In this provocative and insightful new book, psychologist Michael Eigen presents a phenomenology of ecstatic states. Ecstasy is a force to be reckoned with -- sometimes creative, sometimes destructive. Eigen argues that there is an ecstasy that comes through the ever-necessary confrontation of our psychic cores with suffering and degradation, and he shows that when we can learn to be present with these feelings, they add to the tone and texture of our lives, and help us to feel real. The author draws heavily on autobiographical material, psychotherapy sessions, case studies and psychoanalytic thinking, along with literary and biblical sources, demonstrating his reputation as one of the leading creative thinkers among psychotherapists in America. The result is an extremely intelligent, lyrical work, which succeeds in being theoretically well-informed without being pedantic. Written as a subjective first-hand account, Ecstasy will appeal to psychotherapists as well as to readers and students interested in spirituality and philosophy.

Rae Armantrout, a core member of the Language writing movement, has long been known for the wit, emotion and punch of her social critique. Veil contains poems from five of Armantrout's previous books as well as a generous selection of new poems. Her work relies tenaciously on the intelligibility of language, her careful syntax bordering on plain speech and meticulously scored lines always questioning how linguistic subjects are formed. Armantrout is interested in questions of origin, and the psychology of perception; she is interested in who is speaking and how we know what we know. Fans will welcome the chance to become reacquainted with her witty and lyric meditations on erotic and family issues, and new readers will be captivated by her poems' immediate availability and freshness.

Named for the ancient landform that preceded present-day California, Brenda Hillman's Cascadia creates from geological turbulence a fluid poetics of place. The book is Hillman's sixth collection and her most wide-ranging. The problem the book poses is nothing less than a phenomenology of transformation. In her previous work, Hillman's investigations of alchemy and of contemporary life have created their own distinct mythologies, and here she turns to the first of the four basic elements, earth, to demonstrate a visionary science with a combination of lightness, wit and force. Embodied in syntax as unpredictable as the earth's movements, these poetic forms speak to and query the landforms as the line between faith and science blurs. Short lyrics inspired by the California missions, each with a retablo of punctuation, reflect on the solitude and history of the sign as it moves through the quotidian. Set among these lyrics, each of the three long poems in the book presents an aspect of Hillman's topography. By the end of this powerful work, a new state is visible: a Modernist poetics, subjected to immense internal pressures, above and beneath unsettled ground, has emerged in original shapes

This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance. This book is illustrated with over 50 photographs, and would make an ideal text for undergraduate classes in dance ethnography, criticism or appreciation, as well as dance history-particularly those with a cross-cultural, contemporary, or an American focus. The reader is organized into four thematic sections which allow for varied and individualized course use: Thinking about Dance History: Theories and Practices, World Dance Traditions, America Dancing, and Contemporary Dance: Global Contexts. The editors have structured the readings with the understanding that contemporary theory has thoroughly questioned the discursive construction of history and the resultant canonization of certain dances, texts and points of view. The historical readings are presented in a way that encourages thoughtful analysis and allows the opportunity for critical engagement with the text.

Elizabeth Cady Stanton believed this to be the most important speech of her lifetime. With gorgeous and direct language, she presents a compassionate appeal for human equality and dignity, and she addresses the importance of solitude in the lives of women and men. Solitude of Self joins the canon of classic American speeches. Elizabeth Cady Stanton's timeless appeal presents the historical convergence between the 19th and the 21st centuries. In this last speech, Stanton proves that while many rights have been gained over the past century, inequality continues to thrive. For those opposed to the "glass ceilings" covering our culture, Solitude of Self is an inspiration and comfort. It is for everyone who cherishes equal rights for women and equal education for all.

Both as a dancer and a choreographer, José Limón electrified audiences from the1930s to the 1960s. With his striking looks and charismatic presence, he was American modern dance's first male star. Born in Culiacán, Mexico, in 1908, the eldest of twelve children, he came to the United States when he was seven. In 1928, after a year at UCLA as an art major, he left for New York. Here, he attended his first modern dance concert and discovered his destiny. He spent the 1930s with the Humphrey-Weidman group. Then, in the 1940s, after a stint in the army, and with Doris Humphrey as artistic advisor, he formed one of the outstanding modern dance companies of the postwar era. His greatest works -- The Moor's Pavane, La Malinche, The Traitor, A Choreographic Offering, There is a Time, Missa Brevis -- extolled a humanism that endeared them to audiences the world over. Although Limón died in 1972, all these dances remain in the Limón Dance Company's active repertory.This memoir was commissioned by Wesleyan University Press in the late 1960s. Left unfinished at the time of Limón's death, it stands on its own as a Joycean account of the coming of age of an unusually perceptive dance artist. Limón writes with eloquence of his Mexican childhood. And of the numerous figures he memorializes, from Martha Graham to José Covarrubias, none is more luminously evoked than Doris Humphrey, the "goddess," "nymph," and "caryatid" of his life. Sensitively edited by Lynn Garafola, the book includes a complete list of Limón's works, richly informative notes, rare photographs, and a detailed bibliography. This is the single most important book on Limón and a riveting memoir of modern dance during its golden age

Aimé Césaire's masterpiece, Notebook of a Return to the Native Land, is a work of immense cultural significance and beauty. The long poem was the beginning of Césaire's quest for négritude, and it became an anthem of Blacks around the world. With its emphasis on unusual juxtapositions of object and metaphor, manipulation of language into puns and neologisms, and rhythm, Césaire considered his style a "beneficial madness" that could "break into the forbidden" and reach the powerful and overlooked aspects of black culture. Clayton Eshleman and Annette Smith achieve a laudable adaptation of Césaire's work to English by clarifying double meanings, stretching syntax, and finding equivalent English puns, all while remaining remarkably true to the French text. Their treatment of the poetry is marked with imagination, vigor, and accuracy that will clarify difficulties for those already familiar with French, and make the work accessible to those who are not. André Breton's introduction, A Great Black Poet, situates the text and provides a moving tribute to Césaire.Notebook of a Return to the Native Land is recommended for readers in comparative literature, post-colonial literature, African American studies, poetry, modernism, and French.

In Lullaby for One Fist, Andrea Werblin explores the anatomy of destructive relationships and the now what? at their ends. Intimate, accessible, and sharply self-conscious, these musical poems trace the arc of such a relationship, conveying the speaker's struggle to invent freedom. They also reflect how often such inventions can reveal themselves to be trickery and self-deception, yet are at the same time very necessary practice runs and steps toward genuine independence.Werblin's poems also speak about the slow and painstaking work of self-recovery, of the self as a burden one carries, and of the self as a previously unoccupied and unfamiliar territory into which one slowly makes her way. Metallic and pointed, yet fluid, these poems course strongly through the emotional veins; they brace and jar melodically as steady, illuminating undercurrents rise from the syntax in a contrapuntal dance and shed sudden and intense beams of light on the confusing and intensely human experience of extricating ourselves from ties that damage.

With enormous wit and vitality, Harvey Shapiro's new collection of poems focuses on the approach of death, mingling canny observations of the city that never sleeps with homages to Hart Crane, George Oppen, the poet Rachel, and David Ignatow. Characterized by its focus on the urban world of New York, the Jewish tradition, and domesticity, Shapiro's poetry achieves a distinctive brilliance and true wisdom. These poems view life from the vantage of seventy-six years, deeply informed by the serious study of literature and language and always attuned to the present, as well as to the body, weather, and sex. With its passion, humor, and rich detail, this exquisite volume marks Harvey Shapiro's finest work to date.

The brilliant writer, orator, educator, critic, and activist Hubert Harrison (1883 - 1927) is one of the truly important, yet neglected, figures of early twentieth-century America. Known as "the father of Harlem radicalism,' and a leading Socialist party speaker who advocated that socialists champion the cause of the Negro as a revolutionary doctrine, Harrison had an important influence on a generation of race and class radicals, including Marcus Garvey and A. Philip Randolph. Harrison envisioned a socialism that had special appeal to African-Americans, and he affirmed the duty of socialists to oppose race-based oppression. Despite high praise from his contemporaries, Harrison's legacy has largely been neglected. This reader redresses the imbalance; Harrison's essays, editorials, reviews, letters, and diary entries offer a profound, and often unique, analysis of issues, events and individuals of early twentieth-century America. His writings also provide critical insights and counterpoints to the thinking of W. E. B. DuBois, Booker T. Washington and Marcus Garvey.The reader is organized thematically to highlight Harrison's contributions to the debates on race, class, culture, and politics of his time. The writings span Harrison's career and the evolution of his thought, and include extensive political writings, editorials, meditations, reviews of theater and poetry, and deeply evocative social commentary.

Each of Jill Dolan's three academic locations -- theatre and performance studies, lesbian/gay/queer studies (LGQ studies), and women's studies -- is both interdisciplinary and fraught with divisions between theory and practice. As teacher, administrator, author, and performer, Dolan places her professional labor in relation to issues of community, pedagogy, public culture, administration, university missions, and citizenship. She works from the assumption that the production and dissemination of knowledge can be forms of activism, extending conversations on radical politics in the academy by other writers, such as Cary Nelson, Michael Berube, Gerald Graff, and Richard Ohmann. The five interconnected essays in Geographies of Learning map the divisions and dissensions that stall the production of progressive knowledge in theatre and performance studies, LGQ studies, and women's studies, while at the same time exploring some of the theoretical and pedagogical tools these fields have to offer one another.

Prepositions: The Collected Critical Essays, published first in 1967 and then in an expanded edition in 1981, was a definitive set of critical statements by Louis Zukofsky, one of the most important poets of the 20th century. These central expositions of Zukofsky's own poetics, and enduring examinations of the art of poetry, range over the entire length of Zukofsky's career and include sensitive and prescient readings of Henry Adams, William Carlos Williams, Marianne Moore, Ezra Pound, E. E. Cummings, and others.Prepositions + brings this essential collection back into print, and adds generous selections of Zukofsky's uncollected prose, most notably the crucial 5 Statements for Poetry. Published in a small edition in 1958 and out of print ever since, 5 Statements gathers the essays that Zukofsky felt best presented his own poetics. Among them are the three essays, in their original and expansive forms, that crystallized the "Objectivist" movement of the early 1930s. Prepositions + also includes an extended in-depth interview in which Zukofsky discusses his poetry and poetics.

Anni Albers (1899 - 1994) was one of the most influential textile designers of the 20th century. Born in Berlin, in 1922 she became a student at the Bauhaus in Weimar, where she met her husband, Josef Albers. From 1933 to 1949 Albers taught at Black Mountain College. The fifteen essays gathered here illustrate Anni Albers's concept of design as the pursuit of wholeness -- "the coalition of form answering practical needs and form answering aesthetic needs." This beautifully illustrated book addresses the artistic and practical concerns of modern design and considers the ever-changing role of the designer.Albers's work is in private collections and in those of leading museums both here and abroad. Among them are the Busch-Reisinger Museum at Harvard University, the Baltimore Museum of Art, the Museum Neue Sammlung in Munich, the Bauhaus Archiv in Berlin, and the Museum of Modern Art, Metropolitan Museum of Art, and the Cooper-Hewitt Museum in New York. Her previous books include On Weaving (1965) and On Designing (1961), both published by Wesleyan

The practice of singing and songwriting in France during the Great War provides an intriguing tool for the exploration of the French cultural politics of the epoch. Responding to the dearth of cultural studies of the First World War, Regina Sweeney's unique cross-disciplinary study illuminates many of the hitherto unexplored corners of an era that many historians consider to exhibit a break with recognizable trends.In early twentieth century Europe, singing was considered a part of education integral to the formation of good citizens. Singing was especially important to the French, for whom it was historically associated with authenticity of feeling and purity of character, and thereby with the very roots of French democracy; it was particularly associated with the image of France as a victorious nation. But as Sweeney shows, different performances of the same patriotic song could carry vastly different meanings. By focusing on singing, Sweeney is able to provide a more nuanced reading of French Great War cultures than ever before, and to show that cultures previously held to be exclusive -- those of the home front and the Western front, for example -- existed in dialectical tension and were themselves far from homogenous.

Pierre Joris's poems are characterized by an arresting mix of passion and intellect, by what Pound called "language charged with meaning." For Joris, a language is always a second language, and his poetry takes as its main concern the question of marginality and exile. He is unique in being an American poet comfortable in three languages, and his work is filled with a dynamic language play, cross-linguistic puns, and themes of speculation on language, translation, and nomadism. Poasis, Joris's first major publication in the United States, highlights his work since the mid-1980s.