You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Mixing science with humor, humanity, whimsy, and love, Jason Zuzga's debut collection is a revelation
Preface: frozen spirits -- Introduction: within cold blood -- The technoscience of life at low temperature -- Latent life in biomedicine's ice age -- Temporalities of salvage -- "As yet unknown": life for the future -- "Before it's too late": life from the past -- Collecting, maintaining, reusing, and returning -- Managing the cold chain: making life mobile -- When futures arrive: lives after time -- Epilogue: thawing spirits
In the years immediately following Napoleon’s defeat, French thinkers in all fields set their minds to the problem of how to recover from the long upheavals that had been set into motion by the French Revolution. Many challenged the Enlightenment’s emphasis on mechanics and questioned the rising power of machines, seeking a return to the organic unity of an earlier age and triggering the artistic and philosophical movement of romanticism. Previous scholars have viewed romanticism and industrialization in opposition, but in this groundbreaking volume John Tresch reveals how thoroughly entwined science and the arts were in early nineteenth-century France and how they worked together to uni...
How modernist women writers used biographical writing to resist their exclusion from literary history It’s impossible, now, to think of modernism without thinking about gender, sexuality, and the diverse movers and shakers of the early twentieth century. But this was not always so. The Passion Projects examines biographical projects that modernist women writers undertook to resist the exclusion of their friends, colleagues, lovers, and companions from literary history. Many of these works were vibrant efforts of modernist countermemory and counterhistory that became casualties in a midcentury battle for literary legitimacy, but that now add a new dimension to our appreciation of such figur...
Fieldworks offers a historical account of the social, rhetorical, and material attempts to ground art and poetry in the physicality of a site. Arguing that place-oriented inquiries allowed poets and artists to develop new, experimental models of historiography and ethnography, Lytle Shaw draws out the shifting terms of this practice from World War II to the present through a series of illuminating case studies. Beginning with the alternate national genealogies unearthed by William Carlos Williams in Paterson and Charles Olson in Gloucester, Shaw demonstrates how subsequent poets sought to ground such inquiries in concrete social formations—to in effect live the poetics of place: Gary Snyde...
Ultimately, The Natural History of Sexuality in Early America not only rewrites all dominant scholarly narratives of eighteenth-century sexual behavior but poses a major intervention into queer theoretical understandings of the relationship between sex and the subject.
Michael Gamer explodes the myth of the unworldly Romantic poet, showing writers' interest in public presence, and profit and loss.
Past compunction, expressly unbeholden, these twenty-four single-subject essays train focus on a startling miscellany of topics - Foot Washing, Dossiers, Br'er Rabbit, Housesitting, Man Roulette, the Locus Amoenus - that begin to unpack the essayist himself and his life's rotating concerns: sex and sexuality, poetry and poetics, subject positions in American labor (not excluding academia), and his upbringing in working-class, Primitive Baptist, central-piedmont North Carolina. In Proxies an original constraint, a "total suppression of recourse to authoritative sources," engineers Brian Blanchfield's disarming mode of independent intellection. The "repeatable experiment" to draw only from what he knows, estimates, remembers, and misremembers about the subject at hand often opens onto an unusually candid assessment of self and situation. The project's driving impulse, courting error, peculiar in an era of crowd-sourced Wiki-knowledge, is at least as old as the one Montaigne had when, putting all the books back on the shelf, he asked, "What do I know?"