This essay collection begins the vast project that is the global history of Ralph Ellison's life and work. It examines how and why this avowedly "American" author read literature and scholarship from across the world and has in turn been widely read outside the borders of the USA. How did Ellison's encounters with the "international" Henry James, the Cambridge Ritualists, the Roman poet Ovid and with Dostoevsky shape both the aesthetics and the politics of his own work? And what is the relationship between Invisible Man and the complex and always evolving political and cultural contexts of South Africa, the USSR and Russia, Germany and Japan since World War II? Contributors from seven different countries - based in Asia, Africa, Europe and the USA - deploy significant archival research both in Ellison's personal library and in the translation and reception histories of his iconic first novel. This study of "the world in Ellison and Ellison in the world" initiates an important new approach in Ellison studies, illuminating hitherto hidden dimensions of the man and his writings.

This book offers the first comprehensive discussion of the relationship between Modern Irish Literature and the Irish cinema, with twelve chapters written by experts in the field that deal with principal films, authors, and directors. This survey outlines the influence of screen adaptation of important texts from the national literature on the construction of an Irish cinema, many of whose films because of cultural constraints were produced and exhibited outside the country until very recently. Authors discussed include George Bernard Shaw, Oscar Wilde, Liam O'Flaherty, Christy Brown, Edna O'Brien, James Joyce, and Brian Friel. The films analysed in this volume include THE QUIET MAN, THE INFORMER, MAJOR BARBARA, THE GIRL WITH GREEN EYES, MY LEFT FOOT, THE PICTURE OF DORIAN GRAY, THE SNAPPER, and DANCING AT LUGHNASA. The introduction features a detailed discussion of the cultural and political questions raised by the promotion of forms of national identity by Ireland's literary and cinematic establishments.

This book offers the first comprehensive discussion of the relationship between Modern Irish Literature and the Irish cinema, with twelve chapters written by experts in the field that deal with principal films, authors, and directors. This survey outlines the influence of screen adaptation of important texts from the national literature on the construction of an Irish cinema, many of whose films because of cultural constraints were produced and exhibited outside the country until very recently. Authors discussed include George Bernard Shaw, Oscar Wilde, Liam O'Flaherty, Christy Brown, Edna O'Brien, James Joyce, and Brian Friel. The films analysed in this volume include THE QUIET MAN, THE INFORMER, MAJOR BARBARA, THE GIRL WITH GREEN EYES, MY LEFT FOOT, THE PICTURE OF DORIAN GRAY, THE SNAPPER, and DANCING AT LUGHNASA. The introduction features a detailed discussion of the cultural and political questions raised by the promotion of forms of national identity by Ireland's literary and cinematic establishments.

In this book, each chapter explores significant Irish texts in their literary, cultural, and historical contexts. With an introduction that establishes the multiple critical contexts for Irish cinema, literature, and their adaptive textual worlds, the volume addresses some of the most popular and important late 20th-Century and 21st Century works that have had an impact on the Irish and global cinema and literary landscape. A remarkable series of acclaimed and profitable domestic productions during the past three decades has accompanied, while chronicling, Ireland's struggle with self-identity, national consciousness, and cultural expression, such that the story of contemporary Irish cinema is in many ways the story of the young nation's growth pains and travails. Whereas Irish literature had long stood as the nation's foremost artistic achievement, it is not too much to say that film now rivals literature as Ireland's key form of cultural expression. The proliferation of successful screen versionings of Irish fiction and drama shows how intimately the contemporary Irish cinema is tied to the project of both understanding and complicating (even denying) a national identity that has undergone radical change during the past three decades. This present volume is the first to present a collective accounting of that productive synergy, which has seen so much of contemporary Irish literature transferred to the screen.

Contributions by Herman Beavers, Robert Butler, John Callahan, Marc C. Conner, Bryan Crable, Steven D. Ealy, Lena Hill, Lucas E. Morel, Timothy Parrish, Ross Posnock, Patrice Rankine, Grant Shreve, Eric J. Sundquist, and Steven E. Tracy.Ralph Ellison once said, "We're only a partially achieved nation." In The New Territory, scholars show how clearly Ellison foresaw and articulated both the challenges and the possibilities of America in the twenty-first century. Indeed, Ellison in these new essays appears more and more to be a cultural prophet of twenty-first century America. As literary scholar Ross Posnock states, "If in our global, transnational age the renewed promise of cosmopolitan democracy has emerged as an animating ideal of popular political, and academic culture, this is a way of saying that we are only now beginning to catch up with Ralph Waldo Ellison." In this collection, the editors offer fourteen original essays that seek to examine and re-examine Ellison's life and work in the context of its meanings for our own age, the early twenty-first century, the age of Obama, a period that is seemingly post-racial and yet all too acutely racial. Following a careful introduction that situates Ellison's writings in the context of new approaches and interest in his work, the book offers new essays examining Ellison's 1952 masterpiece, Invisible Man. It then turns to his vast, unfinished second novel, Three Days Before the Shooting . . . , with detailed readings of that powerful and elusive narrative. These essays are the first sustained treatments of that posthumous work. The New Territory concludes with five chapters that discuss Ellison's political, cultural, and historical significance, probing how he speaks to the contemporary moment and beyond.

To many, James Joyce is simply the greatest novelist of the twentieth century. Scholars have pored over every minutia of his public and private life from utility bills to deeply personal letters in search of new insights into his life and work. Yet, for the most part, they have paid scant attention to the two volumes of poetry he published. The nine contributors to The Poetry of James Joyce Reconsideredconvincingly challenge the critical consensus that Joyce's poetry is inferior to his prose. They reveal how his poems provide entries into Joyce's most personal and intimate thoughts and ideas. They also demonstrate that Joyce's poetic explorations - of the nature of knowledge, sexual intimacy, the changing quality of love, the relations between writing and music, and the religious dimensions of the human experience - were fundamental to his development as a writer of prose. This exciting new work is sure to spark new interest in Joyce's poetry, and will become an essential and indispensable resource for students and scholars of his life and work.

Ralph Ellison once said, ""We're only a partially achieved nation."" In The New Territory, scholars show how clearly Ellison foresaw and articulated both the challenges and the possibilities of America in the twenty-first century. Indeed, Ellison in these new essays appears more and more to be a cultural prophet of twenty-first century America. As literary scholar Ross Posnock states, ""If in our global, transnational age the renewed promise of cosmopolitan democracy has emerged as an animating ideal of popular political, and academic culture, this is a way of saying that we are only now beginning to catch up with Ralph Waldo Ellison.""In this collection, the editors offer fourteen original essays that seek to examine and re-examine Ellison's life and work in the context of its meanings for our own age, the early twenty-first century, the age of Obama, a period that is seemingly post-racial and yet all too acutely racial. Following a careful introduction that situates Ellison's writings in the context of new approaches and interest in his work, the book offers new essays examining Ellison's 1952 masterpiece, Invisible Man. It then turns to his vast, unfinished second novel, Three Days Before the Shooting . . . , with detailed readings of that powerful and elusive narrative. These essays are the first sustained treatments of that posthumous work. The New Territory concludes with five chapters that discuss Ellison's political, cultural, and historical significance, probing how he speaks to the contemporary moment and beyond.

Essays by Herman Beavers, Gena Chandler, Marc C. Conner, William Gleason, William R. Nash, Linda Selzer, Gary Storhoff, and John Whalen-Bridge

In "Charles Johnson: The Novelist as Philosopher," leading scholars examine the African American author's literary corpus and major themes, ideas, and influences. The essays explore virtually all of Johnson's writings: each of his novels, his numerous short stories, the range of his nonfiction essays, his many book reviews, and even several unpublished works.

These essays engage Johnson's work from a variety of critical perspectives, revealing the philosophical, cultural, and political implications of his writings. The authors seek especially to understand "philosophical black fiction" and to provide the multifocal, "whole sight" analysis Johnson's work demands.

Johnson (b. 1948)--author of "Dreamer," "Oxherding Tale," and the National Book Award-winning "Middle Passage"--draws upon influences as diverse as Richard Wright, Herman Melville, Thomas Aquinas, Franz Kafka, W. E. B. Du Bois, and Ralph Waldo Emerson. He combines rigorous training in western philosophy with a lifelong practice in eastern religious and philosophical traditions. He has repeatedly told interviewers that he became a writer specifically to strengthen the interplay between philosophy and fiction.

Marc C. Conner is associate professor of English at Washington and Lee University. William R. Nash is associate professor of American studies and director of African American studies at Middlebury College.

A traditional yet fresh approach to grasping the power of Morrison's writing

With essays by Yvonne Atkinson, Marc C. Conner, Susan Corey, Maria DiBattista, Barbara Johnson, Cheryl Lester, Katherine Stern, and Michael Wood

Nobel laureate Toni Morrison's novels have almost exclusively been examined as sagas illuminating history, race, culture, and gender politics. This gathering of eight essays by top scholars probes Morrison's novels and her growing body of nonfiction and critical work for the complex and potent aesthetic elements that have made her a major American novelist of the twentieth century.

Through traditional aesthetic concepts such as the sublime, the beautiful, and the grotesque, through issues of form, narrative, and language, and through questions of affect and reader response, the nine essays in this volume bring into relief the dynamic and often overlooked range within Morrison's writing. Employing aesthetic ideas that range from the ancient Greeks to contemporary research in the black English oral tradition, "The Aesthetics of Toni Morrison" shows the potency of these ideas for interpreting Morrison's writing. This is a force Morrison herself has often suggested in her claims that Greek tragedy bears a striking similarity to "Afro-American communal structures."

At the same time each essay attends to the ways in which Morrison also challenges traditional aesthetic concepts, establishing the African American and female voices that are essential to her sensibility. The result is a series of readings that simultaneously expands our understanding of Morrison's work and also provokes new thinking about an aesthetic tradition that is nearly 2,500 years old.

These essays offer a rich complement to the dominant approaches in Morrison scholarship by revealing aspects of her work that purely ideological approaches have obscured or about which they have remained oddly silent. Each essay focuses particularly on the relations between the aesthetic and the ethical in Morrison's writing and between the artistic production and its role in the world at large. These relations show the rich political implications that aesthetic analysis engenders.

By treating both Morrison's fiction and her nonfiction, the essays reveal a mind and imagination that have long been intimately engaged with the questions and traditions of the aesthetic domain. The result is a provocative and original contribution to Morrison scholarship, and to scholarship in American letters generally.

Marc C. Conner is an assistant professor of English at Washington and Lee University. He has published articles in "Studies in American Fiction" and "Critique: Studies in Contemporary Fiction."