Modernity is surrounded by an almost magic aura that casts a spell over people all over the world. To connect with modernity, various ways and means are used, among them magic practices and religious ideas. Dynamics of Religion in Southeast Asia: Magic and Modernity deals with the magic in and of modernity and asks about its current significance for the dynamics of religion in Southeast Asia. Drawing on recent ethnographic research in this area, the contributors to this wide-ranging volume demonstrate how religious concepts contribute to meeting the challenges of modernity. Against this background, religion and modernity are no longer perceived as in contradiction; rather, it is argued that a revision of the western notion of religion is required to understand the complexity of 'multiple modernities' in a globalised world.. Dynamics of Religion in Southeast Asia: Magic and Modernity is part of the series Global Asia, published by Amsterdam University Press (AUP) in close collaboration with the International Institute for Asian Studies (IIAS)

Charles Olson was an important force behind the raucous, explicit, jaunty style of much of twentieth-century poetry in America. This study makes a major contribution to our understanding of his life and work. Paul Christensen draws upon a wide variety of source materials-from letters, unpublished essays, and fragments and sketches from the Olson Archives to the full range of Olson's published prose and poetry. Under Christensen's critical examination, Olson emerges as a stunning theorist and poet, whose erratic and often unfinished writings obscured his provocative intellect and the coherence of his perspective on the arts. Soon after World War II, Olson emerged as one of America's leading poets with his revolutionary document on poetics, "Projective Verse," and his now-classic poem, "The Kingfishers," both of which declared a new set of techniques for verse composition. Throughout the 1950s Olson wrote many polemical essays on literature, history, aesthetics, and philosophy that outlined a new stance to experience he called objectism. A firm advocate of spontaneous self-expression in the arts, Olson regarded the poet's return to an intense declaration of individuality as a force to combat the decade's insistence on conformity. Throughout his life Olson fought against the depersonalization of the artist in the modern age; his resources, raw verve and unedited tumultuous lyricism, were weapons he used against generalized life and identity. This volume begins with an overview of Olson's life from his early years as a student at Harvard through his short-lived political career, his rectorship at Black Mountain College, and his retirement to Gloucester to finish writing the Maximus poems. Christensen provides a systematic review of Olson's prose works, including a close examination of his brilliant monograph on Melville, Call Me Ishmael. Considerable attention is devoted to Olson's theory of projectivism, the themes and techniques of his short poems, and the strategies and content of his major work, the Maximus series. In addition, there is a critical survey of the works of Robert Creeley, Robert Duncan, Denise Levertov, Paul Blackburn, and other poets who show Olson's influence in their own innovative, self-exploratory poetry.

The minds and eccentrics of Berkeley and San Francisco come to life in these two novels by poet Philip Whalen. Set in the late Fifties and early Sixties, You Didn't Even Try and Imaginary Speeches for a Brazen Head provide a window on the nascence of a counterculture.