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In Anteaters Don't Dream and Other Stories, Louise Hawes deftly portrays lovers at the end of their patience, marriages on the verge of decline, children reeling from abuse, and parents devastated by loss.
But many of these stories have a sardonic, humorous edge as well: in the title story, a jaded architect learns to take his dream life more seriously when a female co-worker threatens his career. In "Mr. Mix Up," a mother becomes infatuated with the clown at her son's birthday party. In "My Last Indian," a menopausal woman goes native. And in "Salinger's Mistress," a young woman lies about having an affair with J. D. Salinger. . . until Salinger himself calls her on the phone!
Whether Hawes's protagonists are rich or poor, male or female, young or old, their voices are convincing, varied, and human. With equal portions of wit and pathos, Anteaters Don't Dream and Other Stories is a versatile collection by a remarkable prose stylist.
Louise Hawes is a writer and teacher based in Pittsboro, North Carolina. She is the author of The Vanishing Point, Rosey in the Present Tense, and other novels.
Here is a major work by a Chilean poet thought by many to be the most brilliant and important new voice in the Spanish language. In its first American edition, this poetry is presented in Spanish and Enlgish, so that readers of both languages may listed to Zurita's voice.
Anteparadise can be read as a creative response, an act of resistance by a young artist to the violence and suffering during and after the 1973 coup that toppled the democratically elected Allende government. Zurita thus follows the example of several Latin American pets such as the Peruvian César Vallejo and Chilean Nobel laureate Pablo Neruda, sharing their passion and urgency, but his voice is unique.
In Corey Van Landingham’s Antidote, love equates with disease, valediction is a contact sport, the moon is a lunatic, and someone is always watching. Here the uncanny coexists with the personal, so that each poem undergoes making and unmaking, is birthed and bound in an acute strangeness. Elegy is made new by a speaker both heartbreaking and transgressive. Van Landingham reveals the instability of self and perception in states of grief; she is not afraid to tip the world upside down and shake it out, gather the lint and change from its pockets and say, “I can make something with this.” Wild and surreal, driven by loss, Antidote invites both the beautiful and the brutal into its arms, allowing for shocking declarations about love: that it is like hibernation, a car crash, or a parasite. Time, geography, and landscape are called into question as backdrops for various forms of valediction. It soon becomes clear that there is no antidote one can take for grief or heartbreak; that love can, at times, feel like violence; and that one may never get better at saying goodbye.
This book is a history of a medieval literary tradition that grew out of opposition to the mendicant fraternal orders. Penn R. Szittya argues that the widespread attacks on the friars in late medieval poetry, especially in Ricardian England, drew on an established tradition that originated in the polemical theology, eschatology, and Biblical exegesis of the friars' ecclesiastical enemies--secular clergy, theologians, polemicists, archbishops, canon lawyers, monks, and rival orders.
Originally published in 1986.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Roman Academy and the Commentary Tradition on Ovid's Fasti
Ovid’s Fasti, his poem on the Roman calendar, became especially influential during the fifteenth century as a guide to classical Roman culture. Ovid’s treatment of mythological and astronomical lore, his investigation of anniversaries and customs, and his charting of monuments and history offered humanist poets and intellectuals an abundance of material to unravel. They could identify with Ovid as vates operosus, or hard-working seer–poet, suggesting both researcher and inspired authority. Angela Fritsen’s Antiquarian Voices: The Roman Academy and the Commentary Tradition on Ovid’s Fasti offers the first study of the Renaissance exegesis and imitation of Ovid as antiquarian. Fritsen analyzes the Fasti commentaries by Paolo Marsi (1440–1484) and Antonio Costanzi (1436–1490) as well as the connections between the two works. It situates Ovidian Fasti studies in the Roman Academy under the mentorship of Pomponio Leto. Nowhere could the investigation of the Fasti be carried out better than in Rome. The humanists had a guide to the City in Ovid. They also regarded the Fasti as well suited to the ideology of the ancient Roman imperium’s renewal in modern papal Rome. Antiquarian Voices illustrates how in reviving the Fasti, the humanists returned Rome to its original splendor. The book demonstrates that the humanists were eager to relate the Fasti to their antiquarian pursuits—as well as to their rising personal fame.
Anxiety In Mosaic is a sum up of a manís fears and hopes into a volume of poetry; anxieties that span a cross section of the human phenomena of greed (in ramifications) and the resultant socio-political, economic and environmental consequences; the repercussions of worsted governance, feminist, ecological, emigrational and imperialist concerns, presented from the perspective of a philosophical questioning. The charm of these thoroughly vocal, finely-crafted poems not only lie in the quasi-compendious multiplicity of subject matter but also in their creative and innovative re-chartings.