academy and Institute of Arts and Letters and was awarded the Nobel Prize for Literature in 1980.

 

 

 

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Los Angeles Stories by Ry Cooder. San Francisco. 2011. City Lights Books. 232 pages. paperback. 9780872865198. 

 

 

9780872865198FROM THE PUBLISHER -

 

   ‘Cooder writes with Chandler-esque pepper and an eye for character.’ — Rolling Stone. Los Angeles Stories is a collection of loosely linked, noir-ish tales that evoke a bygone era in one of America's most iconic cities. In post-World War II Los Angeles, as power was concentrating and fortunes were being made, a do-it-yourself culture of cool cats, outsiders, and oddballs populated the old downtown neighborhoods of Bunker Hill and Chavez Ravine. Ordinary working folks rubbed elbows with petty criminals, grifters, and all sorts of women at foggy end-of-the-line outposts in Venice Beach and Santa Monica. Rich with the essence and character of the times, suffused with the patois of the city's underclass, these are stories about the common people of Los Angeles, ‘a sunny place for shady people,’ and the strange things that happen to them. Musicians, gun shop owners, streetwalkers, tailors, door-to-door salesmen, drifters, housewives, dentists, pornographers, new arrivals, and hard-bitten denizens all intersect in cleverly plotted stories that center around some kind of shadowy activity. This quirky love Cooder Ryletter to a lost way of life will appeal to fans of hard-boiled fiction and anyone interested in the city itself.

 

 

Ry Cooder is a world-famous guitarist, singer, and composer known for his slide guitar work, interest in roots music, and more recently for his collaborations with traditional musicians from many countries, including The Buena Vista Social Club. He has composed soundtracks for more than twenty films, including Paris, Texas. Two recent albums were accompanied by stories Cooder wrote to accompany the music. This is his first published collection of stories.

 

 

 

 

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Another English: Anglophone Poems from Around the World by Catherine Barnett and Tiphanie Yanique (editors). New Adams. 2014. Tupelo Press. 368 pages. April 2014. paperback. 9781936797400. Cover design by Josef Beery. 

 

 

9781936797400FROM THE PUBLISHER -

 

 

   Poetry Foundation's Harriet Monroe Poetry Institute. POETS IN THE WORLD Series, Ilya Kaminsky, Series Editor. In this unprecedented anthology, acclaimed poets from around the world select poems from their countries of origin, poems all in English but springing from widely varied voices, histories, and geographies. Readers will find eloquence, urgency, and enchantment. These poems confirm English to be vital and evolving, deployed by revered and emerging poets in Aotearoa/New Zealand (selected by Hinemoana Baker) and Australia (by Les Murray), Canada (by Todd Swift), the Caribbean (by Ishion Hutchinson and five other Caribbean poets), Ghana (by Kwame Dawes), India (by Sudeep Sen), and South Africa (by Rustum Kozain).

 

Catherine Barnett is author of two books of poems: The Game of Boxes (Graywolf, 2012), winner of the James Laughlin Award, and Into Perfect Spheres Such Holes Are Pierced (Alice James, 2004). Her honors include a Whiting Writer's Award and a Guggenheim Fellowship. She teaches at Barnard College, the New School, and New York University, and is currently visiting professor in the Hunter College MFA Program.

 

Tiphanie Yanique is author of How to Escape from a Leper Colony (Graywolf, 2010). Her writing won the 2011 BOCAS Prize for Caribbean Fiction, a Boston Review Prize in Fiction, a Rona Jaffe Foundation Writers Award, a Fulbright, and an Academy of American Poets Prize. Her novel Land of Drowning will be published by Riverhead/Penguin in 2014. She is from the Virgin Islands and is a professor in the MFA program at the New School.

 

 

 

 

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The Hanging: A Thriller by Lotte Hammer and Soren Hammer. New York. 2013. Minotaur Books. 298 pages. June 2013. hardcover. 9780312656645. Cover design by David Baldeosingh Rotstein. Translated from the Danish by Ebba Segerberg. 

 

 

9780312656645FROM THE PUBLISHER -

 

 

   One morning before school, two children find the naked bodies of five men hanging from the gym ceiling. The case leads detective Konrad Simonsen and his murder squad to the school janitor, who may know more about the killings than he is telling. Soon, Simonsen realizes that each of the five murdered men had a dark and terrible secret in common. And when Simonsen's own daughter is targeted, he must race to find the culprit before his whole world is destroyed. Published in twenty countries around the world, with more than 150,000 copies sold in Denmark alone, this book introduces a brother and sister duo who have taken the thriller world by storm. Fast-paced, suspenseful, and brilliantly written, The Hanging is a stunning crime novel from Lotte and Soren Hammer, two Danish authors whose international fame is exploding.

 

 

Hammer Lotte and Hammer SorenLotte Hammer (born 1955) finished her training as a nurse in 1977. She has since worked and lived many places, such as Greece, Germany, the North Sea’s oil rigs and the American air force bases in Greenland. From 1995 to 2010 she was head of the Public Eldercare in Halsnaes, Denmark. From 2006 to 2010 she was actively involved in local politics and has been writing full time since 2010. Søren Hammer (born 1952) holds a teaching degree, but has primarily been working as a programmer and a lecturer at Copenhagen University College of Engineering. Like his sister Søren is also politically active and has been writing full time since 2010.. 

 

 

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Echo's Bones by Samuel Beckett. New York. 2014. Grove Press. 121 pages. July 2014. hardcover. 9780802120458. Jacket design by Charles Rue Woods. Edited by Mark Nixon. 

 

9780802120458FROM THE PUBLISHER -

 

 

   In 1933, Chatto & Windus agreed to publish Samuel Beckett's More Pricks Than Kicks, a collection of ten interrelated stories—his first published work of fiction. At his editor's request, Beckett penned an additional story, ‘Echo's Bones’, to serve as the final piece. However, he’d already killed off several of the characters—including the protagonist, Belacqua—throughout the book, and had to resurrect them from the dead. The story was politely rejected by his editor, as it was considered too imaginatively playful, too allusive, and too undisciplined—qualities now recognized as quintessentially Beckett. As a result, ‘Echo's Bones’ (not to be confused with the poem and collection of poems of the same title) remained unpublished—until now, nearly eight decades later. This little-known text is introduced by the preeminent Beckett scholar, Dr. Mark Nixon, who situates the work in terms of its biographical context and textual references, examining how it is a vital link in the evolution of Beckett's early work. Beckett confessed that he included ‘all I knew’ in the story. It harnesses an immense range of subjects: science, philosophy, religion, literature; combining fairy tales, gothic dreams, and classical myth. This posthumous publication marks the unexpected and highly exciting return of a literary legend.

 

 

Beckett SamuelSamuel Barclay Beckett (13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour. Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the ‘Theatre of the Absurd‘. His work became increasingly minimalist in his later career. Beckett was awarded the 1969 Nobel Prize in Literature ‘for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation’. He was elected Saoi of Aosdána in 1984..

 

 

   

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The Temple of Iconoclasts by Juan Rodolfo Wilcock. San Francisco. 2000. Mercury House. 190 pages. paperback. 1562791192. Cover design by Kirsten Janese-Nelson. Cover art: 'The School of Athens,' (1510-1512) by Raphael (1483-1520). Translated from the Italian by Lawrence Venuti. 

 

1562791192FROM THE PUBLISHER -

 

 

   ‘Compellingly whimsical, alienated, pseudo-scientific, bizarre: all these adjectives describe this fiction in the form of a short reference work, the first book by admired Argentinian-Italian novelist Wilcock to be published in English. This book (his best-known in Italy) consists of short essays describing the lives of obsessive eccentrics, some real and some imaginary. Venuti renders Wilcock’s Italian into lucid, captivating English, and offers a biographical introduction. [Perfect for] lovers of postmodern mind games.’ —Publishers Weekly. ‘This collection of biographical stories, mostly imagined, a few somewhat factual, is both deliciously eccentric and wonderfully entertaining. Taken together, these false lives, at turns surreal, absurd, poignant, or campy, present a wise and timely commentary.’ —Booklist. Italian author Wilcock (1919-78) wrote many fascinating works -- including poetry, short fiction, novels, literary criticism, drama in verse and prose, and cultural journalism -- but this outstanding translation is the first to appear in English. Using short, encyclopaedic/biographical entries, Wilcock profiles people who are definitely iconoclasts. They tear down traditional beliefs and scientific notions on many different topics, from utopias to biology, offering a riveting array of ideas. Some real people with iconoclastic bents are included along with some bizarre fictional characters.

 

 

Wilcock Juan RodolfoBorn in Buenos Aires, JUAN RODOLFO WILCOCK (1919-78) was a member of the circle of innovative writers that included Jorge Luis Borges, Adolfo Bioy Casares, and Silvina Ocampo. Later self-exiled in Rome, Wilcock became a leading Italian writer, publishing numerous books of poetry, drama, journalism, fiction, and translation.

 

 

LAWRENCE VENUTI is a distinguished translator of Italian literature as well as an internationally known translation theorist and historian. Recent translations include I.U. Tarchetti’s Fantastic Tales and Passion: A Novel, both for Mercury House. His translations have received awards and grants from PEN American Center, the NEA, and the NEH.

 

 

 

   

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Hemingway, Cuba, and the Cuban Works by Larry Grimes and Bickford Sylvester (editors). Kent. 2014. Kent State University Press. 376 pages. hardcover. 9781606351819. 

 

 

9781606351819FROM THE PUBLISHER -

 

 

   The profound impact of Cuba on Ernest Hemingway's life and work Ernest Hemingway resided in Cuba longer than he lived anywhere else in the world, yet no book has been devoted to how his life in Cuba influenced his writing. Hemingway, Cuba, and the Cuban Works corrects this omission by presenting contributions by scholars and journalists from the United States, Russia, Japan, and Cuba, who explore how Hemingway absorbed and wrote from the culture and place around him. The volume opens with an examination of Hemingway s place in Cuban history and culture, evaluations of the man and his work, and studies of Hemingway's life as an American in Cuba. These essays look directly at Hemingway s Cuban experience, and they range from the academic to the journalistic, allowing different voices to speak and different tones to be heard. The first section includes reflections from Gladys Rodriguez Ferrero, former director of the Museo Finco Vigía, who describes the deep affection Cubans hold for Hemingway; and recollections from the now-adult members of Gigi's All Stars, the boys baseball team that Hemingway organized in the 1940s. In the second part of the collection, Hemingway scholars among them, Kim Moreland, James Nagel, Ann Putnam, and H. R. Stoneback employ a variety of critical perspectives to analyze specific works set in Cuba or on its Gulf Stream and written during the years that Hemingway actually lived in Cuba. Also included are a long letter by Richard Armstrong describing the Machado revolution in Cuba and Hemingway's photographs of fishermen at Cojimar, which provide vivid visual commentary on The Old Man and the Sea. Appended to the collection are Kelli Larson's bibliography of scholarly writing on Hemingway's Cuban works and Ned Quevedo Arnaiz s sample of Cuban writing on those works. A chronology placing Hemingway s life in Cuba beside historical events is also provided. This important volume illuminates Hemingway's life and work during the Cuban years, and it will appeal to Hemingway fans and scholars alike.

 

 

Larry Grimes is emeritus professor of English in the Perry and Aleese Gresham Chair in Humanities at Bethany College. He is the author of The Religious Design of Hemingway's Early Fiction. His essays and reviews have appeared in several anthologies and journals, including The Hemingway Review, Modern Fiction Studies, and Studies in Short Fiction.

Bickford Sylvester, emeritus professor, University of British Columbia, has organized conferences and published widely on the work of Ernest Hemingway. He has served on the board of the Hemingway Foundation and the editorial board of the Hemingway Review.

 

 

   

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The Long Shadow: A Novel by Liza Marklund. New York. 2014. Washington Square Press/Emily Bestler Books. 530 pages. April 2014. paperback. 9781451607031. Cover design by Anna Dorfman. Translated from the Swedish by Neil Smith.  
 

 

9781451607031FROM THE PUBLISHER -

 

 

   In this follow-up to Liza Marklund's 'stunningly great' (BookReporter.com) thriller Lifetime, newspaper reporter Annika Bengtzon is left to pick up the pieces after a shocking and complex murder case turns her world upside down and leaves her personal life in shambles. Meanwhile, an intruder brutally murders an entire family on Spain's Costa del Sol, and Annika must fly to the glitzy locale to report on the case. Upon arrival she discovers that a fifth family member is unaccounted for. Soon, the killers are found, but they too have met their demise-in the same grisly manner they killed the Söderström family. Amid a culture weighed down by drug smuggling and money laundering, Annika must try to find the missing girl before it's too late.

 

 

Marklund LizaEva Elisabeth ‘Liza’ Marklund (born 9 September 1962) is a Swedish journalist and crime writer. She was born in Pålmark near Piteå, Norrbotten. Her novels, most of which feature the fictional character Annika Bengtzon, a newspaper journalist, have been published in thirty languages. Marklund is the co-owner of Sweden's third largest publishing house, Piratförlaget and a columnist in the Swedish tabloid Expressen. She is also a Unicef ambassador. The Postcard Killers, a crime thriller written in collaboration with American bestselling author James Patterson, is Marklund's twelfth book. It was published on January 27, 2010, in Sweden, and became number one on the Swedish bestseller list in February 2010. It was published on 16 August 2010 in the United States. At the end of August, it reached number one in the New York Times best-seller list, making Liza Marklund the second Swedish author (the first one being Stieg Larsson with the Millennium Trilogy) ever to reach the number one spot. Marklund lives in Spain with her husband Mikael. Since her debut in 1995, Liza Marklund has written eight crime novels and co-authored two documentary novels with Maria Eriksson and one non-fiction book about female leadership with Lotta Snickare. Marklund's crime novels featuring crime reporter Annika Bengtzon have become international bestsellers. She won the ‘Poloni Prize’ (Polonipriset) 1998 for ‘Best Swedish Crime Novel by a Female Writer’ and ‘The Debutant Prize’, (Debutantpriset) 1998 for ‘Best First Novel of the Year’ with the crime novel Sprängaren (The Bomber), published in 1998. Marklund was named Author of the Year in Sweden 1999 by the Swedish trade union SKTF, won the radio network RixFM's Swedish Literary Prize in 2007, and was selected the fifteenth most popular woman in Sweden of 2003 and the fourth most popular woman in Sweden of 2004 in a yearly survey with 1,000 participants, conducted by ICA-kuriren, a publication published by a Swedish supermarket chain. Her books have been number one bestsellers in all five Nordic countries. In 2002 and 2003, two of Liza Marklund's crime novels were listed on the international bestseller lists by the online magazine Publishing Trends, Prime Time ranking #13 and The Red Wolf ranking #12. In Scandinavia and Germany, her non-fiction novels have become the center of a heated controversy.

   

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The Collected Poems of Odysseus Elytis by Odysseus Elytis. Baltimore. 1997. Johns Hopkins University Press. 596 pages. hardcover. 0801849241. Jacket design by Glen Burris. Jacket Illustration: 'The Clear Truth,' collage by Odysseus Elytis. Translated from the Greek by Jeffrey Carson and Nikos Sarris. Introduction and Notes by Jeffrey Carson. 

 

 

0801849241FROM THE PUBLISHER -

 

 

   ‘Jeffrey Carson--a poet himself with a kindred sensibility to Elytis's--has admirably succeeded in bringing across the Greek poet's lyrical voice and the richness of his diction. This first translation of Elytis's complete works is accurate and elegant, a work of diligence and love that affords the English-speaking reader a picture of the evolution of the poet's work.’--Dorothy M-T. Gregory, The Ionian University, Corfu. In awarding Odysseus Elytis the 1979 Nobel Prize in literature, the Swedish Academy declared that he had been selected ‘for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clearsightedness modern man's struggle for freedom and creativeness.’ Elytis was largely unknown outside his native Greece before winning literature's highest honor, and much of his work has not been widely available in English. The Collected Poems is the first collection in any language, including Greek, of Elytis's complete poetry, a body of work marked by a profound love of hope, freedom, beauty, and Greek tradition. Twenty years in preparation, this volume includes his early poems, influenced in equal parts by surrealism and the landscape and climate of Greece and the Aegean Sea; his long, epic poem connecting Greece's--and his own--Second World War experience to the myth of the eternal Greek hero, Song Heroic and Mourning for the Lost Second Lieutenant of the Albanian Campaign; his most ambitious work, The Axion Esti, which the Swedish Academy praised as ‘one of 20th-century literature's most concentrated and ritually faceted poems’; and his mature poetry, from Maria Nephele, a poem in two voices, to his last collection, West of Sorrow, written the summer before his death in 1996 at age 84. Throughout his long career as a poet, Elytis remained true to his vision of a poetry that addresses the power of language and links Greece's two thousand years of myth and history with the social and psychological demands of the modern age. Renowned for their astonishing lyricism and profound optimism, Elytis's poems employ surreal imagery and a remarkable variety of forms to capture the natural, sun-soaked beauty of Greece and to give voice to the contemporary Greek--and to a more universally human--consciousness. PRAISE FOR ODYSSEUS ELYTIS: ‘Perhaps the most pervasive presence throughout his work. is the physical experience of Greece: the sun's intense illumination, the seas strewn with jewel-like islands, the life of its proud people beneath the invasion of 20th-century culture and politics. From these Elytis crafts powerful and sparkling lyrics, sometimes bitter, often full of wonder and celebration.’ -- Christian Science Monitor. ‘Elytis is a paragon of enthusiasm, of protean moods, multiple forms; his purpose, in essence: the deification of the sun and the body of man.’ -- Hudson Review. ‘A poet of large achievement. His work. has a kind of passionate optimism about the possibilities of his small Aegean world.’ -- New York Review of Books.

 

 

Elytis OdysseusODYSSEUS ELYTIS (November 2, 1911, Heraklion, Greece - March 18, 1996, Athens, Greece) was born in Heraklion, Crete, in 1911. He studied law at the University of Athens. His poems began to appear in periodicals in 1935; since the publication of his first book of poems in 1940, ten further volumes of his poetry have appeared. He has also published three collections of essays, and translations from a wide range of modern writers including Rimbaud, Genet, Mayakovsky, Lorca, Ungaretti and Brecht. In 1940-1 he took part in the campaign against the Italian fascists in Albania. During the Nazi occupation he was one of the most prominent poets of the Greek resistance. He lived in Paris from 1948-52; since then his home has been in Athens. The Nobel Prize was awarded to him 'for his poetry which against the background of Greek tradition depicts with sensuous strength and intellectual clearsightedness modern man's struggle for freedom and creativeness.’

 

 

 

 

   

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The Deadly Percheron by John Franklin Bardin. New York. 1988. Penguin Books. 191 pages. paperback. 0140107339. Cover illustration by Peter Maynard. 

 

 

0140107339FROM THE PUBLISHER -

 

 

   Jacob Blunt seems perfectly sane to psychiatrist George Matthews, except for the hibiscus flower in his hair. But Jacob himself is not so sure. After all, he is, in the employ of certain ‘leprechauns’ who are paying him to whistle at Carnegie Hall and to give away money. George, none the less, begins to trust Jacob. Even when the young man is suspected of committing a brutal murder. From then on, George becomes embroiled in a nightmare world that may or may not be of his own making. Truth and fiction, memory and reality blur as the psychiatrist is systematically robbed of his freedom, his identity and his past. Somewhere in the back of his mind he must know something critical, a secret that someone is doing their best to make him forget. ‘There is a visionary lucidity about Bardin’s nightmares that makes his surrealist logic both convincing and disturbing’ - Julian Symons. Between 1946 and 1948 John Franklin Bardin produced 3 quite extraordinary novels, all distinguished by a hallucinatory intensity of feeling and an absorption in morbid psychology remarkable for the period. The Deadly Percheron, The Last of Philip Banter and Devil Take The Blue-Tail Fly are unlike anything else in modern crime literature.

 

 

Bardin John FranklinJohn Franklin Bardin (November 30, 1916 - July 9, 1981) was an American crime writer, best known for three novels he wrote between 1946 and 1948. Bardin was born in Cincinnati, Ohio, where his father was a well-to-do coal merchant and his mother an office worker. Nearly all of his immediate family died of various illnesses, however, with an elder sister dying of septicaemia, and, a year later, his father succumbing to a coronary and leaving little money. Bardin, who by then had graduated from Walnut High School, was studying engineering at the University of Cincinnati, and had to leave in his first year in order to work full-time as a ticket-taker and bouncer at a roller-skating rink, and later as a night clerk at a bookstore, where he would educate himself by reading. ‘Mother had become a paranoid schizophrenic by then,’ Bardin said. ‘It was on visits to her that I first had an insight into the 'going home' hallucinations’ that would later form the core of his third novel, Devil Take the Blue-Tail Fly. Other jobs, held in some combination of Cincinnati and New York City, to which he moved before turning 30, including working as a bench hand in a valve foundry; in the advertising department of a bank; in the production department of an advertising agency; and doing freelance market research for Barron Collier. In New York, he began working in 1944 for the ad agency Edwin Bird Wilson, Inc., and from 1946 to 1948 completed the three novels for which he would be best known: The Deadly Percheron, The Last of Philip Banter, and Devil Take the Blue-Tail Fly, published over the course of 18 months, though that last not in the United States until the 1960s. Bardin would eventually write 10 novels over the course of his lifetime. His magazine articles include ‘The Disadvantages of Respectability’, a review of the book Father of the Man: How Your Child Gets His Personality, by W. Allison Davis and Robert J. Havighurst, in The Nation, May 3, 1947. After gradually rising to become vice president and director of Edwin Bird Wilson, Bardin left that agency in 1963. Two years earlier he had begun teaching creative writing and advertising at the New School for Social Research, which he would continue to do through 1966. That year he worked as associate publicity director for the United Negro College Fund, and from 1967 to 1968, he wrote for the United Jewish Appeal of Greater New York. Turning to magazines, he then served as an editor at Coronet through 1972. For the next two years at least, Bardin lived in Chicago, Illinois, where he served as managing editor of the American Medical Association magazine Today's Health through 1973; and through 1974 originated, and served as managing editor of, two American Bar Association Press magazines, Learning and the Law and Barrister. While his official site states he returned to New York in 1974, one source places him in Chicago still in 1978. He resided in New York City's East Village until his death on July 9, 1981. In 1946, Bardin entered a period of intense creativity during which he wrote three crime novels that were relatively unsuccessful at first, one of them not even being published in America until the late 1960s, but which have since become well-regarded cult novels. He went on to write four more novels under the pen names Gregory Tree or Douglas Ashe; the writer Julian Symons, in his introduction to an omnibus collection of Bardin's first three works, called those later novels ‘slick, readable, unadventurous crime stories’. Under his own name, Bardin also wrote three more novels, the first two of which Symons called, respectively, ‘an interesting but unsuccessful experiment’ and ‘disastrously sentimental’. His best-regarded works, The Deadly Percheron, The Last of Philip Banter and Devil Take the Blue-Tail Fly experienced renewed interest in the 1970s when they were discovered by British readers. Symons, who compiled the omnibus, had difficulty tracking down information on Bardin. He was unable to find any American critic who had heard of him and even his original publishers and agents did not know how to contact him or even whether he was still alive. Symons wrote that Third Degree, the journal of Mystery Writers of America, found Bardin in Chicago, editing an American Bar Association magazine, and willing and eager to see his work republished. The Deadly Percheron tells the story of a psychiatrist who encounters a patient with apparent delusions and a strange story to tell, but who does not otherwise exhibit signs of mental instability. His story turns out to have at least some connection to reality, drawing the psychiatrist into a complicated alternate identity that changes his life. The Last of Philip Banter sees a man receiving (or apparently writing) disturbing predictions about his life. The predictions partly become true, the effect of the predictions themselves being destructive and mind-altering. Devil Take the Blue-Tail Fly, perhaps his most acclaimed work, is a complicated story told almost entirely in terms of the psychology of the protagonist Ellen, a mental patient who experiences mental disintegration. Bardin gave his literary influences as Graham Greene, Henry Green and Henry James. In the film Mona Lisa one of the characters is reading The Deadly Percheron and makes several conversational references to it.

   

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Comedy of Vanity and Life-Terms by Elias Canetti. New York. PAJ Publications. 160 pages. paperback. 0933826311. Cover design by steven Hoffman. Translated from the German by Gitta Henegger. Introduction by Klaus Volker. 

 

 

0933826311FROM THE PUBLISHER -

 

 

   Appearing for the first time in English, two plays by Elias Canetti who was awarded the 1981 Nobel Prize for Literature. COMEDY OF VANITY, a dark satire on mass movements and narcissism, is a prophetic vision of fascism; in LIFE TERMS everybody in a new society is assigned the number of years he or she may live. Canetti’s plays provide a missing link in the European dramatic heritage. Klaus Volker has written an introduction to the plays. Among the many books of Elias Canetti are Canetti EliasCROWDS AND POWER, AUTO-DA-FÉ, THE CONSCIENCE OF WORDS, THE TORCH IN MY EAR, and THE HUMAN PROVINCE. ‘Canetti’s exacting presence honors literature’ - George Steiner. ‘Canetti is a writer of unusual dramatic power’ - New York Times.

 

 

Elias Canetti (1905-1994), Bulgarian-born author of the novel Auto-da-Fé, the sociological study Crowds and Power, and three previously published memoir volumes (The Tongue Set Free, The Torch in my Ear, and The Play of the Eyes), won the Nobel Prize for Literature in 1981.

 

 

 

   

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Hunting Season: A Novel by Andrea Camilleri. New York. Penguin Books. 152 pages. paperback. 9780143126539. Cover design by Kristen Haff and John Hendrix. Cover illustration by John Hendrix. Translated from the Italian by Stephen Sartarelli. 

 

 

9780143126539FROM THE PUBLISHER -

 

 

   From internationally bestselling author Andrea Camilleri, a brilliant, bawdy comedy that will surprise even the most die-hard Montalbano fans. In 1880s Vigàta, a stranger comes to town to open a pharmacy. Fofò turns out to be the son of a man legendary for having a magic garden stocked with plants, fruits, and vegetables that could cure any ailment-a man who was found murdered years ago. Fofò escaped, but now has reappeared looking to make his fortune and soon finds himself mixed up in the dealings of a philandering local marchese set on producing an heir. An absurd, quirky murder mystery that recalls the most hilarious and farcical scenes of Shakespeare and The Canterbury Tales, Hunting Season will introduce American readers to a refreshing new aspect of one of our best-loved writers.

 

 

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 a poet and translator.ndrea Camilleri, a mega-bestseller in Italy and Germany, is the author of the New York Times-bestselling Inspector Montalbano mystery series, as well as historical novels which take place in nineteenth-century Siciliy, including Hunting Season. The Montalbano series has been translated into thirty-two languages and was adapted for Italian television. The Potter's Field, the thirteenth book in the series, was awarded the Crime Writers Association's International Dagger Award for the best crime novel translated into English, and was longlisted for the IMPAC Dublin Literary Award.

 

 

Stephen Sartarelli is an award-winning translator and the author of three books of poetry.

 

 

   

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