Teaching Nabokov's Lolita in the #MeToo Era and Online seeks to critique Nabokov's Lolita from the standpoint of its teachability to undergraduate and graduate students in the twenty first century. The #MeToo Movement has spurred a reassessment of what constitutes appropriate professional and sexual relations, a reassessment that has challenged how we teach our students, especially when we are studying controversial works. The time has come to ask in the #MeToo Era and beyond, how do we approach Nabokov's inflammatory masterpiece, Lolita? How do we read a novel that describes an unpardonable crime? How do we balance analysis of Lolita's brilliant language and aesthetic complexity with due attention to its troubling content? This volume offers practical and specific answers to this question and includes suggestions for teaching the novel in conventional and online modalities. Essays by distinguished Nabokov scholars explore the multilayered nature of Nabokov's Lolita by sharing innovative assignments and creative-writing exercises, teaching approaches to especially challenging parts of the text, methodologies of teaching the novel through different mediums from film to theatre, and new critical analyses and interpretations.

Teaching Nabokov's Lolita in the #MeToo Era seeks to critique the novel from the standpoint of its teachability to undergraduate and graduate students in the twenty-first century. The time has come to ask: in the #MeToo era and beyond, how do we approach Nabokov's inflammatory masterpiece, Lolita? How do we read a novel that describes an unpardonable crime? How do we balance analysis of Lolita's brilliant language and aesthetic complexity with due attention to its troubling content? This student-focused volume offers practical and specific answers to these questions and includes suggestions for teaching the novel in conventional and online modalities. Distinguished Nabokov scholars explore the multilayered nature of Lolita by sharing innovative assignments, creative-writing exercises, methodologies of teaching the novel through film and theatre, and new critical analyses and interpretations.

For more than a century, Harlem has been the epicenter of black America, the celebrated heart of African American life and culture - but it has also been a byword for the problems that have long plagued inner-city neighborhoods: poverty, crime, violence, disinvestment, and decay. Photographer Camilo Jose Vergara has been chronicling the neighborhood for forty-three years, and Harlem: The Unmaking of a Ghetto is an unprecedented record of urban change. Vergara began his documentation of Harlem in the tradition of such masters as Helen Levitt and Aaron Siskind, and he later turned his focus on the neighborhood's urban fabric, both the buildings that compose it and the life and culture embedded in them. By repeatedly returning to the same locations over the course of decades, Vergara is able to show us a community that is constantly changing - some areas declining, as longtime businesses give way to empty storefronts, graffiti, and garbage, while other areas gentrify, with corporate chain stores coming in to compete with the mom-and-pop shops. He also captures the ever-present street life of this densely populated neighborhood, from stoop gatherings to graffiti murals memorializing dead rappers to impersonators honoring Michael Jackson in front of the Apollo, as well as the growth of tourism and racial integration. Woven throughout the images is Vergara's own account of his project and his experience of living and working in Harlem. Taken together, his unforgettable words and images tell the stories of how Harlem and its residents navigated the segregation, dereliction, and slow recovery of the closing years of the twentieth century and the boom and racial integration of the twenty-first. A deeply personal investigation, Harlem will take its place with the best portrayals of urban life.

All Future Plunges to the Past explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, Jose Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, emigre, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or "translations," of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment.