Vinny's Wilderness opens with a divorced teacher returning to her home in south Belfast, where she discovers that her dearly loved, overgrown garden has been bulldozed and unceremoniously dumped in a skip outside her house. What follows are her vivid memories of the previous four months, when she tutored Denzil, a lively, personable young boy. More interested in the outdoors than engaging in the learning essential to successfully pass the 'eleven-plus' exams required to get him into second-level education, Denzil struggles against the constraints and expectations within his rigid family home. As he begins to emerge from his shell, playing with Vinny's daughter in their chaotic garden, Vinny and Denzil's mother discover a shared past, and tentatively pick up their friendship after a split during their own time working towards the eleven-plus exams. Vinny's Wilderness is a sensitive rendering of childhood friendship, tinged with nostalgia viewed through the emotional intensity of studying for your first major exam. Reminiscent of the Neapolitan Novels by Elena Ferrante, it illustrates how friendship can survive adolescence and in adulthood evolve into the support needed to change your life and become your true self.

Ancient language study is becoming an increasingly sophisticated and complex discipline, as scholars not only consider methods being used by specialists of other languages, but also absorb developments in other disciplines to facilitate their own research investigations. This interdisciplinary approach is reflected in the scope of research papers offered here, invited and peer-reviewed by the ISLP.

The articles in this number of Romantik include new research on reverie and dream as the locus of metaphor in Percy Bysshe Shelley’s Prometheus Unbound; an enquiry into the Royal Swedish Society for the Publication of Manuscripts Relating to Scandinavian History and the role it played in the construction of national memory and heritage; a discussion of Philippe Jacques de Loutherbourg’s and John Martin’s iconographies of the sublime in the intersection between art and popular visual spectacle; archival discoveries related to the publication of medieval romance in early nineteenth-century Britain; and a reassessment of The Prelude as a formation narrative, arguing that William Wordsworth displays a conflicted attitude to the growth and progress usually found in the Bildungsroman. The journal also contains reviews of new books on the romantic period published in the Nordic countries.

This volume brings together the results of archaeological excavations by Pre-Construct Archaeology in advance of redevelopment, at three sites in Maidstone, Kent. Supplemented by documentary research, each of these sites epitomises a different aspect of the town’s past. The earliest evidence came from investigations at West Borough School (Site 1), to the west of the town centre, where ditches, pits and associated finds provide evidence for occupation spanning the Bronze Age to Roman periods. A remarkable and apparently unique assemblage of polished flints had been buried in a Bronze Age enclosure ditch. Post-medieval cess-pits and buildings attest to the expansion of settlement beyond the Saxon and medieval core of the town, adjacent to the River Medway, at Waterfront (Site 2). At James Whatman Way (Site 3) the structural remains of the former Maidstone Cavalry Barracks were revealed. Initially constructed in the late 18th-century, these barracks only closed in the 1990s. Amongst the finds recovered a copper-alloy General Service military button is a poignant reminder of the site’s past.

This is the first-ever study of Judeo-Urdu, that is, the Hindi/Urdu language written in Hebrew script. It provides background and an introduction to the Judeo-Urdu corpus, presents nearly two hundred entries from one text — a Hebrew-Judeo-Urdu glossary — and analyzes the orthography, phonology, and morphology of Judeo-Urdu. Comparison is made to standard Hindi and Urdu, from which Judeo-Urdu diverges in many interesting ways.

Marilynne Robinson is arguably one of the most important writers of our time. Her voice resonates across the richly imagined American landscapes within which she grounds her stories of love and loss, alienation and belonging, injustice and redemption. Robinson's award-winning body of work -- including Gilead, winner of the 2005 Pulitzer Prize for Fiction and the National Book Critics Circle Award; Home, winner of the Orange Prize and the Los Angeles Times Book Prize; and Lila, winner of the National Book Critics Circle Award -- has cultivated admiration all over the world, offering readers new and profound interpretations of the meanings of transience, presence, convention, and resistance. In A Political Companion to Marilynne Robinson, Shannon L. Mariotti and Joseph H. Lane Jr. assemble both rising and established political theorists to explore the juxtaposition of Robinson's nonfiction works and her novels, and to examine their connections to contemporary political issues. The collection analyzes Robinson's writings on American democracy, community, and freedom, and it includes an engrossing interview with the author specifically conducted for this volume. From an exploration of the democratic potential in being a "housekeeper of homelessness" to a study of models of action against racial injustice, this volume provides fascinating new insights into Robinson's work and how it reflects and reassesses American political culture and theory.

Bertrand Russell finds himself in purgatory, tumbling through literal representations of the worlds of ideas he examined in his classic text, A History of Western Philosophy, gulping much-needed air, for example, from Empedocles' bucket. Mistaking his erection for a planted flag, he declares the place Platonopolis, attempts to calculate his Pythagorean number, kills God (though he later sees evidence of His resurrection), and, Rousseau-like, turns away from reason and civilization, favoring the noble savage, only to march back into the concrete jungle as one of Nietzsche's savage nobles. In the end, however, he is all jumbled up and clucking like Einstein's cuckoo clock, until he perceives philosophy as music, hears its arguments as a symphonic procession of the electrochemical pulses produced within three-pound lumps—lumps self-amalgamated from the vomitus of stars—and revises his History.

The seven chapters of this book cover a variety of concepts (liberalism, freedom, Marxism) and classic thinkers (Mill, Marx, Hayek, Popper) in order to disclose several myths we’ve become accustomed to taking for granted in the West. It posits that exploration of these myths is crucial to understanding the essence of the West or, better, to seeing what has been “removed” from the West as the title of this book implies. What emerges is a rigorous and surprising counter-history of our civilization.

Mr. Stoner is bad, and it seems his son is turning out just the same. Masked and dressed all in gray, Stoner's Boy moves like a ghost up and down the river, stealing and causing mischief. Seckatary Hawkins and his club have crossed this dangerous lad, and (to make matters worse) Briggen and the Pelham gang across the river won't leave the ruthless thief alone: They know that he's hidden his treasure hoard somewhere in his cliff cave lair, and they're dead set on having it for themselves. Still, it doesn't seem that anyone can stand up to this clever foe -- except maybe another newcomer in town, sharpshooter Robby Hood, who is the only person that Stoner's Boy seems to fear.Before Nancy Drew and the Hardy Boys, Seckatary Hawkins and his friends from the Fair and Square Club were solving mysteries and thrilling readers with tales of adventure, loyalty, and courage. One of the biggest fans of the series was author Harper Lee, and Stoner's Boy makes a prominent appearance in her masterpiece To Kill a Mockingbird. Now, the tales of the Fair and Square Club's encounters with the river renegade known as the Gray Ghost are back in print and ready to ignite the imaginations of devoted fans and new readers of all ages.

Everyone thought Stoner's Boy was dead. Seckatary Hawkins and the other boys saw him take that terrible fall into the cliff cave abyss. But the masked marauder known as the Gray Ghost is back -- running the river and causing mischief. .. or is he?It's not altogether clear whether or not someone from the old Red Runner gang, either Androfski the Silent or Jude the Fifth, is masquerading as the Fair and Square Club's old archenemy to hide from the law. Plus, there's a new boy in town named Simon Bleaker who seems just as rotten and wily as Stoner's Boy ever was. Will Seck and his friends be able to solve the mystery in time and bring peace back to the riverbank?Before Nancy Drew and the Hardy Boys, Seckatary Hawkins and his friends were solving mysteries and thrilling readers with tales of adventure, loyalty, and courage. One of the biggest fans of the series was author Harper Lee, and she ends her masterpiece To Kill a Mockingbird with a quote from The Gray Ghost. Now, the tales of the Fair and Square Club's encounters with the river renegade are back in print and ready to ignite the imaginations of devoted fans and new readers of all ages.

Vasily Sleptsov was a Russian social activist and writer during the politically charged 1860s, known as the "era of great reforms," and marked by Alexander II's emancipation of the serfs and the relaxation lifting of censorship. Popular in his day, Sleptsov's contemporaries Leo Tolstoy and Anton Chekhov praised his writing:, with Chekhov once remarkeding, "Sleptsov taught me, better than most, to understand the Russian intelligent, and my own self as well." The novella Hard Times is considered Sleptsov's most important work. It focused popular attention on the radical and liberal movements through its fictional setting, where the characters contend with constantly evolving political and social dilemmas. Hard Times was immediately recognized as a vibrant and compelling depiction of prerevolutionary Russian intellectual society, full of lively debates about the possibilities of liberal reform or radical revolution that questioned the viability of a political system facing massive social problems. This is the first English-language version of Hard Times, expertly and fluidly translated by Michael Katz. Highly readable, it provides important historical insights on the political and social climate of a volatile and transformative period in Russia history.

Winner of the 2015 Donald Hall Prize for PoetryHour of the Ox received the 2015 AWP Donald Hall Prize for Poetry, selected by Crystal Ann Williams, who called it "a timeless collection written by a poet of exceptional talent and grace, a voice as tough as it is tender." Cancio-Bello examines the multiplicity of distance, wanderlust, and grief at the intersection between filial and cultural responsibility. Desires are sloughed off, replaced by new ones, re-cultivated as mythos. These poems offer a complex and necessary new perspective on the elegiac immigrant song.

The poems in Showtime at the Ministry of Lost Causes are survival songs, the tunes you whistle while walking through the Valley of Shadows, to keep your fears at bay and your spirit awake. The shadows here are many—cancer, poverty, a lost love, famine, suicide, war, an ever-encroaching existential angst. But so are the saving graces—a drag queen waitress whose "painted-on eyebrows arched like a bridge / toward starlight," "strawberries / grown fat around dimpled gold seeds," Pink Floyd's "'On the Turning Away' sent through my car / radio like the ghost voice of a beloved long dead," black phoebes rattling "winter / thistles, swollen throats percussing: / this is this is this is . . . " Showtime at the Ministry of Lost Causes reminds us that where there is shadow there must, necessarily, also be light.

The Dutch East India Company (VOC) is known for its spices imported from the Moluccans. It is less well-known that apart from spices the VOC also imported many millions of calicoes from India during the 17th and 18th century. For a long time the Dutch were the most important foreign trader in India, using dozens of trading stations (‘ factories’) at which over 3000 Dutch company servants were deployed. To be allowed to trade in India, so-called firmans were necessary, official orders by the Great-Mogol, laying down the trade privileges. These firmans had to be renewed regularly. After Aurangzeb became Great-Mogol, Van Adrichem undertook a journey to the royal court. In 1711-1713, fifty years later, Ketelaar did the same after Bahadur Shah, the successor of Aurangzeb, took office. In this study both court journeys are analysed and compared. There are some similarities but the differences between both journeys are huge. In half a century India had changed quite dramatically, and so had the VOC. The central power of the Mogols was weakening and regional powers became more powerful. Many trade routes became too dangerous. At the same time India, and especially Bengal, became even more important within the overall trading system of the VOC. How did the VOC ambassadors, humble merchants by origin, behave at court? Contrary to what one would expect, they adapted themselves quite successfully to the Mogol diplomatic culture. Both ambassadors were quite experienced, having worked as merchants for decades already in India. They had an extensive social network and were well-versed in Hindustani and Persian, the court language. Ketelaar even wrote the first grammar of Hindustani. This study depicts in detail the interaction between VOC ambassadors and the royal court. Also the extremely long and dangerous journeys from the coast to the royal court in the interior are described. The journey of Ketelaar has become famous for its length (two years) and incredible costs (over one million guilders). It was the most expensive court journey by the VOC in Asia ever.

Winner of the 2015 Agnes Lynch Starrett Poetry Prize Miriam Bird Greenberg's stunning first collection, which roves across a lush, haunting rural America both real and imagined, observed from railyards and roadsides, evokes the world of myth ("I'd spent my childhood / in a house made of bees; on hot days honey // dripped through cracks in the ceiling," she writes). Yet these capacious, exquisitely tensioned poems are rooted in Greenberg's experiences hitchhiking and hopping freight trains across North America, or draw from her informal interviews with contemporary nomads, hobos, and others living on society's edges. Beneath their surface runs a current of violence, whether at the hands of fate or men: she writes "Everyone knows // what happens to women // who hitchhike, constantly // trying a door to the other world made of lake / bottom or low forest, abandoned house // even wild animals / have rejected. " The result is a queering of On the Road, a feminist Frank Stanford at once vulnerable and canny. Richly textured, In the Volcano's Mouth is an extraordinary portrait of life on the enchanted margins.

In his third poetry collection, Primer, Aaron Smith grapples with the ugly realities of the private self, in which desire feels more like a trap than fulfillment. What is the face we prepare in our public lives to distract others from our private grief? Smith's poetry explores that inexplicable tension between what we say and how we actually feel, exposing the complications of intimacy and the limitations of language to bridge those distances between friends, family members, and lovers. What we deny, in the end, may be just what we actually survive. Mortality in Smith's work remains the uncomfortable foundation at the center of our relationship with others, to faith, to art, to love as we grow older, and ultimately, to our own sense of who we are in our bodies in the world. The struggle of this book, finally, is in naming whether just what we say we want is enough to satisfy our primal needs, or are the choices we make to stay alive the same choices we make to help us, in so many small ways, to die.