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Named a Choice Outstanding Academic Title of the Year Mere Reading
argues for a return to the foundations of literary study
established nearly a century ago. Following a recent period
dominated by symptomatic analyses of fictional texts (new
historicist, Marxist, feminist, identity-political), Lee Clark
Mitchell joins a burgeoning neo-formalist movement in challenging
readers to embrace a rationale for literary criticism that has too
long been ignored-a neglect that corresponds, perhaps not
coincidentally, to a flight from literature courses themselves. In
close readings of six American novels spread over the past
century-Willa Cather's The Professor's House, Vladimir Nabokov's
Lolita, Marilynne Robinson's Housekeeping, Cormac McCarthy's Blood
Meridian and The Road, and Junot Diaz's The Brief Wondrous Life of
Oscar Wao-Mitchell traces a shifting strain of late modernist
innovation that celebrates a species of magic and wonder, of
aesthetic "bliss" (as Barthes and Nabokov both coincidentally
described the experience) that dumbfounds the reader and compels a
reassessment of interpretive assumptions. The novels included here
aspire to being read slowly, so that sounds, rhythms, repetitions,
rhymes, and other verbal features take on a heightened poetic
status-in critic Barbara Johnson's words, "the rigorous perversity
and seductiveness of literary language"-thwarting pressures of plot
that otherwise push us ineluctably forward. In each chapter, the
return to "mere reading" becomes paradoxically a gesture that
honors the intractability of fictional texts, their sheer
irresolution, indeed the way in which their "literary" status rests
on the play of irreconcilables that emerges from the verbal
tensions we find ourselves first astonished by, then delighting in.
Peace-makers, experts in conflict resolution, researchers and
teachers are among the contributors here focused on ethnic and
cultural conflict around the world. The volume first addresses
elements such as identity and difference, both conceptually and
historically. Text that follows describes issues and experiences
associated with conflict and war in countries including Africa,
China, Iran, Israel, Palestine, and New Zealand. The role of
immigration, three major cultures (Islamic, Christian, and
Confucian) are examined. Finally, innovative programs and
strategies to prevent and manage ethnic conflict and violence are
offered by practitioners. This book will interest professors and
students of cross-cultural psychology, social psychology, ethnic
and cultural relations, international relations, anthropology and
political science.
Born Deaf into an ASL-speaking family and blind by adolescence,
John Lee Clark learned to embrace the possibilities of his tactile
world. He is on the frontlines of the Protactile movement, which
gave birth to an unprecedented tactile language and a way of life
based on physical connection. In a series of paradigm-shifting
essays, Clark reports on seismic developments within the DeafBlind
community. In “Against Access”, he interrogates the prevailing
advocacy for “accessibility” that re-creates a shadow of a
hearing-sighted experience. In the National Magazine
Award–winning “Tactile Art”, he describes his relationship to
visual art and encounters with tactile sculpture. He advocates for
“Co-Navigation”, a new way of guiding that respects DeafBlind
agency, and offers a brief history of the term “DeafBlind”. As
warm and witty as he is radical and inspiring, Clark welcomes
readers into the exciting Protactile landscape and celebrates the
hidden knowledge that can be gained through touch.
Why are Emily Dickinson and Henry James drawn habitually to dashes?
What makes James Baldwin such a fan of commas, which William Carlos
Williams tends to ignore? And why do that odd couple, the novelist
Virginia Woolf and the short story specialist Andre Dubus II, both
embrace semicolons, while E. E. Cummings and Nikki Giovanni forego
punctuation entirely? More generally, what effect do such nonverbal
marks (or their absence) have on an author's encompassing vision?
The first book on modern literature to compare writers'
punctuation, and to show how fully typographical marks alter our
sense of authorial style, Mark My Words offers new ways of reading
some of our most important and beloved writers as well as
suggesting a fresh perspective on literary style itself.
Al Qaeda detonates a nuclear weapon in Times Square during rush
hour, wiping out half of Manhattan and killing 500,000 people. A
virulent strain of bird flu jumps to humans in Thailand, sweeps
across Asia, and claims more than fifty million lives. A single
freight car of chlorine derails on the outskirts of Los Angeles,
spilling its contents and killing seven million. An asteroid ten
kilometers wide slams into the Atlantic Ocean, unleashing a tsunami
that renders life on the planet as we know it extinct. We consider
the few who live in fear of such scenarios to be alarmist or even
paranoid. But Worst Cases shows that such individuals-like
Cassandra foreseeing the fall of Troy-are more reasonable and
prescient than you might think. In this book, Lee Clarke surveys
the full range of possible catastrophes that animate and dominate
the popular imagination, from toxic spills and terrorism to plane
crashes and pandemics. Along the way, he explores how the ubiquity
of worst cases in everyday life has rendered them ordinary and
mundane. Fear and dread, Clarke argues, have actually become too
rare: only when the public has more substantial information and
more credible warnings will it take worst cases as seriously as it
should. A timely and necessary look into how we think about the
unthinkable, Worst Cases will be must reading for anyone attuned to
our current climate of threat and fear.
Neither human nature nor personality can be independent of culture.
Human beings share certain social norms or rules within their
cultural groups. Over 2000 years ago, Aristotle held that man is by
nature a social animal. Similarly, Xun Kuang (298-238 B.C.), a
Chinese philosopher, pointed out that humans in social groups can
not function without shared guidance or rules. This book is
designed to provide readers with a perspective on how people are
different from, and similar to, each other --both within and across
cultures. One of its goals is to offer a practical guide for people
preparing to interact with those whose cultural background is
different from their own.
The terror attacks of 9.11 signalled that people are increasingly
put at risk of not only terrorism but natural and technological
disasters as well. Since 9.11 scholars have been asking new
questions about catastrophe and made important and interesting
innovations in methods, concepts, and theories regarding disaster
and terror. This volume brings together a creative set of papers,
most of which are about the 9.11 attacks. They draw from several
disciplines to address key questions: what lessons does the
response to the collapse of the World Trade Center have for
disaster planning? what has 9.11 meant for civil liberties in the
US? how will survivors react over the long run? and how do we
conceptualize panic and mass response?
Neither human nature nor personality can be independent of culture.
Human beings share certain social norms or rules within their
cultural groups. Over 2000 years ago, Aristotle held that man is by
nature a social animal. Similarly, Xun Kuang (298-238 B.C.), a
Chinese philosopher, pointed out that humans in social groups can
not function without shared guidance or rules.
This book is designed to provide readers with a perspective on how
people are different from, and similar to, each other --both within
and across cultures. One of its goals is to offer a practical guide
for people preparing to interact with those whose cultural
background is different from their own.
Formally restless and relentlessly instructive, How to Communicate
is a dynamic journey through language, community, and the unfolding
of an identity. Poet John Lee Clark pivots from inventive forms
inspired by the Braille slate to sensuous prose poems to incisive
erasures that find new narratives in nineteenth-century poetry.
Calling out the limitations of the literary canon, Clark includes
pathbreaking translations from American Sign Language and
Protactile, a language built on touch. How to Communicate embraces
new linguistic possibilities that emanate from Clark’s unique
perspective and his connection to an expanding, inclusive activist
community. Amid the astonishing task of constructing a new canon,
the poet reveals a radically commonplace life. He explores grief
and the vagaries of family, celebrates the small delights of
knitting and visiting a museum, and, once, encounters a ghost in a
gas station. Counteracting the assumptions of the sighted and
hearing world with humor and grace, Clark finds beauty in the
revelations of communicating through touch: “All things living
and dead cry out to me / when I touch them.” A rare work of
transformation and necessary discovery, How to
Communicate is a brilliant debut that insists on the power of
poetry.
This text examines actual attempts to "prepare" for catastrophes
and finds that the policies adopted by corporations and government
agencies are fundamentally rhetorical: the plans have no chance to
succeed, yet they serve both the organizations and the public as
symbols of control, order and stability. These "fantasy documents"
attempt to inspire confidence in organizations, but Lee Clarke
suggests that they are disturbing persuasions, soothing the
perception that ultimately one cannot control technological
advances. For example, Clarke studies corporations' plans for
cleaning up oil spills in Prince William Sound prior to the "Exxon
Valdez" debacle, and he finds that the accepted strategies were not
just unrealistic but completely untenable. Although different
organizations were required to have a cleanup plan for huge spills
in the sound, a really massive spill was unprecedented, and the
accepted policy was little more than a patchwork of guesses based
on (mostly unsuccessful) cleanups after smaller accidents. Clarke
points out that reassuring rhetoric (under the guise of expert
prediction) may have no basis in fact or truth because no such
basis is attainable. In uncovering the dangers of planning when
implementation is a fantasy, Clark concludes that society would be
safer, smarter, and fairer if organizations could admit their
limitations.
Why are Emily Dickinson and Henry James drawn habitually to dashes?
What makes James Baldwin such a fan of commas, which William Carlos
Williams tends to ignore? And why do that odd couple, the novelist
Virginia Woolf and the short story specialist Andre Dubus II, both
embrace semicolons, while E. E. Cummings and Nikki Giovanni forego
punctuation entirely? More generally, what effect do such nonverbal
marks (or their absence) have on an author's encompassing vision?
The first book on modern literature to compare writers'
punctuation, and to show how fully typographical marks alter our
sense of authorial style, Mark My Words offers new ways of reading
some of our most important and beloved writers as well as
suggesting a fresh perspective on literary style itself.
More Time studies the contemporary short story and focuses on four
recent collections: Alice Munro's Dear Life (2012); Andre Dubus's
Dancing After Hours (1996); Joy Williams's The Visiting Privilege
(2015); and Lydia Davis's Can't and Won't (2014). Each publication
has appeared near the conclusion of a career devoted all but
exclusively to short stories, with each defining a 'late style'
honed over a lifetime. As well, each diverges from others in ways
that have profoundly shaped our generic conceptions, and
collectively they represent the four most innovative practitioners
of the past half-century (with the arguable exception of Raymond
Carver). Yet in an era when writing programs, The New Yorker, and
distinguished journals all promulgate the short story, it remains
relatively under-examined as a major literary form. We continue to
argue about what a story inherently is, ignoring how differences
among practitioners enliven the field. Dubus, Munro, Williams, and
Davis each defy critical efforts to identify the story form's
presumed constitution, marked by a supposedly special shape or
requisite length or distinct narrative trajectory. And the very
contrast among their efforts reveals the expansiveness of the
genre, though few have taken such a cross-glancing interpretive
approach. This volume opens up discussion, shifting from close
analysis into larger speculation about possibilities established by
the most innovative writers in their later work.
First published in 1895, The Red Badge of Courage found immediate success and brought its author immediate fame. In his introduction to this volume, Lee Clark Mitchell discusses how Crane broke with the conventions of both fiction and journalism to create a uniquely ‘disruptive’ prose style. The five essays that follow each explore different aspects of the novel. One studies the problem of establishing the authentic text; another examines it as a war novel; a third considers it as a critique of the rising mood of militant imperialism in the 1890s; a fourth focuses on the double perspective of the novel - its shift between the hero’s perspective and a larger, ‘cosmic’ one; and the final essay examines the novel’s deconstruction of courage/cowardice. Written in a highly accessible style, these essays represent the best of recent scholarship and provide students with a useful introduction to this major novel.
Propelled across the continent by notions of rugged
individualism" and "manifest destiny," pioneer Americans soon
discovered that such slogans only partly disguised the fact that
building an empire meant destroying a wilderness. Through an
astonishing range of media, they voiced their concern about
America's westward mission. Drawing on a wide variety of evidence,
Lee Clark Mitchell portrays the growing apprehensions
Originally published in 1987.
The Princeton Legacy Library uses the latest print-on-demand
technology to again make available previously out-of-print books
from the distinguished backlist of Princeton University Press.
These paperback editions preserve the original texts of these
important books while presenting them in durable paperback
editions. The goal of the Princeton Legacy Library is to vastly
increase access to the rich scholarly heritage found in the
thousands of books published by Princeton University Press since
its founding in 1905.
"The Deaf poet is no oxymoron," declares editor John Lee Clark
in his introduction to "Deaf American Poetry: An Anthology." The 95
poems by 35 Deaf American poets in this volume more than confirm
his point. From James Nack's early metered narrative poem "The
Minstrel Boy" to the free association of Kristi Merriweather's
contemporary "It Was His Movin' Hands Be Tellin' Me," these Deaf
poets display mastery of all forms prevalent during the past two
centuries. Beyond that, E. Lynn Jacobowitz's "In Memoriam: Stephen
Michael Ryan" exemplifies a form unique to Deaf American poets, the
transliteration of verse originally created in American Sign
Language.
This anthology showcases for the first time the best works of Deaf
poets throughout the nation's history -- John R. Burnet, Laura C.
Redden, George M. Teegarden, Agatha Tiegel Hanson, Loy E. Golladay,
Robert F. Panara, Mervin D. Garretson, Clayton Valli, Willy Conley,
Raymond Luczak, Christopher Jon Heuer, Pamela Wright-Meinhardt, and
many others. Each of their poems reflects the sensibilities of
their times, and the progression of their work marks the changes
that deaf Americans have witnessed through the years. In "The
Mute's Lament," John Carlin mourns the wonderful things that he
cannot hear, and looks forward to heaven where "replete with purest
joys/My ears shall be unsealed, and I shall hear." In sharp
contrast, Mary Toles Peet, who benefitted from being taught by Deaf
teachers, wrote "Thoughts on Music" with an entirely different
attitude. She concludes her account of the purported beauty of
music with the realization that "the music of my inward ear/Brings
joy far more intense."
Clark tracks these subtle shifts in awareness through telling,
brief biographies of each poet. By doing so, he reveals in "Deaf
American Poetry" how "the work of Deaf poets serves as a prism
through which Deaf people can know themselves better and through
which the rest of the world can see life in a new light."
The argument of Noir Fiction and Film is curiously
counterintuitive: that in a century of hard-boiled fiction and
detective films, characteristics that at first seemed trivial
swelled in importance, flourishing into crucial aspects of the
genre. Among these are aimless descriptions of people and places
irrelevant to plot, along with detectives consisting of little more
than sparkling dialogue and flippant attitudes. What weaves
together such features, however, seems to be a paradox: that a
genre rooted in solving a mystery, structured around the gathering
of clues, must do so by misdirecting our attention, even
withholding information we think we need to generate the suspense
we also desire. Yet successful noir stories and films enhance that
suspense through passing diversions (descriptive details and
eccentric perspectives) rather than depending on the center pieces
of plot alone (suspected motives or incriminating traces). As the
greatest practitioners of the genre have realized, the "how" of
detective fiction (its stylistic detours) draws us in more
insistently than the "what" or the "who" (its linear advance). And
the achievement of recent film noir is to make that "how" become
the tantalizing object of our entire attention, shorn of any
pretense of reading for the plot, immersing us in the diversionary
delight that has animated the genre from the beginning.
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Sister Carrie (Paperback)
Theodore Dreiser; Edited by Lee Clark Mitchell
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When a girl leaves her home at eighteen, she does one of two
things. Either she falls into saving hands and becomes better, or
she rapidly assumes the cosmopolitan standard of virtue and becomes
worse.'
The tale of Carrie Meeber's rise to stardom in the theatre and
George Hurstwood's slow decline captures the twin poles of
exuberance and exhaustion in modern city life as never before. The
premier example of American naturalism, Dreiser's remarkable first
novel has deeply influenced such key writers as William Faulkner,
F. Scott Fitzgerald, Saul Bellow, and Joyce Carol Oates. This
edition uses the 1900 text, which is regarded as the author's final
version.
About the Series: For over 100 years Oxford World's Classics has
made available the broadest spectrum of literature from around the
globe. Each affordable volume reflects Oxford's commitment to
scholarship, providing the most accurate text plus a wealth of
other valuable features, including expert introductions by leading
authorities, voluminous notes to clarify the text, up-to-date
bibliographies for further study, and much more.
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