Karl Wisent, separated from his wife Heike, teaches at an all-girls' school in Paris. On a Saturday afternoon, his accidental meeting of Helene, who lives with Gaspard, an actor, turns his life upside down. A year later, Karl decides to end his marriage and marry Helene. Will she leave Gaspard for Karl?

Soon thereafter, Karl's grandmother offers him her house in the hills west of Avignon for the summer. In order to escape Paris, he accepts. On his journey south he meets old friends and explores a series of caves full of primitive drawings. For a while, he is happy, but things take a nasty turn when Heike arrives at the house with her new boyfriend and two Americans in tow. If that is not enough, an American friend, Dutch Vogel, returns from the first Gulf War, worn out and angry.

Karl discovers that he has somehow attracted these troubled people and their calamities and that if he doesn't discover the reason why, he will never be rid of them.

At the conclusion of Keith Harvey's novel, Cave Gossip, the protagonist recites an aphorism: being in being is. Sea Snails on a Black Chow's Tongue explores the meaning of this aphorism. The poems in this collection, then, deal with man's basic aloneness in being; a castaway, if you will, in his own existence.

Poet
He sat and read
his primal poems
on a wooden stool
carved from pine.
His lips purpled
as he scanned
primordial words
and his tongue
shadowed
like a chow's.

It's a particularly bad day in November of 1992 when seventy-one-year-old Manfred Vogel's prized white Charolais bull is discovered slain on his property in Arp, Texas. On that same day, his grandsons make another gruesome discovery. They dig up two decomposed bodies with gunshot wounds in the back of their heads. On this same day in Berlin, Heinrich "Dutch" Vogel, Manfred's oldest son and an American expatriate, dodges questions about the strange disappearance of a member of the United States Department of State.
In this second novel featuring the Vogel family, Dutch, a freelance government agent, flies to Texas and discovers his once Edenic home is menaced and in turmoil. To restore balance, he must confront not only his father's role as a German soldier in Russia during World War II, but also his mother's family's buried past. Dark deeds have been hidden away on the property, and Dutch seeks to restore the farm's sanctity.

The first poem of Petroglyphs appeared unbidden in a dream. Like Odin's raven, the poem and its images heralded the coming of a simpler style that dredges up primordial images and myths to create a sacred space where change occurs, language renews itself, and the dead live again.

This original and intriguing collection explores the pressures exerted upon language in the expression of romantic and sexual desire. Simultaneously, it reveals the ways in which language itself exerts its own constraints on the subject's capacity to express desire. The contributors, while using the approaches and methods of empirical linguistics, engage directly with issues of relevance in gender studies and cultural studies. They examine and probe: * language used to mediate romantic and sexual desire * language used by the media to represent intimacy and desire * attitudes and assumptions about romantic and sexual desire embodied in English * implications for the construction of romantic and sexual identity

How was American gay liberation received in France between the events of Stonewall and the AIDS crisis? What part did translations of American 'gay fiction' play in this reception? How might the various intercultural movements that characterize the French response to 'American gay' be conceptualized as translational? Intercultural Movements attempts to answer these questions by situating detailed analyses of key textual and paratextual dimensions of selected translations within an understanding of the French fascination in the 1970s with the model of gay emancipation in the United States. Through an examination of the translations of Andrew Holleran's Dancer from the Dance, John Rechy's Rushes and Larry Kramer's Faggots, the book explores the dynamic of attraction, assimilation, transformation and rejection that characterizes French attitudes at the time. In particular, representations of the figure of the 'queen' - of the effeminate homosexual - are identified as particularly sensitive textual zones for understanding French views on homosexual emancipation in the light of American developments. Key figures involved in these debates include translators, academics and activists such as Alain-Emanuel Dreuilhe, Michel Foucault, Guy Hocquenghem, Brice Matthieussent, Philippe Mikriammos and Georges-Michel Sarotte - many of whom lived out the translational pressures of the time through various types of physical (as well as textual) displacement into the foreign space. More broadly, the book envisages using translation and translatedness as the paradigm case for all sorts of intercultural traffic while also intimating the possibility of an intercultural studies predicated upon a vision of cultural spaces as necessarily traversed and constituted by (mis)recognitions of cultural others.

This original and intriguing collection explores the pressures exerted upon language in the expression of romantic and sexual desire. Simultaneously, it reveals the ways in which language itself exerts its own constraints on the subject's capacity to express desire.
The contributors, while using the approaches and methods of empirical linguistics, engage directly with issues of relevance in gender studies and cultural studies. They examine and probe:
* language used to mediate romantic and sexual desire
* language used by the media to represent intimacy and desire
* attitudes and assumptions about romantic and sexual desire embodied in English
* implications for the construction of romantic and sexual identity

How was American gay liberation received in France between the events of Stonewall and the AIDS crisis? What part did translations of American 'gay fiction' play in this reception? How might the various intercultural movements that characterize the French response to 'American gay' be conceptualized as translational? Intercultural Movements attempts to answer these questions by situating detailed analyses of key textual and paratextual dimensions of selected translations within an understanding of the French fascination in the 1970s with the model of gay emancipation in the United States. Through an examination of the translations of Andrew Holleran's Dancer from the Dance, John Rechy's Rushes and Larry Kramer's Faggots, the book explores the dynamic of attraction, assimilation, transformation and rejection that characterizes French attitudes at the time. In particular, representations of the figure of the 'queen' - of the effeminate homosexual - are identified as particularly sensitive textual zones for understanding French views on homosexual emancipation in the light of American developments. Key figures involved in these debates include translators, academics and activists such as Alain-Emanuel Dreuilhe, Michel Foucault, Guy Hocquenghem, Brice Matthieussent, Philippe Mikriammos and Georges-Michel Sarotte - many of whom lived out the translational pressures of the time through various types of physical (as well as textual) displacement into the foreign space. More broadly, the book envisages using translation and translatedness as the paradigm case for all sorts of intercultural traffic while also intimating the possibility of an intercultural studies predicated upon a vision of cultural spaces as necessarily traversed and constituted by (mis)recognitions of cultural others.

Karl Wisent, separated from his wife Heike, teaches at an all-girls' school in Paris. On a Saturday afternoon, his accidental meeting of Helene, who lives with Gaspard, an actor, turns his life upside down. A year later, Karl decides to end his marriage and marry Helene. Will she leave Gaspard for Karl?

Soon thereafter, Karl's grandmother offers him her house in the hills west of Avignon for the summer. In order to escape Paris, he accepts. On his journey south he meets old friends and explores a series of caves full of primitive drawings. For a while, he is happy, but things take a nasty turn when Heike arrives at the house with her new boyfriend and two Americans in tow. If that is not enough, an American friend, Dutch Vogel, returns from the first Gulf War, worn out and angry.

Karl discovers that he has somehow attracted these troubled people and their calamities and that if he doesn't discover the reason why, he will never be rid of them.

It's a particularly bad day in November of 1992 when seventy-one-year-old Manfred Vogel's prized white Charolais bull is discovered slain on his property in Arp, Texas. On that same day, his grandsons make another gruesome discovery. They dig up two decomposed bodies with gunshot wounds in the back of their heads. On this same day in Berlin, Heinrich "Dutch" Vogel, Manfred's oldest son and an American expatriate, dodges questions about the strange disappearance of a member of the United States Department of State.
In this second novel featuring the Vogel family, Dutch, a freelance government agent, flies to Texas and discovers his once Edenic home is menaced and in turmoil. To restore balance, he must confront not only his father's role as a German soldier in Russia during World War II, but also his mother's family's buried past. Dark deeds have been hidden away on the property, and Dutch seeks to restore the farm's sanctity.

At the conclusion of Keith Harvey's novel, Cave Gossip, the protagonist recites an aphorism: being in being is. Sea Snails on a Black Chow's Tongue explores the meaning of this aphorism. The poems in this collection, then, deal with man's basic aloneness in being; a castaway, if you will, in his own existence.

Poet
He sat and read
his primal poems
on a wooden stool
carved from pine.
His lips purpled
as he scanned
primordial words
and his tongue
shadowed
like a chow's.

The first poem of Petroglyphs appeared unbidden in a dream. Like Odin's raven, the poem and its images heralded the coming of a simpler style that dredges up primordial images and myths to create a sacred space where change occurs, language renews itself, and the dead live again.