Writing into the wounds and reverberations of the Israel/Palestine conflict, Philip Metres’ fourth book of poems, Shrapnel Maps, is at once elegiac and activist, an exploratory surgery to extract the slivers of cartography through palimpsest and erasure. A wedding in Toura, a suicide bombing in Jerusalem, uneasy interactions between Arab and Jewish neighbors in University Heights, the expulsion of Palestinians in Jaffa, another bombing in Gaza: Shrapnel Maps traces the hurt and tender places, where political noise turns into the voices of Palestinians and Israelis. Working with documentary flyers, vintage postcards, travelogues, cartographic language, and first person testimonies, Shrapnel Maps ranges from monologue sonnets to prose vignettes, polyphonics to blackouts, indices to simultaneities, as Palestinians and Israelis long for justice and peace, for understanding and survival.
Opening a window onto a long-neglected world of women's experience, this text features eleven essays that examine the writings of medieval women mystics from England, France, Germany, Italy, and the Low Countries, providing close readings of a number of important texts from the viewpoint ofdifferent literary theories. Surveying various styles of hagiographical writing, the author offers ground-breaking scholarship on a broad range of topics such as how medieval holy women may have appeared to their contemporaries, medieval antifeminism, comparisons between earlier and later Christianmystical writing, the relationship between male confessors and female penitents in the Middle Ages, and the process by which these extraordinary women produced their work. For courses in religious, medieval, or women's studies, this unique text fills a conspicuous gap in an important and fascinatingfield of literature.
Texts by, for, and about preachers from the twelfth to the fourteenth centuries reveal an intense interest in the preacher's human nature and its intersection with his "angelic" role. Far from simply denigrating embodiment or excluding it from consideration, these works recognize its centrality to the office of preacher and the ways in which preachers, like Christ, needed humanness to make their performance of doctrine effective for their audiences. At the same time, the texts warned of the preacher's susceptibility to the fleshly failings of lust, vainglory, deception, and greed. Preaching's problematic juxtaposition of the earthly and the spiritual made images of women preachers, real and fictional, key to understanding and exploiting the power, as well as the dangers, of the feminized flesh. Addressing the underexamined bodies of the clergy in light of both medieval and modern discussions of female authority and the body of Christ in medieval culture, Angels and Earthly Creatures reinserts women into the history of preaching and brings together discourses that would have been intertwined in the Middle Ages but are often treated separately by scholars. The examination of handbooks for preachers as literary texts also demonstrates their extensive interaction with secular literary traditions, explored here with particular reference to Chaucer's Canterbury Tales. Through a close and insightful reading of a wide variety of texts and figures, including Hildegard of Bingen, Birgitta of Sweden, and Catherine of Siena, Waters offers an original examination of the preacher's unique role as an intermediary—standing between heaven and earth, between God and people, participating in and responsible to both sides of that divide.
Terrifying and forbidding, subversive and insightful, Clive Barker's groundbreaking stories revolutionized the worlds of horrific and fantastical fiction and established Barker's dominance over the otherworldly and the all-too-real. Here, as two businessmen encounter beautiful and seductive women and an earnest young woman researches a city slum, Barker maps the boundless vistas of the unfettered imagination -- only to uncover a profound sense of terror and overwhelming dread.
This powerful and lyrical debut novel is to Syria what The Kite Runner was to Afghanistan; the story of two girls living eight hundred years apart—a modern-day Syrian refugee seeking safety and an adventurous mapmaker’s apprentice—“perfectly aligns with the cultural moment” (The Providence Journal) and “shows how interconnected two supposedly opposing worlds can be” (The New York Times Book Review). This “beguiling” (Seattle Times) and stunning novel begins in the summer of 2011. Nour has just lost her father to cancer, and her mother moves Nour and her sisters from New York City back to Syria to be closer to their family. In order to keep her father’s spirit alive as she adjusts to her new home, Nour tells herself their favorite story—the tale of Rawiya, a twelfth-century girl who disguised herself as a boy in order to apprentice herself to a famous mapmaker. But the Syria Nour’s parents knew is changing, and it isn’t long before the war reaches their quiet Homs neighborhood. When a shell destroys Nour’s house and almost takes her life, she and her family are forced to choose: stay and risk more violence or flee across seven countries of the Middle East and North Africa in search of safety—along the very route Rawiya and her mapmaker took eight hundred years before in their quest to chart the world. As Nour’s family decides to take the risk, their journey becomes more and more dangerous, until they face a choice that could mean the family will be separated forever. Following alternating timelines and a pair of unforgettable heroines coming of age in perilous times, The Map of Salt and Stars is the “magical and heart-wrenching” (Christian Science Monitor) story of one girl telling herself the legend of another and learning that, if you listen to your own voice, some things can never be lost.
This book begins with a pointed critique of the foundations of the understanding of Western music: that music from Pythagoras to the Renaissance has been viewed as the source and model of order in the universe and in society. Unfortunately that order was rigidly hierarchical, so that over the centuries music reinforced established social prejudices, particularly those against women. Nowhere was this more evident than in religious music that was regarded by male ecclesiastics and scholars as the instrument of choice for taming hysterical female eruptions. Through her mordant commentary on a rich selection of texts by major thinkers from two millennia of Christian theology, Heidi Epstein shows in the first part of Melting the Venusberg that music as the erotic embodiment of human engenderment has been ignored or suppressed, while music as the expression of transcendent harmony, order, and restraint has been extolled. The second re-constructive part of Melting the Venusberg draws on ignored sources and lost tropes from the Christian tradition as well as on insights from the music and thought of historical and contemporary woman composers and performers from Hildegard of Bingen and Lucrezia Vizzana to Rosetta Tharpe and Diamanda Galas. Through this recuperative synthesis, music's theological significance changes keys, as it moves beyond its symbolic function as divinely ordained, harmonious microcosm into more dissonant metaphorical registers. Those who have ears to hear will be delighted.
In the period between 1200 and 1500 in western Europe, a number of religious women gained widespread veneration and even canonization as saints for their extraordinary devotion to the Christian eucharist, supernatural multiplications of food and drink, and miracles of bodily manipulation, including stigmata and inedia (living without eating). The occurrence of such phenomena sheds much light on the nature of medieval society and medieval religion. It also forms a chapter in the history of women. Previous scholars have occasionally noted the various phenomena in isolation from each other and have sometimes applied modern medical or psychological theories to them. Using materials based on saints' lives and the religious and mystical writings of medieval women and men, Caroline Walker Bynum uncovers the pattern lying behind these aspects of women's religiosity and behind the fascination men and women felt for such miracles and devotional practices. She argues that food lies at the heart of much of women's piety. Women renounced ordinary food through fasting in order to prepare for receiving extraordinary food in the eucharist. They also offered themselves as food in miracles of feeding and bodily manipulation. Providing both functionalist and phenomenological explanations, Bynum explores the ways in which food practices enabled women to exert control within the family and to define their religious vocations. She also describes what women meant by seeing their own bodies and God's body as food and what men meant when they too associated women with food and flesh. The author's interpretation of women's piety offers a new view of the nature of medieval asceticism and, drawing upon both anthropology and feminist theory, she illuminates the distinctive features of women's use of symbols. Rejecting presentist interpretations of women as exploited or masochistic, she shows the power and creativity of women's writing and women's lives.
Set in a nameless British town that its Pakistani-born immigrants have renamed Dasht-e-Tanhaii, the Desert of Solitude, Maps for Lost Lovers is an exploration of cultural tension and religious bigotry played out in the personal breakdown of a single family. As the book begins, Jugnu and Chanda, whose love is both passionate and illicit, have disappeared from their home. Rumours about their disappearance abound, but five months pass before anything certain is known. Finally, on a snow-covered January morning, Chanda’s brothers are arrested for the murder of their sister and Jugnu. Maps for Lost Lovers traces the year following Jugnu and Chanda’s disappearance. Seen principally through the eyes of Jugnu’s brother Shamas, the cultured, poetic director of the local Community Relations Council and Commission for Racial Equality, and his wife Kaukab, mother of three increasingly estranged children and devout daughter of a Muslim cleric, the event marks the beginning of the unravelling of all that is sacred to them. It fills Shamas’s own house and life with grief and, in exploring the lovers’ disappearance and its aftermath, Nadeem Aslam discloses a legacy of miscomprehension and regret not only for Shamas and Kaukab but for their children and neighbours as well. An intimate portrait of a community searingly damaged by traditions, this is a densely imagined, beautiful and deeply troubling book written in heightened prose saturated with imagery. It casts a deep gaze on themes as timeless as love, nationalism and religion, while meditating on how these forces drive us apart.