Samuel Beckett's work harbors an inevitable complicity with traditional modes and values. His idealist and even nihilist inclinations, for example, are closely related to the abstracting and systematizing tendencies that have predominated in Western thinking. His drama and fiction, in reproducing these tendencies, also help to reinforce and legitimate them. Beckett's work can thus be said to encourage an attitude of stoic resignation or life-denying withdrawal.Sylvie Debevec Henning's study reveals an important countertendency. In examining Beckett's art and literary criticism, his novel Murphy, plays Krapp's Last Tape and Endgame, his only film venture, and the late story "The Lost Ones," she shows that through a variety of double-voiced techniques -- irony, parody, and satire -- Beckett also brings a powerful critical light to bear upon our culture's repeated attempts to reduce or eliminate the more problematic aspects of existence and even mocks our desire to do so. His disquieting and occasionally uproarious interweaving of contradictory perspectives -- somber and carnivalized, established and contestory -- suggests that suffering and anguish are fundamental to life, while it affirms their relation to laughter and creative vigor within a richer, if less settled, cultural context.Drawing upon the work of Nietzsche, Heidegger, Foucault, Derrida, and particularly Bakhtin, Henning argues that Beckett's profound critique of Western intellectual tradition does not necessarily entail the loss of all positive values and beliefs. On the contrary, his use of carnivalesque and dialogized modes signals a revitalizing capacity that has not been fully appreciated.

Mark Irwin's boyhood near the nuclear laboratory in Oak Ridge, Tennessee, haunts his poetry. This book of three elegies explores the nature of remembered time and space-personal, historical, geological-against the progression of time-evolution, germination, cell division, nuclear fission, the decay of memory and feeling. This, the poet says, is a kind of "fossil record" of science's impact on the modern world. Entropy (the tendency of atoms towards disorder) becomes a god, a blueprint for possibility. Disorder-frenzy, darkness, chaos-leads to evolution and evolution to order, harmony, and beauty. A star burns and sunlight falls on the world.

"A poem is best read in the light of all the other poems ever written." So said Robert Frost in instructing readers on how to achieve poetic literacy. George Monteiro's newest book follows that dictum to enhance our understanding of Frost's most valuable poems by demonstrating the ways in which they circulate among the constellations of great poems and essays of the New England Renaissance. Monteiro reads Frost's own poetry not against "all the other poems ever written" but in the light of poems and essays by his precursors, particularly Emerson, Thoreau, and Dickinson. Familiar poems such as "Mending Wall," "After Apple-Picking," "Birches," "Stopping by Woods on a Snowy Evening," "The Road Not Taken," and "Mowing," as well as lesser known poems such as "The Draft Horse," "The Ax-Helve," "The Bonfire," "Dust of Snow," "A Cabin in the Clearing," "The Cocoon," and "Pod of the Milkweed," are renewed by fresh and original readings that show why and how these poems pay tribute to their distinguished sources.Frost's insistence that Emerson and Thoreau were the giants of nineteenth-century American letters is confirmed by the many poems, variously influenced, that derive from them. His attitude toward Emily Dickinson, however, was more complex and sometimes less generous. In his twenties he molded his poetry after hers. But later, after he joined the faculty of Amherst College, he found her to be less a benefactor than a competitor. Monteiro tells a two-stranded tale of attraction, imitation, and homage countered by competition, denigration, and grudging acceptance of Dickinson's greatness as a woman poet. In a daring move, he composes -- out of Frost's own words and phrases -- the talk on Emily Dickinson that Frost was never invited to give.In showing how Frost's work converses with that of his predecessors, Monteiro gives us a new Frost whose poetry is seen as the culmination of an in¬tensely felt New England literary experience.

A collection of poetry from an award-winning poet, playwright and novelist.

Originally published in 1950, The Enduring Hills was Janice Holt Giles's first novel. It is based in part on her own courtship and introduction to the Kentucky mountain country. Here, Giles introduces Hod and Mary Pierce and begins her Appalachian trilogy. Hod Pierce, a boy not unlike Henry Giles, who grows up on Piney Ridge, where generations of Pierces have made a living from the stubborn soil. Hod loves his people and the land but longs also for wider horizons, for more education, and for the freedom he imagines can be found in the outside world. It takes World War II to carry Hod away from the Ridge and out into the great world, and it is a long time before he comes back. After the war is over, Hod settles into marriage and a factory job in the city. Finally it is Mary, his city-bred wife, who sees at last that to Hod, Piney Ridge will always be home.In her preface to the second edition, Mrs. Giles wrote, "I believe [the story] is timeless and as the hands of the clock have turned and turned, people are turning back to the earth, knowing now that saving this earth is the most important work in the world, that we must all become, as Hod and Mary Pierce did, a man and woman with faith in the earth."Janice Holt Giles (1905-1979), author of nineteen books, lived and wrote near Knifley, Kentucky, for thirty-four years. Her biography is told in Janice Holt Giles: A Writer's Life.

South from Hell-fer-Sartin, a short creek flowing into the Middle Fork of the Kentucky River, lies one of the of the most isolated regions in Kentucky. There, on the north slope of the Pine Mountain range in Leslie and Perry counties -- probably the last stronghold of white, English-language folk tales in North America -- Leonard W. Roberts recorded this rich collection more than three decades ago. To a people who, at that time, watched dancing hearth fires more often than television, the adventures of Jack in the land of witches and giants, monsters and beautiful princesses, provided first-class entertainment. Here are such old favorites as "Sleeping Beauty" and "The Golden Arm," retold in the idiom of the Kentucky mountains. Here are hauntingly beautiful cantes fables and earthy Irishman jokes. Here are encounters with Indians and marvelous hunting escapades.Roberts introduces his collection, first published in 1955, with a sympathetic description of the mountain way of life. He notes especially the bewildering and rapid changes that came to the Pine Mountain watershed in that decade as the highways and electric lines at last brought in a sophistication that preferred the soap opera to the folk tale. Although the stories Roberts recorded were still a firm part of folk tradition at the time, he believed that within a decade or two they would be forgotten -- a prediction, sadly, by now no doubt fulfilled.Any lover of the vanishing art of tale telling will relish this rich treasury of folklore and humor. Full notes on sources, types, motifs, parallels, and possible origins of the tales make this collection valuable also for folklorists.

Gwendolyn Brooks is one of the major American poets of this century and the first black woman to win the Pulitzer Prize for poetry (1950). Yet far less critical attention has focused on her work than on that of her peers.In this comprehensive biocritical study, Melhem -- herself a poet and critic -- traces the development of Brooks's poetry over four decades, from such early works as A Street in Bronzeville, Annie Allen, and The Bean Eaters, to the more recent In the Mecca, Riot, and To Disembark. In addition to analyzing the poetic devices used, Melhem examines the biographical, historical, and literary contexts of Brooks's poetry: her upbringing and education, her political involvement in the struggle for civil rights, her efforts on behalf of young black poets, her role as a teacher, and her influence on black letters. Among the many sources examined are such revealing documents as Brooks's correspondence with her editor of twenty years and with other writers and critics.From Melhem's illuminating study emerges a picture of the poet as prophet. Brooks's work, she shows, is consciously charged with the quest for emancipation and leadership, for black unity and pride. At the same time, Brooks is seen as one of the preeminent American poets of this century, influencing both African American letters and American literature generally. This important book is an indispensable guide to the work of a consummate poet.

Powerful preacher, political negotiator for New England in the halls of Parliament, president of Harvard, father of Cotton Mather, Increase Mather was the epitome of the American Puritan. He was the most important spokesman of his generation for Congregationalism and became the last American Puritan of consequence as the seventeenth century ended. The story begins in 1639 when Mather was born in the Massachusetts village of Dorchester. He left home for Harvard College when he was twelve and at twenty-two began to stir the city of Boston from the pulpit of North Church. He had written four books by the time he was thirty-two. Certain he was God's chosen instrument and New England God's chosen people, he disciplined mind and spirit in service to them both. Tempted to "Atheisme" and unbelief, afflicted early by nightmares and melancholy, then by hope and joy, he was a pioneer in recognizing the excitement of the new sciences and sought to reconcile them to theology. This well-wrought biography, the first of Increase Mather in forty years, draws on the extensive Mather diaries, which were transcribed by Michael Hall.

Shades is a book of shadow and light cast between trees and sun, between day and room, between life and death. It acknowledges endings as beginnings; it offers compassion and tenderness, searching for hope in the richness of nature; it seeks the same resources within the human being.Heather McHugh's companion volume to To the Quick (Wesleyan 1987) continues the music and brilliance characteristic of her work but moves more deeply into the metaphysical. She writes in paradox, with serious wit and intensity, the crafted language of "stitches in hand and birds in time"; "We part/ before we part; indeed,/ we part before we meet..." She studies "going matched with coming." She begins with a series of elegies that bring sexuality and death into brutal juxtaposition. Living and dying are the occasions of these poems, the soul the ultimate concern. This poetry takes to heart the fundamental strangeness of being.

A precise and passionate collection by a brave new voice in poetry.

Today Fanny Burney's venture into authorship would not be questionable. She was, after all, a daughter of a celebrated musician, and the Burney family was know to the circle of Samuel Johnson and Hester Thrale. Yet as Kristina Straub ably shows, the public recognition which followed the publication of her first novel placed Fanny Burney in a situation of disturbing ambiguity. Did she become famous or notorious? Was she a prodigy or a freak? In this study of Burney, Straub not only describes and analyzes the disturbing transition of a writer's self-awareness as a woman and a literary artist from private to public terms, but also reveals in Burney's works a hitherto unacknowledged complexity."

The Kentuckians of Janice Holt Giles's title were that hardy band of angels who straggled through Cumberland Gap in the 1770s and carved their farms from the wilderness of Virginia's westernmost country. In her historical novel, first published in 1953, Giles invited the reader to experience the danger and beauty of life on the American frontier.Many of the frontiersmen were hunters in search of escape from an ever-advancing civilization, seeking freedom and space. Such a man was David Cooper, who had hunted the Kentucky wilderness with Daniel Boone before the first settlers crossed the Appalachians. No love of land or home or woman had been strong enough to hold David -- until he met Bethia. It was for her that he cleared his patch of forest, planted crops, and built a cabin. Too late, he learned that the girl he had dreamed of marrying was the wife of his enemy.David and Bethia belonged to a generation that never knew or expected security, and the background of their story is one of turmoil: Outnumbered and ill-equipped, early settlers were hard put to defend their forts; and, although united in war against the British and their Indian allies, they were often at odds among themselves. Many, including Boone, held land grants from Judge Henderson's Transylvania Company. Others, like David, based their claims on the authority of Virginia. Few today realize how close the British came to winning out.In her research, Giles studied the journals of the early Kentuckians and has retold their story in their own easy-flowing, cadenced prose. Only the three central characters are fictional. All subsidiary characters and historical events are authentic, set against the background of a country the author knows and loves.Janice Holt Giles (1905-1979), author of nineteen books, lived and wrote near Knifley, Kentucky, for thirty-four years. Her biography is told in Janice Holt Giles: A Writer's Life.

"God knew that it would take brave and sturdy people to survive in these beautiful but rugged hills. So He sent us His very strongest men and women." So begins the heartwarming story of Verna Mae and her father, Isom B. ""Kitteneye"" Slone, an extradordinay personal family history set in the hills around Caney Creek in Knott County, Kentucky.

"Brief narratives," or medieval precursors to the modern short story, are compositions couched in the form of a tale of reasonable short length. They began with writings in Latin and, eventually, made their way into the vernacular languages of Europe. They include the fable, the apologue, the exemplum, the saint's life, the miracle, the biography, the adventure tale, the romance, the jest, and the anecdote, among others. In Spain, the oldest extant brief narratives in written form are in verse and date from the late twelfth and early thirteenth centuries. The earliest examples include La vida de Santa Maria Egipciaca and El libre dels tres reys d'Orient. Both are concise enough to be read in one sitting and were probably read before or after meals as entertainment.In Pious Brief Narrative in Medieval Castilian and Galician Verse, John E. Keller studies the structure of the pious brief narrative, including such works at the Cantigas de Santa Maria of Alfonso X and Gonzalo de Berceo's Milagros de Nuestra Senora, among others. He examines which narrative techniques were employed by their authors, including versification, music, and the pictorial arts as aids to narration. Using nine basic elements -- plot, setting, conflict, characterization, theme, style, effect, point of view, and mood or tone -- Keller shows how writers in medieval Spain employed more sophisticated uses of these techniques than has previously been recognized.

A substantial amount of the energy which Henry Fielding put into his writing was invested in political journalism and political pamphleteering. Indeed, next to his prose fiction and his plays, his political journalism looms largest in bulk, and reveals significant aspects of Fielding the man.Te present volume contains three pamphlets –; the Serious Address, the History of the Present Rebellion, and the Dialogue Between the Devil, the Pope, and the Pretender –; and one journal, the True Patriot of 1745-6. Coming from what may be called the second period of Fielding's intensive political journalism, they are all informed by the same political purpose: to deal with the crisis represented by the Jacobite uprising known as the ‘Forty-Five' and with the implications this event was perceived to have or the Pelham administration in particular.As usual with the Wesleyan Edition, there is a detailed introduction, a textual introduction, textual apparatus, and full annotation throughout the texts, as well as an index.CONTRIBUTORS: W.B. Coles.

Sonnets to Orpheus is Rainer Maria Rilke's first and only sonnet sequence. It is an undisputed masterpiece by one of the greatest modern poets, translated here by a master of translation, David Young.Rilke revived and transformed the traditional sonnet sequence in the Sonnets. Instead of centering on love for a particular person, as has many other sonneteers, he wrote an extended love poem to the world, celebrating such diverse things as mirrors, dogs, fruit, breathing, and childhood. Many of the sonnets are addressed to two recurrent figures: the god Orpheus (prototype of the poet) and a young dancer, whose death is treated elegiacally.These ecstatic and meditative lyric poems are a kind of manual on how to approach the world - how to understand and love it. David Young's is the first most sensitive of the translations of this work, superior to other translations in sound and sense. He captures Rilke's simple, concrete, and colloquial language, writing with a precision close to the original.