Interpreting vestige with the eloquence of a poet and the knowledge of a field archaeologist, Gustaf Sobin explores his elected terrain: the landscapes of Provence and Languedoc. Drawing on prehistory, protohistory, and Gallo-Roman antiquity, the twenty-six essays in this book focus on a particular place or artifact for the relevance inherent in each. A Bronze Age earring or the rippling wave pattern in Massiolite ceramic are more than archival curiosities for Sobin. Instead they invite inquiry and speculation on existence itself: Artifacts are read as realia, and history as an uninterrupted sequence of object lessons. As much travel writing as meditative discourse, Luminous Debris is enhanced by a prose that tracks, questions, and reflects on the materials invoked. Sobin engages the reader with precise descriptions of those very materials and the messages to be gleaned from their examination, be they existential, ethical, or political. An American expatriate living in Provence for the past thirty-five years, Gustaf Sobin shares his enthusiasm for his adopted landscape and for a vertical interpretation of its strata. In Luminous Debris he creates meaning out of matter and celebrates instances of reality, past and present.
Astrobiology is a remarkably interdisciplinary field. This reference serves as a key to understanding technical terms from the different subfields of astrobiology, including astronomy, biology, chemistry, the geosciences and the space sciences.
Of Angie Estes, the poet and critic Stephanie Burt has written that she “has created some of the most beautiful verbal objects in the world.” In The Allure of Grammar, Doug Rutledge gathers insightful responses to the full range of Estes’s work—from a review of her first chapbook to a reading of a poem appearing in her 2018 book, Parole—that approach these beautiful verbal objects with both intellectual rigor and genuine awe. In addition to presenting an overview of critical reactions to Estes’s oeuvre, reviews by Langdon Hammer, Julianne Buchsbaum, and Christopher Spaide also provide a helpful context for approaching a poet who claims to distrust narrative. Original essays consider the craft of Estes’s poetry and offer literary analysis. Ahren Warner uses line breaks to explore a postmodern analysis of Estes’s work. Mark Irwin looks at her poetic structure. Lee Upton employs a feminist perspective to explore Estes’s use of italics, and B. K. Fischer looks at the way she uses dance as a poetic image. Doug Rutledge considers her relationship to Dante and to the literary tradition through her use of ekphrasis. An interview with Estes herself, in which she speaks of a poem as an “arranged place . . . where experience happens,” adds her perspective to the mix, at turns resonating with and challenging her critics. The Allure of Grammar will be useful for teachers and students of creative writing interested in the craft of non-narrative poetry. Readers of contemporary poetry who already admire Estes will find this collection insightful, while those not yet familiar with her work will come away from these essays eager to seek out her books.
As the author-pay model spreads across academic publishing, what are the possible consequences? Will the current rage for open-source scholarship actually accomplish anything other than shifting the furniture around on the Titanic? Will not Open Source in combination with Digital Humanitiesfurther destroy the very idea of "slow" and "thoughtful" work in humanistic studies?...It would seem that the author-pay model (formerly attributed to predatory publishers) is just another way of extracting tribute for the "privilege" of being published-enforceable only because academia has ratcheted up the stakes by enforcing research metrics and citations, in the public universities a practice that is primarily enforced by external "industrial" connections. Almost all public and private universities are heading toward measuring output with metrics-many academics now tailoring their CVs to show why they are "important," mirroring the social-media campaigns of celebrities and politicians, and many universities now citing their own "corporate" rankings when promoting their product (the University, the Institute, the Department, the Professor). Where this is all going is toward increased precarity for anyone who does not play the game. Individual, solitary scholars will have few options. Gavin Keeney, "Symptom 'A': The End," Knowledge, Spirit, LawKnowledge, Spirit, Law - as project - is a de facto phenomenology of scholarship in the age of Cognitive Capitalism. The six essays (plus Appendices) presented here cover topics and circle themes related to the problems and crises specific to neo-liberal academia, while proposing creative paths around the various obstructions. The obstructions include metrics-obsessed academia, circular and incestuous peer review, digitalization of research as stalking horse for text- and data-mining, and violation by global corporate fiat of Intellectual Property Rights and the Moral Rights of Authors. These issues, while addressed obliquely in the main text, definitively inform the various implied proscriptive aspects of the essays and, via the Introduction and Appendices, underscore the necessity of developing new-old means to no obvious end in the production of knowledge - that is to say, a return to forms of non-instrumentalized intellectual inquiry. To be developed in two concurrent volumes, Knowledge, Spirit, Law will serve as a "moving and/or shifting anthology" of new forms of expression in humanistic studies.TABLE OF CONTENTS // Preface/Acknowledgments - Introduction: Radical Scholarship - Essay 1: Re-universalizing Knowledge - Essay 2: Estranged Dawns - Essay 3: The Film-essay - Essay 4: Film Mysticism and "The Haunted Wood" - Essay 5: Circular Discourses - Essay 6: Verb Tenses and Time-senses - Appendix A: Agence 'X' Publishing Advisory - Appendix B: Perpetual Petition for the Right of the Author to Have No Digital Rights - Appendix C: Symptom "A" The End - References
The Singing Crane Garden in northwest Beijing has a history dense with classical artistic vision, educational experimentation, political struggle, and tragic suffering. Built by the Manchu prince Mianyu in the mid-nineteenth century, the garden was intended to serve as a refuge from the clutter of daily life near the Forbidden City. In 1860, during the Anglo-French war in China, the garden was destroyed. One hundred years later, in the 1960s, the garden served as the "ox pens," where dissident university professors were imprisoned during the Cultural Revolution. Peaceful Western involvement began in 1986, when ground was broken for the Arthur Sackler Museum of Art and Archaeology. Completed in 1993, the museum and the Jillian Sackler Sculpture Garden stand on the same grounds today. In Place and Memory in the Singing Crane Garden, Vera Schwarcz gives voice to this richly layered corner of China's cultural landscape. Drawing upon a range of sources from poetry to painting, Schwarcz retells the garden's complex history in her own poetic and personal voice. In her exploration of cultural survival, trauma, memory, and place, she reveals how the garden becomes a vehicle for reflection about history and language. Encyclopedic in conception and artistic in execution, Place and Memory in the Singing Crane Garden is a powerful work that shows how memory and ruins can revive the spirit of individuals and cultures alike.
The decapitation motif recurs in nearly all medieval and early modern genres, from saints' lives and epics to comedies and romances, yet decollation is often little regarded, save as a marker of humanity (that is, as the moment mortality exits) or inhumanity (that is, as the moment the supernatural enters). However, as a seat of reason, wisdom, and even the soul, the head has long been afforded a special place in the body politic, even when separated from its body proper. Capitalizing upon the enduring fascination with decapitation in European culture, this collection examines--through a variety of critical lenses--the recurring "roles/rolls" of severed human heads in the medieval and early modern imagination. Contributors are Nicola Masciandaro, Mark Faulkner, Jay Paul Gates, Christine Cooper-Rompato, Dwayne Coleman, Mary Leech, Tina Boyer, Renée Ward, Andrew Fleck, Thomas Herron, Thea Cervone, and Asa Simon Mittman. Preface by Jeffrey Jerome Cohen.
Nature and Antiquities examines the relation between the natural sciences, anthropology, and archaeology in the Americas in the nineteenth and early twentieth centuries. Taking the reader across the Americas from the Southern Cone to Canada, across the Andes, the Brazilian Amazon, Mesoamerica, and the United States, the book explores the early history of archaeology from a Pan-American perspective. The volume breaks new ground by entreating archaeologists to acknowledge the importance of ways of knowing that resulted from the study of nature in the history of archaeology. Some of the contributions to this volume trace the part conventions, practices, and concepts from natural history and the natural sciences played in the history and making of the discipline. Others set out to uncover, reassemble, or adjust our vision of collections that research historians of archaeology have disregarded or misrepresented—because their nineteenth-century makers would refuse to comply with today’s disciplinary borders and study natural specimens and antiquities in conjunction, under the rubric of the territorial, the curious or the universal. Other contributions trace the sociopolitical implications of studying nature in conjunction with “indigenous peoples” in the Americas—inquiring into what it meant and entailed to comprehend the inhabitants of the American continent in and through a state of nature.
"The Christian church worldwide has been taken prisoner by Satan's counterfeit healing." This statement is based on the author's personal experience, modest exposure to the Toronto Blessing, observation of parachurch healing ministries, and extensive historical reconstructions. Satan's Counterfeit Healing presents and evaluates Satan's supernatural healing from the Paleolithic period (ca. 45000 BCE) to the contemporary church. The guiding thesis is that Satan and his demonic surrogates perform miracles which are evident as psi paranormal phenomena. These manifestations include physical and exorcistic supernatural healings. Paleolithic and Neolithic periods produced Great Mother goddess worship and healing, which have persisted ever since. These idolatries, combined with OT nature gods, were a backdrop to Jesus' true miracles. For two thousand years of church history there's been a tug-of-war between true and false healing. Mother goddess as Mariological shrine healing joined with natural and demonic magic, and esoteric energy psi. Alongside these the Holy Spirit has raised up genuine healers and their ministries. Modern healing is marked by energy counterfeits and faith healing, the latter especially accompanied by trance, false prophecy, and psi transformations. True divine healing can be recovered when Christians repudiate nature gods, reject false prophecy, and restore proper eschatology.
What visions may come, when peering into the darkness through the shattered lens of a broken world: —the sins of the father being vested on the son in "The Chain-Lynched Man." —the nature of angels, the price of their existence in “The Unborn.” —the horrors of drug addiction, in "Bone House." —Lovecratian cosmic dread, with a distinctly un-Lovecraftian heroine, in “Out of the Shadows.” —the Egyptian goddess Sekhmet manifesting herself in New York City in "Finding the Lost Children." —the Apocalypse, lurking on the periphery in 9/11 tales “Signs of Death" and "Things I Wish I Had Not Seen,” stepping out for a view from other perspectives in “Dead Ground” and “The Changeover.” —the ending and breaking of gender and sexuality in "Clown Fish." —the secret hard edges of "Those Who Cast Shadows." —the path that should not have been taken in “On the Road.” Visions Through A Shattered Lens presents the twenty stories, 9 original to the collection, plus two new additions to this Crossroad Press edition, all searching for meaning in the splintered realities of our existence in shadows and corners, among old gods and goddesses reborn in a modern world, in twisted faith, apocalypse, loss and transformation. Other stories included in this collection are: "Visions Through a Shattered Lens", "Bui Doi", "Children in the Moonless Night", "Born from the Womb of Forever", "Like Tears, Cast in the Steps of Her Mother", "The Mutilation Missionary", and "Bones of the Maker". What others have said: In his fourth story collection, native New Yorker Houarner (Painfreak, etc.) offers 20 tough, uncompromising horror tales, nine of which are previously unpublished. No reader is likely to enjoy all the stories, with their mostly urban settings and in some cases overly familiar themes, but there’s something here for every taste in adult horror.” Visions Through A Shattered Lens, Publishers Weekly, October 14, 2002 Houarner's greatest strength is, hands down, his versatility of idea and style. In this collection, we experience the grand, almost poetic tales for which the author is often lauded, the ones that sweep off the pages in a lush beauty……and trail blood in their wake. Naturally, the old horror standards of pain and loss are also in abundance, but this collection has a more playful resonance, a wider breadth of ideas and stylistic forms, than some of his earlier collections, and it's all the stronger for it. Gerard Houarner is rapidly shaping up to be one of the finest horror authors in print today through such divergent works as THE BEAST THAT WAS MAX, PAINFREAK and others. Visions...., Richard Laymon Kills site, 12/02 Visions Through a Shattered Lens does indeed offer a skewed portrait of the realities, both seen and unseen, that encompass the mysteries of our existence. This is powerful, primal work by a far from ordinary writer. It taunts with concepts too large to fit on the screen of the mind’’s eye, illuminating just enough of what can’t be clearly conceived to terrify and intrigue, while maintaining the essential mystery of enigma. This is the most definitive collection yet by an author who’’s only begun his journey of morbid discovery. Visions....., Hellnotes, Vol.7, Issue 3, January 16, 2003 “…Houarner is a good writer, and he constructs some unusual plots…” Joe Bob Briggs.com, 5/03
Poetry, for Jed Rasula, bears traces of our entanglement with our surroundings, and these traces define a collective voice in modern poetry independent of the more specific influences and backgrounds of the poets themselves. In This Compost Rasula surveys both the convictions asserted by American poets and the poetics they develop in their craft, all with an eye toward an emerging ecological worldview. Rasula begins by examining poets associated with Black Mountain College in the 1950s--Charles Olson, Robert Creeley, and Robert Duncan--and their successors. But This Compost extends to include earlier poets like Robinson Jeffers, Ezra Pound, Louis Zukofsky, Kenneth Rexroth, and Muriel Rukeyser, as well as Clayton Eshleman, Gary Snyder, Michael McClure, and other contemporary poets. Walt Whitman and Emily Dickinson also make appearances. Rasula draws this diverse group of poets together, uncovering how the past is a "compost" fertilizing the present. He looks at the heritage of ancient lore and the legacy of modern history and colonial violence as factors contributing to ecological imperatives in modern poetry. This Compost restores the dialogue between poetic language and the geophysical, biological realm of nature that so much postmodern discourse has sought to silence. It is a fully developed, carefully argued book that deals with an underrepresented element in modern American culture, where the natural world and those who write about it have been greatly neglected in contemporary literary history and theory.
