This book provides a much-needed study of the lived experience of militarization in the Caribbean from 1914 to the present. It offers an alternative to policy and security studies by drawing on the perspectives of literary and cultural studies, history, anthropology, ethnography, music, and visual art. Rather than opposing or defending militarization per se, this book focuses attention on how Caribbean people negotiate militarization in their everyday lives. The volume explores topics such as the US occupation of Haiti; British West Indians in World War I; the British naval invasion of Anguilla; military bases including Chaguaramas, Vieques and Guantanamo; the militarization of the police; sex work and the military; drug wars and surveillance; calypso commentaries; private security armies; and border patrol operations.

Winner of the Montserrat Ordonez Prize 2018 This book provides an original and exciting analysis of Colombian women's writing and its relationship to feminist history from the 1970s to the present. In a period in which questions surrounding women and gender are often sidelined in the academic arena, it argues that feminism has been an important and intrinsic part of contemporary Colombian history. Focusing on understudied literary and non-literary texts written by Colombian women, it traces the particularities of Colombian feminism, showing how it has been closely entwined with left-wing politics and the country's history of violence. This book therefore rethinks the place of feminism in Latin American history and its relationship to feminisms elsewhere, challenging many of the predominant critical paradigms used to understand Latin American literature and culture.

On the campaign trail, Barack Obama faced a difficult task-rallying African American voters while resisting his opponents' attempts to frame him as ""too black" to govern the nation as a whole. Obama's solution was to employ what Toni Morrison calls ""race-specific, race-free language," avoiding open discussions of racial issues while using terms and references that carried a specific cultural resonance for African American voters. Stephanie Li argues that American politicians and writers are using a new kind of language to speak about race. Challenging the notion that we have moved into a ""post-racial" era, she suggests that we are in an uneasy moment where American public discourse demands that race be seen, but not heard. Analyzing contemporary political speech with nuanced readings of works by such authors as Toni Morrison, Jhumpa Lahiri, and Colson Whitehead, Li investigates how Americans of color have negotiated these tensions, inventing new ways to signal racial affiliations without violating taboos against open discussions of race.

Thomas Hardy's "Poetical Matter" notebook, the last to be published from among the small group of notebooks not destroyed by Hardy himself or by his executors, has now been meticulously edited with full scholarly annotation. Through its inclusion of so many notes copied by Hardy from old pocket-books subsequently destroyed, "Poetical Matter" reaches back to all periods of his life, and is especially valuable from a biographical standpoint for its expansion and enhancement of knowledge of Hardy's final years and for its preservation of such intimate records as his richly revealing memories of the Bockhampton of his childhood and his sexually charged impressions of a woman glimpsed during a trip on a pleasure steamer in 1868. Its special distinctiveness nevertheless lies in its uniqueness as a late working notebook devoted specifically to verse. Florence Hardy, Hardy's widow, recalled his having experienced a great outburst of late creativity, feeling that he could go on writing almost indefinitely, and "Poetical Matter" bears direct witness to his actively thinking about poetry and projecting and composing new poems until shortly before his death at the age of eighty-seven. As such, it contains an abundance of new ideas for poems and sequences of poems and demonstrates Hardy's characteristic creative progression, his working variously with initial ideas, with gathered notes, whether old or new, and with tentative prose formulations, verse fragments, metrical schemes, and rhyme patterns, towards the writing of the drafts from which, yet further worked and reworked, the completed poem would ultimately emerge.

Rives uncovers a context of aesthetic and social debate that modernist studies has yet to fully articulate, examining what it meant, for various intellectuals working in early twentieth-century Britain and America, to escape from personality.

Bertolt Brecht has been perceived as an ardent proponent of social change, an avid advocate of a just world that he defined in terms of socialism, and an adamant foe of capitalism for whose demise he hoped. He is justly regarded as one of the great innovators of theater theory and practice in the 20th century, and his influence has extended to Latin America and Asia. This reference book surveys Brecht's enormous contribution to world drama. Chapters by expert contributors assess his dramatic innovations, his poetry and prose, and topics of special interest to Brecht studies. With the centennial of his birth approaching in 1998, Bertolt Brecht's controversial reception in general and in the United States in particular, is coming into clearer focus. One of the great dramatists of the 20th century, Brecht has been viewed as an ardent proponent of social change, an avid advocate of a just world that he defined in terms of socialism, and an adamant foe of capitalism for whose demise he hoped. With the opening of the Berlin Wall in 1989, the political and economic milieu of Europe has changed drastically, and socialist writers are now being studied from a fresh perspective. This volume surveys and assesses Brecht's enormous contribution to the arts. Chapters by expert contributors explore his innovative dramatic theory and theatrical practice. Though best known for his contribution to the stage, Brecht also wrote poetry and prose fiction, and his poems and prose are examined in this work. Brecht's influence is also considered, and chapters examine topics of special interest, such as Brecht and film, the role of music in his works, feminist and Marxist approaches to his writings, the problem of translating Brecht into English, and the reception and appropriation of his plays and dramatic theory in various countries. While the chapters are historical in focus, the contributors also demonstrate the continuing relevance of Brecht in general and the Brechtian theater in particular in the 1990s.

This book applies models that reflect the fluid, mediated, hybrid, and nomadic global scenes within which Generation X artists and writers live, think, and work in Spain. Henseler touches on critical insights in comparative media studies, cultural studies, and social theory, and conveys the nuances of multiple voices, facts, figures, and faces.

Widely acclaimed as one of America's most distinguished female playwrights, Lillian Hellman made an entrance into a largely male-dominated field in 1934 with" The Children's Hour," a drama that rocked the literary establishment with its frank treatment of lesbianism while calling attention to her writing talents. Written between 1934 and 1963, Hellman's dramatic canon includes eight original plays and four adaptations. Two of these, "Watch on the Rhine" (1941) and "Toys in the Attic" (1960), received Drama Critics' Circle Awards. In addition to her dramatic activities, she wrote three memoirs and a novella, contributed articles to national magazines, edited ChekoV's letters and Dashiell Hammett's mysteries, and penned several screenplays. She is probably best known for "The Little Foxes" (1939), her drama about a family of predatory entrepreneurs who seek to build an industrial fortune on the ruins of the old South.

Both a quick reference guide and an exhaustive resource, this volume provides broad and thorough coverage of Hellman's dramatic career. It begins with a critical overview of her life, along with a chronology of her accomplishments. The bulk of the book, which treats her eight original plays and four adaptations, all written for the Broadway stage, provides detailed plot summaries, stage histories, and critical overviews. The next section offers an annotated bibliography of primary sources. This is followed by an annotated secondary bibliography, which is divided into sections on reviews, books, and articles. Entries in the bibliographies are first arranged chronologically and then alphabetically, so that the reader can gain a fuller sense of the development of Hellman's career and the response to her works over time. Detailed indexes conclude the volume and offer full alphabetical access to its contents.

The Latino Continuum and the Nineteenth-Century Americas argues that the process of recovering Latina/o figures and writings in the nineteenth century does not merely create a bridge between the US and Latin American countries, peoples, and literatures, as they are currently understood. Instead, it reveals their fundamentally interdependent natures, politically, socially, historically, and aesthetically, thereby recognizing the degree of mutual imbrication of their peoples and literatures of the period. Largely archived in Spanish, it addresses concerns palpably felt within (and integral to) the US and beyond. English-language works also find a place on this continuum and have real implications for the political and cultural life of hispanophone and anglophone communities in the US. Moreover, the central role of Latina/o translations signal the global and the local nature of the continuum. For the Latino Continuum embeds layered and complex political and literary contexts and overlooked histories, situated as it is at the crossroads of both hemispheric and translatlantic currents of exchange often effaced by the logic of borders-national, cultural, religious, linguistic and temporal. To recover this continuum of Latinidad, which is neither confined to the US or Latin American nation states nor located primarily within them, is to recover forgotten histories of the hemisphere, and to find new ways of seeing the past as we have understood it. The figures of the Felix Varela, Miguel Teurbe Tolon, Eusebio Guiteras, Jose Marti and Martin Morua Delgado serve as points of departures for this reconceptualization of the intersection between American, Latin American, Cuban, and Latinx studies.

This is the first book on Irish literature to focus on the theme of loss, and how it is represented in Irish writing. It focuses on how literature is ideally suited to expressions and understanding of the nature of loss, given its ability to access and express emotions, sensations, feelings, and the visceral and haptic areas of experience. Dealing with feelings and with sensations, poems, novels and drama can allow for cathartic expressions of these emotions, as well as for a fuller understanding of what is involved in loss across all situations. The main notion of loss being dealt with is that of death, but feelings of loss in the wake of immigration and of the loss of certainties that defined notions of identity are also analysed. This volume will be of interest to scholars, students and researchers in Irish Studies, loss, memory, trauma, death, and cultural studies.

The interconnections between histories and memories of the Holocaust, colonialism and extreme violence in post-war French and Francophone fiction and film provide the central focus of this book. It proposes a new model of 'palimpsestic memory', which the author defines as the condensation of different spatio-temporal traces, to describe these interconnections and defines the poetics and the politics of this composite form. In doing so it is argued that a poetics dependent on tropes and techniques, such as metaphor, allegory and montage, establishes connections across space and time which oblige us to perceive cultural memory not in terms of its singular attachment to a particular event or bound to specific ethno-cultural or national communities but as a dynamic process of transfer between different moments of racialized violence and between different cultural communities. The structure of the book allows for both the theoretical elaboration of this paradigm for cultural memory and individual case-studies of novels and films.

Novelist and cultural commentator C.P. Snow was a large and controversial presence in his lifetime but his work has been largely neglected since his death in 1980. This is the first 21st-century book to offer a clear, informed and sympathetic survey of all his novels and major non-fiction books and to affirm their importance for the world today.

A comprehensive introduction to the medieval languages and texts that inspired Tolkien's Middle-earth. Using key episodes in The Silmarillion , The Hobbit , and The Lord of the Rings , medieval texts are presented in their original language with translations. Essential for those who wish to delve deeper into the background to Tolkien's mythology.

Given Jack Kerouac's enduring reputation for heaving words onto paper, it might surprise some readers to see his name coupled with the word "poetics." But as a native speaker of French, he embarked on his famous "spontaneous prose" only after years of seeking techniques to overcome the restrictions he encountered in writing in a single language, English. The result was an elaborate poetics that cannot be fully understood without accounting for his bilingual thinking and practice. Of the more than twenty-five biographies of Kerouac, few have seriously examined his relationship to the French language and the reason for his bilingualism, the Quebec Diaspora. Although this background has long been recognized in French-language treatments, it is a new dimension in Anglophone studies of his writing. In a theoretically informed discussion, Hassan Melehy explores how Kerouac's poetics of exile involves meditations on moving between territories and languages. Far from being a naive pursuit, Kerouac's writing practice not only responded but contributed to some of the major aesthetic and philosophical currents of the twentieth century in which notions such as otherness and nomadism took shape. Kerouac: Language, Poetics, and Territory offers a major reassessment of a writer who, despite a readership that extends over much of the globe, remains poorly appreciated at home.

This book investigates male writers' use of female voices and female writers' use of male voices in literature and theatre from the 1850s to the present, examining where, how and why such gendered crossings occur and what connections may be found between these crossings and specific psychological, social, historical and political contexts.

Eric Bentley's graceful look at George Bernard Shaw was first published over 50 years ago, and time has only strengthened the conviction of his ideas and arguments about Shaw. When it arrived in the late 1940's, this book was hailed by the great poet William Carlos Williams as "the best treatise on contemporary manners I think I have ever read. I was fascinated and rewarded in the depths of my soul." Even Shaw himself described the book as "the best critical description of my public activities I have yet come across."

Long before John Barth announced in his famous 1967 essay that late twentieth-century fiction was "The Literature of Exhaustion," authors have been retelling and recycling stories. Barth was, however, right to identify in postmodern fiction a particular self-consciousness about its belatedness at the end of a long literary tradition. This book traces the move in contemporary women's writing from the self-conscious, ironic parodies of postmodernism to the nostalgic and historical turn of the twenty-first century. It analyses how contemporary women writers deal with their literary inheritances, offering an illuminating and provocative study of contemporary women writers' re-writings of previous texts and stories. Through close readings of novels by key contemporary women writers including Toni Morrison, Doris Lessing, Margaret Atwood, Zadie Smith, Emma Tennant and Helen Fielding, and of the ITV adaptation, Lost in Austen, Alice Ridout examines the politics of parody and nostalgia, exploring the limitations and possibilities of both in the contexts of feminism and postcolonialism.

Mina Loy is recognised today as one of the most innovative modernist poets, numbering Gertrude Stein, Marcel Duchamp, Djuna Barnes and T.S. Eliot amongst her admirers. Drawing on substantial new archival research, this book challenges the existing critical myth of Loy as a 'modern woman' through an analysis of her unpublished autobiographical prose. Mina Loy's Autobiographies explores this major twentieth century writer's ideas about the 'modern' and how they apply to the 'modernist' writer-based on her engagement with twentieth-century avant-garde aesthetics-and charts how Loy herself uniquely defined modernity in her essays on literature and art. Sandeep Parmar here shows how, ultimately, Loy's autobiographies extend the modernist project by rejecting earlier impressions of avant-garde futurity and newness in favour of a 'late modernist' aesthetic, one that is more pessimistic, inward and interested in the fragmentary interplay between the past and present.

Before the 1970s, there were only a few acclaimed biographical novels. But starting in the 1980s, there was a veritable explosion of this genre of fiction, leading to the publication of spectacular biographical novels about figures as varied as Abraham Lincoln, Ludwig Wittgenstein, Friedrich Nietzsche, Emily Dickinson, Virginia Woolf, Henry James, and Marilyn Monroe, just to mention a notable few. This publication frenzy culminated in 1999 when two biographical novels (Michael Cunningham's The Hours and Russell Banks' Cloudsplitter) were nominated for the Pulitzer Prize, and Cunningham's novel won the award. In The American Biographical Novel, Michael Lackey charts the shifts in intellectual history that made the biographical novel acceptable to the literary establishment and popular with the general reading public. More specifically, Lackey clarifies the origin and evolution of this genre of fiction, specifies the kind of 'truth' it communicates, provides a framework for identifying how this genre uniquely engages the political, and demonstrates how it gives readers new access to history.

Gun-toting, rough-riding, crack-shot women; train-robbing female bandits; blood-thirsty mothers who refuse to accept injustice-- these women appear in vigilante literature as protagonists that recognize the extent of their own exploitation and directly confront the causes. In this dynamic study, Graham-Bertolini provides the first analysis of vigilante women in contemporary American fiction and develops a model of vigilante heroines using literary and feminist theory. Through close-readings of important texts, including those by Flagg, Glaspell, Hong-Kington, Hurston, Rawlings, Walker, this analysis broadens our understanding of how law and culture infringe upon women's rights and joins the discussion about gender oppression and traditional identity politics.

The post-war redevelopment of London has been the most extensive in its history, and has been accompanied by a dramatic social and cultural upheaval. This book explores the literary re-imagining of the city in post-war fiction and argues that the image, history, and narrative of the city has been transformed alongside the physical rebuilding and repositioning of the capital. Drawing on the ideas of Michel de Certeau, Henri Lefebvre, Anthony Vigler and others as well as the latest work on urban representation, this book is an important contribution to the study of the intersection between place, lived experience, and the literary imagination. Texts covered include novels by some of the most significant and lesser known authors of the period, including Graham Greene, George Orwell, J. G. Ballard, Stella Gibbons, David Lodge, Doris Lessing, B. S. Johnson, Sam Selvon, V. S. Naipaul, Peter Ackroyd and Iain Sinclair.

This collection of essays is dedicated to the theory and practice of drama translation. The focus is on foreign-language plays translated into English and staged in Anglo-American theatres. In this connection, concepts like acculturation and cultural transfer,

The Worlding of the South African Novel develops from something of a paradox: that despite momentous political transition from apartheid to democracy, little in South Africa's socio-economic reality has actually changed. Poyner discusses how the contemporary South African novel engages with this reality. In forms of literary experiment, the novels open up intellectual spaces shaping or contesting the idea of the "new South Africa". The mediatising of truth at the TRC hearings, how best to deal with a spectacular yet covert past, the shaping for "unimagined communities" of an inclusive public sphere, HIV/AIDS as the preeminent site testing capitalist modernity, white anxieties about land reform, disease as environmental injustice and the fostering of an enabling restorative cultural memory: Poyner argues that through these key nodes of intellectual thought, the novels speak to recent debates on world-literature to register the "shock" of an uneven modernity produced by a capitalist world economy.

Through examining the work of W. B. Yeats, James Joyce, and Samuel Beckett, Katherine Ebury shows cosmology had a considerable impact on modernist creative strategies, developing alternative reading models of difficult texts such as Finnegans Wake and 'The Trilogy'.

Edgar Allen Poe's influence on the twentieth century French writer Paul Valery was profound, much more so than on Baudelaire and Mallarme. This book is the first comprehensive study of Poe's influence of Valery and is based on Valery's own concept of literary influence. Valery discovered in Poe's tales and literary essays a Drama of the intellect that was to inspire his Evening with Monsieur teste, Agathe, and Introduction to the method of Leonardo Da Vinci. Valery's poetics and approach to literary criticism have direct connections to Poe's Philosophy of Composition and Poetic Principle. Valery's only essay devoted to his American mentor, On Poe's Eureka, recognizes the importance of the cosmological poem in Valery's intellectual development. Eureka awakened in him an interest in science and mathematics that lasted a lifetime and inspired him to apply scientific analysis to literary genius, the first writer to place creative work on an analytical basis and explore the psychological aspects of literature.