Pitzer College, Claremont, California, is the site of the historic Grove House built in 1902 and moved to the college's campus in the 1970s. Within Grove House is the Bert Meyers Poetry Room, named in honor of the author of this collection and former teacher at Pitzer. Bert Meyers wrote these poems between 1947 and 1979. Prior to his death at the age of fifty-one, Meyers determined what he considered his best work; following his death Meyers's widow and son added to the collection, all of which now appears in In a Dybbuk's Raincoat, introducing a new generation to Bert Meyers's poetry and songs. Morten Marcus, friend of Bert Meyers, was asked by Meyers's widow to work with her and Meyers's son, Daniel, to get In a Dybbuk's Raincoat into print. "There are terrific things here: prose pieces entirely new to me, pungent paragraphs about Paris, lively comments on poetry, and several naughty words about Yeats. Once in a while, one encounters old classics, such as 'Picture Framing.' It's marvelous that Morton Marcus and Bert's son, Daniel, have brought out this book."--Robert Bly, author of My Sentence Was a Thousand Years of Joy
Photographs of all 208 art fish made for a public art display in New Orleans in 2000. It was patterned after similar displays in Chicago, New York, and Zurich, Switzerland.
Pitzer College, Claremont, California, is the site of the historic Grove House built in 1902 and moved to the college's campus in the 1970s. Within Grove House is the Bert Meyers Poetry Room, named in honor of the author of this collection and former teacher at Pitzer. Bert Meyers wrote these poems between 1947 and 1979. Prior to his death at the age of fifty-one, Meyers determined what he considered his best work; following his death Meyers's widow and son added to the collection, all of which now appears in In a Dybbuk's Raincoat, introducing a new generation to Bert Meyers's poetry and songs. Morten Marcus, friend of Bert Meyers, was asked by Meyers's widow to work with her and Meyers's son, Daniel, to get In a Dybbuk's Raincoat into print. "There are terrific things here: prose pieces entirely new to me, pungent paragraphs about Paris, lively comments on poetry, and several naughty words about Yeats. Once in a while, one encounters old classics, such as 'Picture Framing.' It's marvelous that Morton Marcus and Bert's son, Daniel, have brought out this book."--Robert Bly, author of My Sentence Was a Thousand Years of Joy
Sea-Brothers offers the most extensive analysis to date of the sea and its meaning in American literature. On the basis of his study of Melville, Crane, London, Hemingway, Matthiessen, and ten lesser-known sea-writers, Bert Bender argues that the tradition of American sea fiction did not end with the opening of the western frontier and the replacement of sailing ships by steamers. Rather, he demonstrates its continuity and vitality, identifying a central vision within the tradition and showing how particular authors draw from, transform, and contribute to it. What is most distinctive about American sea fiction, Bender contends, is its visionary, often mystical, response to the biological world and to man's perceived place in the larger universe. When Melville envisioned the sea as the essential element of life, indeed as life itself, he changed the course of American sea fiction by introducing the relevance of biological thought. But his meditations on the whale and "the ungraspable phantom of life" project a different reality from that envisioned by his successors. In American sea fiction after Melville, the influence of Origin of Species is as powerful as that of Moby Dick or the theme of sailing ships being displaced by steam. The ideal of brotherhood so central to American sea fiction was severely compromised by the biological reality of a competitive, warring nature. Twentieth-century sea fiction has continued to center on the biological world and address the possibility of democratic brotherhood, but the issues were fundamentally changed by Darwin's theories. This book will be a valuable source for students and scholars of American literature and will interest readers of sea fiction.
Translingual Narration is a study of colonial Taiwanese fiction, its translation from Japanese to Chinese, and films produced during and about the colonial era. It is a postcolonial intervention into a field largely dominated by studies of colonial Taiwanese writing as either a branch of Chinese fiction or part of a larger empire of Japanese language texts. Rather than read Taiwanese fiction as simply belonging to one of two discourses, Bert Scruggs argues for disengaging the nation from the former colony to better understand colonial Taiwan and its postcolonial critics. Following early chapters on the identity politics behind Chinese translations of Japanese texts, attempts to establish a vernacular Taiwanese literature, and critical space, Scruggs provides close readings of short fiction through the critical prisms of locative and cultural or ethnic identity to suggest that cultural identity is evidence of free will. Stories and novellas are also viewed through the critical prism of class-consciousness, including the writings of Yang Kui (1906–1985), who unlike most of his contemporaries wrote politically engaged literature. Scruggs completes his core examination of identity by reading short fiction through the prism of gender identity and posits a resemblance between gender politics in colonial Taiwan and pre-independence India. The work goes on to test the limits of nostalgia and solastalgia in fiction and film by looking at how both the colonial future and past are remembered before concluding with political uses of cinematic murder. Films considered in this chapter include colonial-era government propaganda documentaries and postcolonial representations of colonial cosmopolitanism and oppression. Finally, ideas borrowed from translation and memory studies as well as indigenization are suggested as possible avenues of discovery for continued interventions into the study of postcolonial and colonial Taiwanese fiction and culture. With its insightful and informed analysis of the diverse nature of Taiwanese identity, Translingual Narration will engage a broad audience with interests in East Asian and postcolonial literature, film, history, and culture.
Inexpensive facsimiles of rare valuable set of cleverly folded cards that allowed two players to be depicted on each. Originals worth thousands of dollars. 100 players include such immortals as Ty Cobb, Frank "Home Run" Baker, Christy Mathewson, Eddie Collins, Miller Huggins, Walter Johnson, many more. Introduction. 100 color illus. Stats on cards. Index of Players.
In uneasy partnership at the helm of the modern state stand elected party politicians and professional bureaucrats. This book is the first comprehensive comparison of these two powerful elites. In seven countries--the United States, Great Britain, France, Germany, Sweden, Italy, and the Netherlands--researchers questioned 700 bureaucrats and 6OO politicians in an effort to understand how their aims, attitudes, and ambitions differ within cultural settings. One of the authors' most significant findings is that the worlds of these two elites overlap much more in the United States than in Europe. But throughout the West bureaucrats and politicians each wear special blinders and each have special virtues. In a well-ordered polity, the authors conclude, politicians articulate society's dreams and bureaucrats bring them gingerly to earth.
The subject of the present book is the theme of Edom in the Old Testament. In the four long oracles against Edom (Isa. 34, Jer. 49.7-22, Ezek. 35, Obadiah), this nation serves as Israel's antagonist and the representative of the enemy nations. Edom also appears in the book of Genesis: Jacob's brother Esau is the patriarch of the Edomites and Esau himself is called Edom as well (Gen. 25-36). Although there is no such negative estimation of Edom as in the prophecies, here too Edom represents the nations, and serves as Israel's opponent. This study discusses the origin and development of Edom's exceptional role. It extensively analyses the connections between Obadiah (the only one of the four major oracles in which, like in Genesis, Edom is called Israel's brother), the other oracles, and Genesis. It sketches the literary history of these texts and discusses the possible historical background of the conceptions they share. Can the similarities in Edom's role be explained by assuming the same historical background for the two sets of texts? If so, why do the major oracles against Edom present an extremely negative, and the Jacob-Esau stories a relatively positive picture of Edom?
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