First published in 1979, this book starts from the perspective that dealing with anaphoric language can be decomposed into two complementary tasks: 1. identifying what a text potentially makes available for anaphoric reference and 2. constraining the candidate set of a given anaphoric expression down to one possible choice. The author argues there is an intimate connection between formal sentential analysis and the synthesis of an appropriate conceptual model of the discourse. Some of the issues with the creation of this conceptual model are discussed in the second chapter, which follows a background to the thesis that catalogues the types of anaphoric expression available in English and lists the types of things that can be referred to anaphorically. The third and fourth chapters examine two types of anaphoric expression that do not refer to non-linguistic entities. The final chapter details three areas into which this research could potentially be extended. This book will be of interest to students of linguistics.
A book of provocative ideas, about art and artists, Variations In The Key of K is an artfully constructed collection of stories. Franz Kafka, Pablo Picasso, and William Blake are among the many artist lives reconceived here. A book of cautionary histories, on one hand. An irreverent celebration of the graces of the creative life, on the other.
Welcome to Coors State University, a cash-strapped college that sold naming rights, academic programs, and, ultimately, its soul to a beer company just to keep the lights on. At Coors, the engineering professors are expanding the stadium, criminal justice faculty are the campus cops, and the history profs sell popcorn at concession stands. It’s the world turned upside down—yet not very far from the truth at today’s big state schools. Big Time is—ruefully and hilariously—a novel for Our Time.
What does it mean to want to become a mother, as children around the world die of treatable diseases, are killed by bomb or bullet, are held in cages? In Bestiality of the Involved, Spring Ulmer lives this question out loud, refusing any easy answer.
These essays travel near and far to explore landscapes of personal and cultural significance and the communities that inhabit them. At a time when we reexamine how policies of yesteryear shape equities in the present, award-winning writer Stephen Benz challenges readers to delve beyond whitewashed versions of history and reassess our treatment of native people and the environment with fresh, critical eyes. From westward expansion and Manifest Destiny to the Cold War and the Global War on Terror, Reading the Signs prods myths and provides missing context around events touched by the American impulse to grab land and harvest resources—both within and beyond our shores. These essays challenge us to search for missing layers of truth and decide which versions of history should prevail. With a wandering spirit and an inquisitive mind, Benz ventures around town, across country, and overseas in search of forgotten, overlooked, or misunderstood stories. From rock concerts and courthouses to farm towns, battlegrounds, historical sites, and quirky museums, these “itinerant essays” revel in discovering “new wonders every mile.” Along with Topographies (Etruscan Press) and two books of travel essays—Guatemalan Journey (University of Texas Press) and Green Dreams: Travels in Central America (Lonely Planet)—Stephen Benz has published essays in Creative Nonfiction, River Teeth, TriQuarterly, New England Review, and other journals. Three of his essays have been selected for Best American Travel Writing (2003, 2015, 2019). His poems have appeared in journals such as Nimrod, Shenandoah, and Confrontation as well as in a full-length collection, Americana Motel, published by Main Street Rag Press. Benz now teaches professional writing at the University of New Mexico.
A wild ride on the madcap streets of Guatemala City. A twilight walk through old Havana with a Cuban mailman. A canoe trip in search of a lost grave in the Everglades. These are some of the experiences Stephen Benz describes in Topographies, an insightful and evocative collection of personal essays.
A creative, individualistic woman risks following a vision to a place that ends up changing her to a new, true, risky, loving self. Dostoyevsky said, "Beauty saves," and, in Jacqueline Gay Walley’s The Waw, a woman leaves her New York life to follow an image she has seen of a small town of great beauty by the sea in England. She does not quite know why she does this and is frequently asked and gives different answers. There she encounters remarkable people of strength with whom she explores music, love, dignity, and the gifts of solitude coupled with the gifts of community. She, in addition, is having a collection of her writings published which is daunting to her since she knows she will now be revealed, and not so pleasantly, and this unglues her. Along the way, the reader gets a wry look at publishing. The narrator is also wrestling with how the world’s changing is being reported in such a vituperative manner. She also has a boyfriend in New York who visits and reveals himself in ways unforeseen. At the same time, she meets two men on the island, who astound her in their lack of artifice and sly profundity. She finds herself in love and more open than ever before. All of this put together strips her down to her essence, where the beauty of the place and people are able to transform her to a better self. The book is written in an inventive style: novelistic, seemingly memoir, often poetic, sometimes with a touch of magic realism. "
The short stories in Brian Coughlan’s Don’t Mind Me dig deep into what it means to live in an increasingly connected, but isolated modern world that demands far more than we can possibly hope to provide. A couple with financial problems encounter an over-bearing madam in her hell-hole bed & breakfast; an aged wastrel must travel across the country to the aid of his ailing guardian angel; a hurrying man falls inexplicably and is forced to confront the fragility of his body and the choices that were made for him. What begins as tragedy trips into farce, the realistic somehow turns mystical, and viewed through a prism of irony these delightfully off kilter stories offer surprising, often skewed and witfully unsettling impressions. Don’t Mind Me is a collection that follows no rules and leaves no tracks.
Wait for God to Notice is a love letter to an adopted country with an unstable past and an undeniable endurance to heal. In 1975, Uganda’s Finance Minister escaped to England saying, “To live in Uganda today is hell.” Idi Amin had declared himself president for life, the economy had crashed, and Ugandans were disappearing. One year later, the Fordham family arrived as Seventh-day Adventist missionaries. Fordham narrates her childhood with lush, observant prose that is also at times quite funny. She describes her family’s insular faith, her mother’s Finnish heritage, the growing conflict between her parents, the dangerous politics of Uganda, and the magic of living in a house in the jungle. Driver ants stream through their bedrooms, mambas drop out of the stove, and monkeys steal their tomatoes. Wait for God to Notice is a memoir about growing up in Uganda. It is also a memoir about mothers and daughters and about how children both know and don’t know their parents. As teens, Fordham and her sister, Sonja, considered their mother overly cautious. After their mother dies of cancer, the author begins to wonder who her mother really was. As she recalls her childhood in Uganda—the way her mother killed snakes, sweet-talked soldiers, and sold goods on the black market—Fordham understands that the legacy her mother left her daughters is one of courage and capability. Sari Fordam has lived in Uganda, Kenya, Thailand, South Korea, and Austria. She received an M.F.A. from the University of Minnesota, and now teaches at La Sierra University. She lives in California with her husband and daughter. This is her first book.