Autism, a neuro-developmental disability, has received wide but often sensationalistic treatment in the popular media. A great deal of clinical and medical research has been devoted to autism, but the traditional humanities disciplines and the new field of Disability Studies have yet to explore it. This volume, the first scholarly book on autism in the humanities, brings scholars from several disciplines together with adults on the autism spectrum to investigate the diverse ways that autism has been represented in novels, poems, autobiographies, films, and clinical discourses, and to explore the connections and demarcations between autistic and "neurotypical" creativity. Using an empathetic scholarship that unites professional rigor with experiential knowledge derived from the contributors' lives with or as autistic people, the essays address such questions as: In what novel forms does autistic creativity appear, and what unusual strengths does it possess? How do autistic representations--whether by or about autistic people--revise conventional ideas of cognition, creativity, language, (dis)ability and sociability? This timely and important collection breaks new ground in literary and film criticism, aesthetics, psychology, and Disability Studies.

The Question of the Gift is the first collection of new interdisciplinary essays on the gift. Bringing together scholars from a variety of fields, including anthropology, literary criticism, economics, philosophy and classics, it provides new paradigms and poses new questions concerning the theory and practice of gift exchange.
In addressing these questions, contributors not only challenge the conventions of their fields, but also combine ideas and methods from both the social sciences and humanities to forge innovative ways of confronting this universal phenomenon.

This collection brings together twenty-seven essays by influential literary and cultural historians, as well as representatives of the vanguard of postmodernist economics. Contributors include: Jean-Joseph Goux, Marc Shell. This is a pathbreaking work which develops a new form of economic analysis. It will appeal to economists and literary theorists with an interest beyond the narrower confines of their subject.

Series Information:
Economics as Social Theory

Autism, a neuro-developmental disability, has received wide but often sensationalistic treatment in the popular media. A great deal of clinical and medical research has been devoted to autism, but the traditional humanities disciplines and the new field of Disability Studies have yet to explore it. This volume, the first scholarly book on autism in the humanities, brings scholars from several disciplines together with adults on the autism spectrum to investigate the diverse ways that autism has been represented in novels, poems, autobiographies, films, and clinical discourses, and to explore the connections and demarcations between autistic and "neurotypical" creativity. Using an empathetic scholarship that unites professional rigor with experiential knowledge derived from the contributors' lives with or as autistic people, the essays address such questions as: In what novel forms does autistic creativity appear, and what unusual strengths does it possess? How do autistic representations--whether by or about autistic people--revise conventional ideas of cognition, creativity, language, (dis)ability and sociability? This timely and important collection breaks new ground in literary and film criticism, aesthetics, psychology, and Disability Studies.

The Question of the Gift is the first collection of new interdisciplinary essays on the gift. Bringing together scholars from a variety of fields, including anthropology, literary criticism, economics, philosophy and classics, it provides new paradigms and poses new questions concerning the theory and practice of gift exchange. In addressing these questions, contributors not only challenge the conventions of their fields, but also combine ideas and methods from both the social sciences and humanities to forge innovative ways of confronting this universal phenomenon.

American Magic and Dread Don DeLillo's Dialogue with Culture Mark Osteen "Osteen's wide-ranging knowledge of media history and theory and ability to draw upon a variety of theoretical approaches with great clarity convincingly links DeLillo to the major intellectual currents of our times. This is just the sort of book to generate a livelier discussion of DeLillo's place in the postmodern canon."--David Cowart, University of South Carolina "A strongly argued analysis and close reading of Delillo's works. . . . There is much here in the methodology and discussion of postmodern themes and techniques that will have relevance to American studies and cultural studies more widely."--"Forum for Modern Language Studies" Don DeLillo once remarked to an interviewer that his intention is to use "the whole picture, the whole culture," of America. Since the publication of his first novel Americana in 1971, DeLillo has explored modern American culture through a series of acclaimed novels, including White Noise (1985; winner of the American Book Award), Libra (1988), and Underworld (1997). For Mark Osteen, the most bracing and unsettling feature of DeLillo's work is that, although his fiction may satirize cultural forms, it never does so from a privileged position outside the culture. His work brilliantly mimics the argots of the very phenomena it dissects: violent thrillers and conspiracy theories, pop music, advertising, science fiction, film, and television. As a result, DeLillo has been read both as a denouncer and as a defender of contemporary culture; in fact, Osteen argues, neither description is adequate. DeLillo's dialogue with modern institutions, such as chemical companies, the CIA, and the media, respects their power and ingenuity while criticizing their dangerous consequences. Even as DeLillo borrows from their discourses, he maintains a tenaciously opposing stance toward the sources of collective power. Mark Osteen is Associate Professor of English at Loyola College. He is the editor of "DeLillo's White Noise: Text and Criticism," and author of "The Economy of Ulysses: Making Both Ends Meet." Penn Studies in Contemporary American Fiction 2000 304 pages 6 x 9 ISBN 978-0-8122-3551-7 Cloth $65.00s 42.50 World Rights Literature Short copy: "A strongly argued analysis and close reading of Delillo's works. . . . There is much here in the methodology and discussion of postmodern themes and techniques that will have relevance to American studies and cultural studies more widely."--"Forum for Modern Language Studies"

Desperate young lovers on the lam (They Live by Night), a cynical con man making a fortune as a mentalist (Nightmare Alley), a penniless pregnant girl mistaken for a wealthy heiress (No Man of Her Own), a wounded veteran who has forgotten his own name (Somewhere in the Night)-this gallery of film noir characters challenges the stereotypes of the wise-cracking detective and the alluring femme fatale. Despite their differences, they all have something in common: a belief in self-reinvention. Nightmare Alley is a thorough examination of how film noir disputes this notion at the heart of the American Dream. Central to many of these films, Mark Osteen argues, is the story of an individual trying, by dint of hard work or, more often, illicit enterprises, to overcome his or her origins and achieve material success. In the wake of World War II, the noir genre tested the dream of upward mobility and the ideas of individualism, liberty, equality, and free enterprise that accompany it. Employing an impressive array of theoretical perspectives (including psychoanalysis, art history, feminism, and music theory) and combining close reading with original primary source research, Nightmare Alley proves both the diversity of classic noir and its potency. This provocative and wide-ranging study revises and refreshes our understanding of noir's characters, themes, and cultural significance.

Don DeLillo after the Millennium: Currents and Currencies examines all the author's work published in the 21st century: The Body Artist, Cosmopolis, Falling Man, Point Omega, and Zero K, the plays Love-Lies-Bleeding and The Word for Snow, and the short stories in The Angel Esmeralda. What topic doesn't DeLillo tackle? Cyber-capital and currency markets, ontology and intelligence, global warming and cryogenics, Don DeLillo continues to ponder the significance of present cultural currents and to anticipate the waves of the future. Performance art and ethics, drama and euthanasia, space studies and the constrictions of time, DeLillo perspicaciously reads our culture, giving voice to the rhythms of our vernacular and diction. Rich and resonant, his work is so multifaceted in its attention that it accommodates a wide variety of critical approaches while its fine and filigreed prose commends him to a poetic appreciation as well. Don DeLillo After the Millennium brings together an international cast of scholars who examine DeLillo's work from many critical perspectives, exploring the astonishing output of an author who continues to tell our stories and show us ourselves.

The first book to analyze and celebrate Baltimore's underappreciated jazz tradition, Music at the Crossroads shines new light on legends such as Eubie Blake and Cab Calloway, honors neglected figures such as Ellis Larkins, Hank Levy, and Ethel Ennis, pays tribute to the legacies of Pennsylvania Avenue and the Left Bank Jazz Society, and analyzes the current Baltimore jazz scene.

The first book to analyze and celebrate Baltimore's underappreciated jazz tradition, Music at the Crossroads shines new light on legends such as Eubie Blake and Cab Calloway, honors neglected figures such as Ellis Larkins, Hank Levy, and Ethel Ennis, pays tribute to the legacies of Pennsylvania Avenue and the Left Bank Jazz Society, and analyzes the current Baltimore jazz scene.

This original and wide-ranging study explores the "economies" of Ulysses using a number of different critical and theoretical methods. Not only do the economic circumstances of the characters form a significant part of the novel's realistic subject matter but the relationships between characters are also based upon modes of economic exchange. Moreover, the narrative itself is filled with economic terms that serve as tropes for its themes, events, and techniques. Some of the subjects and topics covered include Joyce's own "spendthrift" background, gift exchanges and reciprocity as a fundamental means of reader/author relationship in the novel, money and language, Bloom as an "economic man," the "narrative economy" of "Wandering Rocks," the relationship between commerce and eroticism, the function of sacrifice in the creation of value, counterfeiting, forgery, and other crimes of writing, and a demonstration of how the encounter between Stephen and Bloom "makes both ends meet." The book brings together not only the opposed economic impulses in Joyce but also the conflicting strains of regulation and excess in the novel's structural economy.

Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. In Kiss the Blood Off My Hands: On Classic Film Noir, Robert Miklitsch curates a bold collection of essays that reassesses the genre's iconic style, history, and themes. Contributors analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, and investigate topics as disparate as Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration shows the impact of race and gender, history and sexuality, technology and transnationality on the genre. As bracing as a stiff drink, Kiss the Blood Off My Hands writes the future of noir scholarship in lipstick and chalk lines for film fans and scholars alike. Contributors: Krin Gabbard, Philippa Gates, Julie Grossman, Robert Miklitsch, Robert Murphy, Mark Osteen, Vivian Sobchack, Andrew Spicer, J. P. Telotte, and Neil Verma.

How many layers of artifice can one artwork contain? How does forgery unsettle our notions of originality and creativity? Looking at both the literary and art worlds, Fake It investigates a set of fictional forgeries and hoaxes alongside their real-life inspirations and parallels. Mark Osteen shows how any forgery or hoax is only as good as its authenticating story-and demonstrates how forgeries foster fresh authorial identities while being deeply intertextual and frequently quite original. From fakes of the late eighteenth century, such as Thomas Chatterton's Rowley poems and the notorious "Shakespearean" documents fabricated by William-Henry Ireland, to hoaxes of the modern period, such as Clifford Irving's fake autobiography of Howard Hughes, the infamous Ern Malley forgeries, and the audacious authorial masquerades of Percival Everett, Osteen lays bare provocative truths about the conflicts between aesthetic and economic value. In doing so he illuminates the process of artistic creation, which emerges as collaborative and imitative rather than individual and inspired, revealing that authorship is, to some degree, always forged.

How many layers of artifice can one artwork contain? How does forgery unsettle our notions of originality and creativity? Looking at both the literary and art worlds, Fake It investigates a set of fictional forgeries and hoaxes alongside their real-life inspirations and parallels. Mark Osteen shows how any forgery or hoax is only as good as its authenticating story-and demonstrates how forgeries foster fresh authorial identities while being deeply intertextual and frequently quite original. From fakes of the late eighteenth century, such as Thomas Chatterton's Rowley poems and the notorious "Shakespearean" documents fabricated by William-Henry Ireland, to hoaxes of the modern period, such as Clifford Irving's fake autobiography of Howard Hughes, the infamous Ern Malley forgeries, and the audacious authorial masquerades of Percival Everett, Osteen lays bare provocative truths about the conflicts between aesthetic and economic value. In doing so he illuminates the process of artistic creation, which emerges as collaborative and imitative rather than individual and inspired, revealing that authorship is, to some degree, always forged.

The Beatles, the 1968 double LP more commonly known as the White Album, has always been viewed as an oddity in the group's oeuvre. Many have found it to be inconsistent, sprawling, and self-indulgent. The Beatles through a Glass Onion is the first-ever scholarly volume to explore this seminal recording at length, bringing together contributions by some of the most eminent scholars of rock music writing today. It marks a reconsideration of this iconic but under-appreciated recording and reaffirms the White Album's significance in the Beatles' career and in rock history. This volume treats the White Album as a whole, with essays scrutinizing it from a wide range of perspectives. These essays place the album within the social and political context of a turbulent historical moment; locate it within the Beatles' lives and careers, taking into consideration the complex personal forces at play during the recording sessions; investigate the musical as well as pharmaceutical influences on the record; reveal how it reflects new developments in the Beatles' songwriting and arranging; revisit the question of its alleged disunity; and finally, track its legacy and the breadth of its influence on later rock, pop, and hip-hop artists. The Beatles through a Glass Onion features the scholarship of Adam Bradley, Vincent Benitez, Lori Burns, John Covach, Walter Everett, Michael Frontani, Steve Hamelman, Ian Inglis, John Kimsey, Mark Osteen, Russell Reising, Stephen Valdez, Anthony D. Villa, Kenneth Womack, and Alyssa Woods. John Covach's Afterword summarizes the White Album's lasting impact and value. The Beatles through a Glass Onion represents a landmark work of rock music scholarship. It will prove to be an essential and enduring contribution to the field.

Don DeLillo after the Millennium: Currents and Currencies examines all the author's work published in the 21st century: The Body Artist, Cosmopolis, Falling Man, Point Omega, and Zero K, the plays Love-Lies-Bleeding and The Word for Snow, and the short stories in The Angel Esmeralda. What topic doesn't DeLillo tackle? Cyber-capital and currency markets, ontology and intelligence, global warming and cryogenics, Don DeLillo continues to ponder the significance of present cultural currents and to anticipate the waves of the future. Performance art and ethics, drama and euthanasia, space studies and the constrictions of time, DeLillo perspicaciously reads our culture, giving voice to the rhythms of our vernacular and diction. Rich and resonant, his work is so multifaceted in its attention that it accommodates a wide variety of critical approaches while its fine and filigreed prose commends him to a poetic appreciation as well. Don DeLillo after the Millennium brings together an international cast of scholars who examine DeLillo's work from many critical perspectives, exploring the astonishing output of an author who continues to tell our stories and show us ourselves.

For the Beatles, 1967 marks a signal crossroads that would both transform the group's career and place them on a trajectory towards their eventual disbandment. It was a year in which they exploded prevailing rock music demographics through the global onslaught and international success of Sgt. Pepper's Lonely Hearts Club Band beginning in June 1967. Yet it was also a period that saw them in a precarious state of flux throughout the summer and fall months, as the band attempted to recapture their artistic direction in the wake of Sgt. Pepper and the untimely death of manager Brian Epstein. The Beatles, Sgt. Pepper, and the Summer of Love draws readers into that pivotal year in the life of the band. For the Fab Four, 1967 would see the band members part ways with psychedelia and the avant-garde through the trials and tribulations of the Magical Mystery Tour, a project that resulted in a series of classic recordings, while at the same time revealing the bandmates' aesthetic vulnerabilities and failings as would-be filmmakers and auteurs.

From early silent features like The Lodger and Easy Virtue to his final film, Family Plot, in 1976, most of Alfred Hitchcock s movies were adapted from plays, novels, and short stories. Hitchcock always took care to collaborate with those who would not just execute his vision but shape it, and many of the screenwriters he enlisted including Eliot Stannard, Charles Bennett, John Michael Hayes, and Ernest Lehman worked with the director more than once. And of course Hitchcock s wife, Alma Reville, his most constant collaborator, was with him from the 1920s until his death. In Hitchcock and Adaptation: On the Page and Screen, Mark Osteen has assembled a wide-ranging collection of essays that explore how Hitchcock and his screenwriters transformed literary and theatrical source material into masterpieces of cinema. Some of these essays look at adaptations through a specific lens, such as queer aesthetics applied to Rope, Strangers on a Train, and Psycho, while others tackle the issue of Hitchcock as author, auteur, adaptor, and, for the first time, present Hitchcock as a literary source. Film adaptations discussed in this volume include The 39 Steps, Shadow of a Doubt, Lifeboat, Rear Window, Vertigo, Marnie, and Frenzy. Additional essays analyze Hitchcock-inspired works by W. G. Sebald, Don DeLillo, Bret Easton Ellis, and others. These close examinations of Alfred Hitchcock and the creative process illuminate the significance of the material he turned to for inspiration, celebrate the men and women who helped bring his artistic vision from the printed word to the screen, and explore how the director has influenced contemporary writers. A fascinating look into an underexplored aspect of the director s working methods, Hitchcock and Adaptation will be of interest to film scholars and fans of cinema s most gifted auteur."

In 1991, Mark Osteen and his wife, Leslie, were struggling to understand why their son, Cameron, was so different from other kids. At age one, Cam had little interest in toys and was surprisingly fixated on books. He didn't make baby sounds; he ignored other children. As he grew older, he failed to grasp language, remaining unresponsive even when his parents called his name. When Cam started having screaming anxiety attacks, Mark and Leslie began to grasp that Cam was developmentally delayed. But when Leslie raised the possibility of an autism diagnosis, Mark balked. Autism is so rare, he thought. Might as well worry about being struck by lightning. Since that time, awareness of autism has grown monumentally. Autism has received extensive coverage in the news media, and it has become a popular subject for film, television, and literature, but the disorder is frequently portrayed and perceived as a set of eccentricities that can be corrected with proper treatment. In reality, autism permanently wrecks many children's chances for typical lives. Plenty of recent bestsellers have described the hardships of autism, but those memoirs usually focus on the recovery of people who overcome some or all of the challenges of the disorder. And while that plot is uplifting, it's rare in real life, as few autistic children fully recover. The territory of severe autism-of the child who is debilitated by the condition, who will never be cured-has been largely neglected. One of Us: A Family's Life with Autism tells that story. In this book, Mark Osteen chronicles the experience of raising Cam, whose autism causes him aggression, insomnia, compulsions, and physical sickness. In a powerful, deeply personal narrative, Osteen recounts the struggles he and his wife endured in diagnosing, treating, and understanding Cam's disability, following the family through the years of medical difficulties and emotional wrangling. One of Us thrusts the reader into the life of a child who exists in his own world and describes the immense hardships faced by those who love and care for him. Leslie and Mark's marriage is sorely tested by their son's condition, and the book follows their progress from denial to acceptance while they fight to save their own relationship. By embracing the little victories of their life with Cam and by learning to love him as he is, Mark takes the reader down a road just as gratifying, and perhaps more moving, than one to recovery. One of Us is not a book about a child who overcomes autism. Instead, it's the story of a different but equally rare sort of victory-the triumph of love over tremendous adversity.