"What exactly constitutes American literature? Harvard professors Marc Shell (OVERDUE; ART AND MONEY) and Werner Sollors (THEORIES OF ETHNICITY; BLACKS AT HARVARD; MULTILINGUAL AMERICA) offer a unique and fascinating twist with THE MULTILINGUAL ANTHOLOGY OF AMERICAN LITERATURE: A READER OF ORIGINAL TEXTS WITH ENGLISH TRANSLATIONS. They say that American literature doesn't include only material written in English--it includes a Lenape epic, WALAM OLUM; it includes Omar Ibn Said's African-American narrative in Arabic; it includes Victor Sejour's French story "Le Mutatre." Twenty-nine works are here, in languages ranging from Russian and Yiddish to Welsh and Norwegian, along with English translations, reminding us of America's polyglot roots."
--PUBLISHERS WEEKLY

An 1830s African-American slave narrative written in Arabic. Dafydd Morgan, the only American immigrant novel published in Welsh. The Native American epic, Walum Olum, in the Lenape language. Theodor Adorno's dream transcripts, in German. A short story about the politics of abortion in working-class Chinatown. "Lesbian Love," a surprisingly explicit chapter from an 1853 New Orleans novel. A haunting 1904 ballad, "The Revenge of the Forests," that is one of the first expressions of radical environmentalism in the United States.

Largely ignored in the debates over canon and multiculturalism in America, indigenous American works written in languages other than English have over time disappeared from view.

The first anthology of its kind, The Multilingual Anthology of American Literature brings together American writings in diverse languages from Arabic and Spanish to Swedish and Yiddish, among others. Presenting eachwork in its original language with facing page translation, the book provides an important complement to all other anthologies of American writing, and will serve to complicate our understanding of what exactly American literature is.

American literature appears here as more than an offshoot of a single mother country, or of many mother countries, but rather as the interaction among diverse linguistic and cultural trajectories.

Consider that Cotton Mather spoke half a dozen languages and wrote in both Spanish and Latin. Or that the first short story known to have been written by an African American (and reproduced here) was written in French. Not only a literature of immigration and assimilation, American multilingual literature participates in the larger literary tradition which too often marginalizes authors who complicate the fit of authorship, citizenship, and language.

"Islandology" is a fast-paced, fact-filled comparative essay in critical topography and cultural geography that cuts across different cultures and argues for a world of islands. The book explores the logical consequences of geographic place for the development of philosophy and the study of limits (Greece) and for the establishment of North Sea democracy (England and Iceland), explains the location of military hot-spots and great cities (Hormuz and Manhattan), and sheds new light on dozens of world-historical productions whose motivating islandic aspect has not heretofore been recognized (Shakespeare's "Hamlet" and Wagner's "Ring of the Nibelung"). Written by Shell in view of the melting of the world's great ice islands, "Islandology" shows not only new ways that we think about islands but also why and how we think by means of them.

"What exactly constitutes American literature? Harvard professors Marc Shell (OVERDUE; ART AND MONEY) and Werner Sollors (THEORIES OF ETHNICITY; BLACKS AT HARVARD; MULTILINGUAL AMERICA) offer a unique and fascinating twist with THE MULTILINGUAL ANTHOLOGY OF AMERICAN LITERATURE: A READER OF ORIGINAL TEXTS WITH ENGLISH TRANSLATIONS. They say that American literature doesn't include only material written in English--it includes a Lenape epic, WALAM OLUM; it includes Omar Ibn Said's African-American narrative in Arabic; it includes Victor Sejour's French story "Le Mutatre." Twenty-nine works are here, in languages ranging from Russian and Yiddish to Welsh and Norwegian, along with English translations, reminding us of America's polyglot roots."
--PUBLISHERS WEEKLY

An 1830s African-American slave narrative written in Arabic. Dafydd Morgan, the only American immigrant novel published in Welsh. The Native American epic, Walum Olum, in the Lenape language. Theodor Adorno's dream transcripts, in German. A short story about the politics of abortion in working-class Chinatown. "Lesbian Love," a surprisingly explicit chapter from an 1853 New Orleans novel. A haunting 1904 ballad, "The Revenge of the Forests," that is one of the first expressions of radical environmentalism in the United States.

Largely ignored in the debates over canon and multiculturalism in America, indigenous American works written in languages other than English have over time disappeared from view.

The first anthology of its kind, The Multilingual Anthology of American Literature brings together American writings in diverse languages from Arabic and Spanish to Swedish and Yiddish, among others. Presenting eachwork in its original language with facing page translation, the book provides an important complement to all other anthologies of American writing, and will serve to complicate our understanding of what exactly American literature is.

American literature appears here as more than an offshoot of a single mother country, or of many mother countries, but rather as the interaction among diverse linguistic and cultural trajectories.

Consider that Cotton Mather spoke half a dozen languages and wrote in both Spanish and Latin. Or that the first short story known to have been written by an African American (and reproduced here) was written in French. Not only a literature of immigration and assimilation, American multilingual literature participates in the larger literary tradition which too often marginalizes authors who complicate the fit of authorship, citizenship, and language.

This book argues that we should regard walking and talking in a single rhythmic vision. In doing so, it contributes to the theory of prosody, our understanding of respiration and looking, and, in sum, to the particular links, across the board, between the human characteristics of bipedal walking and meaningful talk. The author first introduces the philosophical, neurological, anthropological, and aesthetic aspects of the subject in historical perspective, then focuses on rhetoric and introduces a tension between the small and large issues of rhythm. He thereupon turns his attention to the roles of breathing in poetry-as a life-and-death matter, with attention to beats and walking poems. This opens onto technical concepts from the classical traditions of rhetoric and philology. Turning to the relationship between prosody and motion, he considers both animals and human beings as both ostensibly able-bodied creatures and presumptively disabled ones. Finally, he looks at dancing and writing as aspects of walking and talking, with special attention to motion in Arabic and Chinese calligraphy. The final chapters of the book provide a series of interrelated representative case studies.

In "Money, Language, and Thought," Marc Shell explores the interactions between linguistic and economic production as they inform discourse from Chretien de Troyes to Heidegger. Close readings of works such as the medieval grail legends, The Merchant of Venice, Goethe's Faust, and Poe's "The Gold Bug" reveal how discourse has responded to the dissociation of symbol from thing characteristic of money, and how the development of increasingly symbolic currencies has involved changes in the meaning of meaning.

Pursuing his investigations into the modern era, Shell points out significant internalization of economic form in Kant, Hegel, and Heidegger. He demonstrates how literature and philosophy have been driven to account self-critically for a "money of the mind" that pervades all discourse, and concludes the book with a discomforting thesis about the cultural and political limits of literature and philosophy in the modern world.

Wampum has become a synonym for money, and it is widely assumed that it served the same purposes as money among the Native Algonquians even after coming into contact with European colonists' money. But to equate wampum with money only matches one slippery term with another, as money itself was quite ill-defined in North America for decades during its colonization. In this stimulating and intriguing book, Marc Shell illuminates the context in which wampum was used by describing how money circulated in the colonial period and the early history of the United States. Wampum itself, generally tubular beads made from clam or conch shells, was hardly a primitive version of a coin or dollar bill, as it represented to both Native Americans and colonial Europeans a unique medium through which language, art, culture, and even conflict were negotiated. With irrepressible wit and erudition, Shell interweaves wampum's multiform functions and reveals wampum's undeniable influence on the cultural, political, and economic foundations of North America. Published in Association with the American Numismatic Society, New York, New York.

Why did coinage, tyranny, and philosophy develop in the same time and place? Marc Shell explores how both money and language give "worth" by providing a medium of exchange, how the development of money led to a revolution in philosophical thought and language, and how words transform mere commodities into symbols at once aesthetic and practical. Offering carefully documented interpretations of texts from Heraclitus, Herodotus, Sophocles, Plato, Aristotle, Rousseau, and Ruskin, Shell demonstrates the kinship between literary and economic theory and production, introduces new methods of analyzing texts, and shows how literary and philosophical fictions can help us understand the world in which we live.

It was not long ago that scientists proclaimed victory over polio, the dread disease of the 1950s. More recently polio resurfaced, not conquered at all, spreading across the countries of Africa. As we once again face the specter of this disease, along with other killers like AIDS and SARS, this powerful book reminds us of the personal cost, the cultural implications, and the historical significance of one of modern humanity's deadliest biological enemies. In "Polio and Its Aftermath" Marc Shell, himself a victim of polio, offers an inspired analysis of the disease. Part memoir, part cultural criticism and history, part meditation on the meaning of disease, Shell's work combines the understanding of a medical researcher with the sensitivity of a literary critic. He deftly draws a detailed yet broad picture of the lived experience of a crippling disease as it makes it way into every facet of human existence.

"Polio and Its Aftermath" conveys the widespread panic that struck as the disease swept the world in the mid-fifties. It captures an atmosphere in which polio vied with the Cold War as the greatest cause of unrest in North America--and in which a strange and often debilitating uncertainty was one of the disease's salient but least treatable symptoms. Polio particularly afflicted the young, and Shell explores what this meant to families and communities. And he reveals why, in spite of the worldwide relief that greeted Jonas Salk's vaccine as a miracle of modern science, we have much more to fear from polio now than we know.

This book argues that we should regard walking and talking in a single rhythmic vision. In doing so, it contributes to the theory of prosody, our understanding of respiration and looking, and, in sum, to the particular links, across the board, between the human characteristics of bipedal walking and meaningful talk. The author first introduces the philosophical, neurological, anthropological, and aesthetic aspects of the subject in historical perspective, then focuses on rhetoric and introduces a tension between the small and large issues of rhythm. He thereupon turns his attention to the roles of breathing in poetry-as a life-and-death matter, with attention to beats and walking poems. This opens onto technical concepts from the classical traditions of rhetoric and philology. Turning to the relationship between prosody and motion, he considers both animals and human beings as both ostensibly able-bodied creatures and presumptively disabled ones. Finally, he looks at dancing and writing as aspects of walking and talking, with special attention to motion in Arabic and Chinese calligraphy. The final chapters of the book provide a series of interrelated representative case studies.

Marc Shell argues that Christian ideology, ambivalent about both art and money, has conflated religion, art, and coinage. If engraving or inscription assigns value, then the first widely produced artistic "reproductions" were coins, acting as religious icons with a meaning at once spiritual and material. In the first half of the book, Shell establishes an ongoing interaction between symbolization in currency and aesthetic production. He covers a range of issues from the iconoclast controversies to nuances of Christian doctrine on the materiality of money and the significance of liturgical objects, from the Eucharist wafer to the Holy Grail to the use of precious metals in Christian icons. Shell then focuses on money in the United States. He takes up controversies over the gold standard, the development of paper currency in nineteenth-century America, and the activities of minimalist, conceptualist, and investment artists in the 1960s that led to dematerialization of art and money in electronic exchange. Art & Money provides striking insight into current matters of art collection, counterfeiting, and problems of attribution, into the general relation between word and image, and into controversies over taxation and crises or scandals in the financial world. Shell's historical range is immense, and he fills this study with amusing anecdotes and insights ranging from the relic of the Holy Foreskin to the state's arrest of J. S. G. Boggs, a conceptual artist who draws money.