In June 1942, Anne Frank received a red-and-white-checked diary for her thirteenth birthday, just weeks before she and her family went into hiding in an Amsterdam attic to escape the Nazis. For two years, with ever-increasing maturity, Anne crafted a memoir that has become one of the most compelling documents of modern history. But Anne Frank's diary, argues Francine Prose, is as much a work of art as it is a historical record. Through close reading, she marvels at the teenage Frank's skillfully natural narrative voice, at her finely tuned dialogue and ability to turn living people into characters.

Anne Frank: The Book, The Life, The Afterlife tells the extraordinary story of the book that became a force in the world. Along the way, Prose definitively establishes that Anne Frank was not an accidental author or a casual teenage chronicler but a writer of prodigious talent and ambition.

With the advancement of cybernetics, avatars, animation, and virtual reality, a thorough understanding of how the puppet metaphor originates from specific theatrical practices and media is especially relevant today. This book identifies and interprets the aesthetic and cultural significance of the different traditions of the Italian puppet theater in the broader Italian culture and beyond. Grounded in the often-overlooked history of the evolution of several Italian puppetry traditions - the central and northern Italian stringed marionettes, the Sicilian pupi, the glove puppets of the Po Valley, and the Neapolitan Pulcinella - this study examines a broad spectrum of visual, cinematic, literary, and digital texts representative of the functions and themes of the puppet. A systematic analysis of the meanings ascribed to the idea and image of the puppet provides a unique vantage point to observe the perseverance and transformation of its deeper associations, linking premodern, modern, and contemporary contexts.

This study of what Brian Norman terms a neo-segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement. From Toni Morrison's first novel, The Bluest Eye, to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post-civil rights imagination. Norman traces a neo-segregation narrative tradition one that developed in tandem with neo-slave narratives by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present. Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner's representations of the segregated South and John Howard Griffin's notorious account of crossing the color line from white to black in his 1961 work Black Like Me.

Honorable Mention, 2019 MLA Prize for a First Book Sole Finalist Mention for the 2018 Lora Romero First Book Prize, presented by the American Studies Association Exposes the influential work of a group of black artists to confront and refute scientific racism. Traversing the archives of early African American literature, performance, and visual culture, Britt Rusert uncovers the dynamic experiments of a group of black writers, artists, and performers. Fugitive Science chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields-from astronomy to physiology-to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. This distinct and pioneering book will spark interest from anyone wishing to learn more on race and society.

NihonGO NOW! Level 2 is an intermediate-level courseware package that takes a performed-culture approach to learning Japanese. This approach balances the need for an intellectual understanding of structural elements with multiple opportunities to experience the language within its cultural context. From the outset, learners are presented with samples of authentic language that are context-sensitive and culturally coherent. Instructional time is used primarily to rehearse interactions that learners of Japanese are likely to encounter in the future, whether they involve speaking, listening, writing, or reading. Level 2 comprises two textbooks with accompanying activity books. These four books in combination with audio and video files allow instructors to adapt an intermediate-level course, such as the second or third year of college Japanese, to their students' needs. They focus on language and modeled behavior, providing opportunities for learners to acquire language through performance templates. Online resources provide additional support for both students and instructors. Audio files, videos, supplementary exercises, and a teachers' manual are available at www.routledge.com/9781138305304. NihonGO NOW! Level 2 Volume 2 Activity Book provides a wealth of communicative exercises for students following the Level 2 Volume 2 Textbook.

This volume illuminates the vexed treatment of violence in the German cultural tradition between two crucial, and radically different, violent outbreaks: the French Revolution, and the Holocaust and Second World War. The contributions undermine the notion of violence as an intermittent or random visitor in the imagination and critical theory of modern German culture. Instead, they make a case for violence in its many manifestations as constitutive for modern theories of art, politics, identity, and agency. While the contributions elucidate trends in theories of violence leading up to the Holocaust, they also provide a genealogy of the stakes involved in ongoing discussions of the legitimate uses of violence, and of state, individual, and collective agency in its perpetration. The chapters engage the theorization of violence through analysis of cultural products, including literature, museum planning, film, and critical theory. This collection will be of interest to scholars in the fields of Literary and Cultural Studies, Critical Theory, Philosophy, Gender Studies, History, Museum Studies, and beyond.

This study examines how postcolonial landscapes and environmental issues are represented in fiction. Wright creates a provocative discourse in which the fields of postcolonial theory and ecocriticism are brought together.
Laura Wright explores the changes brought by colonialism and globalization as depicted in an array of international works of fiction in four thematically arranged chapters. She looks first at two traditional oral histories retold in modern novels, Zakes Mda's "The Heart of Redness "(South Africa) and Ngugi wa Thiong'o's "Petals of Blood" (Kenya), that deal with the potentially devastating effects of development, particularly through deforestation and the replacement of native flora with European varieties. Wright then uses J. M. Coetzee's "Disgrace" (South Africa), Yann Martel's "Life of Pi" (India and Canada), and Joy Williams's "The Quick and the Dead" (United States) to explore the use of animals as metaphors for subjugated groups of individuals. The third chapter deals with India's water crisis via Arundhati Roy's activism and her novel, "The God of Small Things." Finally, Wright looks at three novels--Flora Nwapa's "Efuru" (Nigeria), Keri Hulme's "The Bone People" (New Zealand), and Sindiwe Magona's "Mother to Mother" (South Africa)--that depict women's relationships to the land from which they have been dispossessed.
Throughout "Wilderness into Civilized Shapes," Wright rearticulates questions about the role of the writer of fiction as environmental activist and spokesperson, the connections between animal ethics and environmental responsibility, and the potential perpetuation of a neocolonial framework founded on western commodification and resource-based imperialism.

I Am Alive (Je suis vivant) is celebrated Haitian author Kettly Mars's latest novel, telling the story of a bourgeois Caribbean family as it wrestles with issues of mental illness, unconventional sexuality, and the difficulty of returning home and rediscovery following the devastating 2010 earthquake. Mars, herself a survivor of the disaster, has crafted a complex, at times disorienting, but ultimately enthralling and powerfully evocative work of literature that adds to her reputation as one of the leading voices of the francophone world. When the mental health facility where he has been living for decades is severely damaged, Alexandre Bernier must return home to Fleur-de-Chene. His sister Marylene has also come home, leaving behind a flourishing career as a painter in Brussels, and begins to explore her sexuality with her artist's model Norah, who poses for her in secret. These homecomings are both a lift and a burden to the family matriarch, Eliane, a steadfast and resourceful widow. Over the course of the novel, past and present blend together as each character has an opportunity to narrate the story from their own perspective. In the end, it is the resilience of the Haitian people that allows them to navigate the seismic shifts in their family and in the land.

"How the West Was Won" contains articles in three main areas of the humanities. It focuses on various aspects of literary imagination, with essays ranging from Petrarch to Voltaire; on the canon, with essays on western history as one of shifting cultural horizons and ideals, and including censorship; and on the Christian Middle Ages, when an interesting combination of religion and culture stimulated the monastic and intellectual experiments of Anselm of Canterbury and Peter Abelard. The volume is held together by the method of persistent questioning, in the tradition of the western church father and icon of the self Augustine, to discover what the values are that drive the culture of the West: where do they come from and what is their future? This volume is a Festschrift for Burcht Pranger of the University of Amsterdam.

Reveals the troubling intimacy between Black women and the making of US global power The year 1968 marked both the height of the worldwide Black liberation struggle and a turning point for the global reach of American power, which was built on the counterinsurgency honed on Black and other oppressed populations at home. The next five decades saw the consolidation of the culture of the American empire through what Erica R. Edwards calls the "imperial grammars of blackness." This is a story of state power at its most devious and most absurd, and, at the same time, a literary history of Black feminist radicalism at its most trenchant. Edwards reveals how the long war on terror, beginning with the late-Cold War campaign against organizations like the Black Panther Party for Self-Defense and the Black Liberation Army, has relied on the labor and the fantasies of Black women to justify the imperial spread of capitalism. Black feminist writers not only understood that this would demand a shift in racial gendered power, but crafted ways of surviving it. The Other Side of Terror offers an interdisciplinary Black feminist analysis of militarism, security, policing, diversity, representation, intersectionality, and resistance, while discussing a wide array of literary and cultural texts, from the unpublished work of Black radical feminist June Jordan to the memoirs of Condoleezza Rice to the television series Scandal. With clear, moving prose, Edwards chronicles Black feminist organizing and writing on "the other side of terror", which tracked changes in racial power, transformed African American literature and Black studies, and predicted the crises of our current era with unsettling accuracy.

The poems in Juan Luna' s Revolver both address history and attempt to transcend it through their exploration of the complexity of diaspora. Attending to the legacy of colonial and postcolonial encounters, Luisa A. Igloria has crafted poems that create links of sympathetic human understanding, even as they revisit difficult histories and pose necessary questions about place, power, displacement, nostalgia, beauty, and human resilience in conditions of alienation and duress. Igloria traces journeys made by Filipinos in the global diaspora that began since the encounter with European and American colonial power. Her poems allude to historical figures such as the Filipino painter Juan Luna and the novelist and national hero Jose Rizal, as well as the eleven hundred indigenous Filipinos brought to serve as live exhibits in the 1904 Missouri World's Fair. The image of the revolver fired by Juan Luna reverberates throughout the collection, raising to high relief how separation and exile have shaped concepts of identity, nationality, and possibility. Suffused with gorgeous imagery and nuanced emotion, Igloria's poetry achieves an intimacy fostered by gem-like phrases set within a politically-charged context speaking both to the personal and the collective.

This edited collection challenges a long sacrosanct paradigm. Since the establishment of Caribbean literary studies, scholars have exalted an elite cohort of emigre novelists based in postwar London, a group often referred to as ""the Windrush writers"" in tribute to the SS Empire Windrush, whose 1948 voyage from Jamaica inaugurated large-scale Caribbean migration to London. In critical accounts this group is typically reduced to the canonical troika of V. S. Naipaul, George Lamming, and Sam Selvon, effectively treating these three authors as the tradition's founding fathers. These ""founders"" have been properly celebrated for producing a complex, anticolonial, nationalist literature. However, their canonization has obscured the great diversity of postwar Caribbean writers, producing an enduring but narrow definition of West Indian literature. Beyond Windrush stands out as the first book to reexamine and redefine the writing of this crucial era. Its fourteen original essays make clear that in the 1950s there was already a wide spectrum of West Indian men and women--Afro-Caribbean, Indo-Caribbean, and white-creole--who were writing, publishing, and even painting. Many lived in the Caribbean and North America, rather than London. Moreover, these writers addressed subjects overlooked in the more conventionally conceived canon, including topics such as queer sexuality and the environment. This collection offers new readings of canonical authors (Lamming, Roger Mais, and Andrew Salkey); hitherto marginalized authors (Ismith Khan, Elma Napier, and John Hearne); and commonly ignored genres (memoir, short stories, and journalism).

Writing True Stories is the essential book for anyone who has ever wanted to write a memoir or explore the wider territory of creative nonfiction. It provides practical guidance and inspiration on a vast array of writing topics, including how to access memories, find a narrative voice, build a vivid world on the page, create structure, use research-and face the difficulties of truth-telling. This book introduces and develops key writing skills, and then challenges more experienced writers to extend their knowledge and practice of the genre into literary nonfiction, true crime, biography, the personal essay, and travel and sojourn writing. Whether you want to write your own autobiography, investigate a wide-ranging political issue or bring to life an intriguing history, this book will be your guide. Writing True Stories is practical and easy to use as well as an encouraging and insightful companion on the writing journey. Written in a warm, clear and engaging style, it will get you started on the story you want to write-and keep you going until you reach the end.

Although there is a significant literature on the philosophy of Jacques Derrida, there are few analyses that address the deconstructive critique of phenomenology as it simultaneously plays across range of cultural productions including literature, painting, cinema, new media, and the structure of the university. Using the critical figures of "ghost" and "shadow"-and initiating a vocabulary of phantomenology-this book traces the implications of Derridean "spectrality" on the understanding of contemporary thought, culture, and experience.This study examines the interconnections of philosophy, art in its many forms, and the hauntology of Jacques Derrida. Exposure is explored primarily as exposure to the elemental weather (with culture serving as a lean-to); exposure in a photographic sense; being over-exposed to light; exposure to the certitude of death; and being exposed to all the possibilities of the world. Exposure, in sum, is a kind of necessary, dangerous, and affirmative openness.The book weaves together three threads in order to format an image of the contemporary exposure: 1) a critique of the philosophy of appearances, with phenomenology and its vexed relationship to idealism as the primary representative of this enterprise; 2) an analysis of cultural formations-literature, cinema, painting, the university, new media-that highlights the enigmatic necessity for learning to read a spectrality that, since the two cannot be separated, is both hauntological and historical; and 3) a questioning of the role of art-as semblance, reflection, and remains-that occurs within and alongside the space of philosophy and of the all the "posts-" in which people find themselves.Art is understood fundamentally as a spectral aesthetics, as a site that projects from an exposed place toward an exposed, and therefore open, future, from a workplace that testifies to the blast wind of obliteration, but also in that very testimony gives a place for ghosts to gather, to speak with each other and with humankind. Art, which installs itself in the very heart of the ancient dream of philosophy as its necessary companion, ensures that each phenomenon is always a phantasm and thus we can be assured that the apparitions will continue to speak in what Michel Serres's has called the "grotto of miracles." This book, then, enacts the slowness of a reading of spectrality that unfolds in the chiaroscuro of truth and illusion, philosophy and art, light and darkness.Scholars, students, and professional associations in philosophy (especially of the work of Derrida, Husserl, Heidegger, and Kant), literature, painting, cinema, new media, psychoanalysis, modernity, theories of the university, and interdisciplinary studies.

"Extraordinarily rich and awesomely learned.... The complexity of its subject matter is here mastered in an exemplary fashion. The study offers detailed, concrete, and perceptive assessments of individual writers within a lucid and carefully balanced design.... As a work of striking originality as well as formidable yet lively scholarship,... Green's book will become a central, even classic, text for students of Renaissance poetry and of a cardinal topos in the history of criticism and hermeneutics." -From the citation for the award of the Harry Levin Prize of the American Comparative Literature Association, 1982 "An outstanding example of learning fully commanded and applied with uncommon perception, a lively sense of historical continuity, and, not least important, productive familiarity with modern literary theory. In its breadth of knowledge, the interplay of literary history and theory, the maturity of its judgments and the urbanity of its style, Professor Greene's study is a most distinguished achievement of American scholarship." -From the citation for the award of the Annual James Russell Lowell Prize, given by the Modern Language Association of America, 1983

Disputing the claim that Algerian writing during the struggle against French colonial rule dealt almost exclusively with revolutionary themes, The Algerian New Novel shows how Algerian authors writing in French actively contributed to the experimental forms of the period, expressing a new age literarily as well as politically and culturally. Looking at canonical Algerian literature as part of the larger literary production in French during decolonization, Valerie K. Orlando considers how novels by Rachid Boudjedra, Mohammed Dib, Assia Djebar, Nabile Fares, Yamina Mechakra, and Kateb Yacine both influenced and were reflectors of the sociopolitical and cultural transformation that took place during this period in Algeria. Although their themes were rooted in Algeria, the avant-garde writing styles of these authors were influenced by early twentieth-century American modernists, the New Novelists of 1940s-50s France, and African American authors of the 1950s-60s. This complex mix of influences led Algerian writers to develop a unique modern literary aesthetic to express their world, a tradition of experimentation and fragmentation that still characterizes the work of contemporary Algerian francophone writers.

For more than 200 years, Thomas Traherne's Centuries of Meditations was undiscovered and unpublished. The manuscript passed through many hands before finally being compiled into a book by bookseller and scholar BERTRAM DOBELL (1842-1914) in 1908. Centuries is a collection of poems written to express the rapture of life lived in accordance with God. Yet Dobell is careful to state that even though Traherne was a clergyman, there is plenty of beauty to be found in his poetry that does not require specific belief in Christianity or in God. Readers of many ages and persuasions will be touched by Traherne's passages on love and belonging.

Even though scholars have known of Neo-Babylonian legal texts almost since Assyriology's very beginnings, no comprehensive study of court procedure has been undertaken. This lack is particularly glaring in light of studies of court procedure in earlier periods of Mesopotamian history. With these studies as a model, this book begins by presenting a comprehensive classification of the text-types that made up the "tablet trail" of records of the adjudication of legal disputes in the Neo-Babylonian period. In presenting this text-typology, it considers the texts' legal function within the adjudicatory process. Based on this, the book describes the adjudicatory process as it is attested in private records as well as in records from the Eanna at Uruk. "This study of textual typologies and adjudication processes will be of immense value to Assyriologists, biblical scholars and historians of law alike. This is without mentioning the wealth of social and economic insights evident in each case, let alone the valuable identification of Neo-Babylonian formulaic legal expressions." S. Jacobs "Overall, Holtz's work is replete with important data, insightful in its analysis and judicious in its interpretive decisions. It should serve not only as an important resource but also as a significant statement on the function of law and judicial procedure at an important time in Mesopotamian history." Bruce Wells, Saint Joseph's University