Content's Essays, 1975-1984 is the celebrated introduction to language poetry by one of its leading practitioners, Charles Bernstein. First published in 1986, and now a classic study of the poetry and poetics of late-twentieth-century America, this collection of essays conducts us with wit, intelligence, and consummate style through the elaborate relations between language and culture. Bernstein considers verbal, pictorial, and filmic language to understand why writing is never the unmediated expression of personal feeling but always charged with latent meaning.Addressing a wide range of arts, Bernstein's essays move gracefully from discussions of Mad Max, Stan Brakhage, and Arakawa, to William Carlos Williams, Louis Zukovsky and Jackson Mac Low. Rather than propose grand theories, Bernstein synthesizes the many sets of ideas that are necessary for a practical understanding of contemporary culture. Reading a variety of texts and expanding on his own thinking and method, Bernstein provides a brilliant introduction not only to language writing but to all avant-garde literary ambitions of the last two decades of the century.At once irreverent and deeply serious, as indebted to Groucho Marx as it is to Stanley Cavell, Content's Dream stakes out a clear cultural and aesthetic position for one extraordinary poet, for language poetry, and for our time.

The 27th century: beleaguered elites decide to melt the Greenland icecap. Why? - to open up a new continent, for colonisation by the unruly masses. How? - by harvesting the primordial heat of the Earth from Iceland's volcanoes. Nature fights back, and it all goes horribly wrong... In the early 1920s confirmed city-dweller Alfred Doblin - he was 15 before he saw his first cherry tree - became puzzled by a nagging sense of Nature: "I experienced Nature as a secret. Physics as the surface, begging for explanations. Textbooks... knew nothing of the secret. Every day I experienced Nature as the World Being, meaning: weight, colour, light, dark, its countless materials, as a cornucopia of processes that quietly mingle and criss-cross." Readers accustomed to following a story via Plot and Character may at first be disoriented by this epic of the future. Its structure is more symphonic than novelistic, driven by themes and motifs that emerge, fade back, emerge again in new orchestral voicings and new tempi. The prose - supple, rhythmic, harsh, elegiac, tender, unsparing - propels the reader on through scene after vivid scene. Mountains Oceans Giants is a literary counterpart to the painted dreams and nightmares of Hieronymus Bosch, in The Garden of Earthly Delights and The Last Judgement. Alfred Doblin, born in Szczecin in 1878, initially worked as a medical assistant and opened his own practice in Berlin in 1911. Doblin's first novel appeared in 1915/16. His greatest success was the novel Berlin Alexanderplatz published in 1929. In 1933 Doblin emigrated to France and finally to the USA. After the end of the 2nd World War he moved back to Germany, but then moved in 1953 with his family to Paris. He died on June 26, 1957. Berlin Alexanderplatz (translated by Michael Hofman) is published by Penguin in the UK and New York Review Books in the USA.

For a writer, voice is the problem that never lets you go. For a reader, voice is a profound mystery. What is it? How does it develop and why should it even matter? How does the reader hear and respond to an authentic voice, and what happens when the cult of personality threatens to subvert it? These are some of the slippery questions The Writer's Voice addresses with confidence and clarity. Aspiring young writers often confuse voice with stylishness, but the voice that matters has the whole weight of a life, however young, behind it. In this compelling book, renowned poet, author, and critic A. Alvarez defines "voice" as the vehicle by which a writer expresses his aliveness, hooks his readers, and keeps them listening. These powerful reflections from a lifetime's experience belong alongside John Gardner's The Art of Fiction, E. M. Forster's Aspects of the Novel, and William Zinsser's On Writing Well.

A reading of African American and Jewish American writers from Henry Roth and Ralph Ellison to Philip Roth and David Bradley. Reading the work of such writers alongside and through one another, Newton's book offers an original way of juxtaposing two major traditions in modern American literature, and rethinking the sometimes vexed relationship between two constituencies ordinarily confined to sociopolitical or media commentary alone. Newton combines Emmanuel Levinas's ethical philosophy and Walter Benjamin's theory of allegory in shaping an innovative kind of ethical-political criticism. Through artful, dialogical readings of Saul Bellow and Chester Himes, David Mamet and Anna Deavere Smith, and others, Newton seeks to represent American Blacks and Jews outside the distorting mirror of 'Black-Jewish Relations', and restrictive literary histories alike. A final chapter addresses the Black/Jewish dimension of the O. J. Simpson trial.

The spirit and character of the four seasons are captured in verse.

"Thirty years after From Rockaway ("A great first novel" --Harper's Bazaar), Jill Eisenstadt returns with a darkly funny new work of fiction that exposes a city and a family at their most vulnerable. When Sue Glassman's family needs a new home, Sue relents, after years of resisting, and agrees to convert to Judaism. In return, Sue's father-in-law, Sy, buys the family--Sue, Dan, and their two daughters--a capacious but ramshackle beachfront house in Rockaway, Queens, a world away from the Glassmans' cramped Tribeca apartment. The catch? Sy is moving in, too. And the house is haunted. On the weekend of Sue's conversion party, ninety-year-old Rose, who (literally) got away with murder on the premises years earlier, shows up uninvited. Towing a suitcase-sized pocketbook, having escaped an assisted living facility in Forest Hills, Rose seems intent on moving back in. Enter neighbor Tim--formerly Timmy (see From Rockaway), a former lifeguard, former firefighter, and reformed alcoholic--who feels, for reasons even he can't explain, inordinately protective of the Glassmans. The collective nervous breakdown occasioned by Rose's return swells to operatic heights in a novel that charms and surprises on every page as it unflinchingly addresses the perils of living in a world rife with uncertainty"--

The publication of Gordon Lish's selected short fiction is a publishing event of considerable note. Here, for the very first time, are the best short fiction stories from the literary canon of the influential and iconoclastic fiction writer Gordon Lish.

Recently discovered and never before published, these two short novels were written in the early 1970s, at the beginning of Kathy Acker's writing career. Rip-off Red reads as a kind of Raymond Chandler for bad girls, as Acker's typical literary playfulness transforms the genre conventions of detective fiction into a book that is simultaneously a mystery and a personal, raunchy, and politically astute account of life in New York City. The Burning Bombing of America is a dystopian vision of the destruction of America, combining crypto-Socialist class critique with the visceral surreality of the Book of Revelation.

Humor in Early Islam, first published in 1956, is a pioneering study by the versatile and prolific scholar Franz Rosenthal (1914–2003), who (having published an article on mediaeval Arabic blurbs), should have written this text himself. It contains an annotated translation of an Arabic text on a figure who became the subject of many jokes and anecdotes, the greedy and obtuse Ash?ab, a singer who lived in the eighth century but whose literary and fictional life long survived him. The translation is preceded by chapters on the textual sources and on the historical and legendary personalities of Ash?ab; the book ends with a short essay on laughter. Whether or not the jokes will make a modern reader laugh, the book is a valuable source for those seriously interested in a religion or a culture that all too often but unjustly is associated, by outsiders, with an aversion to laughter.

What is meant by "romantic irony"? What is specifically romantic about this kind of irony? How does it relate to--and differ from--ordinary, traditional irony? Is it a variant of traditional irony, or an independent phenomenon? Are its lines of demarcation primarily historical or modal? How does it become manifest in a text? What is its impact on the art of narration? These are the questions that Fictions of Romantic Irony addresses. It makes a new approach to romantic irony by envisaging it in a broad European context in relation both to earlier concepts of irony and to traditional uses of irony in narration. Fictions of Romantic Irony shows how irony was transformed in the hands of Friedrich Schlegel, Hegel and Kierkegaard. Through an analysis of six major European narratives of the mid-eighteenth to the mid-nineteenth century it illustrates the reciprocal interplay of theory and practice, and the complex and central role that irony assumes as a shaping aesthetic factor. Using a wide perspective and an original synchronic disposition of texts within its historical framework, it identifies the distinctive philosophical and literary features of romantic irony. Fictions of Romantic Irony presents an important theory of romantic irony, distinguishing it from traditional irony in the handling of fictional illusion and in the dynamics of the tripartite relationship between narrator, narrative and reader. It dispels many common, limiting fictions about romantic irony, and offers a robust understanding of its workings in narrative and its significance for modern fiction.

This remarkable collection excerpts and reproduces some of China's most significant and eclectic literary works created between the founding of the Ming Dynasty in 1368 through the era of China under Mao Zedong, which ended with his death in 1976. Expertly rendered into English by noted China expert Sidney Shapiro, these classic works are noted for their unique prose and subtle characterizations which at once dispel the notion of China as outside and mysterious. Instead, we are drawn into the strangeness of a distant land and different culture, where human qualities seem remarkably familiar. This journey through the world of Chinese literature is framed according to four distinct "Feudal Fiction" is represented by "Outlaws of the Marsh", the great picaresque classic novel. "War and Revolution" reflects the uprising of an outraged people against domestic oppression and foreign invasion. "Transition" graphically describes China's intellectual ferment and ethical conflicts in an era of revolution, while "Satiric Verse" gives a glimpse of the bitter, sardonic prose of the twentieth century. This work is an ideal introduction to China's finest fiction and its vivid illumination of Chinese history.

From the publication of Growing Up Absurd in 1960 until his death in 1972, Paul Goodman had the ear of the young radicals of the New Left, pouring forth books and articles on education, technology, decentralization, and of course, the war in Vietnam. Yet Goodman saw himself primarily as an artist rather than a political thinker or sociologist, and many of his books, even during the 1960s, were works of poetry, drama, and fiction. He had also practiced as a psychotherapist and joined with Frederick Perls and Ralph Hefferline in producing a new synthesis in psychological thought, Gestalt therapy, which has since become an international movement. In an age of specialization, few writers have taken on so broad a range of concerns. Crazy Hope and Finite Experience is a final summing up of the thought and life of this self-described "old-fashioned man of letters." This book brings together for the first time five personal essays, all written near the end of his life, in which Goodman discusses his sense of the world and how he was "in" it, his politics, his spiritual and religious attitude, his sexuality, and his calling as a literary artist. For those already familiar with one or another aspect of his work, Goodman's self-assessment will provide new insight into the credo that underlies his whole career. For those learning about him for the first time, it offers a vivid sense of the man and his perspective. And for psychotherapists - especially Gestalt therapists - the book will fill in the picture of Goodman as a theorist whose work was crucial to the development of a new approach to therapy.

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'.

A compelling work of autobiographical fiction, Hélène Cixous's Hemlock weaves tragedy and comedy, narrative and meditation in its exploration of various human attachments: between an elderly but still truculent mother and her writer-daughter, between the mother and her sister, and between the writer and her vanished but nonetheless intensely present friend, Jacques Derrida, whose death is movingly evoked. "I have in mind two lovely faces, old women in bloom," writes the author with a backwards nod to Proust's ‘jeunes filles.' "Here," she says in her preface, "the criss-crossing paths of my mother and my aunt will come to an end at last. When one old flower is left, what becomes of the other face?" Socrates is conjured up, along with the poisonous plants of Hamlet, the human comedies of Balzac and Proust, and other literary and philosophical ghosts who find themselves drawn into the fabric of Cixous's text: "I'm not sleeping," writes the protagonist. "A worm is drilling my brain. It's a phrase I heard in the hellish juice of the jusquiame. I pour it into my own ear. ‘I'm afraid Mama will die'." In this new work Hélène Cixous continues to explore and expand the boundaries of narrative, slipping from thought to thought and from image to image, so as to render every action, fear and thought palpable to the reader.

The Writing Experiment demystifies the process of creative writing, showing that successful work does not arise from talent or inspiration alone. Hazel Smith breaks down writing into incremental stages, revealing processes that are often unconscious or unacknowledged, and shows how they can become part of a systematic writing strategy. The book encourages writers to take an explorative and experimental approach to their work. It relates practical strategies for writing to major twentieth century literary and cultural movements, including postmodernism. Suitable for both beginners and experienced writers, The Writing Experiment covers many genres including fiction, poetry, writing for performance and new media. Each chapter is illustrated with extensive examples of both student work and published writing, and challenging exercises offer writers at all levels opportunities to develop their skills.

The Great American Novel (1923) is an experimental novel by William Carlos Williams. Although he is predominately known as a poet, Williams frequently pushed the limits of prose style throughout his career. In the defining decade of Modernism, Williams sought to try his hand at the so-called "Great American Novel," a concept fueling impassioned debate in academic and artistic circles nationwide. Far from conventional, Williams' novel is a metafictional foray into matters more postmodern than modern, a commentary masquerading as narrative and a satire of the all-American overreliance on cliché in form and content. "If there is progress then there is a novel. Without progress there is nothing. Everything exists from the beginning. I existed in the beginning. I was a slobbering infant. Today I saw nameless grasses--I tapped the earth with my knuckle. It sounded hollow. It was dry as rubber. Eons of drought. No rain for fifteen days. No rain. It has never rained. It will never rain." Williams' novel begins with the word and a birth. Language describes the experience of awakening to experience, of coming into consciousness as a living being in a living world. Using words from everyday speech, he builds a novel out of observations, a book that remains conscious of itself throughout. Like the child whose first experience with the written word often comes from names and slogans stretched over trucks and billboards, the reader eventually comes to accept their new reality, a world where people love and succeed and fail, where history and art intercede to make meaning where they can. The Great American Novel showcases Williams' experimental form, stretching the meaning of "novel" to its outermost limit. This edition of William Carlos Williams' The Great American Novel is a classic of American literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Political Reconstruction is a book written by Karl Loewenstein that delves into the process of rebuilding political institutions after a major crisis or conflict. Loewenstein discusses the challenges and opportunities that arise during this process, and provides a comprehensive analysis of the various factors that contribute to successful political reconstruction. The book also explores the role of law, democracy, and civil society in the reconstruction process, and highlights the importance of international cooperation and support. Drawing on case studies from around the world, Political Reconstruction offers valuable insights and recommendations for policymakers, scholars, and anyone interested in the field of political science. Overall, this book is a must-read for anyone seeking to understand the complexities of political reconstruction and the challenges of building a stable and democratic society in the aftermath of conflict.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. 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 their original work.

The Land that Touches Mine is the sixth novel by John Sanford, author of The Old Man's Place and Make My Bed in Hell. It is a gritty, hard-boiled tale about an army deserter, who hooks up with a carhop during World War Two, amid the brutal 100-degree heat of the California desert summer. Not only is the man on the run from the army; he's on the run from his own past. The novel, crackling with tough dialog, speeds toward a climactic choice: will he let the woman help him across the border to freedom in Mexico before his luck runs out? First published in 1953 by Doubleday (U.S.) and Jonathan Cape (U.K.), The Land that Touches Mine is arguably the finest of Sanford's eight published novels. The New York Times lauded the book's "muscular and economic prose," stating that "John Sanford makes a powerful bid for top billing in current fiction [with this] poetic, tragically intense tale," and concluded, "It is an absorbing narrative by a writer of great distinction and ability, guaranteed to hold the interest of every reader interested in the individual isolations and distortions of our modern world." In England, the New Statesman compared Sanford's use of language to William Faulkner's Soldier's Pay and Malcolm Lowry's Under the Volcano, highlighting "the italicized flashbacks that Mr. Sanford uses with such skill." And the Manchester Guardian wrote that "the combination of the tough and the tender in the texture of the book is curiously real and satisfying."

"In 1968-69 I wanted to die, that is to say, stop living, being killed, but it was blocked on all sides," wrote Hélène Cixous, esteemed French feminist, playwright, philosopher, literary critic, and novelist. Instead of suicide, she began to dream of writing a tomb for herself. This tomb became a work that is a testament to Cixous's life and spirit and a secret book, the first book she ever authored. Originally written in 1970, Tombe is a Homerian recasting of Shakespeare's Venus and Adonis in the thickets of Central Park, a book Cixous provocatively calls the "all-powerful-other of all my books, it sparks them off, makes them run, it is their Messiah." Masterfully translated by Laurent Milesi, Tombe preserves the sonic complexities and intricate wordplay at the core of Cixous's writing, and reveals the struggles, ideas, and intents at the center of her work. With a new prologue by the author, this is a necessary document in the development of Cixous's aesthetic as a writer and theorist, and will be eagerly welcomed by readers as a crucial building block in the foundation of her later work .

This is a new release of the original 1924 edition.