Author: Rosalyn Deutsche File Type: pdf

Author: Lesley Lee Francis File Type: pdf Robert Frost observed in his wife, Elinor, a desire to live a life that goes rather poetically. The same could be said of many members of the Frost family, over several generations. In You Come Too, Frosts granddaughter, Lesley Lee Francis, combines priceless personal memories and rigorous research to create a portrait of Frost and the women, including herself, whose lives he touched. Francis provides a vivid picture of Frost the family man, revealing him to be intensely engaged rather than the aloof artist that is commonly portrayed. She shares with us the devastation Frost and Elinor experienced when faced with tragic illnesses, both physical and mental, and the untimely death of family members. Elinors own death added to the poets despair and unleashed complex feelings throughout the family. (Franciss mother would lament the toll taken on Elinor by what she perceived as Frosts selfishness in the life he had chosen.) This is also the story of Lesley Frost, Franciss remarkable mother, who struggled to emerge from her celebrated fathers shadow, while, as one of the people closest to him, sharing his intuitive impulse to write and to indulge their mutual love of books and poetry. Francis would herself become yet another writer and, like her grandfather and mother before her, a teacher--despite sharing Frosts sense of being imperfectly academic. In addition, Francis explores Frosts professional relationships with women outside the family, such as the poets Harriet Monroe, Amy Lowell, and Susan Hayes Ward. Franciss invaluable insights into Frosts poetry and her inclusion of previously unpublished family writings and photographs make this book essential to Frost scholarship. But You Come Too will appeal to anyone interested in this great poets life and work. It also reveals unforgettable stories of strong, independent women and their passion to create and share poetry. **

Author: Phillip John Usher File Type: pdf Exterranean concerns the extraction of stuff from the Earth, a process in which matter goes from being sub- to exterranean. By opening up a rich archive of nonmodern texts and images from across Europe, this work offers a bracing riposte to several critical trends in ecological thought. By shifting emphasis from emission to extraction, Usher reorients our perspective away from Earthrise-like globes and shows what is gained by opening the planet to depths within. The book thus maps the material and immaterial connections between the Earth from which we extract, the human and nonhuman agents of extraction, and the extracted matter with which we live daily. Eschewing the self-congratulatory claims of posthumanism, Usher instead elaborates a productive tension between the materially-situated homo of nonmodern humanism and the abstract and aggregated anthropos of the Anthropocene. In dialogue with Michel Serres, Bruno Latour, and other interdisciplinary work in the environmental humanities, Usher shows what premodern material can offer to contemporary theory. Examining textual and visual culture alike, Usher explores works by Ronsard, Montaigne, and Rabelais, early scientific works by Paracelsus and others, as well as objects, engravings, buildings, and the Salt Mines of Wieliczka. Both historicist and speculative in approach, Exterranean lays the groundwork for a comparative ecocriticism that reaches across and untranslates theoretical affordances between periods and languages. **Review Ushers brilliant study is a richly argued, erudite yet lyrical ode to the stuff of which the Earth is made. Exterranean engages with the record of human earthly entanglements in early modern European humanism, but always with a view to counterbalancing current distancing and idealizing views of a globe that is all surface, and no depth. By channeling the voices and agencies of Earths nonhuman subterranean elements in all their omnipresent intimacy, Usher thus reconnects us not merely to the history of knowledge and beliefs about the Earth and its contents, but to our own fragile planet. (Karen Raber, University of Mississippi) For anyone who might be suffering from Anthropocene fatigue, this is a book to jolt you from your slumbers. What happens to the globe when we shift attention from the outward projection of emissions to extraction ? The earth we thought we knew, and were already mourning, takes on a stunning new critical light. (Claire Colebrook, Pennsylvania State University) From the Back Cover For anyone who might be suffering from Anthropocene fatigue, this is a book to jolt you from your slumbers. What happens to the globe when we shift attention from the outward projection of emissions to extraction ? The Earth we thought we knew, and were already mourning, takes on a stunning new critical light.Claire Colebrook, Pennsylvania State University Ushers brilliant study is a richly argued, erudite yet lyrical ode to the stuff of which the Earth is made. Exterranean engages with the record of human earthly entanglements in early modern European humanism, but always with a view to counterbalancing current distancing and idealizing views of a globe that is all surface, and no depth. By channeling the voices and agencies of Earths nonhuman subterranean elements in all their omnipresent intimacy, Usher thus reconnects us not merely to the history of knowledge and beliefs about the Earth and its contents, but to our own fragile planet.Karen Raber, University of Mississippi Exterranean concerns the extraction of stuff from the Earth, a process in which matter goes from being sub- to exterranean. By opening up a rich archive of nonmodern texts and images from across Europe, this work offers a bracing riposte to several critical trends in ecological thought. By shifting emphasis from emission to extraction, Usher reorients our perspective away from Earthrise-like globes and shows what is gained by opening the planet to depths within. The book thus maps the material and immaterial connections between the Earth from which we extract, the human and nonhuman agents of extraction, and the extracted matter with which we live daily. Eschewing the self-congratulatory claims of posthumanism, Usher instead elaborates a productive tension between the materially-situated homo of nonmodern humanism and the abstract and aggregated anthropos of the Anthropocene. In dialogue with Michel Serres, Bruno Latour, and other interdisciplinary work in the environmental humanities, Usher shows what premodern material can offer to contemporary theory. Examining textual and visual culture alike, Usher explores works by Ronsard, Montaigne, and Rabelais, early scientific works by Paracelsus and others, as well as objects, engravings, buildings, and the Salt Mines of Wieliczka. Both historicist and speculative in approach, Exterranean lays the groundwork for a comparative ecocriticism that reaches across and untranslates theoretical affordances between periods and languages. Phillip John Usher is Associate Professor of French and Comparative Literature at New York University.

Author: Robert Cettl File Type: pdf The American cinema of terrorism, although coming to prominence primarily in the 1970s amidst high-profile Palestinian terrorist activity, actually dates back to the beginnings of the Cold War. But this early terrorist cinema, centered largely around the Bomb--who had it, who would use it, and when--differs greatly from the terrorist cinema that would follow. Changing world events soon broadened the cinema of terrorism to address emerging international conflicts, including Black September, pre-911 Middle Eastern conflicts, and the post-911 War on Terror. This analytical filmography of American terrorist films establishes terrorist cinema as a unique subgenre with distinct thematic narrative and stylistic trends. It covers all major American films dealing with terrorism, from Otto Premingers Exodus (1960) to Ridley Scotts Body of Lies (2008).About the AuthorFreelance author Robert Cettl is a member of the South Australian Writers Center. The American cinema of terrorism, although coming to prominence primarily in the 1970s amidst high-profile Palestinian terrorist activity, actually dates back to the beginnings of the Cold War. But this early terrorist cinema was centered largely around the Bomb--who had it, who would use it, when--and differs greatly from the terrorist cinema that would follow. Changing world events soon broadened the cinema of terrorism to address emerging international conflicts, including Black September, pre-911 Middle Eastern conflicts, and the post-911 War on Terror. This analytical filmography of American terrorist films establishes terrorist cinema as a unique subgenre with distinct thematic narrative and stylistic trends. It covers all major American films dealing with terrorism, from Otto Premingers Exodus (1960) to Ridley Scotts Body of Lies (2008).