<address id="ab15" ></address>
  • <option id="ab15" ></option>

    1. <samp id="ab15" ></samp>

    2. <p id="ab15" ></p>
      1. <listing id="ab15" ></listing><li id="ab15" ><tt id="ab15" ></tt></li>
        Follow Boydell & Brewer: 一剑江湖

          一剑江湖

          One of my favorite letters by Willa Cather was written to one of her former students, Norman Foerster. On January 14, 1931, Cather wrote to decline a speaking invitation from Foerster, who had recently been named the director of the School of Letters at the University of Iowa. In the letter, Cather shares her thoughts freely about contemporary literary criticism, and that she believed that the best criticism wasn’t written by critics at all, but by authors themselves.

          Foerster himself may have been a bit disappointed by this response: he had just written his own work of criticism, Toward Standards: A Study of the Present Critical Movement in American Letters five years earlier. Cather, however, does leave Foerster with a compliment: that his book “does exactly what a book of that sort ought to do—[it] makes me want to come back at you and have it out with you, both where I agree and where I disagree” (The Selected Letters of Willa Cather 437).

          In many ways, Cather critics have been “having it out” with each other since the early 1920s. My goal in my book, Willa Cather: The Critical Conversation, is to trace the contours Cather criticism from the 1920s through the first decade of the twenty-first century. One of the deepest and most lasting critical disagreements concerns Cather’s relationship with her contemporary period. Many critics in the 1920s viewed Cather’s stories of immigrants and pioneers in the American Middle West to be in-step with literary trends of the day; by the 1930s, however, critics argued that her work was nostalgic and that it failed to grapple successfully with events of national or global importance. Cather somewhat embraced this image of herself as an artist dedicated to crafting enduring works of art.

          Some of the most fascinating scholarship in recent decades on Cather has upended claims that her work was disengaged from her contemporary moment. To name just a few examples: Sharon O’Brien’s 1987 biography, Willa Cather: The Emerging Voice, brought feminist interpretations to the forefront of Cather studies. Toni Morrison’s Playing in the Dark: Whiteness and the Literary Imagination (1995) challenged scholars to consider how issues of race permeate the works of white authors. Her chapter on Cather’s Sapphira and the Slave Girl (1940) offered a vivid framework for analyzing one of Cather’s most understudied novels. The scholarship of Steven Trout, in his monograph Memorial Fictions: Willa Cather and the First World War (2002) and his subsequent editorial work in Cather Studies 6: History, Memory, and War (2006), highlighted the deep extent to which Cather’s fiction engaged with issues related to war and imperialism. I don’t think that critics in the 1930s could even have imagined the routes that Cather scholarship would take by the century’s end.

          More recently, the publication of The Selected Letters of Willa Cather (2013, eds. Andrew Jewell and Janis Stout) has provided scholars and the public with unparalleled access to Cather herself. For decades, Cather’s executors had followed a dictate in her will that banned quotation from her correspondence. In 2013, that ban was lifted, and the public now has access to a much more complex portrait of Cather. Ultimately, the publication of Cather’s letters marks a distinct turning point in Cather criticism.

          One of the most rewarding aspects of working on Willa Cather: The Critical Conversation was the opportunity to reflect on two communities that mean the world to me: the community of Cather scholars, and the community of my undergraduate students. As many professors know, literary criticism can be challenging to digest; I’ve found many volumes in Camden House’s Literary Criticism in Perspective series to be incredibly helpful, especially when I’m preparing to teach a new author in my classes. I hope that my book provides a useful guide – both for longtime fans of Cather and for new readers.  


          This guest post was written by Kelsey Squire, Associate Professor of English at Ohio Dominican University.

          Willa Cather
          By Kelsey Squire
          9781571139979, Hardback, ?42.25 or $55.25
          Share this:
          Share

          一剑江湖

          Michael Snape is Durham University’s inaugural Michael Ramsey Professor of Anglican Studies and author and editor of three volumes with Boydell.

          一剑江湖

          This huge, acclaimed work examines the role of religion in the lives of more than 16 million American men and women who served in the Second World War, and the impact this had on post-war society.

          This is a landmark study that will be the standard for years to come and a foundational piece for subsequent specialized studies of religion and the Second World War. CERCLES

          一剑江湖

          The story that Baron tells here is as salutary as it is unfamiliar; far from being ineffectual onlookers, through the YMCA in particular the churches provided a ubiquitous, unstinting and even heroic service to the British soldier in the First World War.

          Constitutes a significant contribution to looking afresh at ‘religion and war’. JOURNAL OF ECCLESIASTICAL HISTORY

          一剑江湖

          This highly revisionist study represents a complete reappraisal of the role of the British army chaplain and of the Royal Army Chaplains’ Department in the first century and a half of its existence.

          Essential reading for anyone with a serious interest in the wider history of the British army. THE BRITISH ARMY REVIEW


          一剑江湖
          Share this:
          Share

          一剑江湖

          My book proceeds from two premises. The first is that America is an imaginary place with real people living in it (to adapt a line from Marianne Moore’s “Poetry”). Such splendid ideals, and yet so often such sordid realities. My second premise is that slavery and its legacies explain why America should remain so imaginary a place. Both premises assume that slavery and, after it fell, white supremacy generally were—and remain—essential to American capitalism, which requires cheap, unorganized labor. W.E.B. Du Bois observes, in Black Reconstruction (1935): “It must be remembered and never forgotten that the civil war in the South which overthrew Reconstruction [1876-1890] was a determined effort to reduce black labor as nearly as possible to a condition of unlimited exploitation and build a new class of capitalists on this foundation. …This program had to be carried out in open defiance of the clear letter of the law”—and therefore entailed an imposture that kept our national promise illusory.

          Or to put the matter in the cooler phrasing of social psychologists Michael W. Kraus, Julian M. Rucker, and Jennifer A. Richeson in a 2017 study: “Race-based economic inequality is both a defining and persistent feature of the United States that is at odds with national narratives regarding progress toward racial equality. … Americans, on average, systematically overestimate the extent to which society has progressed toward racial economic equality.” A great many of us do not know the nation we inhabit; we did not in 1935, when Black Reconstruction appeared (the year after the Federal Housing Administration, a signature New Deal program, was set up deliberately to exclude African-Americans as full beneficiaries); and we did not during the first year of the Trump administration, as Kraus, Rucker, and Richeson indicate.

          Through close readings of essays, short stories, and novels by a range of writers, I try to show why this disparity between American ideals and America as it has been remains so durable. So durable, in fact, as still to be news. On the one hand, we have such efforts to rethink American history and literature as the Pulitzer Prize-winning 1619 Project at the New York Times, and, at the same paper, a series of editorials launched as the COVID-19 pandemic seized the nation, under the aspirational heading 一剑江湖The America We Need. On the other hand, we have President Trump’s retrograde celebration of “manifest destiny” and white nationalism at the foot of Mount Rushmore on the eve of Independence Day 2020. These two visions of America can neither be reconciled nor brought to compromise through some “build-a-more-perfect-Union” via media. Why not? Because the slogan “Make America Great Again” – the entire MAGA program and ethno-state ethos – already assumes that the Union had, at some time in its segregated past, already been perfect. The alchemy of MAGA always transmutes change into decay.

          Had my book been scheduled for release in fall 2020, I might have concluded it with a close reading of the Mount Rushmore speech and an account of its militarized choreography. The speech, crude though it is, evokes any number of themes in American literature, and my book everywhere examines intersections of the literary, the political, and the historical. In my introduction, I note how telling it is that, in America, opposition to civil rights so often “presents as” (to use the medical term) a radical defense of private property rights. Were I completing the book now, I’d add, in support of that claim, the president’s May 29, 2020, “tweet” assailing, while misrepresenting, the protests led by Black Lives Matter in the wake of the murder of George Floyd on May 25, 2020: “when the looting starts, the shooting starts,” he quipped, borrowing a phrase former Miami police chief Walter Headley used in a December 1967 press conference setting out his policy for “policing” his city’s African-American neighborhoods.

          I’d also add to what I already say about neo-Confederate elements in our literature (and in the GOP) due notice of the president’s embrace of the Lost Cause mythos and of “Southern heritage”- whether in summer 2020 or in summer 2017 (after the white supremacist Unite the Right riot in Charlottesville, Virginia); and of course also due notice of his obstreperous efforts to protect monuments honoring Robert E. Lee, Jefferson Davis, et al (my introduction offers a detailed reading of a characteristic passage in Davis’s Rise and Fall of the Confederate Government [1881]). Finally, I’d take note of Senator Tom Cotton’s “no pain, no gain” theory of American slavery, and his intention to prevent K-12 schools from adopting curricula associated with the 1619 Project. But the book stands as it is, made perhaps timelier in this season of mingled discontent and promise, with all the occasion it offers for re-readings of our national literature, and for renewed reflection upon it. I am glad to make my book available for free as a download, and grateful that Camden House had the idea to do it.


          一剑江湖

          Download The Wings of Atalanta: Essays Written along the Color Line free through the end of September, 2020.  Visit us here for your copy of the full-text PDF.


          This guest post was written by Mark Richardson Professor of English at Doshisha University, Kyoto, Japan.

          The Wings of Atalanta
          By Mark Richardson
          9781571132390, Hardback, ?29.25 or $38.35
          Share this:
          Share
          一剑江湖

          一剑江湖

          These extracts say more about this volume than any intro could! Each is filled with wonderful detail, opinion, anecdote, and a deep knowledge of Spain, its history, art and culture. The entire book imparts profound affection for Madrid, Segovia, Avila and Toledo – the “heart of Spanish civilisation”.

          一剑江湖On Goya, in the Prado一剑江湖:

          The dominant canvas here is La Familia de Carlos IV.  Goya’s first patron, Charles III, had died in 1788, leaving his amiable, slow-witted son an outstanding court painter and his painter a family hardly distinguished for good looks. But they were no uglier than the Habsburgs and their consorts who had confronted Velázquez and Carre?o. Also, Goya managed to treat the King’s good-natured, undistinguished face with real affection, while there are enchanting passages throughout the whole picture, especially the young couple on the right, Don Luis de Borbón, the King’s son-in-law, with his wife and babe-in-arms – while even the future Ferdinand VII in blue on the left, whose later role in Spanish history is not exactly glorious, appears here as an attractive princeling of promise. Goya does not attempt to endow the Queen’s purse-lipped (she was toothless) and self-satisfied (she wore the trousers) face with charm or dignity, both of which it conspicuously lacked, but he does justice to her well-rounded arms of which she was inordinately proud.

          Chapter One, Madrid, p. 51

          El Escorial

          一剑江湖On Alcalá de Henares一剑江湖:

          On the left is the Casa de Cervantes built in 1955 on the site of the house in which the author of Don Quijote was born. His father held the post of surgeon and bloodletter in the adjacent hospital, founded in 1487. The interior offers an idea of a sixteenth-century dwelling, with furnishings, and a multi-lingual collection of Don Quijote editions. A little way up the side street is the Plateresque entrance of the Carmelite convent governed by Saint Teresa for some months in 1567. Continuing along the main street we emerge into the large Plaza de Cervantes, with a bandstand and a statue of the great man. Also arcaded, the west side includes a theatre which, after being a cinema in the 1970s, has recently revealed a history going back several centuries and appears to rival London’s Shakespearean Globe in antiquity.

          Chapter Two, Excursions from Madrid, p. 172

          The ‘Casas Colgadas’ of Cuenca

          一剑江湖On the Aqueduct in Segovia一剑江湖:

          It may seem surprising that so imposing a monument should exist in splendid isolation, for though Roman stones have been identified in the city wall, there are no signs of a theatre, amphitheatre or any other of the appurtenances of Roman civilisation. The answer seems to be that Segovia was simply a military post whose job was to keep the tribes in order. As such, one of its first requirements would have been water, which was accordingly brought with characteristic thoroughness across the valley from the melting snows of the Sierra de Fuenfría.  During the great period of the cloth industry, little factories grew up under the aqueduct’s vast granite wing, drawing their water from the top by pipes called cervatanas. The inevitable filtration damaged the fabric and produced cascades of icicles in the hard winters.

          Chapter Three, Segovia, p. 185

          一剑江湖On the museum commemorating the siege of Toledo during the Civil War一剑江湖:

          Mudéjar Ceiling in San Juan de los Reyes, Toledo

          On the wall is a transcript in many languages, including Arabic and Hebrew, of the telephone conversation held on 23 July 1936, between the Commandant, the chief of the Republican militia, and the Commandant’s son Luis, who had fallen into the enemy’s hands. The militia chief demands the surrender of the Alcázar within ten minutes or Luis will be shot. Luis comes on the line and confirms this will be so if his father does not surrender. Moscardó says, ‘Then commend your soul to God, shout “Long live Spain!” and die like a patriot.’ Luis answers, ‘A big kiss, Father.’ And the latter replies, ‘A big kiss, my son.’ After all, Spain does not change much under the skin. This immediately calls to mind the almost identical action of Guzmán el Bueno in similar circumstances at Tarifa in 1294.

          Chapter Five, Toledo and La Mancha, p. 298

          See the complete list here: https://boybrew.co/2NrmIB4


          The Companion Guide to Madrid and Central Spain
          Alastair Boyd
          Revised by Alastair Boyd
          Revised by Richard Oliver
          9781900639378, Paperback, ?13 or $16.87
          Share this:
          Share