The book addresses the interactions between wetlands and human health and well-being. A key feature is the linking of ecology-health and the targeting of practitioners and researchers. The environmental health problems of the 21st Century cannot be addressed by the traditional tools of ecologists or epidemiologists working in their respective disciplinary silos; this is clear from the emergence and re-emergence of public health and human well-being problems such as cholera pandemics, mosquito borne disease, and episodic events and disasters (e.g. hurricanes). To tackle these problems requires genuine cross-disciplinary collaboration; a key finding of the recently concluded Millennium Ecosystem Assessment when looking at human well-being and ecosystem health. This book brings the disciplines of ecology and health sciences closer to such a synthesis for researchers, teachers and policy makers interested in or needing information to manage wetlands and human health and well-being issues.

The book addresses the interactions between wetlands and human health and well-being. A key feature is the linking of ecology-health and the targeting of practitioners and researchers. The environmental health problems of the 21st Century cannot be addressed by the traditional tools of ecologists or epidemiologists working in their respective disciplinary silos; this is clear from the emergence and re-emergence of public health and human well-being problems such as cholera pandemics, mosquito borne disease, and episodic events and disasters (e.g. hurricanes). To tackle these problems requires genuine cross-disciplinary collaboration; a key finding of the recently concluded Millennium Ecosystem Assessment when looking at human well-being and ecosystem health. This book brings the disciplines of ecology and health sciences closer to such a synthesis for researchers, teachers and policy makers interested in or needing information to manage wetlands and human health and well-being issues.

Weinstein investigates the stories blacks and whites, men and women, tell about each other through the work of two quintessential American novelists: William Faulkner and and Toni Morrison. Exploring deep-rooted understandings of race and gender and describing how differently their "Americanness" resonates in both writers' works, "What Else But Love?" considers the legacy of slavery in a variety of ways, from the meaning of mammies and mothers to the question of black manhood.

Weinstein investigates the stories blacks and whites, men and women, tell about each other through the work of two quintessential American novelists: William Faulkner and and Toni Morrison. Exploring deep-rooted understandings of race and gender and describing how differently their "Americanness" resonates in both writers' works, "What Else But Love?" considers the legacy of slavery in a variety of ways, from the meaning of mammies and mothers to the question of black manhood.

Writing to American poet Malcolm Cowley in 1949, William Faulkner expressed his wish to be known only through his books. He would go on to win the Nobel Prize for literature several months later, and when he died famous in 1962, his biographers immediately began to unveil and dissect the unhappy life of "the little man from Mississippi." Despite the many works published about Faulkner, his life and career, it still remains a mystery how a poet of minor symbolist poems rooted in the history of the Deep South became one of the greatest novelists of the twentieth century. Here, renowned critic André Bleikasten revisits Faulkner's biography through the author's literary imagination. Weaving together correspondence and archival research with the graceful literary analysis for which he is known, Bleikasten presents a multi-strand account of Faulkner's life in writing. By carefully keeping both the biographical and imaginative lives in hand, Bleikasten teases out threads that carry the reader through the major events in Faulkner's life, emphasizing those circumstances that mattered most to his writing: the weight of his multi-generational family history in the South; the formation of his oppositional temperament provoked by a resistance to Southern bourgeois propriety; his creative and sexual restlessness and uncertainty; his lifelong struggle with finances and alcohol; his paradoxical escape to the bondages of Hollywood; and his final bent toward self-destruction. This is the story of the man who wrote timeless works and lived in and through his novels.

Jonathan Franzen: The Comedy of Rage is the first critical biography of one of today's most important novelists. Drawing on unpublished emails and both published and private interviews, Philip Weinstein conveys the feel and heft of Franzen's voice as he ponders the purposes and problems of his life and art, from his earliest fiction to his most recent novel, Purity. Franzen's work raises major questions about the possibilities of contemporary fiction: how does one appeal to a wide audience of mainstream readers, on the one hand, while persuading connoisseurs, on the other, that one's fiction has staying power, is high art? More acutely, how did Franzen move from the rage that animates his first two novels to the more generous comic stance of the later novels on which his reputation rests? Wrestling with these questions, Jonathan Franzen: The Comedy of Rage unpacks the becoming of Franzen as a person and a writer-from his ultra-sensitive Midwestern childhood, through his heady years at Swarthmore College, his marriage, and the alienating decade of the 1990s, up to his spectacular ascent and assimilation into pop culture as one of the literary figures of his generation. Weinstein joins biography and criticism in ways that fully respect their differences, but that also grant that the work comes, however unpredictably, out of the life.

Philip Weinstein explores the modernist commitment to "unknowing" by addressing the work of three supreme experimental writers: Franz Kafka, Marcel Proust, and William Faulkner. In their novels, the narrative props that support the drama of coming to know are refused. When space turns uncanny rather than lawful, when time ceases to be linear and progressive, objects and others become unfamiliar. So does the subject seeking to know them. Weinstein argues that modernist texts work, by way of surprise and arrest, to subvert the familiarity and narrative progression intrinsic to realist fiction. Rather than staging the drama of coming to know, they stage the drama of coming to unknow. The signature move of modernism is shock, just as resolution is the trademark of realism.Kafka, Proust, and Faulkner wrought their most compelling experimental effects by undermining an earlier Enlightenment project of knowing. Weinstein draws on major Enlightenment thinkers to identify constituent components of the narrative of "coming to know" the progressive narrative underwriting two centuries of Western realist fiction. The book proceeds by framing modernist unknowing between prior practices of realist knowing, on the one hand, and, on the other, certain later practices postmodern and postcolonial that move beyond knowing altogether. In so doing, Weinstein proposes a metahistory of the Western novel, from Daniel Defoe to Toni Morrison."

Philip Weinstein explores the modernist commitment to "unknowing" by addressing the work of three supreme experimental writers: Franz Kafka, Marcel Proust, and William Faulkner. In their novels, the narrative props that support the drama of coming to know are refused. When space turns uncanny rather than lawful, when time ceases to be linear and progressive, objects and others become unfamiliar. So does the subject seeking to know them. Weinstein argues that modernist texts work, by way of surprise and arrest, to subvert the familiarity and narrative progression intrinsic to realist fiction. Rather than staging the drama of coming to know, they stage the drama of coming to unknow. The signature move of modernism is shock, just as resolution is the trademark of realism.Kafka, Proust, and Faulkner wrought their most compelling experimental effects by undermining an earlier Enlightenment project of knowing. Weinstein draws on major Enlightenment thinkers to identify constituent components of the narrative of "coming to know" the progressive narrative underwriting two centuries of Western realist fiction. The book proceeds by framing modernist unknowing between prior practices of realist knowing, on the one hand, and, on the other, certain later practices postmodern and postcolonial that move beyond knowing altogether. In so doing, Weinstein proposes a metahistory of the Western novel, from Daniel Defoe to Toni Morrison."