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Allegiance and Betrayal” is comprised of a dozen short stories, all dealing with family in one way or another. The stories are set in New England and the South, including specific locations such as Connecticut and coastal North Carolina. Makuck writes about an offshore fishing trip to settle old scores, a scuba diving experience that rescues a friendship, a family reunion that turns ugly on the subject of religion, a widower trying to survive, and a house painter discovering a need to deal with chronic anger, amongst others. Makuck examines the conflicts of human nature, and the universality and significance of familial relationships. His stories uncover cultural and psychological distances between people, distances that remain present despite society’s technologically-fused attempts at closing these gaps.
The Renaissance Tradition to Paradise Lost
Literary allegory has deep roots in early reading and interpretation of Scripture and classical epic and myth. In this substantial study, Mindele Treip presents an overview of the history and theory of allegorical exegesis upon Scripture, poetry, and especially the epic from antiquity to the seventeenth and early eighteenth centuries, with close focus on the Renaissance and on the triangular literary relationship of Tasso, Spenser, and Milton.
Exploring the different ways in which the term allegory has been understood, Treip finds significant continuities-within-differences in a wide range of critical writings, including texts of postclassical, patristic and rabbinical writers, medieval writers, notably Dante, Renaissance theorists such as Coluccio Salutati, Bacon, Sidney, John Harrington and rhetoricians and mythographers, and the neoclassical critics of Italy, England and France, including Le Bossu.
In particular, she traces the evolving theories on allegory and the epic of Torquato Tasso through a wide spectrum of his major discourses, shorter tracts and letters, giving full translations. Treip argues that Milton wrote, as in part did Spenser, within the definitive framework of the mixed historical-allegorical epic erected by Tasso, and she shows Spenser's and Milton's epics as significantly shaped by Tasso's formulations, as well as by his allegorical structures and images in the Gerusalemme liberata.
In the last part of her study Treip addresses the complex problematics of reading Paradise Lost as both a consciously Reformation poem and one written within the older epic allegorical tradition, and she also illustrates Milton's innovative use of biblical "Accommodation" theory so as to create a variety of radical allegorical metaphors in his poem.
This study brings together a wide range of critical issues -- the Homeric-Virgilian tradition of allegorical reading of epic; early Renaissance theory of all poetry as "translation" or allegorical metaphor; midrashic linguistic techniques in the representation of the Word; Milton's God; neoclassical strictures on Milton's allegory and allegory in general -- all of these are brought together in new and comprehensive perspective.
Brian Sousa leaves sentiment and saudade behind in Almost Gone, a linked collection spanning four generations of a Portuguese immigrant family. In this hardscrabble world, the youth struggle with the secrets left behind by their elders, as their parents fought through the pain and joy of assimilation. Told through various perspectives, Almost Gone is a working-class tale of survival that finds no easy answers, but cuts straight to the bone.
Alms for Oblivion was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This volume makes available in book form a collection of seventeen essays by Edward Dahlberg, who has been called one of the great unrecognized writers of our time. Some of the selections have never been published before; others have appeared previously only in magazines of limited circulation. There is a foreword by Sir Herbert Read.
The individual essays are on a wide range of subjects: literary, historical, philosophical, personal. The longest is a discussion of Herman Melville's work entitled "Moby-Dick - A Hamitic Dream." The fate of authors at the hands of reviewers is the subject of the essay called "For Sale." In "No Love and No Thanks" the author draws a characterization of our time. He presents a critique of the poet William Carlos Williams in "Word-Sick and Place- Crazy," and a discussion of F. Scott Fitzgerald in "Peopleless Fiction." In "My Friends Stieglitz, Anderson, and Dreiser" he discusses not only Alfred Stieglitz, Sherwood Anderson, and Theodore Dreiser but other personalities as well. He also writes of Sherwood Anderson in "Midwestern Fable." In "Cutpurse Philosopher" the subject is William James. "Florentine Codex" is about the conquistadores. Other essays in the collection are the following: "Randolph Bourne," "Our Vanishing Cooperative Colonies," "Chivers and Poe," "Domestic Manners of Americans," "Robert McAlmon: A Memoir," "The Expatriates: A Memoir," and an essay on Allen Tate.
The Alphabet Conspiracy takes its name from a 1950s-era school filmstrip of the same title. With a cast that includes patron saints for country girls and criminals, a Revolutionary War hero, the Wolfman, a sin-eater, John Wayne, and Johnny Cash, these poems swagger and sulk through an educational film turned film noir, replete with femme fatales in love. The Alphabet Conspiracy is about the ways in which language itself can function as a plot, keeping us estranged from ourselves, but also about the way it can be used as a tool for recovering our truest selves.
This is the first book published in English by of the work of Brazilian poet Adelia Prado. Incorporating poems published over the past fifteen years, The Alphabet in the Park is a book of passion and intelligence, wit and instinct. These are poems about human concerns, especially those of women, about living in one's body and out of it, about the physical but also the spiritual and the imaginative life. Prado also writes about ordinary matters; she insists that the human experience is both mystical and carnal. To Prado these are not contradictory: "It's the soul that's erotic," she writes.
As Ellen Watson says in her introduction, "Adelia Prados poetry is a poetry of abundance. These poems overflow with the humble, grand, various stuff of daily life - necklaces, bicycles, fish; saints and prostitutes and presidents; innumerable chickens and musical instruments...And, seemingly at every turn, there is food." But also, an abundance of dark things, cancer, death, greed. These are poems of appetite, all kinds.
This selection and its somewhat haphazard direction of how so many of us interact romantically—on the surface—is a gentle reminder that be it fate, chance, or will, we appear destined to carry out our mission to couple and partner, no matter what the cause or effect. If we truly desire companionship, at all cost, there is probably someone out there seeking the same measure—for better or worse. Whether it is simply ourselves, or the likes of Nathanael West (“Day of the Locus”), Amadeus Mozart (“The Dogs of Amadeus”), Mark Twain (“Mark Twain’s Cigar”), Natalie Wood (“The Late Natalie Wood”), or the poor children who haunt the camps at Terezin and Auschwitz (“ Little Ghosts”), we are all in need of the dose of kindness that love’s dispensary provides if we are fortunate enough to find it, hidden or not, among us. Whether or not a higher power is at work to guide us and grant us “The Word,” or we are determined to discover a path towards salvation through the generous acts of others—or ourselves—we follow an unconscious path, at times, and seek refuge, where possible, in places and locations we might have never imagined to investigate and bear witness. It may be upon “The Road to Jerusalem,” aboard “The New Train,” or in “The Terminal of Grief,” yet we still search for solace and speak the only common language we understand, this pursuit of love we may even try to escape—but never deny.