A New York Times Book Review Editors’ Choice In 1858, challenger Abraham Lincoln debated incumbent Stephen Douglas seven times in the race for a U.S. Senate seat from Illinois. More was at stake than slavery in those debates. In Lincoln’s Tragic Pragmatism, John Burt contends that the very legitimacy of democratic governance was on the line. In a United States stubbornly divided over ethical issues, the overarching question posed by the Lincoln-Douglas debates has not lost its urgency: Can a liberal political system be used to mediate moral disputes? And if it cannot, is violence inevitable? “John Burt has written a work that every serious student of Lincoln will have to read...Burt refracts Lincoln through the philosophy of Kant, Rawls and contemporary liberal political theory. His is very much a Lincoln for our time.” —Steven B. Smith, New York Times Book Review “I'm making space on my overstuffed shelves for Lincoln’s Tragic Pragmatism. This is a book I expect to be picking up and thumbing through for years to come.” —Jim Cullen, History News Network “Burt treats the [Lincoln-Douglas] debates as being far more significant than an election contest between two candidates. The debates represent profound statements of political philosophy and speak to the continuing challenges the U.S. faces in resolving divisive moral conflicts.” —E. C. Sands, Choice
For the sake of contraption (like Frost) and of character (like Robinson), John Burt will do a great deal, and his scope and scansion require a great deal, for his theme is nothing less than the reinvention of heroism (King Mark, Mary of Nazareth, St. Francis, Paolo and Francesca, Ariadne) and the invention of a new heroics (Woodrow Wilson, Willard Gibbs). As attentive to ekphrasis as to the sonnet's narrow room, Burt feels what he knows, and he knows that we can learn from the past only by repeating it. A grand achievement!"--Richard Howard. Almost all these poems are narrative, telling stories that turn on some small but crucial shift of sensibility. One hears in them a speaking rather than a singing voice, a voice which, for all its formality and gravity, remains oral and sociable, a voice which tells things rather than spins charms. Their predominant mood is lucid asperity, sometimes breaking out into the angry Calvinism they always barely keep down, sometimes striving to achieve a humane skepticism that always just eludes them. The book consists of two sections, one concerned with the cruxes and contradictions of private feeling, the other with the unraveling of the public world. Each section centers on a long narrative poem that culminates the building tensions of the poems that precede it and makes possible the resolutions that follow them. Sonnet I from "St. Francis and the Wolf" Saved at last, not at the last of me, I knelt two-legged, made of guttural air A little yelp to sound like human prayer. The saints were cautious, understandably. I took the cup, and managed not to drool, But dreamed the wine was blood, as I'd been taught, And vainly curbed the vain bent of my thought. I knew myself an angel, felt a fool. Could God have erred in making teeth and maw? Then for his glory I will bite the lamb Whose terror he transmogrifies to awe That I may do his service as I am, Till as I am I leap the mortal gulf To rage in heaven, a perfected wolf. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Choice Outstanding Academic Title 2014 Transnational Tolstoy renews and enhances our understanding of Tolstoy's fiction in the context of "World Literature," a term that he himself used in What is Art? (1897). It offers a fresh perspective on Tolstoy's fiction as it connects with writers and works from outside his Russian context, including Stendhal, Flaubert, Goethe, Proust, Lampedusa and Mahfouz. Foster provides an interlocking series of cross-cultural readings ranging from nineteenth-century Germany, France, and Italy through the rise of modernist fiction and the crisis of World War II, to the growth of a worldwide literary outlook from 1960 onward. He emphasizes Tolstoy's writings with the most consistent international resonance: War and Peace and Anna Karenina, two of the world's most compelling novels. Transnational Tolstoy also discusses a shorter work, Hadji Murad. It shares the earlier novels' historical sweep, social breadth, and subtle interplay among a large cast of characters. Along with bringing Tolstoy's gifts to bear on a Muslim protagonist, it also represents his most sustained attempt at world literature.
Despite Vladimir Nabokov's hostility toward literary labels, he clearly recognized his own place in cultural history. In a fresh approach stressing Nabokov's European context, John Foster shows how this writer's art of memory intersects with early twentieth-century modernism. Tracing his interests in temporal perspective and the mnemonic image, in intertextual "reminiscences," and in individuality amid cultural multiplicity, the book begins with such early Russian novels as Mary, then treats his emerging art of memory from Laughter in the Dark to The Gift. After discussing the author's cultural repositioning in his first English novels, Foster turns to Nabokov's masterpiece as an artist of memory, the autobiography Speak, Memory, and ends with an epilogue on Pale Fire. As a cross-cultural overview of modernism, this book examines how Nabokov navigated among Proust and Bergson, Freud and Mann, and Joyce and Eliot. It also explores his response to Baudelaire and Nietzsche as theorists of modernity, and his sense of Dostoevsky, Tolstoy, and Pushkin as modernist precursors. As an approach to Nabokov, the book reflects the heightened importance of autobiography in current literary study. Other critical issues addressed include Bakhtin's theory of intertextuality, deconstructive views of memory, Benjamin's modernism of memory, and Nabokov's assumptions about modernism as a concept.
Transnational Tolstoy renews and enhances our understanding of Tolstoy's fiction in the context of "World Literature," a term that he himself used in What is Art? It offers a fresh perspective on Tolstoy's fiction as it connects with writers and works from outside his Russian context, including Stendhal, Flaubert, Goethe, Proust, Lampedusa and Mahfouz. Foster provides an interlocking series of cross-cultural readings ranging from nineteenth-century Germany, France, and Italy through the rise of modernist fiction and the crisis of World War II, to the growth of a worldwide literary outlook from 1960 onward. He emphasizes Tolstoy's writings with the most consistent international resonance: War and Peace and Anna Karenina, two of the world's most compelling novels. Transnational Tolstoy also discusses a shorter work, Hadji Murad. It shares the earlier novels' historical sweep, social breadth, and subtle interplay among a large cast of characters. Along with bringing Tolstoy's gifts to bear on a Muslim protagonist, it also represents his most sustained attempt at world literature.
This is a collection of works by American naturalist John Burroughs. Included are: “Birds & Bees”, “Bird Enemies”, “The Tragedies of the Nests”, “Bees”, “An Idyl of the Honey-Bee”, “The Pastoral Bees”, “Sharp Eyes and Other Papers”, “Sharp Eyes, “The Apple”, “A Taste of Maine Birch”, “Winter Neighbors”, “Notes by the Way”, “The Weather-wise Muskrat”, “Cheating the Squirrels”, “Fox and Hound”, and many more. John Burroughs (1837 – 1921) was an American naturalist, essayist, and active member of the U.S. conservation movement. Burroughs' work was incredibly popular during his lifetime, which manly argue is down to his unique perceptions of the natural world coupled with an impressive literary talent. Other notable works by this author include: “Winter Sunshine” (1875), “Birds and Poets” (1877), and “Locusts and Wild Honey” (1879). Since his death, his legacy has lived on in the form of twelve U.S. Schools named after him, Burroughs Mountain and the John Burroughs Association, which publicly recognizes well-written and illustrated natural history publications. Many vintage books such as this are becoming increasingly scarce and expensive. We are republishing “Bird Neighbors” now in an affordable, modern, high-quality edition complete with a specially commissioned new biography of the author.
A cosmic accident has left Burt stranded on Earth . . . or so he says. An early graphic novel of foster care and the meaning of home, for fans of Binky the Space Cat. Burt is an alien from a distant galaxy with advanced technology, but an accident has made his parents disappear and trapped him on Earth. And no matter what he does, he can't seem to get lowly Earth technology to work well enough to get him home. That's his story, anyway. From the perspective of his foster mother, Lydia, Burt is a confused and lonely little boy who's difficult to understand and lives in his own world. But she's less focused on understanding him than she is on taking care of and supporting him. Burt struggles to adjust to his new home, and Lydia tries her best. But when Burt embarks on a plan to teleport home once and for all and ventures into the cold all alone, Lydia will have to find a way to bridge the gulf between them.
A cosmic accident has left Burt stranded on Earth . . . or so he says. An early graphic novel of foster care and the meaning of home, for fans of Binky the Space Cat. Burt is an alien from a distant galaxy with advanced technology, but an accident has made his parents disappear and trapped him on Earth. And no matter what he does, he can't seem to get lowly Earth technology to work well enough to get him home. That's his story, anyway. From the perspective of his foster mother, Lydia, Burt is a confused and lonely little boy who's difficult to understand and lives in his own world. But she's less focused on understanding him than she is on taking care of and supporting him. Burt struggles to adjust to his new home, and Lydia tries her best. But when Burt embarks on a plan to teleport home once and for all and ventures into the cold all alone, Lydia will have to find a way to bridge the gulf between them.
Building on recent transformative theories of influence, John Foster explores the many ways Nietzsche's intellectual and artistic example helped shape an interconnected series of major literary projects from 1900 to the 1940s. He portrays Nietzsche as a stimulating but disturbing force who left a well-defined legacy of concerns that modernists appropriated for their fiction. The author focuses particularly on Gide, D. H. Lawrence, Malraux, and Mann, analyzing their strategies of acceptance, revision, and subversion. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
What would happen, I wonder, if the Armies suddenly and simultaneously went on strike and said some other method must be found of settling the dispute?" --Winston Churchill, November 1914 In December of 1914, soldiers along the battlefront laid down their arms and observed a Christmastime truce. That much is true. They buried their dead, sang and drank together, roasted pigs and rabbits they had caught, and had bicycle races. And there was more than one football game. The first part of The Christmas Mutiny is as close as I can manage to what really happened, allowing for dramatic license. I wanted to have a diverse cast of young characters, so I allowed an American pilot to be forced down near the front, a Turkish observer to be present among the Germans, and so on - they weren't there, but they could have been. The second part of the book is something very different. It tells a story of what might have happened. It's not the only way things might have happened, and maybe I'm wrong and it couldn't possibly have happened the way I describe. You may certainly feel free to disagree. If you feel so strongly that you want to write your own version, I'd be very happy to read it.
A book that looks at John 3: 19 - 21 and how it was the verdict pronounced by the Lord Jesus Christ. It needs to be viewed in the light of John 3: 16 and the remedy of the Father in His sending of His One and Only Son into the World.
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