In June 2007, Cinematical co-founder Karina Longworth became editor of SpoutBlog. Published by the film fan social network Spout, SpoutBlog was conceived as a daily dispatch from the center of contemporary cinephilia, dedicated to appreciating the under-the-radar and deflating the overexposed. The site soon became a key destination in the film blogosphere, particularly valued as a locus for discussions surrounding the ever-changing face of indie film. The Portable SpoutBlog is a collection of Longworth's most popular and controversial writings, culled from thousands of posts published over two years of daily blogging. It includes writings on films both super-populist (Ghostbusters) and specialized (the works of neo-indie auteurs Andrew Bujalski and Barry Jenkins); conversations with filmmakers emerging (Alejandro Adams) and established (Whit Stillman); dispatches from film events highbrow (Cannes) and low (Comic-Con); and snapshots from the frontlines of contemporary film culture.

"Who is the greatest living essayist writing in English? Joseph Epstein would surely be at the top of anybody's list. Epstein is penetrating. He is witty. He has a magic touch with words, that hard to define but immediately recognizable quality called style. Above all, he is impossible to put down. Gallimaufry: A Collection of Essays, Reviews, Bits contains 58 essays on a wide variety of subjects, each a pure pleasure to read"--

In a wide-ranging and compelling account of the life of metrical and free verse in the twentieth century, poet and critic Jon Silkin deepens our understanding of the way poetry works on us. He begins from the premiss that two modes of verse, free and metrical, engage the creative energies of poetry now, creating a rich, fertile environment capable of yielding work valuable to poetry itself and to the society which has given it life. With a practitioner's empathy Silkin reads the poetry of Whitman, Hopkins, Eliot, Pound, Lawrence, Dylan Thomas, Bunting and eight British poets from the post-second World War period to illustrate how free and metrical verse create, separately or together, a poetic harmony. Additionally, he includes crucial statements on modern poetry from poets themselves, concluding with a fine memoir of Basil Bunting by Connie Pickard, published in book-form for the first time.

What is modern in modern drama? What defines it, unmistakably, as being of our time? This quality if the subject of John Peter's inquiry.For Peter, Beckett's Waiting for Godot makes such a radical break with dramatic tradition that it prompts the question: Is this play the single most important event in the theater since Aeschylus? Or is it the fulfillment of forces at work long before Beckett wrote it? Peter shows how Beckett's work represents a change in the very subject matter of drama, a fundamental revision of concepts of character, plot, and meaning, which in turn requires a new way of responding to drama. Where plays have traditionally engaged audiences in critical and moral dialogue, theater like Beckett's, according to Peter, is closed to questioning; it presents a vision of the world which can only be accepted or rejected. As such, it not only signals a new form of drama, but also posits a fundamentally changed audience.Peter views this change—essentially, a change of mind—in its wider context. The times and the thought that contribute to the modern imagination are represented here by novels, paintings, and music—works by Wagner, Kafka, Proust, Picasso, and Braque—as well as plays. Peter shows how the depiction of the world by these artists echoes—and is echoed by—the work of modern thinkers such as Schopenhauer, Nietzsche, and Freud.Vladimir's Carrot will provoke and stimulate readers who find themselves either lost or perfectly at home in "modern" culture.

This text relates the inside story of the sleaze that pervades the corridors of power in Moscow. The coups, power struggles and gallery of characters surrounding Boris Yeltsin are covered.

"To Write Like a Woman is a rare example of a feminist tackling science fictuion using postmodern theory, which makes for a much more sophisticated and nuanced appraisal than the usual fare." ―Passion"Russ’ essays are witty and insightful. An excellent book for any writer or reader." ―Feminist Bookstore News"In her new book of essays... Russ continues to debunk and demand, edify and entertain.... Appreciative of surface aesthetics, she continually delves deeper than most critics, yet in terms so simple and accessible that her essays read like lively, angry, humorous dialogues conducted face-to-face with the author. Russ is the antithesis of the distant critic in her ivory tower." ―Paul Di Filippo, The Washington Post Book World"... 20 years of the author’s feisty reports from the front lines of literature." ―The San Francisco Review of Books"This is a book of imaginative and provoking essays, but you should read it for the sheer fun of it." ―The Women’s Review of Books"Collects more than two decades of criticism by Joanna Russ, one of the most perceptive, forthright and eloquent feminist commentators around." ―Feminist Bookstore News"... a super book....This is a book that, for once, really will appeal to readers of all kinds." ―Utopian Studies"If you enjoy science fiction, this is definitely a book that you’ll want to talk about. I found myself sneaking a few pages at times when I really didn’t have time to read." ―Jan Catano, AtlantisClassic essays on science fiction and feminism by Nebula and Hugo award-winning Joanna Russ. Here she ranges from a consideration of the aesthetic of science fiction to a reading of the lesbian identity of Willa Cather. To Write Like a Woman includes essays on horror stories and the supernatural, feminist utopias, popular literature for women (the "modern gothic"), and the feminist education of graduate students in English.

Astronomy is the oldest and most fundamental of the natural sciences. From the early beginnings of civilization astronomers have attempted to explain not only what the Universe is and how it works, but also how it started, how it evolved to the present day, and how it will develop in the future. The author, a well-known astronomer himself, describes the evolution of astronomical ideas, briefly discussing most of the instrumental developments. Using numerous figures to elucidate the mechanisms involved, the book starts with the astronomical ideas of the Egyptian and Mesopotamian philosophers, moves on to the Greek period, and then to the golden age of astronomy, i.e. to Copernicus, Galileo, Kepler, and Newton, and ends with modern theories of cosmology. Written with undergraduate students in mind, this book gives a fascinating survey of astronomical thinking.

Isaak Illich Rubin (12 June 1886, Dinaburg, now Latvia - 27 November 1937, Aktobe, now Kazakhstan) was a Soviet Marxian economist. His main work Essays on Marx's Theory of Value was published in 1924. He was executed in 1937 during the course of the Great Purge, but his ideas have since been rehabilitated. Rubin's main work emphasised the importance of Marx's theory of commodity fetishism in the labor theory of value. Against those who counterposed Marx's early interest in alienation with his later economic theory, Rubin argued that Marx's mature economic work represented the culmination of his lifetime project to understand how human creative power is shaped, defined, and limited by social structures, which take on a uniquely "objective" economic form under capitalism. Significantly, Rubin is at pains to argue that simple commodity production is not a historical phenomenon that developed into capitalism, as it is often understood by both Marxists and critics of Marx; rather, it is a theoretical abstraction that explains one aspect of a fully developed capitalist economy. The concept of value, as understood by Rubin, cannot exist without the other elements of a full-blown capitalist economy: money, capital, the existence of a proletariat, and so on. Rubin's work was never reissued in the Soviet Union after 1928, but in 1972 Essays on Marx's Theory of Value was translated into English by Fredy Perlman and Milos Samardzija. This work became a foundation stone of the "value-form" approach to Marxist theory, exemplified by Hans-Georg Backhaus, Chris Arthur, Geert Reuten, and the "Konstanz-Sydney" group (Michael Eldred, Mike Roth, Lucia Kleiber, and Volkbert Roth). In this interpretation of Marx, "it is the development of the forms of exchange that is seen as the prime determinant of the capitalist economy rather than the content regulated by it". Capitalism is here understood as a method of regulating human labor by giving it the social form of an exchangeable commodity (the "value-form"), rather than a disguised or mystified system that is otherwise similar in content to other class-based societies. According to Arthur, the rediscovery of Rubin's "masterly exegesis" was "the most important single influence on the value form approach to Capital". (wikipedia.org)

Isaac Ilyich Levitan (1860-1900) was one of the most famous Russian painters. He is also known under his Yiddish name Jitzchak Levitan, or Yitzchak Levitan. Levitan's very influential work consists of more than a thousand paintings. With very few exceptions, Levitan painted only non-urban landscapes. An only exception mentioned by Nesterov is the view of the Simonov monastery, like the already mentioned illustrations on the Kremlin. Levitan, gifted with a unique deep feeling for the quiet grandeur and charm of Russian nature, captured the atmosphere of the "lyrical landscape". This term, which was intended to express the partly spiritual effect of nature on the human psyche and was very popular in Russia at the end of the 19th century, became decisive for Levitan's work. In 1889 Sergei Timofeyevich Morozov (1860-1944), who was a famous art collector and patron, provided Levitan with a studio in Moscow, where the artist worked until the end of his life. He spent the summer of 1890 in Yurievets and painted The View of the Krivooserski Monastery, as well as many other paintings. The "lyrical landscape" became the basis for one of his most influential paintings, The Silent Monastery. This painting, which expresses Lewitan's profound reflections on the life of the artist, made a deep impression on Anton Chekhov. In 1897, when he was already world-famous (his work was also exhibited at the Munich Secession), a severe heart condition was diagnosed. In the same year, he was admitted to the Academy of Arts and began to teach. In 1898 he was already the head of the landscape painting faculty at the Academy.With very few exceptions, Levitan painted only non-urban landscapes. An only exception mentioned is the view of the Simonov monastery, like the already mentioned illustrations on the Kremlin. Levitan, gifted with a unique deep feeling for the quiet grandeur and charm of Russian nature, captured the atmosphere of the "lyrical landscape". This term, which was intended to express the partly spiritual effect of nature on the human psyche and was very popular in Russia at the end of the 19th century, became decisive for Levitan's work. In 1889 Sergei Timofeyevich Morozov (1860-1944), who was a famous art collector and patron, provided Levitan with a studio in Moscow, where the artist worked until the end of his life. The "lyrical landscape" became the basis for one of his most influential paintings, The Silent Monastery. This painting, which expresses Lewitan's profound reflections on the life of the artist, made a deep impression on Anton Chekhov. In 1897, when he was already world-famous (his work was also exhibited at the Munich Secession), a severe heart condition was diagnosed. In the same year, he was admitted to the Academy of Arts and began to teach. In 1898 he was already the head of the landscape painting faculty at the Academy.

Ilan Stavans has been a lightning rod for cultural discussion and criticism his entire career. In A Critic's Journey , he takes on his own Jewish and Hispanic upbringing with an autobiographical focus and his typical flair with words, exploring the relationship between the two cultures from his own and also from others' experiences. Stavans has been hailed as a voice for Latino culture thanks to his Hispanic upbringing, but as a Jew and a Caucasian, he's also an outsider to that culture---something that's sharpened his perspective (and some of his critics' swords). In this book of essays, he looks at the creative process from that point of view, exploring everything from the translation of Don Quixote to the Hispanic anti-Semitism and the Holocaust in Latin America. Ilan Stavans is Lewis-Sebring Professor in Latin American and Latino Culture and Five College Fortieth Anniversary Professor at Amherst College. A native of Mexico, he received his doctorate in Latin American Literature from Columbia University. Stavans's books include The Hispanic Condition, On Borrowed Words, Spanglish, Dictionary Days, The Disappearance, Love & Language (with Verónica Albin), Resurrecting Hebrew , and Mr. Spic Goes to Washington , and he has edited books including The Oxford Book of Jewish Stories and the upcoming Norton Anthology of Latino Literature . His story "Morirse está en Hebreo" was made into the award-winning movie My Mexican Shivah . Stavans has received numerous awards, among them a Guggenheim Fellowship, the National Jewish Book Award, an Emmy nomination, the Latino Book Award, Chile's Presidential Medal, the Rubén Darío Distinction, and the Cátedra Roberto Bolaño. His work has been translated into a dozen languages.

Ilan Stavans has been a lightning rod for cultural discussion and criticism his entire career. In A Critic's Journey , he takes on his own Jewish and Hispanic upbringing with an autobiographical focus and his typical flair with words, exploring the relationship between the two cultures from his own and also from others' experiences. Stavans has been hailed as a voice for Latino culture thanks to his Hispanic upbringing, but as a Jew and a Caucasian, he's also an outsider to that culture---something that's sharpened his perspective (and some of his critics' swords). In this book of essays, he looks at the creative process from that point of view, exploring everything from the translation of Don Quixote to the Hispanic anti-Semitism and the Holocaust in Latin America. Ilan Stavans is Lewis-Sebring Professor in Latin American and Latino Culture and Five College Fortieth Anniversary Professor at Amherst College. A native of Mexico, he received his doctorate in Latin American Literature from Columbia University. Stavans's books include The Hispanic Condition, On Borrowed Words, Spanglish, Dictionary Days, The Disappearance, Love & Language (with Verónica Albin), Resurrecting Hebrew , and Mr. Spic Goes to Washington , and he has edited books including The Oxford Book of Jewish Stories and the upcoming Norton Anthology of Latino Literature . His story "Morirse está en Hebreo" was made into the award-winning movie My Mexican Shivah . Stavans has received numerous awards, among them a Guggenheim Fellowship, the National Jewish Book Award, an Emmy nomination, the Latino Book Award, Chile's Presidential Medal, the Rubén Darío Distinction, and the Cátedra Roberto Bolaño. His work has been translated into a dozen languages.

Philippines is Hélène Cixous's reverie or 'true dreaming' which intertwines Freud's uneasy views on telepathy, autobiographical memories conflating Algeria and Paris, childhood and adult life, shared with her brother 'Pete', and literary evocations from Proust and George du Maurier's forgotten novel Peter Ibbetson. Amid telepathic conversations, real or imagined, and life events uncannily answering one another from a distance, Cixous's dense evocative journey ceaselessly 'returns to its starting point' and, like the twin almonds in one shell evoked by the title, reveals intimate, secret bonds between scenes and beings, real and fictional. Its interpretive sharpness delivered with stylistic elegance and candour will make this study typical of Cixous's art, which plies between literature and criticism, appealing not only to scholars and critics interested in psychoanalysis, autobiography and the act of reading, but also to a broader readership captivated by the hallucinatory coincidences between life, dream and fiction, when 'Reality is the dream. The dream is the true reality'.

The poems in this anthology represent a panorama of the main trends in the development of the poetry of the German-speaking people. Beginning with a minnesong of the early Middle Ages and a poem of the seventeenth century, the book then focuses on the Age of Goethe (1749-1832). Inspired by Goethe and his contemporaries, German poetry was able to develop according to its own genius and to advance along new lines that eventually led to the period of Expressionism and Post-Expressionism with which this anthology ends. Included here are the full German texts of 39 poems-lyrics, ballads, philosophical verse, humor, student songs-and three selections from longer works by Goethe, Novalis and Lenau. Some of the other poets represented are Walther von der Vogelweide, Schiller, Hölderlin, Heine, Rilke, Brecht, Hermann Hesse, Stefan George, Gryphius, Platen, Scheffel, Conrad Ferdinand Meyer and Albrecht Haushofer. For each poem, this book includes an expert literal English translation on the facing page. You'll also find a biographical and critical discussion of each poet, textual information and a portrait of the poet. Here is a wonderful opportunity to discover the depth and richness of the German poetic tradition, and learn the language at the same time.

Partition--the idea of separating Jews and Arabs along ethnic or national lines--is a legacy at least as old as the Zionist-Palestinian conflict. Challenging the widespread "separatist imagination" behind partition, Gil Hochberg demonstrates the ways in which works of contemporary Jewish and Arab literature reject simple notions of separatism and instead display complex configurations of identity that emphasize the presence of alterity within the self--the Jew within the Arab, and the Arab within the Jew. In Spite of Partition examines Hebrew, Arabic, and French works that are largely unknown to English readers to reveal how, far from being independent, the signifiers "Jew" and "Arab" are inseparable.In a series of original close readings, Hochberg analyzes fascinating examples of such inseparability. In the Palestinian writer Anton Shammas's Hebrew novel Arabesques, the Israeli and Palestinian protagonists are a "schizophrenic pair" who "have not yet decided who is the ventriloquist of whom." And in the Moroccan Jewish writer Albert Swissa's Hebrew novel Aqud, the Moroccan-Israeli main character's identity is uneasily located between the "Moroccan Muslim boy he could have been" and the "Jewish Israeli boy he has become." Other examples draw attention to the intricate linguistic proximity of Hebrew and Arabic, the historical link between the traumatic memories of the Jewish Holocaust and the Palestinian Nakbah, and the libidinal ties that bind Jews and Arabs despite, or even because of, their current animosity.

Publisher: Edition: first