Brion Gysin (1916–1986) was a visual artist, historian, novelist, and an experimental poet credited with the discovery of the ‘cut-up’ technique -- a collage of texts, not pictures -- which his longtime collaborator William S. Burroughs put to more extensive use. He is also considered one of the early innovators of sound poetry, which he defines as ‘getting poetry back off the page and into performance.’ Back in No Time gathers materials from the entire Gysin oeuvre: scholarly historical study, baroque fiction, permutated and cut-up poetry, unsettling memoir, selections from The Process and The Last Museum, and his unproduced screenplay of Burroughs’ novel Naked Lunch. In addition, the Reader contains complete texts of several Gysin pieces that are difficult to find, including “Poem of Poems,” “The Pipes of Pan,” and “A Quick Trip to Alamut.”
Originally released in 1932, Wayman Hogue’s Back Yonder is a rare and entertaining memoir of life in rural Arkansas during the decades following the Civil War. Using family legends, personal memories, and events from Arkansas history, Hogue, like his contemporary Laura Ingalls Wilder, creatively weaves a narrative of a family making its way in rugged, impoverished, and sometimes violent places.
From one-room schoolhouses to moonshiners, the details in Hogue’s story capture the essence of a particular time and place, even as the characters reflect a universal quality that endears them to the modern reader. This reissue of Back Yonder, the first in the Chronicles of the Ozarks series, features an introduction by historian Brooks Blevins that explores the life of Charles Wayman Hogue, analyzes the people and events that inspired the book, and places the volume in the context of America’s discovery of the Ozarks in the years between the World Wars.
William Gilmore Simms, Introduction by Keen Butterworth, James L. W. West III, General Editor
The twelfth volume in the ongoing Arkansas Edition of the works of William Gilmore Simms, Backwoods Tales brings together three of the best examples of his comic writing. All were written during the last decade of Simms’s life, when he had become a master of his craft. These three tales belong in the tradition of southern backwoods humor, a genre that flourished before the Civil War and produced classic tales by such authors as George Washington Harris, Johnson Jones Hooper, and Thomas Bangs Thorpe. Paddy McGann, “Sharp Snaffles,” and “Bill Bauldy” are all frame tales, told by rustic narrators in authentic dialect, with frequent pauses for libation and comment. These three pieces of writing, never before published together, stand among the best examples of American humor of the nineteenth century.
The Bad Samaritan is set in a kleptomaniac and highly corrupt imaginary African country called Ewawa. Due to mismanagement, financial institutions collapse. Salaries are slashed and there is unprecedented unemployment leading to country exodus. Professor Esole and his wife are not only aggrieved by the salary slashes, but also by the dubious closure of the Post Office Savings Bank with their savings. Desperate for money, they resort to borrowing from private sources at exorbitant interest rates. Esole toddles into politics with the aim of righting things. Will his naÔve approach to politics make or mar?
A comic classic of world literature, Aleko Konstantinov’s 1895 novel Bai Ganyo follows the misadventures of rose-oil salesman Ganyo Balkanski (“Bai” is a Bulgarian title of intimate respect) as he travels in Europe. Unkempt but endearing, Bai Ganyo blusters his way through refined society in Vienna, Dresden, and St. Petersburg with an eye peeled for pickpockets and a free lunch. Konstantinov’s satire turns darker when Bai Ganyo returns home—bullying, bribing, and rigging elections in Bulgaria, a new country that had recently emerged piecemeal from the Ottoman Empire with the help of Czarist Russia. Bai Ganyo has been translated into most European languages, but now Victor Friedman and his fellow translators have finally brought this Balkan masterpiece to English-speaking readers, accompanied by a helpful introduction, glossary, and notes.
Winner, Bulgarian Studies Association Book Prize
Finalist, ForeWord Magazine's Book of the Year in the Fiction-Multicultural category
Open this book and you are in Door County, Wisconsin, strolling down Coot Lake Road—a one-lane, dead-end gravel track just a few miles from Baileys Harbor and the Lake Michigan shore. Along the way you meet George and Helen O’Malley, who are growing old gracefully. Russell, their brave and empathetic golden retriever, wags hello and offers you a paw to shake. The Olsons and the Berges live just down the road. Bump Olson is the local septic tank pumper and birdwatcher extraordinaire, and Hans Berge, MD, PhD, was at one time the only Norwegian psychiatrist in Chicago—or so he says. In a cottage out by the highway, you may spot Lloyd Barnes, ex–Tennessee state trooper, hound fancier, and local man of mystery. Uncle Petter Sorenson, visiting from Grand Forks, takes the polar bear plunge at Jacksonport. Around the neighborhood you’ll meet Deputy Doug, the flirtatious cellist Debbie Dombrowski, and Italian import Rosa Zamboni. Dave Crehore’s sketches of life on the Door peninsula also expound on: • the delights of codfish pizza • how to insult Canadians • what to expect at your fiftieth high school reunion • how to lose a school board election • the prevention of creeping old-fogyism • Marilyn, a buxom eight-pound smallmouth bass • and what goes on in the winter, when no one is there.
Dan Jenkins' second best-known novel, Baja Oklahoma, features protagonist Juanita Hutchins, who can cuss and politically commentate with the best of Jenkins' male protagonists. Still convincingly female, though in no way dumb and girly, fortyish Juanita serves drinks to the colorful crew patronizing Herb's Cafe in South Fort Worth, worries herself sick over a hot-to-trot daughter proving too fond of drugs and the dealers who sell them, endures a hypochondriac mother whose whinings would justify murder, dates a fellow middle-ager whose connections with the oil industry are limited to dipstick duty at his filling station—and, by the way, she also hopes to become a singer-songwriter in the real country tradition of Bob Wills and Willie Nelson. That Juanita is way too old to remain a kid with a crazy dream doesn't matter much to her. In between handing out longneck beers to customer-acquaintances battling hot flashes and deciding when boyfriend Slick is finally going to get lucky, Juanita keeps jotting down lyrics reflective of hard-won wisdom and setting them to music composed on her beloved Martin guitar. Too many of her early songwriting results are one-dimensional or derivative, but finally she hits on something both original and heartfelt: a tribute to her beloved home state, warts and all.
It is 1969 and China is in the throes of the Cultural Revolution. The Tao family is banished to the countryside, forced to leave comfortable lives in Nanjing to be reeducated in the true nature of the revolution by the peasants of Sanyu village.
The parents face exile with stoicism and teach their son to embrace reeducation wholeheartedly. Is this simple pragmatism, an attempt to protect the boy and ensure his future? Or do the banished cadres really cling to their belief in their leaders and the ideals of the Revolution? These questions remain tantalizingly unanswered in this prize-winning first novel.
Rhetorics of Citizenship, Contagion, and Resistance
In Banning Queer Blood, Jeffrey Bennett frames blood donation as a performance of civic identity closely linked to the meaning of citizenship. However, with the advent of AIDS came the notion of blood donation as a potentially dangerous process. Bennett argues that the Food and Drug Administration, by employing images that specifically depict gay men as contagious, has categorized gay men as a menace to the nation. The FDA's ban on blood donation by gay men remains in effect and serves to propagate the social misconceptions about gay men that circulate within both the straight and gay communities today.
Bennett explores the role of scientific research cited by these banned-blood policies and its disquieting relationship to government agencies, including the FDA. Bennett draws parallels between the FDA's position on homosexuality and the historical precedents of discrimination by government agencies against racial minorities. The author concludes by describing the resistance posed by queer donors, who either lie in order to donate blood or protest discrimination at donation sites, and by calling for these prejudiced policies to be abolished.
Though the best American writers live everywhere now, a popular fiction persists: our strongest literary voices are strictly bi-coastal ones. Barnstorm sets out to disprove that cliché and to undermine another one as well: the sense of regional fiction as something quaint, slightly regressive, and full of local color. The stories in this collection capture our global reality with a ruthless, unaffected voice. Lorrie Moore's "The Jewish Hunter" is a dark romance that's by turns cynical and guileless. Mack Friedman catches the smoking feel of first love in his "Setting the Lawn on Fire," and Jesse Lee Kercheval's "Brazil" is a raucous, ultimately mournful road trip. For Jane Hamilton, Wisconsin is a gorgeous but bittersweet homecoming, and for Kelly Cherry, in her achingly elegiac "As It Is in Heaven," it's the hopeful new world, juxtaposed with a bleak, tweedy England. Dwight Allen's "The Green Suit" evokes the young man edging toward adulthood, in a New York that's as flamboyant as an opera, and Tenaya Darlington, in her "A Patch of Skin," constructs a pure horror story, because the horror of loneliness is something we all know. Together Barnstorm's eclectic voices suggest that every coast now, even the Great Lakes' shores, are at the very center of our best, and truest, national literature.
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