"Irish man of letters MacNamara is perhaps best known for his brilliantly perceptive satire, The Valley of the Squinting Windows (1918), but it is this, his sixth novel, published in 1929, which is considered his most innovative work… It is a fascinating example of early-twentieth century Irish writing, in which tradition follow writers such as Flann O'Brien and John Banville." - Publishers Weekly. "[This is] easily the author's best book… The novel is a fabulist satire, or a satirical - fantasy. The novel has variously been characterized as a meditation on the autonomy of literature, on the immortality of the artist, existence, non-being and reality."--Rudiger Imhof, The Irish Times. "A good addition to literature collections." - Library Journal.

Victorian fiction has been read and analyzed from a wide range of perspectives in the past century. But how did the novelists themselves read and respond to each other's creations when they first appeared? Jerome Meckier answers that intriguing question in this ground-breaking study of what he terms the Victorian realism wars. Meckier argues that nineteenth-century British fiction should be seen as a network of intersecting reactions and counteractions in which the novelists rethought and rewrote each other's novels as a way of enhancing their own credibility. In an increasingly relative world, thanks to the triumph of a scientific secularity, the goal of the novelist was to establish his or her own credentials as a realist, hence a reliable social critic, by undercutting someone else's -- usually Charles Dickens's.Trollope, Mrs. Gaskell, and especially George Eliot attempted to make room for themselves in the 1850s and 1860s by pushing Dickens aside. Wilkie Collins tried a different form of parodic revaluation: he strove to outdo Dickens at the kind of novel Dickens thought he did best, the kind his other rivals tried to cancel, tone down, or repair, ostensibly for being too melodramatic but actually for expressing too negative a world view.For his part, Dickens -- determined to remain inimitable -- replied to all of his rivals by redoing them as spiritedly as they had reused his characters and situations to make their own statements and to discredit his.Thus Meckier redefines Victorian realism as the bravura assertion by a major novelist (or one soon to be) that he or she was a better realist than Dickens. By suggesting the ways Victorian novelist read and rewrote each other's work, this innovative study alters present day perceptions of such double-purpose novels as Felix Holt, Bleak House, Middlemarch, North and South, Hard Times, The Woman in White, and The Mystery of Edwin Drood.

Marine Corps Fighter Squadron 214 was hastily organized in the field during World War II to meet the urgent need for another combat squadron in the South Pacific. The squadron, self-named the "Black Sheep," went on under the leadership of the swashbuckling "Pappy" Boyington to become the most famous in Marine Corps history. Now comes the true story of the Black Sheep Squadron and the men who wrote its record in the Pacific skies. Once They Were Eagles tells how and why the squadron was formed, provides brief sketches of every member, and creates a vivid picture of the exciting but deadly aerial sorties over the South Pacific. Frank E. Walton located the thirty-four survivors of the fifty-one original Black Sheep. In a unique series of interviews, former "Eagles" share their recollections of those days of high adventure and their experiences in the years to follow.

The locales of these poems range from the mountains of western Pennsylvania to the Andes, the subjects from memories of Kilwein Guevara’s native Colombia to a New York street scene. What characterizes all of them is precise and surprising language, a brilliance of effect, that establishes him as one of the most original young American poets.

Lady Mary Wroth (c. 1587-1653) wrote the first sonnet sequence in English by a woman, one of the first plays by a woman, and the first published work of fiction by an Englishwoman. Yet, despite her status as a member of the distinguished Sidney family, Wroth met with disgrace at court for her authorship of a prose romance, which was adjudged an inappropriate endeavor for a woman and was forcibly withdrawn from publication. Only recently has recognition of Wroth's historical and literary importance been signaled by the publication of the first modern edition of her romance, The Countess of Mountgomeries Urania.Naomi Miller offers an illuminating study of this significant early modern woman writer. Using multiple critical/theoretical perspectives, including French feminism, new historicism, and cultural materialism, she examines gender in Wroth's time. Moving beyond the emphasis on victimization that shaped many previous studies, she considers the range of strategies devised by women writers of the period to establish voices for themselves.Where previous critics have viewed Wroth primarily in relation to her male literary predecessors in the Sidney family, Miller explores Wroth's engagement with a variety of discourses, reading her in relation to a broad range of English and continental authors, both male and female, from Sidney, Spenser, and Shakespeare to Aemilia Lanier, Elizabeth Cary, and Marguerite de Navarre. She also contextualizes Wroth's writing in relation to a variety of nonliterary texts of the period, both political and domestic. Thanks to Miller's sensitive readings, Wroth's writings provide a lens through which to view gender relations in the early modern period.

Of the great epic poets in the Western tradition, Luis Vaz de Camões (c. 1524- 1580) remains perhaps the least known outside his native Portugal, and his influence on literature in English has not been fully recognized. In this major work of comparative scholarship, George Monteiro thus breaks new ground, focusing on English-language writers whose vision and expression have been sharpened by their varied responses to Camões. Introduced to English readers in 1655, Camões's work from the beginning appealed strongly to writers. The young Elizabeth Barrett's Camonean poems, for example, inspired Edgar Allan Poe to appropriate elements from Camões. Herman Melville's reading of Camões bore fruit in his career-long borrowings from the Portuguese poet. Longfellow, T.W. Higginson, and Emily Dickinson read and championed Camões. AndCamões as epicist and love poet is an éminence grise in several of Elizabeth Bishop's strongest Brazilian poems. Southern African writers have interpreted and reinterpreted Adamastor, Camões's Spirit of the Cape, as both a symbol of a dangerous and mysterious Africa and an emblem of European imperialism.Recognizing the presence of Camões leads Monteiro to provocative rereadings of such texts as Dickinson's "Master" letters, Poe's "Raven," Melville's late poetry, and Bishop's Questions of Travel.

Readers in the sixteenth century read (that is, interpreted) texts quite differently from the way contemporary readers do; they were trained to notice different aspects of a text and to process them differently.Using educational works of Erasmus, Ascham, and others, commentaries on literary works, various kinds of religious guides and homilies, and self-improvement books, Kintgen has found specific evidence of these differences and makes imaginative use of it to draw fascinating and convincing conclusions about the art and practice of reading. Kintgen ends by situating the book within literary theory, cognitive science, and literary studies. Among the writers covered are Gabriel Harvey, E. K. (the commentator on The Shepheardes Calendar), Sir John Harrington, George Gascoigne, George Puttenham, Thomas Blundeville, and Angel Day.

Peter Meinke is one of the most readable poets. The surface clarity of his lines and his aptness for metaphor make these poems accessible and mysterious. They have real subjects - Dessert Storm and acorns, coffee and Tolstoy - but at the same time give entry to that interior world where all feelings and moralities grow.

The nature of Gertrude Buck, professor of English at Vassar College from 1897 until her death in 1922, is well-known to anyone interested in the history of composition. Her writing is less well-known, much of it now out of print. JoAnn Campbell gathers together for the first time the major work of this innovative thinker and educator, including her most important articles on rhetorical theory; The Social Criticism of Literature, a forerunner of reader-response literary theory; selections from her textbooks on argumentative and expository writing; poetry; fiction; her play Mother-Love, and unpublished reports and correspondence from the English department at Vassar. In her introduction, Campbell describes the masculine rhetorical tradition within which Buck wrote and taught. Her theories of language and composition quietly challenged the dominant rhetorics issuing from Harvard and Amherst. An unusually productive scholar, Buck wrote textbooks for her female students that affirmed women\u2019s intellectual abilities and trained them to participate in political debate. In the Vassar English Department she found a community of women among whom she could practice and develop her theories regarding rhetoric, pedagogy, and the role of the individual in society.

Edge Effect is Sandra McPherson's most original work to date. Constructed in two parts, the collection embraces secretly related worlds: the poetics of natural history and artistic discoveries of self-taught folk artists. Throughout, waves from one poem mark the shores of others. In natural history, an edge effect occurs where two communities, such as land and sea, overlap, that zone becoming more diversified than each of them. McPherson explores this effect in nature and art, questioning our notions of inside and outside, center and margin. Profound and moving, she recasts the very premises of formal understanding in poetry, accommodating at once the arts of nature and the nature of art.

The stories in this extraordinary collection are set in Northern Ireland, specifically Belfast, the center for more than thirty years of fighting between Roman Catholic nationalists and Protestants loyal to the British crown. Cornell is not preoccupied, however, with the details of the war. Her stories explore the emotional and psychological consequences of the struggle to endure not only violence, but loss, failure, and the inability to believe.

Leslie Scalapino is widely regarded as one of the best avant-garde writers in America today. This extraordinary new book is essay-fiction-poetry, an experiment in form, "a serial novel for publication in the newspaper" that collapses the distinction between documentary and fiction. Loosely set in Los Angeles, the book scrutinizes our image-making, producing extreme and vivid images-hyena, Muscle Beach in Venice, the Supreme Court, subway rides-in order for them to be real. Countering contemporary trends toward interiority, Scalapino's work constitutes a unique effort to "be" objectively in the world. The writing is an action, a dynamic push to make intimacy in the public realm. She does not distinguish between poetry and "real events": her writing is analogous to Buddhist notions of dreaming one is a butterfly, and becoming aware that actually being the butterfly is as real as dreaming it.

Winner of the 1996 Lambda Book Award for Lesbian Poetry.\u201cWith poignancy, honesty, and grace, Becker contends with the messy implications of her lesbian sexuality, Jewish identity, and sister's suicide. .

By Southern Playwrights is a rare assemblage of works from the 1980s and 1990s by writers continuing the tradition of Tennessee Williams, Lillian Hellman, and Beth Henley, among others. This book makes available for the first time in print Marsha Norman's romantic comedy Loving Daniel Boone, novelist Harry Crews's only play, Blood Issue, and humorist Ray Blount Jr.'s ventures into one-act comedy, Five Ives Gets Named and That Dog Isn't Fifteen. Also included are novelist Elizabeth Dewberry's first play, Head On, Kentucky novelist and essayist Wendell Berry's The Cool of the Day, and Digging In, a remarkable array of Kentucky farm voices adapted for the stage by Julie Crutcher and Vaughn McBride.Southern playwriting is a distinctive voice in the American theater, a point eloquently made in the foreword by Jon Jory. The literary works of the South, he writes, are dominated by "great language, family, strong women, religion, the land, and the past," all of which makes them wonderful for acting -- and for reading. This entertaining book honors southern playwrights in a collection of works that have premiered at Actors Theatre of Louisville.

On December 8, 1941, the day after the surprise attack on Pearl Harbor, the Japanese invaded the Philippine Islands, catching American forces unprepared and forcing their eventual surrender. Among the American soldiers who managed to avoid capture was twenty-five-year-old Lieutenant Robert Lapham, who was to play a major role in the resistance to the brutal Japanese occupation. Lapham's Raiders is the memoir of one man's guerrilla experiences. A collaboration between Lapham and historian Bernard Norling, the book also offers a detailed assessment of the most extensive land campaign in the Pacific war and a vivid portrayal of Allied guerrilla activity. Through letters, records and the recollections of Lapham and others, the drama of the "mean, dirty, brutal struggle to the death" of guerrilla warfare in the Pacific theater is reconstructed and waged again within these pages. After emerging from the jungles of Bataan and in the face of daunting odds, Lapham built from scratch and commanded a devastating guerrilla force behind enemy lines. His Luzon Guerrilla Armed Forces (LGAF) evolved into an army of thirteen thousand men that eventually controlled the entire northern half of Luzon's great Central Plain, an area of several thousand square miles. Lapham and Norling shed light on the clandestine activities of the LGAF and other guerrilla operations, assess the damages of war to the Filipino people, and discuss the United States' postwar treatment of the newly independent Philippine nation. They also offer a fuller understanding of Japan's wartime failures in the Philippines, the Pacific, and elsewhere in Asia, and of America's postwar failure to fully realize opportunities there.

Winner of the 1997 American Book Award for Poetry and Nominated for the 1997 Poet’s Prize, The Post-Rapture Dinner is about finding hope, about confronting and overcoming cynicism by discovering a spiritually grounded in the things of this world.