Void Voices is a descent into the Hell that is our contemporary culture. Inevitably, Trump and Brexit feature. Dante's guide was Virgil; Knight's is an undead T S Eliot. Along the way, the reader is assailed by a cacophony of heterogeneous material, including song lyrics, doctored news stories, lines from old poems, transcriptions of nonsense texts generated by Google Translate. The Hell is that of our culture; it is also that of the poem itself: poem as voice-filled void.
1919 Introduction by Sir W. F. Barrett. Contents: Introductory; Personality of the Control; Communicator-Evidence of the Survival; Telepathy & Automatism; "Prevision"; Mediumship & the Mental Sensations of the Medium; Psychometry Through the Med.
William Faulkner recognized voice as one of the most distinctive and powerful elements in fiction when he delivered his Nobel Prize acceptance speech, describing the last sound at the end of the world as man's "puny inexhaustible voice, still talking." As a testimonial of an artist's faith in his art, the speech raised the value of voice to its highest reach for man, as "one of the props, the pillars to help him endure and prevail." In Fiction's Inexhaustible Voice, Stephen Ross explores the nature of voice in William Faulkner's fiction by examining the various modes of speech and writing that his texts employ. Beginning with the proposition that voice is deeply involved in the experience of reading Faulkner, Ross uses theoretically grounded notions of voice to propose new ways of explaining how Faulkner's novels and stories express meaning, showing how Faulkner used the affective power of voice to induce the reader to forget the silent and originless nature of written fiction. Ross departs from previous Faulkner criticism by proceeding not text-by-text or chronologically but by construction a workable taxonomy which defines the types of voice in Faulkner's fiction: phenomenal voice, a depicted event or object within the represented fictional world; mimetic voice, the illusion that a person is speaking; psychic voice, one heard only in the mind and overheard only through fiction's omniscience; and oratorical voice, an overtly intertextual voice which derives from a discursive practice--Southern oratory--recognizable outside the boundaries of any Faulkner text and identifiable as part of Faulkner's biographical and regional heritage. In Faulkner's own experience, listening was important. As he once confided to Malcolm Cowley, "I listen to the voices, and when I put down what the voices say, it's right." In Fiction's Inexhaustible Voice, Ross conducts a careful analysis of this fundamental source of power in Faulkner's fiction, concluding that the preponderance of voice imagery, represented talking, verbalized thought, and oratorical rhetoric and posturing makes the novels and stories fundamentally vocal. They derive their energy from the play of voices on the imaginative field of written language.
The Bedouin, or 'desert dwellers', have a rich cultural heritage often expressed through music and poetry. Here, Moneera Al-Ghadeer provides us with the first comparative reading of women's oral poetry from Saudi Arabia. She examines women's lyrics of love, desire, mourning and grievance. We come to understand Bedouin mores and - most significantly - the unique description of a desert that is consistently held to be infinite, evocative, stimulating and an eternal freedom. As the first English translation and analysis of this poetry, "Desert Voices" is both a gesture to preserving the oral poetic tradition of Bedouin women and a radical critique addressing the exclusion of their poetry from current academic literary studies. The book provides invaluable material for reflection in the debates around oral culture and women's poetic composition while it translates, presents and critically examins a genre, which opens Arabic poetry and literature to contemporary theory and criticism.
In I Lived Minutes of Death, Sumaiyya Jahagirdar shares her profound journey of survival after a life-altering bike accident. This memoir is not just an account of a physical trauma but a deep exploration of life, existence, and the moments that redefine our understanding of reality. As she recounts the harrowing details of the accident, Sumaiyya invites readers into the surreal, timeless space between life and death—an experience that challenges the boundaries of consciousness and emotional resilience. In the aftermath, she navigates the shadows of fear, the weight of vulnerability, and the power of connection, illustrating how each moment of pain and healing contributes to the fabric of our existence. Through evocative storytelling, Sumaiyya sheds light on the beauty of impermanence, the fragility of life, and the gift of each breath we take. Her insights offer a new perspective on navigating life's uncertainties and embracing the present, encouraging readers to reflect on their own journeys and the profound lessons found in suffering. Join Sumaiyya in this poignant exploration of survival, self-discovery, and the unyielding spirit of humanity. I Lived Minutes of Death is a testament to the strength within us all, urging us to find meaning in every moment and celebrate the gift of life, no matter how fragile it may seem.
Helene Cixous (1937-), distinguished not least as a playwright herself, told Le Monde in 1977 that she no longer went to the theatre: it presented women only as reflections of men, used for their visual effect. The theatre she wanted would stress the auditory, giving voice to ways of being that had previously been silenced. She was by no means alone in this. Cixous's plays, along with those of Nathalie Sarraute (1900-99), Marguerite Duras (1914-96), and Noelle Renaude (1949-), among others, have proved potent in drawing participants into a dynamic 'space of the voice'. If, as psychoanalysis suggests, voice represents a transitional condition between body and language, such plays may draw their audiences in to understandings previously never spoken. In this ground-breaking study, Noonan explores the rich possibilities of this new audio-vocal form of theatre, and what it can reveal of the auditory self.
Betrayal, war, epic romance, murder, and espionage run through the five books of the complete Of Duty and Silver series. The Kingdom of Myrcia stands at a crucial turning point, suffering under weak leadership, faced with serious and growing threats both from within and without. Will sorcerers with their own agendas and histories improve the situation, or send Myrcia and her neighbors into a spiral of chaos?
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