Catherine of Siena (1347-1380) wrote almost four hundred epistles in her lifetime, effectively insinuating herself into the literary, political, and theological debates of her day. At the same time, as the daughter of a Sienese dyer, Catherine had no formal education, and her accomplishments were considered miracles rather than the work of her own hand. As a result, she has been largely excluded from accounts of the development of European humanism and the language and literature of Italy. Reclaiming Catherine of Siena makes the case for considering Catherine alongside literary giants such as Dante and Petrarch, as it underscores Catherine's commitment to using the vernacular to manifest Christ's message and her own. Jane Tylus charts here the contested struggles of scholars over the centuries to situate Catherine in the history of Italian culture in early modernity. But she mainly focuses on Catherine's works, calling attention to the interplay between orality and textuality in the letters and demonstrating why it was so important for Catherine to envision herself as a writer. Tylus argues for a reevalution of Catherine as not just a medieval saint, but one of the major figures at the birth of the Italian literary canon.

Satirical verse on society and its hypocrisies A master of satire known for his ribald humor, self-deprecation, and invective verse (hija'), the poet Hmedan al-Shwe'ir was an acerbic critic of his society and its morals. Living in the Najd region of the Arabian Peninsula, Hmedan wrote in an idiom widely referred to as "Nabati," here a mix of Najdi vernacular and archaic vocabulary and images dating to the origins of Arabic poetry. In Arabian Satire, Hmedan is mostly concerned with worldly matters and addresses these in different guises: as the patriarch at the helm of the family boat and its unruly crew; as a picaresque anti-hero who revels in taking potshots at the established order, its hypocrisy, and its failings; as a peasant who labors over his palm trees, often to no avail and with no guarantee of success; and as a poet recording in verse how he thinks things ought to be. The poems in Arabian Satire reveal a plucky, headstrong, yet intensely socially committed figure-representative of the traditional Najdi ethos-who infuses his verse with proverbs, maxims, and words of wisdom expressed plainly and conversationally. Hmedan is widely quoted by historians of the Gulf region and in anthologies of popular sayings. This is the first full translation of this remarkable poet. An English-only edition.

Satirical verse on society and its hypocrisies A master of satire known for his ribald humor, self-deprecation, and invective verse (hija'), the poet Hmedan al-Shwe'ir was an acerbic critic of his society and its morals. Living in the Najd region of the Arabian Peninsula, Hmedan wrote in an idiom widely referred to as "Nabati," here a mix of Najdi vernacular and archaic vocabulary and images dating to the origins of Arabic poetry. In Arabian Satire, Hmedan is mostly concerned with worldly matters and addresses these in different guises: as the patriarch at the helm of the family boat and its unruly crew; as a picaresque anti-hero who revels in taking potshots at the established order, its hypocrisy, and its failings; as a peasant who labors over his palm trees, often to no avail and with no guarantee of success; and as a poet recording in verse how he thinks things ought to be. The poems in Arabian Satire reveal a plucky, headstrong, yet intensely socially committed figure-representative of the traditional Najdi ethos-who infuses his verse with proverbs, maxims, and words of wisdom expressed plainly and conversationally. Hmedan is widely quoted by historians of the Gulf region and in anthologies of popular sayings. This is the first full translation of this remarkable poet. An English-only edition.

The epic tradition has been part of many different cultures throughout human history. This noteworthy collection of essays provides a comparative reassessment of epic and its role in the ancient, medieval, and modern worlds, as it explores the variety of contemporary approaches to the epic genre. Employing theoretical perspectives drawn from anthropology, literary studies, and gender studies, the authors examine familiar and less well known oral and literary traditions--ancient Greek and Latin, Arabic, South Slavic, Indian, Native American, Italian, English, and Caribbean--demonstrating the continuing vitality of the epic tradition.
Juxtaposing work on the traditional canon of western epics with scholarship on contemporary epics from various parts of the world, these essays cross the divide between oral and literary forms that has long marked the approach to the genre. With its focus on the links among narrative, politics, and performance, the collection creates a new dialogue illustrating the sociopolitical significance of the epic tradition. Taken together, the essays raise compelling new issues for the study of epic, as they examine concerns such as national identity, gender, pedagogy, and the creation of the canon.