The coverage displayed here is predomi-nantly on sub-Saharan literary production, and with a - perhaps systemic - focus on important aspects of political history and socio-political structures (including marxian analyses of the 'public sphere') and such crucial arenas as religious discipline, the tension between tradition and modernity, ecological awareness, family, and gender. Most of the discussions are traditionally content-oriented, but there are at least two essays (on Soyinka's Ake and on Amma Darko's The Housemaid) that attempt to come to grips narratologically with the medium of prose fiction itself. A quartet of essays with a more general purview - in-cluding a refreshing demontage of exclusive obeisance to (Western) ecriture - is fol-lowed by a section on poets, some canonical, others emergent: Ogaga Ifowodo, Jack Mapanje, Olu Oguibe, Tanure Ojaide, Okot p'Bitek, Wole Soyinka, Lade Wosornu. Essays on fiction cover general topics (women's fiction; political writing in Nigeria; the nightmare of Biafra), and land-mark texts both anglophone (Chinua Achebe, Amma Darko, Festus Iyayi, Ng g wa Thiong'o, Wole Soyinka), francophone (Mariama Ba, Mongo Beti, and Ousmane Sembene), and - a novum for Matatu - hispanophone (Donato Ndongo). The theatre section has essays on Ama Ata Aidoo, Zakes Mda, Anne Tanyi-Tang, Soyinka, and Ahmed Yerima, as well as Ng g and Mugo. We are especially pleased to be able to offer accomplished original poetry, short stories, and a complete drama text. Four comprehensive essay-reviews (on literary criticism, cinema, graphic art, and traditional African society) round out this issue.

This book traces the theme of justice throughout the narrative of Exodus in order to explicate how yhwh's reclamation of Israel for service-worship reveals a distinct theological ethic of justice grounded in yhwh's character and Israel's calling within yhwh's creational agenda. Adopting a synchronic, text-immanent interpretive strategy that focuses on canonical and inner-biblical connections, Nathan Bills identifies two overlapping motifs that illuminate the theme of justice in Exodus. First, Bills considers the importance of Israel's creation traditions for grounding Exodus's theology of justice. Reading Exodus against the backdrop of creation theology and as a continuation of the plot of Genesis, Bills shows that the ethical disposition of justice imprinted on Israel in Exodus is an application of yhwh's creational agenda of justice. Second, Bills identifies an educational agenda woven throughout the text. The narrative gives heightened attention to the way yhwh catechizes Israel in what it means to be the particular beneficiary and creational emissary of yhwh's justice. These interpretative lenses of creation theology and pedagogy help to explain why Israel's salvation and shaping embody a programmatic applicability of yhwh's justice for the wider world. This volume will be of substantial interest to divinity students and religious professionals interested in the themes of exodus, exile, and return.

Since its inception in the early 1830s, southern frontier humor (also known as the humor of the Old Southwest) has had enduring appeal. The onset of the new millennium precipitated an impressive rejuvenation of scholarly interest. "Southern Frontier Humor: New Approaches" represents the next step in this revival, providing a series of essays with fresh perspectives and contexts.First, the book shows the importance of Henry Junius Nott, a virtually unknown and forgotten writer who mined many of the principal subjects, themes, tropes, and character types associated with southern frontier humor, followed by an essay addressing how this humor genre and its ideological impact helped to stimulate a national cultural revolution. Several essays focus on the genre's legacy to the post-Civil War era, exploring intersections between southern frontier humor and southern local color writers--Joel Chandler Harris, Charles W. Chesnutt, and Sherwood Bonner. Mark Twain's African American dialect piece "A True Story," though employing some of the conventions of southern frontier humor, is reexamined as a transitional text, showing his shift to broader concerns, particularly in race portraiture.Essays also examine the evolution of the trickster from the Jack Tales to Hooper's Simon Suggs to similar mountebanks in novels of John Kennedy Toole, Mark Childress, and Clyde Edgerton and transnational contexts, the latter exploring parallels between southern frontier humor and the Jamaican Anansi tales. Finally, the genre is situated contextually, using contemporary critical discourses, which are applied to G. W. Harris's Sut Lovingood and to various frontier hunting stories.

First published in 1970, this book is a faithful representation of the original edition of Beltaine, a literary magazine edited by W. B. Yeats from May 1899 to April 1900. Beltaine was the first of several magazines of the Irish Literary Theatre (later to become The Abbey Theatre) in which Yeats's editorial role was of utmost importance. It was an occasional publication and focused on promoting current works of Irish playwrights whilst challenging those of their English opponents. The magazine mainly consists of a series of essays on the theatre in Dublin, and supplementing these are explanations and discussions of new plays, excerpts from which are often included. This book will be of interest to those with an interest in Yeats, early nineteenth-century literature, and Irish theatre.

In this highly readable collection of essays, Francis Jarman ranges over such different topics as race, sex, the Second World War, detective novels, Kipling, torture, widow-burning, the Great Indian Novel, travel writing, the Srebrenica Massacre, the Indian Mutiny, and the reasons why writers write. What all the contributions have in common is a concern with problems of perception and communication across cultures. Complete with Notes, Bibliographies, and detailed Index.

The Real Western Canon

Larry McMurtry, the preeminent chronicler of the American West, celebrates the best of contemporary Western short fiction, introducing a stellar collection of twenty stories that represent, in various ways, the coming-of-age of the legendary American frontier.

Featuring a veritable Who's Who of the century's most distinctive writers, this collection effectively departs from the standard superstars of the Western genre. McMurtry has chosen a refreshing range of work that, when taken as a whole, depicts the evolution and maturation of Western writing over several decades. The featured tales are not so concerned with the American West of history and geography as they are with the American West of the imagination -- one that is alternately comic, gritty, individual, searing, and complex.

Contributors
Wallace Stegner * Dave Hickey * Dao Strom * Dagoberto Gilb * William Hauptman * Jack Kerouac * Ron Hansen * Diana Ossana * Robert Boswell * Tom McGuane Louise Erdrich * Max Apple * Mark Jude Poirier * Rick Bass * Jon Billman * Richard Ford * Raymond Carver * Annie Proulx * Leslie Marmon Silko * William H. Gass

In a lucid, brilliant work of nonfiction -- as close to an autobiography as his readers are likely to get -- Larry McMurtry has written a family portrait that also serves as a larger portrait of Texas itself, as it was and as it has become.

Using as a springboard an essay by the German literary critic Walter Benjamin that he first read in Archer City's Dairy Queen, McMurtry examines the small-town way of life that big oil and big ranching have nearly destroyed. He praises the virtues of everything from a lime Dr. Pepper to the lost art of oral storytelling, and describes the brutal effect of the sheer vastness and emptiness of the Texas landscape on Texans, the decline of the cowboy, and the reality and the myth of the frontier.

McMurtry writes frankly and with deep feeling about his own experiences as a writer, a parent, and a heart patient, and he deftly lays bare the raw material that helped shape his life's work: the creation of a vast, ambitious, fictional panorama of Texas in the past and the present. Throughout, McMurtry leaves his readers with constant reminders of his all-encompassing, boundless love of literature and books.

The bibliography records doctoral and selected masters' theses (over 3,300 in all) from British and Irish universities in the field of Russian, Soviet and East European studies. This is broadly interpreted to include all disciplines in the humanities and social sciences as they relate to the area of Russia, the former USSR and Eastern Europe. Taken as a whole, the work probably forms the fullest and longest record of British and Irish postgraduate research in any sector of area studies. Besides its primary function as a bibliographic tool, it makes it possible to trace the effects of academic developments, institutional policies, and the changes in direction in this highly diversified field of study over the last hundred years. Entries are arranged by subject and area, supported by full author and subject indexes to aid searching. Dr Gregory Walker is a former Head of Slavonic and East European Collections at the Bodleian Library, University of Oxford. The late John S.G. Simmons, OBE, was Senior Research Fellow and Librarian, All Souls College, Oxford.

"Collective Creativity "combines complex and ambivalent concepts. While 'creativity' is currently experiencing an inflationary boom in popularity, the term 'collective' appeared, until recently, rather controversial due to its ideological implications in twentieth-century politics. In a world defined by global cultural practice, the notion of collectivity has gained new relevance. This publication discusses a number of concepts of creativity and shows that, in opposition to the traditional ideal of the individual as creative genius, cultural theorists today emphasize the collaborative nature of creativity; they show that 'creativity makes alterity, discontinuity and difference attractive'. Not the Romantic "Originalgenie," but rather the agents of the 'creative economy' appear as the new avant-garde of aesthetic innovation: teams, groups and collectives in business and science, in art and digital media who work together in networking clusters to develop innovative products and processes. In this book, scholars in the social sciences and in cultural and media studies, in literature, theatre and visual arts present for the first time a comprehensive, inter- and transdisciplinary account of collective creativity in its multifaceted applications. They investigate the intersections of artistic, scientific and cultural practice where the individual and the collective merge, come together or confront each other.

H.G. Wells was one of the most prolific writers in the English language. He published over one hundred books, yet he is recognized by only two or three of his popular novels including "The Time Machine" and "War of the Worlds." Why has such a well known and widely read author from the nineteenth century almost disappeared from the bookshelves of the twenty-first century? "H.G. Wells at the End of His Tether" attempts to answer this question and others by examining his work from a nineteenth century perspective. Wells was a controversial figure. He was an avid socialist and a self-proclaimed prophet. He hated the Church and the Monarchy and spent much of his life promoting utopian ideals, world government and other radical concepts that are politically incorrect today. As he watched the First World War tear Europe asunder he wrote "The War to End War" and created a new label for that infamous conflict. He was a highly vocal anti-war journalist and often frustrated by how little impact he was making on the world. When the Second World War descended on Europe he became despondent as he approached the end of his political and literary tether.

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"These engaged conversations are extremely well-informed, interesting, readable, and revealing. "Critics at Work" is a beautifully composed work and both fun and rewarding to read."
--Vincent B. Leitch, editor of "The Norton Anthology of Theory and Criticism,"

Featuring interviews with nineteen leading U.S. literary and cultural critics, Critics at Work offers a unique picture of recent developments in literary studies, critical theory, American studies, gay and lesbian studies, philosophy, and other fields. It provides informative, timely, and often provocative commentary on a broad range of topics, from the state of theory today and the prospects for cultural studies to the role of public intellectuals and the place of political activism. These conversations also elicit illuminating and sometimes surprising insights into the personal and professional lives of its contributors.

Individually, each interview gives a significant overview of a critic's work. Taken together, they provide an assessment of literary and cultural studies from the establishment of theory and its diffusion, in recent years, into various cultural and identity studies. In addition to the interviews themselves, the volume includes useful short introductions to each critic's work and biography.

Interviewees: K. Anthony Appiah, Lauren Berlant, Cathy Davidson, Morris Dickstein, Stanley Fish, Barbara Foley, Nancy Fraser, Gerald Graff, Alice Kaplan, E. Ann Kaplan, Robin D.G. Kelley, Paul Lauter, Louis Menand, Richard Ohmann, Andrew Ross, Eve Kosofsky Sedgwick, Jane Tompkins, Marianna Torgovnick, and Alan Wald.

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

Texts about the nocturnal journey of the Prophet Muhammad (Mi'raj) abound in the Muslim world and outside. International attention has never been afforded to any version of text in any language of the Indonesian archipelago. One old version of the text from the area, the Malay Hikayat Mir'aj Nabi Muhammad is presented here in Malay and English translation. The introductory chapters place the text in a wider context in Indonesian literatures while the manuscript of the text (Cod.Or. Leiden 1713) is described in detail. The text and translation purport to enhance interest in this important text in the Muslim world as seen from the Malay/Indonesian perspective.

James Salter (1925-2015) has been known throughout his career as a ""writer's writer,"" acclaimed by such literary greats as Susan Sontag, Richard Ford, John Banville, and Peter Matthiessen for his lyrical prose, his insightful and daring explorations of sex, and his examinations of the inner lives of women and men. Conversations with James Salter collects interviews published from 1972 to 2014 with the award-winning author of The Hunters, A Sport and a Pastime, Light Years, and All That Is. Gathered here are his earliest interviews following acclaimed but moderately selling novels, conversations covering his work as a screenwriter and award-winning director, and interviews charting his explosive popularity after publishing All That Is, his first novel after a gap of thirty-four years. These conversations chart Salter's progression as a writer, his love affair with France, his military past as a fighter pilot, and his lyrical explorations of gender relations. The collection contains interviews from Sweden, France, and Argentina appearing for the first time in English. Included as well are published conversations from the United States, Canada, and Australia, some of which are significantly extended versions, giving this collection an international scope of Salter's wide-ranging career and his place in world literature.

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

Anarchism and the Avant-Garde: Radical Arts and Politics in Perspective contributes to the continuing debate on the encounter of the classical anarchisms (1860s 1940s) and the artistic and literary avant-gardes of the same period, probing its dimensions and limits. Case studies on Dadaism, decadence, fauvism, neo-impressionism, symbolism, and various anarchisms explore the influence anarchism had on the avant-gardes and reflect on avant-garde tendencies within anarchism. This volume also explores the divergence of anarchism and the avant-gardes. It offers a rich examination of politics and arts, and it complements an ongoing discourse with theoretical tools to better assess the aesthetic, social, and political cross-pollination that took place between the avant-gardes and the anarchists in Europe.

Fred Beiser, renowned as one of the world's leading historians of German philosophy, presents a brilliant new study of Friedrich von Schiller (1759-1805), rehabilitating him as a philosopher worthy of serious attention. Beiser shows, in particular, that Schiller's engagement with Kant is far more subtle and rewarding than is often portrayed. Promising to be a landmark in the study of German thought, Schiller as Philosopher will be compulsory reading for any philosopher, historian, or literary scholar engaged with the key developments of this fertile period.