Our culture attempts to separate competing ideological factions by denying relationships between multiple perspectives and influences outside of one's own narrow interpretive community. The distinguished essayists in this volume find Daniel R. Schwarz's pluralistic, self-questioning approach to what he calls "reading texts and reading lives" quite relevant to the current historical moment and political situation. A legendary scholar of modernist literature, Schwarz's critical principles are a healthy corrective to cultural hubris. The essayists treat works ranging from fictions by Joyce, Conrad, Morrison, and Woolf to the poetry of Yeats, to Holocaust literature, to the environmental writings of Wendell Berry, to the photographs of Lee Friedlander. The authors focus on different works, but they follow Schwarz in stressing formal elements most often associated with traditional realism while keeping an eye on historical and author-centered approaches. The essayists also follow Schwarz in their emphasis on narrative cohesion and in how they look for signs of agency among characters who possess the will to alter their fate, even in a seemingly random universe such as the one depicted by Conrad. Readers with eyes to ethics and aesthetics, they follow Schwarz in encouraging a values-centered approach that leaves room for the reader to address the ways in which reading a text correlates to the reader's ability to find meaning and value in experience outside the text. Like Schwarz, the essays look for intentionality of authorial meaning (rather than something called an "author function") as well as for the relationship between lived experience and the imagined world of the literary work (rather than the endless semiotic play of an ultimately indecipherable text).

The Cambridge Companion to Twentieth Century American Poetry and Politics shows how American poets have addressed political phenomena since 1900. This book helps students, teachers, and general readers make sense of the scope and complexity of the relationships between poetry and politics. Offering detailed case studies, this book discusses the relationships between poetry and social views found in work by well-established authors such as Wallace Stevens, Langston Hughes, and Gwendolyn Brooks, as well as lesser known, but influential figures such as Muriel Rukeyser. This book also emphasizes the crucial role contemporary African-American poets such as Claudia Rankine and leading spoken word poets play in documenting political themes in our current moment. Individual chapters focus on specific political issues - race, institutions, propaganda, incarceration, immigration, environment, war, public monuments, history, technology - in a memorable and teachable way for poetry students and teachers.

The Cambridge Companion to Twentieth Century American Poetry and Politics shows how American poets have addressed political phenomena since 1900. This book helps students, teachers, and general readers make sense of the scope and complexity of the relationships between poetry and politics. Offering detailed case studies, this book discusses the relationships between poetry and social views found in work by well-established authors such as Wallace Stevens, Langston Hughes, and Gwendolyn Brooks, as well as lesser known, but influential figures such as Muriel Rukeyser. This book also emphasizes the crucial role contemporary African-American poets such as Claudia Rankine and leading spoken word poets play in documenting political themes in our current moment. Individual chapters focus on specific political issues - race, institutions, propaganda, incarceration, immigration, environment, war, public monuments, history, technology - in a memorable and teachable way for poetry students and teachers.

Not Born Digital addresses from multiple perspectives - ethical, historical, psychological, conceptual, aesthetic - the vexing problems and sublime potential of disseminating lyrics, the ancient form of transmission and preservation of the human voice, in an environment in which e-poetry and digitalized poetics pose a crisis (understood as opportunity and threat) to traditional page poetry. The premise of Not Born Digital is that the innovative contemporary poets studied in this book engage obscure and discarded, but nonetheless historically resonant materials to unsettle what Charles Bernstein, a leading innovative contemporary U.S. poet and critic of "official verse culture," refers to as "frame lock" and "tone jam." While other scholars have begun to analyze poetry that appears in new media contexts, Not Born Digital concerns the ambivalent ways page poets (rather than electronica based poets) have grappled with "screen memory" (that is, electronic and new media sources) through the re-purposing of "found" materials.

Not Born Digital addresses from multiple perspectives - ethical, historical, psychological, conceptual, aesthetic - the vexing problems and sublime potential of disseminating lyrics, the ancient form of transmission and preservation of the human voice, in an environment in which e-poetry and digitalized poetics pose a crisis (understood as opportunity and threat) to traditional page poetry. The premise of Not Born Digital is that the innovative contemporary poets studied in this book engage obscure and discarded, but nonetheless historically resonant materials to unsettle what Charles Bernstein, a leading innovative contemporary U.S. poet and critic of "official verse culture," refers to as "frame lock" and "tone jam." While other scholars have begun to analyze poetry that appears in new media contexts, Not Born Digital concerns the ambivalent ways page poets (rather than electronica based poets) have grappled with "screen memory" (that is, electronic and new media sources) through the re-purposing of "found" materials.

A new survey of twentieth-century U.S. poetry that places a special emphasis on poets who have put lyric poetry in dialogue with other forms of creative expression, including modern art, the novel, jazz, memoir, and letters. Contesting readings of twentieth-century American poetry as hermetic and narcissistic, Morris interprets the lyric as a scene of instruction and thus as a public-oriented genre. American poets from Robert Frost to Sherman Alexie bring aesthetics to bear on an exchange that asks readers to think carefully about the ethical demands of reading texts as a reflection of how we metaphorically "read" the world around us and the persons, places, and things in it. His survey focuses on poems that foreground scenes of conversation, teaching, and debate involving a strong-willed lyric speaker and another self, bent on resisting how the speaker imagines the world.

A new survey of twentieth-century U.S. poetry that places a special emphasis on poets who have put lyric poetry in dialogue with other forms of creative expression, including modern art, the novel, jazz, memoir, and letters. Contesting readings of twentieth-century American poetry as hermetic and narcissistic, Morris interprets the lyric as a scene of instruction and thus as a public-oriented genre. American poets from Robert Frost to Sherman Alexie bring aesthetics to bear on an exchange that asks readers to think carefully about the ethical demands of reading texts as a reflection of how we metaphorically "read" the world around us and the persons, places, and things in it. His survey focuses on poems that foreground scenes of conversation, teaching, and debate involving a strong-willed lyric speaker and another self, bent on resisting how the speaker imagines the world.

Called to be a missionary as a teenager, I had a great desire to fulfill God's will, but had a great sense of inadequacy for such an extraordinary purpose. But God says he who meditates in His Word ... shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season; his leaf also shall not wither; and whatsoever he doeth shall prosper (Psalm 1:3). This verse was and still is a great source of encouragement. Part of meditation is to memorize God's Word, so I began a systematic method of memorizing consecutive passages of scripture. Through the years I learned, both by study and by experience, how God made our memory function. Presently, I have 42 chapters memorized and, best of all, our missionary work has prospered beyond what I could have imagined. This book describes what I learned about permanently memorizing scripture and will help you be one of the few who experiences the blessing of meditation in God's Word, and the hope that whatsoever he doeth shall prosper. In this book you'll learn: - Specific memorization techniques. - How to memorize scripture, the Bible. - How to retain what you memorize About the Author Dr. Morris graduated from Pacific Coast Baptist Bible College and Anchor Theological Seminary. He received his Ph. D. in Biblical Studies from Louisiana Baptist University. Since 1978, he and his wife, Debbie, have served as missionaries in Chiapas, Mexico. He presently pastors the Baptist church he founded in Tuxtla Gutierrez and oversees several other churches, missions and a Christian school. Much of his time is dedicated to training Mexican pastors, and counseling.

For the authors discussed in Remarkable Modernisms -- poets John Yau, Charles charles Simic, and Mark Strand, and novelists Ann Beattie and Joyce Carol Oates -- writing about modern art not only helps to illuminate the work of the artist but also serves as a stimulus to verbal self-portraiture. By revealing as much about their own lives and works as they do about the visual objects reviewed -- pieces for example by Jasper Johns, Andy Warhol, Joseph Cornell, Alex Katz, Edward Hopper, and George Bellows -- the authors studied by Daniel Morris extend the scope of their analysis. In all five cases, writing about art becomes a critical inquiry into the nature of public acts of witnessing and private acts of seeing and not seeing.While challenging older, rigidly formalist approaches, these authors also diverge from the strictly contextual approaches favored by many contemporary academic critics. As poets and novelists, they remain sensitive to the value of compositional techniques when they address a visual artifact, and they reject the shibboleth of content versus formalist approaches to art. They reveal that this dichotomy fails to account for the semantics of form -- the interwoven relationship between the how and the what of a work of art. Indebted to visual art as a basis for their own compositional discoveries in words, these authors' writings on art have the effect of turning pictures into a language that extends our frame of reference beyond the flat surface of the picture plane to each author's version of contemporary society as social text.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!