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Translation--from both a theoretical and practical point of view--articulates differing but interconnected modes of circulation in the work of writers originally from different geographical areas of transatlantic encounter, such as Europe, Latin America, North America, and the Caribbean. After Translation examines from a transnational perspective the various ways in which translation facilitates the circulation of modern poetry and poetics across the Atlantic. It rethinks the theoretical paradigm of Anglo-American “modernism” based on the transnational, interlingual and transhistorical features of the work of key modern poets writing at both sides of the Atlantic--namely, the Portuguese Fernando Pessoa; the Chilean Vicente Huidobro; the Spaniard Federico García Lorca; the San Francisco-based poets Jack Spicer, Robert Duncan, and Robin Blaser; the Barbadian Kamau Brathwaite; and the Brazilian brothers Haroldo and Augusto de Campos. Another central aim of this book is to analyze how the literary history of modern poetry—traditionally produced within mononational and monolingual frameworks—is altered by a comparative approach that incorporates different languages, poetic traditions, and cultures connected by the heterogeneous geopolitical space of the Atlantic Ocean.

Today democracy has become fundamental. It extends increasingly deeply into everyday life; it grounds and limits our political thought and values. We can't think past or beyond it as a political or even as a social system. This is a sense in which we do indeed live at history's end. But this end is not a happy one, because the democratic system we now live in does not satisfy tests that we can legitimately put to it. In this situation, it is important to come to new terms with the fact that literature, at least until about 1945, was hostile to political democracy in particular. It continually attempted not just to resist democracy but to explore other ways of being democratic than those instituted politically. Today, Against Democracy argues, literature helps us not so much to imagine political and social possibilities beyond democracy as to understand how life might be lived simultaneously in and outside of democratic state capitalism. Drawing on political theory, intellectual history, and the techniques of close reading, Against Democracy offers new accounts of the ethos of refusing democracy, of literary criticism's contribution to that ethos, and of the history of conservative resistances to capitalism and democracy. It also proposes innovative interpretations of a range of writers, including Tocqueville, Disraeli, George Eliot, E. M. Forster, and Saul Bellow.

Interrogating how Alexandria became enshrined as the exemplary cosmopolitan space in the Middle East, this book mounts a radical critique of Eurocentric conceptions of cosmopolitanism. The dominant account of Alexandrian cosmopolitanism is a colonial one that elevates things European in the city's culture and simultaneously places things Egyptian under the sign of decline. The book goes beyond this civilization/barbarism binary to trace articulations of intercultural solidarity. Halim presents an interdisciplinary comparative study of literary representations, addressing poetry, fiction, guidebooks, and operettas, among other genres. She reappraises three writers—C. P. Cavafy, E. M. Forster, and Lawrence Durrell—whom she maintains have been cast as the canon of the city in a belated “Alexandrianism.” Attending to genre, gender, ethnicity, and class, she refutes the view that these writers’ representations are largely congruent and uncovers a variety of positions ranging from Orientalist to anti-colonial. The book then turns to Bernard de Zogheb, a virtually unpublished writer, and elicits his camp parodies of elite Levantine mores in operettas one of which centres on Cavafy. Drawing on Arabic critical and historical texts, as well as contemporary writers’ and filmmakers’ engagement with the canonical triumvirate, Halim orchestrates an Egyptian dialogue with the European representations.

With writings that span more than thirty-five years, this book is a collection of essays that fleshes out the realities of today's Italian-American women and explores the myriad ways they continue to add to the American experience. The status of modern Italian-American women in the United States is noteworthy: their quiet and continued growth into respected positions in the professional worlds of law and medicine surpasses the success achieved in that of the general population — so too does their educational attainment and income. Contributions include Donna Gabaccia on the oral-to-written history of cookbooks, Carol Helstosky on the Tradition of Invention, an interview with Sandra Gilbert, Paul Levitt's look at Lucy Mancini as a metaphor for the modern world, William Egelman's survey of women's work patterns, and Edvige Giunta on the importance of a self-conscious understanding of memory. There are explorations of Jewish-Italian intermarriages and interpretations of entrepreneurship in Milwaukee, as well as challenges to common assumptions and stereotypes, departures from normal samplings, and springboards to further research. The book offers insights into issues of gender and ethnicity and is a voice for the less heard and less seen side of the Italian-American experience from immigrant times to the present. Instead of seeking consensus or ideological orthodoxy, this collection brings together writers with a wide range of backgrounds, outlooks, ideas, and experiences about being and becoming an American.

More than twenty years ago, the Italian chemist, writer, and Holocaust survivor Primo Levi fell to his death from the stairwell of his apartment building in Turin. Within hours, a debate exploded as to whether his death was an accident or a suicide and, if the latter, how this might force us to reinterpret his legacy as a writer and survivor. Many weighed in with thoughtful and sometimes provocative commentary, but the debate over his death has sometimes overshadowed the larger significance of his place as a thinker after Auschwitz. This volume contains chapters that deal directly with Levi and his work; others tangentially use Levi's writings or ideas to explore larger issues in Holocaust studies, philosophy, theology, and the problem of representation. They are included here in the spirit that Levi described himself: proud of being impureand a centaur, cognizant that asymmetry is the fundamental structure of organic life. “I became a Jew in Auschwitz,” Levi once wrote, comparing the concentration camp to a university of life. Yet he could also paradoxically admit, in an interview late in life: “There is Auschwitz, and so there cannot be God.” Rather than seek to untangle these contradictions, Levi embraced them. This volume seeks to embrace them as well.

This book sets out to articulate a new theory and textual practice of the relation between literary reception and embodiment by arguing that certain modern literary texts have apocalyptic futures. Rather than claim that great writers have clairvoyant powers, it examines the ways in which a text incorporates an apocalyptic event—and marked or mutilated bodies—into its future reception. The book is thus concerned with the way in which apocalyptic works solicit their future receptions. Deploying the double register of “marks” to show how a text both codes and targets mutilated bodies, the book focuses on how these bodies are incorporated into texts by Kafka, Conrad, Coetzee, and Spiegelman. Situating “In the Penal Colony” in relation to the Holocaust, Heart of Darkness to the Rwandan genocide, and Waiting for the Barbarians to the revelations of torture in apartheid South Africa and contemporary Iraq, it argues for the ethical and political importance of reading these literary works' “apocalyptic futures” in our own urgent and perilous situations. The book concludes with a reading of Spiegelman's Maus that offers a messianic counter-time to the law of apocalyptic incorporation.

The Architecture of Concepts proposes a radically new way of understanding the history of ideas. Taking as its example human rights, it develops a distinctive kind of conceptual analysis that enables us to see with precision how the concept of human rights was formed in the eighteenth century. The first chapter outlines an innovative account of concepts as cultural entities. The second develops an original methodology for recovering the historical formation of the concept of human rights based on data extracted from digital archives. This enables us to track the construction of conceptual architectures over time. Having established the architecture of the concept of human rights, the book then examines two key moments in its historical formation: the First Continental Congress in 1775 and the publication of Tom Paine’s Rights of Man in 1792. Arguing that we have yet to fully understand or appreciate the consequences of the eighteenth-century invention of the concept “rights of man,” the final chapter addresses our problematic contemporary attempts to leverage human rights as the most efficacious way of achieving universal equality.

Amid radical transformation and rapid mutation in the nature, transmission, and deployment of information and communications, this book offers a status report and theoretically nuanced update on the traditions and medium of the book. What, it asks, are the book's current prospects? The study highlights the most radical experiments in the book's history as trials in what the author terms the Prevailing Operating System at play within the fields of knowledge, art, critique, and science. The investigations of modern systems theory, as exemplified by Gregory Bateson, Anthony Wilden, and Niklas Luhmann, turn out to be inseparable from theoretically astute inquiry into the nature of the book. The author's primary examples of such radical experiments with the history of the book are Sei Shonagon's Pillow Book (both the text and Peter Greenaway's screen adaptation), Stéphane Mallarmé's Un coup de des jamais n'abolira le hasard, Walter Benjamin's Arcades Project, Jacques Derrida's Glas, Maurice Blanchot's Death Sentence, and Franz Kafka's enduring legacy within the world of the graphic novel. In the author's hands, close reading of these and related works renders definitive proof of the book's persistence and vitality. The book medium, with its inbuilt format and program, continues, he argues, to supply the tablet or screen for cultural notation. The perennial crisis in which the book seems to languish is in fact an occasion for readers to realize fully their role as textual producers, to experience the full range of liberty in expression and articulation embedded in the irreducibly bookish process of textual display.

Radical aestheticism describes a recurring event in some of the most powerful and resonating texts of nineteenth-century British literature, offering us the best way to reckon with what takes place at certain moments in texts by Shelley, Keats, Dickinson, Hopkins, Rossetti, and Wilde. This book explores what happens when these writers, deeply committed to certain versions of ethics, politics, or theology, nonetheless produce an encounter with a radical aestheticism that subjects the authors’ projects to a fundamental crisis. A radical aestheticism offers no positive claims for art, whether on ethical or political grounds or on aesthetic grounds, as in “art for art’s sake.” It provides no transcendent or underlying ground for art’s validation. In this sense, a radical aestheticism is the experience of a poesis that exerts so much pressure on the claims and workings of the aesthetic that it becomes a kind of black hole from which no illumination is possible. The radical aestheticism encountered in these writers, in its very extremity, takes us to the constitutive elements—the figures, the images, the semblances—that are at the root of any aestheticism, an encounter registered as evaporation, combustion, or undoing. It is, therefore, an undoing by and of art and aesthetic experience, one that leaves this important literary tradition in its wake. The book embraces diverse theoretical projects, from Walter Benjamin to Jacques Derrida.

Offering the first interdisciplinary study of refugees in the Caribbean, Central America, and the United States, this book relates current theoretical debates about hospitality and cosmopolitanism to the actual conditions of refugees. In doing so, the author weighs the questions of truth value associated with various modes of witnessing to explore the function of testimonial discourse in constructing refugee subjectivity in New World cultural and political formations. By examining literary works by such writers as Edwidge Danticat, Nikl Payen, Kamau Brathwaite, Francisco Goldman, Julia Alvarez, Ivonne Lamazares, and Cecilia Rodríguez Milanés, theoretical work by Jacques Derrida, Edouard Glissant, and Wilson Harris, as well as human rights documents, government documents, photography, and historical studies, the book constructs a complex picture of New World refugees that expands current discussions of diaspora and migration, demonstrating that the peripheral nature of refugee testimonial narratives requires us to reshape the boundaries of U.S. ethnic and postcolonial studies.

The subject of this book is a new “Islam.” This Islam began to take shape in 1988 around the Rushdie affair, the collapse of the Berlin Wall in 1989, and the first Gulf War of 1991. It was consolidated in the period following September 11, 2001. It is a name, a discursive site, a signifier at once flexible and constrained—indeed, it is a geopolitical agon, in and around which some of the most pressing aporias of modernity, enlightenment, liberalism, and reformation are worked out. At this discursive site are many metonyms for Islam: the veiled or “pious” Muslim woman, the militant, the minority Muslim injured by Western free speech. Each of these figures functions as a cipher enabling repeated encounters with the question “How do we free ourselves from freedom?” Again and again, freedom is imagined as Western, modern, imperial—a dark imposition of Enlightenment. The pious and injured Muslim who desires his or her own enslavement is imagined as freedom’s other. This book is an intervention into current debates regarding religion, secularism, and Islam, and provides a deep critique of the anthropology and sociology of Islam that have consolidated this formation. It shows that, even as this Islam gains increasing traction in cultural production from television shows to movies to novels, the most intricate contestations of Islam so construed are to be found in the work of Muslim writers and painters. The book includes extended readings of jihadist proclamations; postcolonial law; and responses to law from minorities in Muslim-majority societies.

An Atmospherics of the City traces Baudelaire’s evolution from an aesthetics of fetishizing, in which the function of poetry is to produce beauty out of the ordinary by means of the poet’s artifice, to a poetics of allegory that reads the modern city’s atmospherics as a product of urban noise and as a function, therefore, of what today would be recognized as entropy. In this later stage, the function of the poetic becomes one of disalienation; it strives to awaken readers to the presence of Evil as a malevolent force that is responsible for the depredations of human history over time. This evolution, in which poetic practice is redefined for the modern age as one of bearing witness to that which is most alien to (and destructive of) the poetic, is traced through readings of verse poems drawn principally from the “Tableaux Parisiens” section of the Fleurs du Mal (in that volume’s second edition of 1861), and of prose poems from the posthumously published Le Spleen de Paris, defined here as a poet’s “urban diary” and understood as a manifestation of temporality in its very absence of structure. Motifs such as the pane of glass and the statue are traced as their significance evolves from a very early poem (“Je n’ai pas oublié”) through later poems in both verse and prose.

At the end of his long life, Samuel Clemens felt driven to write a truthful account of what he regarded as the flaws in his character and the errors of his ways. His attempt to tell the unvarnished truth about himself is preserved in nearly 250 autobiographical dictations. In order to encourage complete veracity, he decided from the outset that these would be published only posthumously. Nevertheless, Clemens's autobiography is singularly unrevealing. This book argues that, by contrast, it is in his fiction that Clemens most fully — if often inadvertently — reveals himself. He was, he confessed, like a cat who labours in vain to bury the waste that he has left behind. The author argues that he wrote out of an enduring need to come to terms with his remembered experiences — not to memorialize the past, but to transform it. By all accounts — including his own — Clemens's special curse was guilt. He was unable to forgive himself for the deaths of those closest to him — from his siblings' death in childhood to the deaths of his own children. Nor could he reconcile himself to his role in the Civil War, his part in the duel that prompted his departure from Virginia City in 1864, and — worst of all — his sense of moral complicity in the crimes of slavery. Tracing the theme of bad faith in all of Clemens's major writing, but with special attention to the late work, the author sheds new light on a tormented moral life. His book challenges conventional assumptions about the humorist's personality and creativity, directing attention to what William Dean Howells describes as the depths of a nature whose tragical seriousness broke in the laughter which the unwise took for the whole of him.

The infidel-conversion motif—in which Jews and Muslims convert to Christianity—is a staple of romance narratives by Roman Catholic writers in medieval and early modern Europe. Baptisms and conversions of infidels lead to an important telos of the romance genre: Despite their narrative wanderings and deferrals, romances often contain transformations of identity that lead to the incorporation of the other into Christian community. Uses of the infidel-conversion motif wane in post-Reformation England, however, in the wake of a Protestant theology that deemphasized the power of baptism to create Christian identity. Whereas Catholic theology had asserted that Christian identity begins with baptism, numerous theologians in the Church of England denied the necessity of baptism for salvation and instead treated Christian identity as a racial characteristic passed from parents to their children. The Church of England’s baptismal theology transformed Christians and “infidels” into distinctive races. This book examines English translations of Calvin, treatises on the sacraments, catechisms, and sermons alongside works by Edmund Spenser, John Harington, William Shakespeare, John Fletcher, and Phillip Massinger. Through charting the intersections of race, Protestant theology, and literary form, this book intervenes in critical debates about the relationship between racial and religious identity in early modern England, as well as in discussions of the social implications of romance.

In transposing the Freudian dream work from the individual subject to the collective, Walter Benjamin projected a “macroscosmic journey” of the individual sleeper to “the dreaming collective, which, through the arcades, communes with its own insides.” This book examines the figurative status of sleeping and awakening within the allegorical structure of The Arcades Project and in Benjamin’s thought more broadly. For Benjamin, memory is not antiquarian: it functions as a solicitation, a call to a collectivity to come. The motif of awakening involves a qualified but crucial performative intention that was central to Benjamin’s undertaking. Benjamin’s passages are not just the Paris arcades: they refer also to Benjamin’s effort to negotiate the labyrinth of his writings. In tracing these corridors of thought, the book treats many of Benjamin’s most important works and examines important critical questions: the interplay of aesthetics and politics, the genre of The Arcades Project, citation, language, messianism, aura and image, and the motifs of memory, the crowd, and awakening.

The zombie is ubiquitous in popular culture: from comic books to video games, to internet applications and homemade films, zombies are all around us. Investigating the zombie from an interdisciplinary perspective, with an emphasis on deep analytical engagement with diverse kinds of texts, this book addresses some of the more unlikely venues where zombies are found while providing the reader with a classic overview of the zombie's folkloric and cinematic history. What has the zombie metaphor meant in the past? Why does it continue to be so prevalent in our culture? Where others have looked at the zombie as an allegory for humanity's inner machinations or claimed the zombie as capitalist critique, this book seeks to provide an archaeology of the zombie-tracing its lineage from Haiti, mapping its various cultural transformations, and suggesting the post-humanist direction in which the zombie is ultimately heading. Approaching the zombie from many different points of view, the chapters here look across history and across media. Though they represent various theoretical perspectives, the whole makes a cohesive argument: The zombie has not just evolved within narratives; it has evolved in a way that transforms narrative. This book announces a new post-zombie, even before the boundaries of this rich and mysterious myth have been completely charted.

This book is a study of the workings of a monolingual paradigm and of multilingual attempts to overcome it. It argues that monolingualism—the idea that having just one language is the norm—is a recent invention dating back only to late-eighteenth-century Europe, yet has become a dominant, if overlooked, structuring principle of modernity. According to this paradigm, individuals are imagined to be able to think and feel properly only in one language, their “mother tongue,” while multiple languages are seen as a threat to the cohesion of individuals and communities, institutions and disciplines. The book argues that since reemergent multilingual forms and practices exist in tension with the paradigm, they need to be analyzed as “postmonolingual,” that is, as marked by the continuing force of monolingualism. Focused on canonical and minority writers working in German in the twentieth century, the individual chapters examine distinct forms of multilingualism: writing in one socially unsanctioned “mother tongue” about another language (Franz Kafka); mobilizing words of foreign derivation as part of a multilingual constellation within one language (Theodor W. Adorno); producing an oeuvre in two separate languages simultaneously (Yoko Tawada); writing by literally translating from the “mother tongue” into another language (Emine Sevgi Özdamar); and mixing different languages, codes, and registers within one text (Feridun Zaimoğlu). These analyses suggest that the dimensions of gender, kinship, and affect encoded in the “mother tongue” are crucial to the persistence of monolingualism and the challenge of multilingualism.

What does it mean to own something? How does a thing become mine? Liberal philosophy since John Locke has championed the salutary effects of private property but has avoided the more difficult questions of property’s ontology. This book argues that antebellum American literature is obsessed with precisely these questions of ownership. Reading slave narratives, gothic romances, city-mystery novels, and a range of other property narratives, this book unearths a wide-ranging literary effort to understand the nature of ownership, the phenomenology of possession. In authors as diverse as Charles Brockden Brown, Nathaniel Hawthorne, Elizabeth Stoddard, Frederick Douglass, Harriet Jacobs, and William Gilmore Simms, this book reveals an ontological—and embodied—account of property. In these antebellum texts, ownership is not an abstract legal form but a lived relation, a dynamic of embodiment emerging within specific cultural spaces—a disputed frontier, a city agitated by class conflict—each of which stamps that embodiment with a particular place and time. Employing an innovative phenomenological approach that combines careful historical work with an array of European philosophies, this book challenges existing accounts that map property practice along a trajectory of abstraction and virtualization. It also reorients recent Americanist work in emotion and affect by detailing a broader phenomenology of ownership, one extending beyond emotion to such sensory experiences as touch, taste, and vision. This productive blend of phenomenology and history uncovers deep-seated anxieties—and enthusiasms—about property across antebellum culture.

A unique feminist approach to the legacy of Jacques Derrida, this book provides a series of disparate readings, genres, and themes, offering a powerful reflection of love in—and as—deconstruction. Looking especially at relationships between women, the book provides a wide-ranging investigation of interpersonal relationships: the love of a teacher, the anxiety-ridden bond between a mother and daughter as manifested in anorexia, passion between two women, love after separation and in mourning, and the tension between one's self and the internalized other. Traversing each of these investigations, the text takes up Derrida's Memoires for Paul de Man and The Post Card, Lillian Hellman's famed friendship with a woman named Julia, and adaptations of the biblical “The Book of Ruth”. Above all, it is a treatise on the love of theory in the name of poetry, a passionate book on love and friendship.

How have poets writing in French reacted and adapted to cinema? This book answers with original analyses of over a century of remediation experiments among poets ranging from Mallarmé to Alferi, Hillel-Erlanger to Isou, and Cocteau to Damas and Gleize. ‘Cinepoetry’ names a disseminated but insistent practice of writing poetry under the inspiring warp of films, movie culture, the scenario form and cinema as actual or imaginary apparatus. Poets were struck by the essential feature of cinema--automorphosis—making it the first artificial form capable of reshaping itself like fluids and organic bodies. Far from marginal, cinepoetry forces us to reassess central tenets of modernism and the avant-garde, such as the inception of Surrealism and Lettrism, or the relation of Symbolism to visual technologies. Arguing that the mutation of the Romantic imagination into the ‘imaginary’ was hastened by cinepoetic thought, the book provides a new genealogy for poetry in the age of new media based on what is often lacking in remediation studies: close analyses of a large and diverse corpus of works, and the identification of a specific set of cross-medium operations. This book reconfigures key binaries within the interdisciplinary landscape of today's humanities: the canon and the margins, literature and cinema, text and image, close reading and post-technological hermeneutics, old vs. new media, prose poems vs. visual poems, text-based poetry vs. digital poetry. It also engages with the place of cinema in the thought of Jean Epstein, André Breton, Jean-Paul Sartre, and Michel Foucault among others.