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Water, its use and abuse, trickles through Great American Desert, a story collection by Terese Svoboda that spans the misadventures of the prehistoric Clovis people to the wanderings of a forlorn couple around a pink pyramid in a sci-fi prairie. In "Dutch Joe," the eponymous hero sees the future from the bottom of a well in the Sandhills, while a woman tries to drag her sister back from insanity in "Dirty Thirties." In "Bomb Jockey," a local Romeo disposes of leaky bombs at South Dakota''s army depot, while a family quarrels in "Ogallala Aquifer" as a thousand trucks dump chemical waste from a munitions depot next to their land. Bugs and drugs are devoured in "Alfalfa," a disc jockey talks her way out of a knifing in "Sally Rides," and an updated Pied Piper begs parents to reconsider in "The Mountain." The consequences of the land''s mistreatment is epitomized in the final story by a discovery inside a pink pyramid. In her arresting and inimitable style, Svoboda''s delicate handling of the complex dynamics of family and self seeps into every sentence of these first-rate short stories about what we do to the world around us-and what it can do to us. 

In her new poetry collection, Lethal Theater, Susannah Nevison reckons with the rituals of violence that underpin the American prison system, both domestically and abroad. Exploring the multiple roles of medicine in incarceration, Nevison's poems expose the psychological and physical pain felt by the prison system's inhabitants. Nevison asks readers to consider the act and complications of looking-at the spectacle of punishment, isolation, and interrogation, as mapped onto incarcerated bodies-by those who participate in and enforce dangerous prison practices, those who benefit from the exploitation of incarcerated bodies, and those who bear witness to suffering. Unfolding in three sections, Nevison's poems fluidly move among themes of isolation and violence in prisons during period of war, the history of medical experimentation on domestic prisoners, and the intersection between anesthesia used in hospital settings and anesthesia used in cases of lethal injection. Lethal Theater is an attempt to articulate and make visible a grotesque and overlooked part of American pain.

David Young combines autobiography, poetry, nature writing, and food writing in a remarkable book that celebrates life without denying its losses and mysteries. Organized by the months of the year, Seasoning traces the passing of time and the cycles of loss and renewal, meditating on the human place in the natural world. Set in northeastern Ohio, where the author has lived and worked for close to forty years, Seasoning demonstrates that an "unremarkable" place--no grand scenery, no special claims to beauty--can be the perfect setting in which to learn about animals, plants, food, geology, history, weather, and time. Coming to terms with place and time, and connecting them, the author suggests, may be our true task in life. Among the many distinctive features of this lovely book are the recipes, arranged seasonally and revealing Young's preference for natural foods prepared with care.

A fascinating meld of two scholars' research and conclusions, The Imagination of Class is a synthetic journey through middle-class Victorian discourse posed by poverty in the midst of plenty-but not that alone. Rather Dan Bivona and Roger B. Henkle argue that the representation of abject poverty in the nineteenth century also displaced anxieties aroused by a variety of challenges to Victorian middle class masculinity. The book's main argument, in fact, is that the male middle class imagery of urban poverty in the Victorian age presents a complex picture, one in which anxieties about competition, violence, class-based resentment, individuality, and the need to differentiate oneself from the scions of inherited wealth influence mightily the ways in which the urban poor are represented. In the representations themselves, the urban poor are alternately envisioned as sentimentalized (and feminized) victims who stimulate middle class affective response, as the objects of the professionalized discourses of the social sciences (and social services), and as an often hostile social force resistant to the "culturalizing," taming processes of a maternalist social science.Through carefully nuanced discussions of a variety of Victorian novelists, journalists, and sociological investigators (some well known, like Dickens, and others less well known, like Masterman and Greenwood), the book offers new insight into the role played by the imagination of the urban poor in the construction of Victorian middle class masculinity. Whereas many scholars have discussed the feminization of the poor, virtually no one has addressed how the poor have served as a site at which middle class men fashioned their own class and gender identity.

If Victorian women writers yearned for authorial forebears, or, in Elizabeth Barrett Browning's words, for "grandmothers," there were, Gail Turley Houston argues, grandmothers who in the late eighteenth and early nineteenth centuries envisioned powerful female divinities that would reconfigure society. Like many Victorian women writers, they experienced a sense of what Barrett Browning termed "mother-want" inextricably connected to "mother-god-want." These millenarian and socialist feminist grandmothers believed the time had come for women to initiate the earthly paradise that patriarchal institutions had failed to establish. Recuperating a symbolic divine in the form of the Great Mother-a pagan Virgin Mary, a female messiah, and a titanic Eve-Joanna Southcott, Eliza Sharples, Frances Wright, and others set the stage for Victorian women writers to envision and impart emanations of puissant Christian and pagan goddesses, enabling them to acquire the authorial legitimacy patriarchal culture denied them. Though the Victorian authors studied by Houston-Barrett Browning, Charlotte Brontë, Florence Nightingale, Anna Jameson, and George Eliot-often masked progressive rhetoric, even in some cases seeming to reject these foremothers, their radical genealogy reappeared in mystic, metaphysical revisions of divinity that insisted that deity be understood, at least in part, as substantively female.

There has never been any shortage of interest in philology, its status, its history, or its origins. Today, after more than twenty years of serial "returns to philology" under the banner of deconstruction, the new medieval studies, critical bibliography, and a particular kind of globally aware activist criticism, philology has again become available as a respectable posture for contemporary literary scholars. But what is "philology," and how can we attend to it, either as a contemporary practice or as an age-old object of endorsement and critique? In this volume, edited by Sean Gurd, noted scholars discuss the history of philology from antiquity to the present. This book addresses a wide variety of authors, documents, and movements, among them Greek papyri, Latin textual traditions, the Renaissance, eighteenth-century antiquarianism, and deconstruction. It is too easy to see philology as the bearer of an antiquated but forceful authority. When philologists take up the tools of textual criticism, they contribute to the very form of texts; seeking to articulate the protocols of correct interpretation, they aspire to be the legislators of reading practice. Nonetheless, Philology and Its Histories argues that philology is not a conservative or ideologically loaded master-discourse, but a tradition of searching, fundamentally ungrounded, dealing with the insecurity of questions rather than the safety of answers. For good or ill, philology is where literature happens; we do well to pay heed to it and to its changes over the course of millennia.

Narrative Structures and the Language of the Self by Matthew Clark offers a new way of thinking about the interrelation of character and plot. Clark investigates the characters brought together in a narrative, considering them not as random collections but as structured sets that correspond to various manifestations of the self. The shape and structure of these sets can be thought of as narrative geometry, and various geometries imply various theories of the self. Part One, "Philosophical Fables of the Self," examines narratives such as The Talented Mr. Ripley,A Farewell to Arms,A Separate Peace, and The Master of Ballantrae in order to show successively more complex versions of the self as modeled by Descartes, Hegel, Freud, and Mead. Part Two, "The Case of the Subject," uses Case Grammar to extend the discussion to additional roles of the self in narratives such as The Waves,The Great Gatsby,Fifth Business, and Howards End as examples of the self as experiencer, the self as observer, the instrumental self, and the locative self. The book ends with an extended analysis of the subject in Hartley's The Go-Between. Throughout, the discussion is concerned with practical analysis of specific narratives and with the development of an understanding of the self that moves beyond the simple dichotomy of the self and the other, the subject and the object.

Tragic Effects: Ethics and Tragedy in the Age of Translation confronts the peculiar fascination with Greek tragedy as it shapes the German intellectual tradition, with particular focus on the often controversial practice of translating the Greeks. Whereas the tradition of emulating classical ideals in German intellectual life has generally emerged from the impulse to identify with models, the challenge of translating the Greeks underscores the linguistic and historical discontinuities inherent in the recourse to ancient material and inscribes that experience of disruption as fundamental to modernity.Friedrich Hölderlin's translations are a case in point. Regarded in his own time as the work of a madman, his renditions of Sophoclean tragedy intensify dramatic effect with the unsettling experience of familiar language slipping its moorings. His attention to marking the distances between ancient source text and modern translation has granted his Oedipus and Antigone a distinct longevity as objects of discussion, adaptation, and even retranslation. Cited by Walter Benjamin, Martin Heidegger, Bertolt Brecht, and others, Hölderlin's Sophocles project follows a path both marked by various contexts and tinged by persistent quandaries of untranslatability.Tragedy has long functioned as a cornerstone for questions about ethical life. By placing emphasis on processes of translation and adaptation, however, Tragic Effects approaches the question of ethics from a perspective informed by recent discourse in translation studies. Reconstructing an ancient text in this context requires negotiating the difficult tension between comprehending the distant past and preserving its radical singularity.

"Because it represents the first scholarly effort to establish texts as close as possible to the intentions of the author, this Centenary Edition makes obsolete all previous editions, notorious for their textual corruption. An eminent staff . . . has analyzed and synthesized the evidence of all MSS and worthwhile printed editions. Each volume includes a well documented introduction concerning such matters as circumstances leading to composition and history of publication as well as textual notes on alterations in the MSS, editorial emendations, etc." --Choice"The Centenary Edition, which has been producing weighty volumes of definitively edited texts of Hawthorne for a full generation, is now the sine qua non of Hawthorne scholarship. As an example of editorial care and research thoroughness it has been a model for the profession and as a physical object a model for publishers. In addition to the immensely important achievement of producing fully accurate texts of the romances, tales, and sketches, the Centenary editors have made available, for the very first time, all of the various Notebooks and letters. For the letters, especially, the wait has been long but the result is gratifying. Reading straight through the Centenary's six volumes of letters is a self-indulgent pleasure that brings us markedly closer to the man than we can get in any other way." --American LiteratureRepresenting decades of work, this is the definitive edition of Hawthorne's works. Each volume includes comprehensive notes and explanatory material.I: The Scarlet Letter $62.95 cloth 0-8142-0059-1II: The House of the Seven Gables $69.95 cloth 0-8142-0060-5III: The Blithedale Romance and Fanshawe $72.95 cloth 0-8142-0061-3IV: The Marble Faun $83.95 cloth 0-8142-0062-1V: Our Old Home $72.95 cloth 0-8142-0002-8VI: True Stories from History and Biography $72.95 cloth 0-8142-0157-1VII: A Wonder Book and Tanglewood Tales $72.95 cloth 0-8142-0158-XVIII: The American Notebooks $98.95 cloth 0-8142-0159-8IX: Twice-told Tales $83.95 cloth 0-8142-0202-0X: Mosses from an Old Manse $83.95 cloth 0-8142-0203-9XI: The Snow Image and Uncollected Tales $72.95 cloth 0-8142-0204-7XII: The American Claimant Manuscripts $83.95 cloth 0-8142-0251-9XIII: The Elixir of Life Manuscripts $98.95 cloth 0-8142-0252-7XIV: The French and Italian Notebooks $98.95 cloth 0-8142-0256-XXV: The Letters, 1813-1843 $98.95 cloth 0-8142-0363-9XVI: The Letters, 1843-1853 $98.95 cloth 0-8142-0364-7XVII: The Letters, 1853-1856 $83.95 cloth 0-8142-0365-5XVIII: The Letters, 1857-1864 $98.95 cloth 0-8142-0383-3XIX: The Consular Letters, 1853-1855 $83.95 cloth 0-8142-0384-1XX: The Consular Letters, 1856-1857 $83.95 cloth 0-8142-0462-7XXI: The English Notebooks, 1853-1856 $98.95 cloth 0-8142-0670-0XXII: The English Notebooks, 1856-1860 $98.95 cloth 0-8142-0671-9XXIII: Miscellaneous Prose and Verse $98.95 cloth 0-8142-0644-1

Bringing together scholars from literary, historical, and religious studies,Constructing Nineteenth-Century Religioninterrogates the seemingly obvious category of "religion." This collection argues that any application of religion engages in complex and relatively modern historical processes. In considering the various ways that nineteenth-century religion was constructed, commodified, and practiced, contributors to this volume "speak" to each other, finding interdisciplinary links and resonances across a range of texts and contexts. The participle in its title-Constructing-acknowledges that any articulation of nineteenth-century religion is never just a work of the past: scholars also actively construct religion as their disciplinary assumptions (and indeed personal and lived investments) shape their research and findings. Constructing Nineteenth­Century Religion newly analyzes the diverse ways in which religion was debated and deployed in a wide range of nineteenth­century texts and contexts. While focusing primarily on nineteenth­century Britain, the collection also contributes to the increasingly transnational and transcultural outlook of postsecular studies, drawing connections between Britain and the United States, continental Europe, and colonial India.

David Shields's The Trouble with Men: Reflections on Sex, Love, Marriage, Porn, and Power is an immersion into the perils, limits, and possibilities of human intimacy. All at once a love letter to his wife, a nervy reckoning with his own fallibility, a meditation on the impact of porn on American culture, and an attempt to understand marriage (one marriage, the idea of marriage, all marriages), The Trouble with Men is exquisitely balanced between the personal and the anthropological, nakedness and restraint. While unashamedly intellectual, it's also irresistibly readable and extremely moving. Over five increasingly intimate chapters, Shields probes the contours of his own psyche and marriage, marshalling a chorus of other voices that leaven, deepen, and universalize his experience; his goal is nothing less than a deconstruction of eros and conventional masculinity. Masterfully woven throughout is an unmistakable and surprisingly tender cri de coeur to his wife. The risk and vulnerability on display are in the service of radical candor, acerbic wit, real emotion, and profound insight-exactly what we've come to expect from Shields, who, in an open invitation to the reader, leaves everything on the page.

This new study explores how evangelicalism played a vital role in the development of the Victorian novel. In contrast to those who see the evangelical movement as trivial to our histories of the novel and part of the losing side in religion's battle with secularity, Good Words: Evangelicalism and the Victorian Novel examines fiction by major writers of the nineteenth century-Thackeray, Dickens, Wood, MacDonald, Collins, and Butler-and reveals the extent to which the novel was shaped by evangelical thought and practice.Rather than getting lost in historical and theological rabbit holes, Good Words invites readers to think about why evangelicalism still matters for the stories we tell about fiction in the Victorian period. The result has major implications for our understanding of the Victorian novel, our conception of the relationship between nineteenth-century literature and religion, the way in which we think about evangelical culture in the modern world, and our ideas about the practices and protocols of scholarly reading.

It is well understood that the president is a powerful agenda-setting influence in Congress. But how exactly does the president, who lacks any formal power in early stages of the legislative process, influence the congressional agenda? In The Presidential Agenda, Roger T. Larocca argues that the president's agenda-setting influence arises from two informal powers: the ability to communicate directly to voters and the ability to control the expertise of the many executive agencies that advise Congress on policy.¿Larocca develops a theoretical model that explains how the president can raise the public salience of issues in his major addresses, long accepted as one of the president's strongest agenda-setting tools. He also develops a theoretical model that explains how control over executive agency expertise yields a more reliable and persistent influence on the congressional agenda than presidential addresses.The Presidential Agenda tests these theoretical models with an innovative empirical study of presidential agenda setting. Using data from all House and Senate Commerce Committee bills from 1979 to 2002, Larocca converts information about bills into information about policy issues and then traces the path of presidential influence through the committee and floor stages of legislative consideration.

From the rise of Nazism to the conflict in Kashmir in 2008, nationalism has been one of the most potent forces in modern history. Yet the motivational power of nationalism is still not well understood. In Understanding Nationalism: On Narrative, Cognitive Science, and Identity, Patrick Colm Hogan begins with empirical research on the cognitive psychology of group relations to isolate varieties of identification, arguing that other treatments of nationalism confuse distinct types of identity formation. Synthesizing different strands of this research, Hogan articulates a motivational groundwork for nationalist thought and action.Understanding Nationalism goes on to elaborate a cognitive poetics of national imagination, most importantly, narrative structure. Hogan focuses particularly on three complex narrative prototypes that are prominent in human thought and action cross-culturally and trans-historically. He argues that our ideas and feelings about what nations are and what they should be are fundamentally organized and oriented by these prototypes. He develops this hypothesis through detailed analyses of national writings from Whitman to George W. Bush, from Hitler to Gandhi.Hogan's book alters and expands our comprehension of nationalism generally-its cognitive structures, its emotional operations. It deepens our understanding of the particular, important works he analyzes. Finally, it extends our conception of the cognitive scope and political consequence of narrative.

Postmodern Spiritual Practices: The Construction of the Subject and the Reception of Plato in Lacan, Derrida, and Foucault, by Paul Allen Miller, argues that a key element of postmodern French intellectual life has been the reception of Plato. This fact has gone underappreciated in the Anglophone world due to a fundamental division in culture. Until very recently, the concerns of academic philosophy and philology have had little in common. On the one hand, this is due to analytic philosophy's self-confinement to questions of epistemology, speech act theory, and philosophy of science. As such, it has had little to say about the relation between antique and contemporary modes of thought.On the other hand, blindness to the merits of postmodern thought is also due to Anglo-American philology's own parochial instincts. Ensconced within a nineteenth-century model of Alterumswissenschaft, only a minority of classicists have made forays into philosophical, psychoanalytic, and other speculative modes of inquiry. The result has been that postmodern French thought has largely been the province of scholars of modern languages. A situation thus emerges in which most classicists do not know theory, and so cannot appreciate the scope of these thinkers' contribution to our understanding of the genealogy of Western thought, while most theorists do not know the Platonic texts and their contexts that ground them. This book bridges this gap, offering detailed and theoretically informed readings of French postmodernism's chief thinkers' debts to Plato and the ancient world.

"Who are we to each other when we're afraid?" Kisha Lewellyn Schlegel asks in Fear Icons, her moving and original debut essay collection. Her answer is a lyric examination of the icons that summon and soothe our fears. From Donald Trump to the Virgin Mary, Darth Vader to the Dalai Lama, Schlegel turns cultural criticism personal with bracing intelligence and vulnerability as she explores what it means to be human, a woman, an artist, and, in particular, a parent: what it means to love a child beyond measure, someone so vulnerable, familiar, and strange. Schlegel looks at fear and faith-the ways the two are more similar than we realize-and the many shapes our faith takes, from nationalism to friendship, from art to religious dogma. Each essay is woven through with other voices-Baldwin, Ashbery, Du Bois, Cixous-positioning Schlegel's arguments and meditations within a diverse and dynamic literary lineage. Fear Icons is a vital and timely inquiry into the complex relationship between love and fear-and the ways that each intensifies the other.

Secrecy, Magic, and the One-Act Plays of Harlem Renaissance Women Writers seeks to rescue the plays of eight black women, Marita Bonner, Mary P. Burrill, Thelma Duncan, Shirley Graham, Zora Neale Hurston, Georgia Douglas Johnson, May Miller, and Eulalie Spence, from obscurity. This volume is the first book-length treatment to address these plays and their authors exclusively rather than as part of a discussion of other African American playwrights from different eras. It is also one of the few to carry out an extensive discussion of secrecy's role in both literary representation and social interaction. Exploring secrecy from the standpoints of poststructuralist language theory and game theory as well as dramatic performance, Taylor Hagood argues that the secret--a thing visible for its very invisibility--is a fundamental cog in the machinery of society, employed as a tool for both oppression and subversion. The many facets of secrecy have been particularly salient in African American culture, informing everything from the Underground Railroad to the subtle coding of Signifying. Most devastatingly, people on both sides of the color line are caught within a web of secrecy that is the result of centuries of distrust, doubt, and fear, a fact that is powerfully manifest not only in these one-act plays but in the reader's/spectator's interactions with them.