In Jackknife: New and Selected Poems, Beatty travels the turns and collisions of over twenty years of work. She moves from first-person narratives to poems that straddle the page in fragments, to lines that sprawl with long lines of train tracks. Always landing in meaning, we are inside the body—not in a confessional voice, not autobiography—but arriving through the expanded, exploded image of many stories and genders. The new poems leap imagistically from the known world to the purely imagined, as in the voice in "Abortion with Gun Barrel": "I am the counselor,/there are cracks in the barrel of the gun/there is aiming/shots of sorrow—/ shots of light." Commitment to a rabid feminist voice continues, but arrival has a new ring to it, with beginnings rescripted: "I am a bastard./I walk around in this body of mine." Beatty's fascination with the highway and the breakout West jackknifes at the crossroads of the brutal and the white plains of loss—the body torn down and resurrected in the twenty first century.

"One marvels at the force of seeing in Schwartz's No Way Out But Through and cannot help but feel a particular gratitude for her abundant humor. Go all in with these poems; you'll reap unknown rewards. She possesses a quick-witted imagination that sanctifies memories and makes room for the wondrous nature of our cosmopolitan lights. " —Major Jackson

What is it like living today in the chaos of a city that is at once brutal and beautiful, heir to immigrant ancestors "who supposed their children's children would be rich and free?" What is it to live in the chaos of a world driven by "intolerable, unquenchable human desire?" How do we cope with all the wars? In the midst of the dark matter and dark energy of the universe, do we know what train we're on? In this cornucopia of a book, Ostriker finds herself immersed in phenomena ranging from a first snowfall in New York City to the Tibetan diaspora, asking questions that have no reply, writing poems in which "the arrow may be blown off course by storm and returned by miracle."

For the Scribe, the ninth collection by award-winning poet David Wojahn, continues his explorations of the interstices between the public and the private, the historical and the personal. Poems of recollection and elegy commingle and conjoin with poems which address larger matters of historical and ecological import. The subjects of extinction and apocalypse figure prominently and obsessively in these pages, both in short lyrics and in several lengthy sequences. The poems also evidence the mastery of technique for which Wojahn is renowned, whether he is writing in fixed forms or in free verse. For the Scribe is the most ambitious and searching collection thus far from a poet who has been a named finalist for the Pulitzer Prize in poetry, winner of the Lenore Marshall Prize from the Academy of American Poets, the O. B. Hardison Award from the Folger Shakespeare Library, and the William Carlos Williams Book Award.

When her "smart" phone keeps asking her to autocorrect her name to Denise Richards, Denise Duhamel begins a journey that takes on celebrity, sex, reproduction, and religion with her characteristic wit and insight. The poems in Scald engage feminism in two ways—committing to and battling with—various principles and beliefs. Duhamel wrestles with foremothers and visionaries Shulamith Firestone, Andrea Dworkin, and Mary Daly as well as with pop culture figures such as Helen Reddy, Cyndi Lauper, and Bikini Kill. In dialogue with artists and writers such as Catherine Opie, Susan Faludi, and Eve Ensler, Duhamel tries to understand our cultural moment. While Duhamel's Scald can burn, she has more importantly taken on the role of the ancient Scandinavian "Skald," one who pays tribute to heroic deeds. In Duhamel's case, her heroes are also heroines.

Past Praise for Mother Quiet: "The aim of poetry (and the higher kind of thriller) is to be unexpected and memorable. So a poem about death might treat it in a way that combines the bizarre and the banal: the Other Side as some kind of institution—a creepy hospital, an officious hotel or retirement home. Martha Rhodes takes such an approach in 'Ambassadors to the Dead,' from her abrupt, unsettling, artfully distorted, indelible new book Mother Quiet. Blending the matter-of-fact with the surreal, as a way of comprehending the stunning, final reality, Rhodes is an inheritor of Emily Dickinson's many poems on the same subject." —Robert Pinsky, Washington Post

Challenging assumptions about science fiction’s Western origins, Nathaniel Isaacson traces the development of the genre in China, from the late Qing Dynasty through the New Culture Movement. Through careful examination of a wide range of visual and print media—including historical accounts of the institutionalization of science, pictorial representations of technological innovations, and a number of novels and short stories—Isaacson makes a case for understanding Chinese science fiction as a product of colonial modernity. By situating the genre’s emergence in the transnational traffic of ideas and material culture engendered by the presence of colonial powers in China’s economic and political centers, Celestial Empires explores the relationship between science fiction and Orientalist discourse. In doing so it offers an innovative approach to the study of both vernacular writing in twentieth-century China and science fiction in a global context.

For fifty years Samuel Delany has cultivated a special relationship with language in works of fiction, criticism, and memoir that have garnered critical praise and legions of fans. The present volume – the first in a series – reveals a new dimension of his genius. In Search of Silence presents over a decade’s worth of Delany’s private journals, commencing in 1957 when he was still a student at the Bronx High School of Science, and ending in 1969 when he was living in San Francisco and on the verge of reconceiving the novel that would become Dhalgren. In these pages, Delany muses on the writing of the stories that will establish him as a science fiction wunderkind, the early years of his marriage to the poet Marilyn Hacker, performances as a singer-songwriter during the heyday of the American folk revival, travels in Europe, experiences in a New York City commune, and much more – and crosses paths with artists working in many genres, including poets such as Robert Frost, W. H. Auden, and Marie Ponsot, and science fiction writers such as Arthur C. Clarke, Michael Moorcock, Roger Zelazny, and Joanna Russ. Delany scholar Kenneth R. James presents the journal entries alongside generous samplings of story outlines, poetry, fragments of novels and essays that have never seen publication, and more; James also provides biographical synopses and an extensive set of endnotes to supply contextual information and connect journal material to Delany’s published work.

Acclaimed poet Shane McCrae’s latest collection is a book about freedom told through stories of captivity. Historical persona poems and a prose memoir at the center of the book address the illusory freedom of both black and white Americans. In the book’s three sequences, McCrae explores the role mass entertainment plays in oppression, he confronts the myth that freedom can be based upon the power to dominate others, and, in poems about the mixed-race child adopted by Jefferson Davis in the last year of the Civil War, he interrogates the infrequently examined connections between racism and love. A reader’s companion is available at XXXX.site.wesleyan.edu.

Publication trilingue atour de la pensée de Merleau-PontyTrilingual studies concerning the thought of Merleau-PontyPubblicazione trilingue intorno al pensiero di Merleau-Ponty

Milk Black Carbon works against the narratives of dispossession and survival that mark the contemporary experience of many indigenous people, and Inuit in particular. In this collection, autobiographical details – motherhood, marriage, extended family and its geographical context in the rapidly changing arctic – negotiate arbitrary landscapes of our perplexing frontiers through fragmentation and interpretation of conventional lyric expectations.

In Spirit Boxing, Weaver revisits his working class core. The veteran of fifteen years as a factory worker in his native Baltimore, he mines his own experience to build a wellspring of craft in poems that extend from his life to the lives that inhabit the whole landscape of the American working class. He writes with an intimacy that is unique in American poetry, and echoes previous comparisons of his oeuvre to that of Walt Whitman. The singularity of his voice resonates here through the prism of his realization of self through a lifelong project of the integration of American and Chinese culture. The work is Daoist in influence and structure as it echoes both a harmonic realization of context and the intuitive and transcendent dance of body, mind, and spirit.

The Journal of Language Relationship is an international periodical publication devoted to the issues of comparative linguistics and the history of the human language. The Journal contains articles written in English and Russian, as well as scientific reviews, discussions and reports from international linguistic conferences and seminars.

Today, movie theaters are packed with audiences of all ages marveling to exciting science fiction blockbusters, many of which are also critically acclaimed. However, when the science fiction film genre first emerged in the 1950s, it was represented largely by exploitation horror films—lurid, culturally disreputable, and appealing to a niche audience of children and sci-fi buffs. How did the genre evolve from B-movie to blockbuster? Escape Velocity charts the historical trajectory of American science fiction cinema, explaining how the genre transitioned from eerie low-budget horror like It Came from Outer Space to art films like Slaughterhouse-Five, and finally to the extraordinary popularity of hits like E.T. Bradley Schauer draws on primary sources such as internal studio documents, promotional materials, and film reviews to explain the process of cultural, aesthetic, and economic legitimation that occurred between the 1950s and 1980s, as pulp science fiction tropes were adapted to suit the tastes of mainstream audiences. Considering the inescapable dominance of today’s effects-driven blockbusters, Escape Velocity not only charts the history of science fiction film, but also gives an account of the origins of contemporary Hollywood.

Don Giovanni chooses a piazza as a place for a lover’s tryst: a piazza that was once, in other times, a theatre of torture and death. The recurring vision of a wooden monument in flames, erected in the great piazza in memory of a man of free thought, is a source of constant disquiet for Don Giovanni, a frightfully terrible trial that evokes fear, anxiety, terror and horror. The image of the wooden monument burning keeps coming back to Don Giovanni’s mind, to the extent that it becomes an obsession, which in the end the great personage realises it somehow represents the inexorable tragic epilogue of his own life. A group of ten people, men and women, persecute Don Giovanni, the loathed seducer, manifestly seeking revenge. Again and again they scorn and sully his senses, the source of his faculty of love, with the aim of crippling his sense of taste, hearing, smell, touch and sight. Deformed in body and humiliated in thought, Don Giovanni wanders the capitals of the world, desperate, now incapable of loving, doomed to die.

The Work-Shy documents a secret network of overlooked communities that work in ways that defy work as we know it. Its poetic assemblages offer direct testimony from the first youth prison in California (the Whittier State School) and from asylums for the chronically insane (preserved in the Prinzhorn Collection in Germany and the Creedmoor Psychiatric Center in New York City). Activating what poet Susan Howe calls “the telepathy of the archive,” these poems occupy identities rooted in the demimonde and in places of confinement; they build portraits of individuals at once denied work and subjected to its punishing routine. As “translations” of apparently unredeemable texts, the poems convert the dubious paradigms of degeneracy, solipsism, and madness into a mutable archive of infidel culture. Published under the collective, anonymous signature of the BLUNT RESEARCH GROUP, this work nevertheless harbors the proper name of every voice it records. By converting the procedures of appropriation and sampling into a poetics of close listening, The Work-Shy operates at the crossroads of lyric and documentary poetries, of singularity and collectivism. An online readers companion will be available at bluntresearchgroup.site.wesleyan.edu.