The beleaguered Joad family of Steinbeck's Grapes of Wrath struggled in an era of disappointed dreams and empty pockets. But how might the grandchildren of that Dust Bowl generation fare in today's more promising times? In this boisterously inventive book Alvin Kernan sends various descendants of the original Joad family on a post-modern journey out of California and into the excesses of American culture at the beginning of the twenty-first century. The experiences of today's Joads are as hilarious as they are discomfiting: they encounter in Kernan's America a world of democracy gone haywire and social institutions in perplexing disarray.

In ten satiric episodes, Kernan visits virtually every important American institution -- the family, education, religion, art, the military, law courts, sex, science and medicine, politics, and not least television and its advertisements. Unsparing with his barbs, he reveals both the fools and the knaves among us. Kernan's modern-day Joads find themselves in a distorted world where a surplus of democracy not only fails to free its inhabitants but also makes them vulnerable to the machinations of greedy and unscrupulous exploiters. Echoing the voices of such other provocative wits as Evelyn Waugh and Tom Wolfe, Kernan will make you laugh at the absurdity of American culture and -- in all likelihood -- at yourself.

In this delightful and candid memoir, Alvin Kernan recalls his life as a student, professor, provost, and dean during a distinguished career in some of higher education's most hallowed halls. With his customary wit and insight, Kernan recounts his experiences at Columbia, Williams, Oxford, Yale, and Princeton in the company of an array of fascinating colleagues. And he describes from an insider's point of view how colleges and universities in the second half of the twentieth century have been transformed in radical ways. Against the background of what it was like to work and teach in turbulent decades of change, Kernan details the broader educational battles in which he became embroiled. He discusses the struggle for equality of opportunity for women and minorities; the questioning of administrative and intellectual authority; the appearance of deconstructive types of theory; the technological shift from printed to electronic information; the politicization of the classroom; and much more. His vividly remembered account is not only a unique personal story, it is a thought-provoking history that brims with insight into what has been won and lost in the culture wars.

Soon after James Stuart became king of England in 1603, William Shakespeare, while still working in the public theater, became the royal playwright, and his acting troupe became the premier playing company of the realm. How did this courtly setting influence Shakespeare's work? What was it like to view, perform in, and write plays conceived for the Stuart king? In this fascinating and lively book, one of our most eminent literary critics explores these questions by taking us back to the court performances of some of Shakespeare's most famous plays, examining them in their settings at the royal palaces of Whitehall and Hampton Court. Alvin Kernan looks at Shakespeare as a patronage playwright whose work after 1603 focused on the main concerns of his royal patron: divine-right kingship in Lear, the corruption of the court in Antony, the difficulties of the old military aristocracy in Coriolanus, and other vital matters. Kernan argues that Shakespeare was neither the royal propagandist nor the political subversive that the New Historicists have made him out to be. He was, instead, a great dramatist whose plays commented on political and social concerns of his patrons and who sought the most satisfactory way of adjusting his own art to court needs.

Literature has passed through a crisis of confidence in recent decades-a radical questioning of its traditional values and its importance to humanity. In this witty and eloquent book, a distinguished professor of humanities looks at some of the agents that have contributed to literature's demise and ponders whether its vitality can be restored in the changing circumstances of late twentieth-century culture. Other critics, such as E. D. Hirsch and Allan Bloom, have also explored the growing cultural illiteracy of modern society. Alvin Kernan probes deeper, relating the death of literature to potent forces in our postindustrial world-most obviously, the technological revolution that is rapidly transforming a print to an electronic culture, replacing the authority of the written word with the authority of television, film, and computer screens. The turn taken by literary criticism itself, in deconstructing traditional literature and declaring it void of meaning in itself, and in focusing on what are described as its ideological biases against women and nonwhites, has speeded the disintegration. Recent legal debates about copyright, plagiarism, and political patronage of the arts have exposed the greed and self-interest at work under the old romantic images of the imaginative creative artist and the work of art as a perfect, unchanging icon. Kernan describes a number of the crossroads where literature and society have met and literature has failed to stand up. He discusses the high comedy of the obscenity trial in England against Lady Chatterley's Lover, in which the British literary establishment vainly tried to define literature. He takes alarmed looks at such agents of literary disintegration as schools where children who watch television eight hours a day can't read, decisions about who chooses and defines the words included in dictionaries, faculty fights about the establishment of new departments and categories of study, and courtrooms where criminals try to profit from bestselling books about their crimes. According to Kernan, traditional literature is ceasing to be legitimate or useful in these changed social surroundings. What is needed, he says, if it is any longer possible in electronic culture, is a conception of literature that fits in some positive way with the new ethos of post-industrialism, plausibly claiming a place of importance both to individual lives and to society as a whole for the best kind of writing.

One of Jonson's greatest plays, "Sejanus," has seldom been edited, and is here published, with full notes and introduction, for the first time since 1911. Mr. Barish shows that Jonsonian tragedy can be understood and appreciated only by clearing the mind of Shakespearean preconceptions. The present edition makes the play available in a modernized text, explanatory notes gloss obscure phrases ignored by previous editors, and critical notes contain extracts in English translation of the portions of Tacitus on which Jonson based his plot. The critical introduction analyzes Jonson's technique of metamorphosing history into poetry. Yale Ben Jonson, 3.Mr. Barish is associate professor of English at the University of California.

Volpone, or "The Fox," is one of Jonson's most popular plays and through the years has been a favorite of both theater-goers and readers. Professor Kernan offers his own interpretation, in a critical introduction that fully exploits the rich imagery, intricate plot development, and skillful delineation of character.

In none of Ben Jonson's plays is Renaissance heroic humanism converted to comic reality more obviously and successfully than in The Alchemist. Here the aspiration of the Renaissance to control and remake the world is imaged as a great swindle, alchemy. Jonson parodies philosophers, scientists, the new Protestantism, the great Renaissance merchant adventurers, and the ages' ideals of military valor and impassioned love. His characters are comic versions of the ways in which the Renaissance sought power, knowledge, and pleasure-they are also a remarkably realistic cross section, ranging from servant through knight, of London's life. One of the most popular of Jonson's plays during his lifetime and a favorite throughout the seventeenth century, The Alchemist, was first produced in 1610. In his introduction, Alvin B. Kernan skillfully conveys the vitality and ultimate power of this difficult play. The glosses and explanatory notes clarify Jonson's language, with all its references to classical and alchemical literature and the contemporary London underworld. In Appendix I, Mr. Kernan discusses Jonson's use of alchemy and provides a glossary of alchemical terms. Appendix II includes a discussion of the text, sources, and stage history of the play.