Playwright, biographer, screenwriter, and critic S. N. Behrman (1893-1973) characterized the years he spent writing for The New Yorker as a time defined by ""feverish contact with great theatre stars, rich people and social people at posh hotels, at parties, in mansions and great estates."" While he hobnobbed with the likes of Mary McCarthy, Elia Kazan, and Greta Garbo and was one of Broadway's leading luminaries, Behrman would later admit that the friendships he built with the magazine's legendary editors Harold Ross, William Shawn, and Katharine S. White were the ""one unalloyed felicity"" of his life. People in a Magazine collects Behrman's correspondence with his editors along with telegrams, interoffice memos, and editorial notes drawn from the magazine's archives - offering an unparalleled view of mid-twentieth-century literary life and the formative years of The New Yorker, from the time of Behrman's first contributions to the magazine in 1929 until his death.

Adventure is just a book away as best-selling author Nancy Pearl returns with recommended reading for more than 120 destinations around the globe. "Book Lust To Go" connects the best fiction and nonfiction to particular destinations, whether your bags are packed or your armchair is calling. With stops from Texas to Timbuktu, Nancy Pearl's reading recommendations will send you on your way.

As a result of fabricated accounts endlessly repeated since his death, the early nineteenth-century French satirist, J. J.Grandville (180347), is often perceived as being as bizarre as his inventive protosurrealist imagery. With the recent bicentennial of his birth, it is time for a reassessment of this seminal artist based on primary sources. The Diary of J. J. Grandville and the Missouri Album: The Life of an Opposition Caricaturist and Romantic Book Illustrator in Paris under the July Monarchy by Clive F. Getty does just that. This first major study in English of Grandville allows him to speak for himself through a careful examination of his diary, fragments of which are to be found in a previously unexamined album of drawings in the Special Collections of the University of Missouri-Columbia Libraries.An introductory biography situates the artist within the political, social,and cultural climate of France during the Romantic era and the July Monarchy of Louis-Philippe. The main body of the book consists of an annotated catalog of the albums drawings. Since the majority originate from his diaries, they provide valuable new insights into Grandville's life and work, particularly during those years most extensively represented: 1830, 1833, and 1846. An epilogue explores the genesis of the Missouri Album. The biography follows Grandville from his native Nancy to Paris where he first gained fame as a satirist with the human/ animal hybrids of Les Mtamorphoses du jour (182829). After the Revolution of 1830, he produced opposition caricatures for Philipons La Caricature, Le Charivari, and the Association mensuelle. With the establishment of press censorship in 1835, Grandville turned to book illustration, producing such innovative masterpiecesas Scnes de la vie prive et pub-liquedes animaux (1842) and Un autre monde (1844). The biography ends with the unusual circumstances of Grandville's death in 1847 and an analysis of the distorted accounts about the deceased artist and

This book treats the literary work of Julia Augusta Webster within the context of Websters participation in nineteenth century British aestheticism. Websters personal life, her experience as a member of the Suffrage Society and her tenure on the London School Board, as well as her position as poetry reviewer for the Athenaeum and participation in the salon society of the 1880s, inform her later work, but her earliest poetry and fiction also reflect the beginnings of the aestheticist perspective on the transience and impermanence of life. This book makes use of extensive archival materials to provide context for a study of Websters literary work, beginning with her first volume of poetry Blanche Lisle and concluding with her posthumously published Mother and Daughter sonnets. In tracing the trajectory of Websters development as an aestheticist poet, Patricia Rigg extends Webster scholarship into areas of the writers work not previously explored.

This book scrutinizes the genre of the author-as-character with respect to three broad issues-authorship, the posthumous, and cultural revisionism-that arise in reading such works from a contemporary perspective. Late twentieth-century fiction 'postmodernizes' romantic and modern authors not only to understand them better, but also to understand itself in relation to a past (literary tradition, aesthetic paradigms, cultural formations, etc.) that has not really passed. Penelope Fitzgerald's 'The Blue Flower', Peter Ackroyd's 'The Last Testament of Oscar Wilde and Chatterton', Peter Carey's 'Jack Maggs', Michael Cunningham's 'The Hours', Colm Toibin's 'The Master', and Geoff Dyer's 'Out of Sheer Rage: Wrestling with D. H. Lawrence - 'the mighty dead' (Harold Bloom) are brought back to life, reanimated and bodied forth in new textual bodies that project a postmodern understanding of the author as a historically and culturally contingent subjectivity constructed along the lines of gender, sexual orientation, class, and nationality.

For many Spanish Americans in the early nineteenth century, Philadelphia was Filadelfia, a symbol of republican government for the Americas and the most important Spanish-Language print center in the early United States. In Letters from Filadelfia, Rodrigo Lazo opens a window into Spanish-Language writing produced by Spanish American exiles, travelers, and immigrants who Settled and passed through Philadelphia during this vibrant era, when the city's printing presses offered a vehicle for the voices advocating independence in the shadow of Spanish colonialism.The first book-length study of Philadelphia publications by intellectuals such as Vicente Rocafuerte, Jose Maria Heredia, Manuel Torres, Juan German Roscio, and Servando Teresa de Mier, Letters from Filadelfia offers an approach to discussing their work as part of early Latino literature and the way in which it connects to the United States and other parts of the Americas. Lazo's book is an important contribution to the complex history of the United States' first capital. More than the foundation for the U.S. nation-state, Philadelphia reached far beyond its city limits and, as considered here, suggests new ways to conceptualize what it means to be American.

This book builds upon critical reevaluations of modernism and British literature of the 1930s with a simultaneous focus on discourses of race, gender, and empire. The essays direct attention to the complications and ambivalence accumulating around the meanings of Englishness. They reject analyses of texts as chronicles of personal psychological development in favor of analyses that assume texts are shaped by their authors' public intellectual involvement. In addition, they offer detailed, specific explorations of ways in which British women in the 1930s narrativize empire and war. Thus they will resonate with significance for readers in the early twenty-first century for women empire and war, as well as terror and security, are part of the discourse of everyday life.

Professor Moynahan's object in this illuminating, critical survey has been to consider Lawrence entirely in his most important role...as the author of the novels and the shorter tales. To this end he traces the development of Lawrence's mastery of the novel. Originally published in 1963. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Gleaning Modernity shows how earlier eighteenth-century literary texts might have eased the way for Britain's increasing modernity. They allowed Modern scenarios to be played out imaginatively, as simulations for experimental, predictive ends. The process spoke to the needs and desires of readers in a world of rapid, managed change. It worked unobtrusively first because of the practice of recycling old forms, as Pope and Richardson did, for example, with Horatian and tragic models, respectively; and second because given texts offered different readers a range of interpretative options. Along with providing original readings of such major texts as Gulliver's Travels and Clarissa, this study enlarges our sense of the Modernizing process. It also shows how a consumer-driven Darwinian model of adaptive change, affecting literature and its readership, can help us understand the ways in which literature can have social efficacy.

This comprehensive study of the literary output of Sir John Suckling reconstructs the various contexts in which the poems, plays, letters, and prose tracts were produced and, by means of close textual analysis, reveals the nature of one writer's engagement_both creative and subversive_with the social, religious, political, and cultural dimensions of Caroline England. It challenges the common view of Suckling as primarily a court wit and courtier playwright and makes a case for reading much of his poetry and drama as a critique of the social values and aesthetic fashions associated with the patronage of Queen Henrietta Maria. In other words, this so-called 'Cavalier' is revealed as an astute and skeptical commentator on national and international affairs, whose discontent with the religious and political consequences of King Charles I's government during the 1630s was often at odds with his unshakable loyalty to the crown.

Enrique Lihn (1929-1988), winner of the Premio Casa de las Americas (Poesia de paso, 1966), was one of Chile's most significant creative minds of the twentieth century. Surprising his predecessors, inspiring his contemporaries, and always venerated by younger inheritors of his legacy, he is as important to the Latin American literary community as Gabriela Mistral, Pablo Neruda, or Nicanor Parra. This book provides a detailed study of all major stages of his literary production, from his third book, La pieza oscura [The Dark Room] (1963) to his posthumous Diario de Muerte [Diary of Dying] (1989). A critical introduction provides an orientation to Lihn's work as related to the critical apparatus of Western Marxism and postmodern theory. An additional auxiliary section comes between chapters two and three, accommodating the vary significant change in historical period from the pre- to post-Pinochet eras, and further investigating Theodor Adorno's provocative questioning of whether "art after Auschwitz" can truly exist.

Tragedy in the eighteenth century is often said to have expired or been deflected into nondramatic forms like history and satire, and to have survived mainly as a "tragic sense" in writers like Samuel Johnson. Leopold Damrosch shows that many readers were still capable of an imaginative response to tragedy. In Johnson, however, moral and aesthetic assumptions limited his ability to appreciate or create tragedy, despite a deep understanding of human suffering. This limitation, Mr. Damrosch argues, derived partly from his Christian belief, and more largely from a view of reality that did not allow exclusive focus on its tragic aspects. The author discusses Irene, The vanity of Human Wishes, and Johnson's criticism of tragedy, particularly that of Shakespeare. A Final chapter places Johnson's view in the context of modern theories. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This book is the first work in the English language to discuss the participation of women writers in the narrative construction of Mozambican nationhood over the past half-century. Covering the rise of anti-colonial nationalism in the 1950s, the advent of the Marxist-Leninist Republic in the 1970s, the war that followed independence in the 1980s, and the transition to democracy and the neo-liberal economy in the 1990s, the volume focuses on four representative women writers who belong to distinct but overlapping periods and work in different genres. Dealing with Noemia de Sousa's poetry, Lina Magaia's testimonial writings, Lilia Momple's short fiction, and Paulina Chiziane's novels, the result is a close reading of the ways in which women have narrated and counter-narrated Mozambican nationhood to take account of the gendered power relations that traditionally underpin national community as imagined by men.

This volume explores a wide range of Victorian texts, including novels, poems, sermons, and some less easily categorized writings, in terms of their use of language and imagery suggestive of the Apocalypse. The focus is less upon the conscious or deliberate use of the Apocalypse as a source of sublime metaphors or as a guide to cultural decline than on the ways in which certain tropes recur in the writings of the period. These can be characterized in terms of oppositions that both structure apocalyptic literature and characterize much Victorian writing: human/inhuman, desert/city, veiled/revealed, time/the eternal, this world/other world. The book sets out to show that what might be called a cultural affinity exists between the writing of the Victorian era and apocalyptic literature, and to argue that such a relationship was unavoidable for a society steeped in the bible as it confronted dramatic changes in its relationships with nature, God, and time.

Investigating autobiographical writing of Mary McCarthy, Henry James, Jean-Paul Sartre, Saul Friedlander, and Maxine Hong Kingston, this book argues that autobiographical truth is not a fixed but an evolving content in a process of self-creation. Further, Paul John Eakin contends, the self at the center of all autobiography is necessarily fictive. Professor Eakin shows that the autobiographical impulse is simply a special form of reflexive consciousness: from a developmental viewpoint, the autobiographical act is a mode of self-invention always practiced first in living and only eventually, and occasionally, in writing.

Originally published in 1988.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Edith Wharton enjoyed a complex relationship with earlymodernism. On the one hand, as a writer committed to the seriousness of novel writing as an art, her love of French literature and her close relationship with Henry James made her open to experiment. Other elements in her circumstances made her resistant to change. She enjoyed enormous success with The House of Mirth, and the public clearly demanded more from her in this style. That novel's naturalism and didactic purpose, Peel argues, conformed to her own belief in the moral purpose of literature, and ultimately Wharton's reading of politics, culture, and society led her to abandon modernistic experiment for ethical, rather than aesthetic reasons. Apart from Modernism explores the political and cultural influences that helped shape Edith Wharton. Peel examines such subjects as her politics, her relationship to bohemianism and modernist experiment, and her idea of the good society through a discussion of her fiction 1900 - 1915, starting with a survey of the early novellas and novels such as The Valley of Decision, The House of Mirth, and The Fruit of the Tree, before concentrating in detail on the years which saw the publication of The Reef, Ethan Frome, and The Custom of the Country. Important issues such as Wharton's reading of gender, empire, and class form a central part of this discussion. The study emphasizes the crucial role that Wharton's contact with Europe had on her writing, and the significance intellectually and politically of her relationship with Morton Fullerton and her reading of his books on politics. It locates Wharton in her period, surrounded as she was by discourses which called for political and social change, change which an outlook that Peel calls 'American Toryism' made her reluctant to embrace. Her love of motorcars and her excitement about other technological developments such as aeroplanes was inspired by a feeling of exclusivity and not the democratization of culture, whic

Stateless: The Politics of the Armenian Language in Exile focuses on two centers of Western Armenian literary production following the Armenian genocide to examine the intersection of violence and art, displacement and language vitality. In looking at the work of a post WWI Paris-based, short-lived transnational literary movement called Menk [We], it explores how the politically violent origins of dispersion informed the aesthetic development of a new literature and the articulation of literary belonging in exile. In looking at the post WWII activities and publications of the Writers' Association of Syria and Lebanon, it traces how the Armenian diaspora's literature was nationalized in the absence of state institutions. It shows that when Beirut took over as the nucleus of the diaspora's literary activity and intellectuals began to construct a unified and coherent narrative of the diaspora, the city came to be positioned as the thread that connected the current activities to the pre-1915 literary tradition and the Menk generation was excluded from the modern Armenian literary canon due to its writers' attempts to understand diasporic experience as interrupted time. Ultimately, it argues that the adoption of the category of the "national" as the organizing logic of literary production in a diaspora setting limited the long-term vitality of this stateless language, for it ignored the multifarious composition of diaspora communities.

This book is a detailed study of Ezra Pound 's explicit and implicit use of elements of the Neoplatonic tradition in his prose and poetry, and of the way it informed his poetics as well as his political and social-economic views.

Volume 4 is devoted to the last years (1857-64); while age and declining health saw a waning of the composer's personal optimism, this was hardly the case artistically speaking. This last volume contains a series of glossaries listing his compositions and the musical and theatrical works he attended throughout his life, as well as a bibliography of the composer, his contemporaries, and the operatic and social milieu of the times.

Bringing together over 70 influential critical articles, Virginia Woolf: Critical and Primary Sources is a collection of significant academic writing on the work of the great modernist writer, Virginia Woolf. Beginning with the academic rediscovery of Woolf in the mid-1970s, this collection charts the development of Woolf scholarship up to 2015. It comprises examinations of Woolf's fiction and non-fictional writing, important manuscript and archival discoveries and biographical analyses, as well as critical work on Woolf's feminism, aesthetics and cultural writing. Each volume includes a substantial contextualising introduction surveying Woolf studies in the decade covered. Virginia Woolf: Critical and Primary Sources is an essential academic resource for scholars and common readers alike.

Threshold Poetics: Milton and Intersubjectivity is a study of the challenge intersubjective experience poses to doctrinal formulations of difference. Focusing on Paradise Lost and Samson Agonistes and using feminist and relational psychoanalytic theory, the project examines representations of looking, working, eating, conversing, and touching, to argue that encounters between selves in 'threshold space' dismantle the binary oppositions that support categorical thinking. A key term throughout the study is recognition, defined as the capacity to tolerate both sameness and difference between separate selves. Recognition of likeness-in-difference thus undermines the exclusionary logic of patriarchal and political hierarchies. Both Eve and Dalila demonstrate the ability to respect the borders of the other while seeking out similarity, but where Paradise Lost depicts the eventual achievement of intersubjective understanding between Adam and Eve after the fall, Samson Agonistes records its failure when Samson, maintaining the boundaries of difference, refuses Dalila's effort to make contact.