Written between 1947 and 1960 and first published in 1963, the prose work in the first of these two volumes reflects Louis Zukofsky's ongoing obsession with Shakespeare-whose plays he had first seen performed in Yiddish-and is central to understanding Zukofsky's work. Tracing the themes of knowledge, love and physical vision ("the eyes have it") through both Shakespeare's plays and the poetry, Bottom: On Shakespeare is more than a compendious act of homage by one poet to another. In effect, it lays out Zukofsky's poetics and theory of knowledge on a grand scale, tracing his themes through the whole of Western culture, from the Classical Greeks through William Carlos Williams. The second volume of Bottom: On Shakespeare consists of Celia Thaew Zukofsky's spare operatic setting of Shakespeare's Pericles, Prince of Tyre, a play in which Zukofsky saw Shakespeare rewriting the classic plots and tropes of the Odyssey. The Wesleyan edition features a new foreword by Bob Perelman.

The author discusses his life and career as a poet, examines the work of Whitman, Wordsworth, William Carlos Williams, Conrad, and V.S. Naipaul, and explores aspects of writing

Simpson shows how Dylan Thomas reminded American poets of the importance of the personal voice, the poetry of feelings and inner needs. He then moves to three American poets, examining how they responded to, and helped make the "revolution in taste."

Text: English, German (translation)

Jazz The Impact of Our Cities on the Development of Jazz

This book in many ways is a model of legal biography, with a sweeping impact on American law and the economy.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

"In Reckoning with Restorative Justice, Leanne Trapedo Sims explores the experiences of women who are incarcerated at the Women's Community Correctional Center, the only women's prison in the state of Hawai'i. Adopting a decolonial and pro-abolitionist lens, she focuses particularly on women's participation in the Kailua Prison Writing Project and its accompanying Prison Monologues program. Trapedo Sims argues that while the writing project served as a vital resource for the inside women, it also remained deeply embedded within carceral logics at the institutional, state, and federal levels. She foregrounds different aspects of these programs, such as the classroom spaces and the dynamics that emerged between performer and audiences in the Prison Monologues. Blending ethnography, literary studies, psychological analysis, and criminal justice critique, Trapedo Sims centers the often-overlooked stories of incarcerated Native Hawaiian and Pacific Islander women in Hawai'i in ways that resound with the broader American narrative: the disproportionate incarceration of people of color in the prison-industrial complex"-- Provided by publisher.

Not since perhaps Eleanor and Franklin has there been so provocative a public pair: fiercely independent and yet codependent, they spent twenty-five years discovering a way they could live together after they figured out that they couldn't live apart. In 1932 they separated; in 1933 they divorced. They reunited in Paris in 1935 and then went to New York; in 1937 they remarried and together applied for American citizenship. Except for brief periods of separation, their relationship remained what it had always been, simultaneously tenacious and tumultuous. Yet Weill and Lenya required one another on a creative level that transcended ordinary emotional, erotic, and professional bonds. Although she was musically untrained, Lenya's canny theatrical sensitivity and innate intelligence enabled her to become Weill's most trusted critic as well as his most famous interpreter, especially as Jenny in The Threepenny Opera. As Weill rhapsodized, "When I feel this longing for you, I think most of all of the sound of your voice, which I love like a very force of nature." The letters are filled with artistic news, reactions to world events, reports on work-in-progress, and reflections on the creative process and the experience of exile. We get a backstage view of German music and theater, the American musical theater in the late thirties and forties, and the Hollywood studios. Together Kurt Weill and Lotte Lenya have come to symbolize what was most vibrant about the experiment of Weimar culture in the Golden Twenties and what was most vital among the contributions to American culture by Central European emigres.

It was the summer of '81 and the brokers at the shabby offices of Bache & Co. couldn't have been happier: After years of their business being tainted by one scandal after another, the beleaguered firm was being purchased by one of America's most respected institutions, Prudential Insurance. Soon rechristened as Prudential-Bache Securities, the brokerage firm would continued the trust needed to attract thousands of new investors eager to put their savings into rock-solid investments. Yet as billions of dollars began pouring in from around the country, Pru-Bache executives and their outside sponsors of investment deals were secretly eating into the very cash Pru-Bache was supposed to be protecting - and indeed growing - for their customers. As their brokers were touting financially shaky limited partnership deals as safe and solid investments, everyone from elderly retirees to sophisticated investors was being duped, with hundreds of thousands of them losing their homes, their retirement funds, or massive chunks of their savings. Meanwhile, executives at Pru-Bache and their colleagues were enjoying lavish party vacations, exorbitant personal gifts, and business trips aboard ships like the QE2 - all paid for by the investor capital with which they were entrusted. By the time regulators could pin anything on Pru-Bache, what began as the comeback story of the '80s had become the most destructive scandal Wall Street had ever known. In Serpent on the Rock, award-winning reporter Kurt Eichenwald, who investigated the scandal for the New York Times, tells the whole devastating story of the rot behind the dignified facade of Wall Street. With intricate detail of the crimes and lies behind the "rock-solid" image, Eichenwald re-creates the colorful characters who were the primary enablers of the massive scandal the company is still reeling from today.

This is a collection of articles, reviews, interviews and essays by the 1990 Cartier Diamond Dagger award winner - critic and writer, Julian Symons. Following an introduction entitled The Crime Story Yesterday, Today, Tommorrow, this book offers a collection of Symons's writing on crime fiction from Britain, the United States and elsewhere, plus a section on real life stories, such as The Hiss Affair and the Yorkshire Ripper.

Examines and criticizes Niebuhr's and Tillich's doctrines of sin and grace from the perspective of women's experience.

Essays on American Writing. In stock

In Joseph Epstein's fourth collection of literary essays, he considers the lives and works of 19 writers of note, appreciating many of them, roughing up some others, and overall weighing them in the very finely calibrated balance of his well-stocked mind. "The modern essay has regained a good deal of its literary status in our time, much to the credit of Joseph Epstein"., --"Chicago Tribune".