Although not a professional historian, the author raises several issues pertinent to the state of history today. Qualifying the 'non-historian' as an 'able' interventionist in historical studies, the author explores the relationship between history and theory within the current epistemological configurations and refigurations. He asks how history transcends the obsessive 'linguistic' turn, which has been hegemonizing literary/discourse analysis, and focuses greater attention on historical experience and where history stands in relation to our understanding of ethics, religion and the current state of global politics that underlines the manipulation and abuse of history.
The United States has had not one, but two Foundings. The Constitution produced by the Second Founding came to be only after a vociferous battle between Federalists and Anti-Federalists. The Federalists favored a relatively powerful central government, while the Anti-Federalists distrusted the concentration of power in one place and advocated the preservation of sovereignty in the states as crucibles of post-revolutionary republicanism -- the legacy of the First Founding. This philosophical cleavage has been at the heart of practically every major political conflict in U.S. history, and lives on today in debates between modern liberals and conservatives. In The Lovers' Quarrel, Elvin T. Lim presents a systematic and innovative analysis of this perennial struggle. The framers of the second Constitution, the Federalists, were not operating in an ideational or institutional vacuum; rather, the document they drafted and ratified was designed to remedy the perceived flaws of the Articles of Confederation and Perpetual Union. To decouple the Two Foundings is to appreciate that there is no such thing as "original meaning," only original dissent. Because the Anti-Federalists insisted that prior and democratically sanctioned understandings of federalism and union had to be negotiated and partially grafted onto the new Constitution, the Constitution's Articles and the Bill of Rights do not cohere as well together as has conventionally been thought. Rather, they represent two antithetical orientations toward power, liberty, and republicanism. The altercation over the necessity of the Second Founding generated coherent and self-contained philosophies that would become the core of American political thought, reproduced and transmitted across two centuries, whether the victors were the neo-Federalists (such as during the Civil War and the New Deal) or the neo-Anti-Federalists (such as during the Jacksonian era and the Reagan Revolution). The Second Founding -- the sole "founding" that we generally speak of -- would become a template for the unique, prototypically American species of politics and political debate. Because of it, American political development occurs only after the political entrepreneurs of each generation lock horns in a Lovers' Quarrel about the principles of one of the Two Foundings, and succeed in justifying and forging a durable expansion or contraction of federal authority.
Already an award-winning poet, Carmine Starnino has also made his mark as a literary critic of great pluck, probity and irreverence. His highly regarded, often highly controversial writings on poetry have enlivened -- and often enraged -- the Canadian literary scene since they first began appearing in the late 1990s. He has tackled the careers of some of this country's most notable poets (among them Irving Layton, Michael Ondaatje, Anne Carson, Tim Lilburn, Susan Musgrave, Christopher Dewdney) and done so in prose of great subtlety and style. Indeed, in Starnino's literary criticism seditiousness and insight are made to live inside sentences that always square their shoulders and draw themselves to their full verbal height. A Lover's Quarrel culls some of the highlights of Starnino's dissenting exploits, and includes the never-before-published title essay, an ambitious reassessment of Canadian poetry. For readers unfamiliar with Starnino's criticism, the release of A Lover's Quarrel furnishes the perfect opportunity to read one of the few critics in Canada who can speak his mind and speak it well.
"When I say this book is a love story, I mean it is about things that cannot be gotten over-like this world, and some of the people in it." In 1819, the poet John Keats wrote six poems that would become known as the Great Odes. Some of them-"Ode to a Nightingale," "To Autumn"-are among the most celebrated poems in the English language. Anahid Nersessian here collects and elucidates each of the odes and offers a meditative, personal essay in response to each, revealing why these poems still have so much to say to us, especially in a time of ongoing political crisis. Her Keats is an unflinching antagonist of modern life-of capitalism, of the British Empire, of the destruction of the planet-as well as a passionate idealist for whom every poem is a love poem. The book emerges from Nersessian's lifelong attachment to Keats's poetry; but more, it "is a love story: between me and Keats, and not just Keats." Drawing on experiences from her own life, Nersessian celebrates Keats even as she grieves him and counts her own losses-and Nersessian, like Keats, has a passionate awareness of the reality of human suffering, but also a willingness to explore the possibility that the world, at least, could still be saved. Intimate and speculative, this brilliant mix of the poetic and the personal will find its home among the numerous fans of Keats's enduring work.
The dictionary gives explanations of the meanings and use of proverbs whenever these are obscure. By means of numerous illustrative quotations it also provides a documentary history of each proverb from its first recorded use in written English, and supplies details of earlier related forms in other languages.
He will give up everything for love. The Stone Mermaid is a mythical tale of mermaids and other legendary sea creatures. This is an epic story of love and betrayal, involving Ariana, the sea king's daughter, Ivan, a human prince, and Victor, the sea witch's son. Love is a force capable of moving the unlikeliest of hearts. Let The Stone Mermaid show you how.
America is a nation making itself up as it goes along—a story of discovery and invention unfolding in speeches and images, letters and poetry, unprecedented feats of scholarship and imagination. In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history. In more than two hundred original essays, A New Literary History of America brings together the nation’s many voices. From the first conception of a New World in the sixteenth century to the latest re-envisioning of that world in cartoons, television, science fiction, and hip hop, the book gives us a new, kaleidoscopic view of what “Made in America” means. Literature, music, film, art, history, science, philosophy, political rhetoric—cultural creations of every kind appear in relation to each other, and to the time and place that give them shape. The meeting of minds is extraordinary as T. J. Clark writes on Jackson Pollock, Paul Muldoon on Carl Sandburg, Camille Paglia on Tennessee Williams, Sarah Vowell on Grant Wood’s American Gothic, Walter Mosley on hard-boiled detective fiction, Jonathan Lethem on Thomas Edison, Gerald Early on Tarzan, Bharati Mukherjee on The Scarlet Letter, Gish Jen on Catcher in the Rye, and Ishmael Reed on Huckleberry Finn. From Anne Bradstreet and John Winthrop to Philip Roth and Toni Morrison, from Alexander Graham Bell and Stephen Foster to Alcoholics Anonymous, Life, Chuck Berry, Alfred Hitchcock, and Ronald Reagan, this is America singing, celebrating itself, and becoming something altogether different, plural, singular, new.
