Joey and the Black Boots, the ReBoot issue, from Kitty Litter Press. The first issue after a long hiatus. Featuring poets, writers, and artists from around the world.
From the Preface: This book is addressed mainly to non-specialist readers who do not know Greek and who read, study, or teach the Iliad in translation; it also is meant for classical scholars whose professional specialization has prevented them from keeping abreast of recent work on Homer. It is grounded in technical scholarship, to which it constantly referes and is intended to contribute, and I hope that even Homeric specialists will find ideas and interpretations to interest them. I have tried to present clearly what seem to me the most valuable results of modern research and criticism of the Iliad while setting forth my own views. My goal has been to interpret the poem as much as possible on its own mythological, religious, ethical, and artistic terms. The topics and problems I focus on are those that have arisen most often and most insistently when I have thought the poem, in translation and in the original, as I have done every year since 1968. This book is a literary study of the Iliad. I have not discussed historical, archaeologoical, or even linguistic questions except where they are directly relevant to literary interpretation. Throughout I have emphasized what is thematically, ethically, and artistically distinctive in the Iliad in contrast to the conventions of the poetic tradition of which it is an end product. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1985. From the Preface: This book is addressed mainly to non-specialist readers who do not know Greek and who read, study, or teach the Iliad in translation; it also is meant for classical scholars whose professional specialization has prevented them from keepi
This timely work draws attention to the varying factors by which technology often leads to disempowerment effects. Seth makes a call to technologists to burst the technology positivism bubble, build an ethos for taking greater responsibility in their work, and engage with the rest of society to strengthen democracy.
Homeric Epic and its Reception, comprising twelve chapters--some previously published but revised for this collection, and others appearing here in print for the first time--offers literary interpretations of the Iliad, the Odyssey, and the Homeric Hymn to Aphrodite. While some chapters closely study the diction, meter, style, and thematic resonance of particular passages and episodes in the Iliad and the Odyssey, others follow diverse pathways into the interpretation of the epics, including mythological allusion, intertextuality, the metrics of the Homeric hexameter, and the fundamental contrast between divinity and humanity. Also included are two chapters which focus on the work of Milman Parry and Ioannis Kakridis, founders of the two most fruitful twentieth-century scholarly approaches to Homeric scholarship: the study of the Iliad and the Odyssey as traditional oral formulaic poetry (Parry), and the study of the poems' adaptations and transformations of traditional mythology, folktales, and poetic motifs in accordance with their distinctive themes and poetic purposes (Kakridis). The volume draws to a close with three chapters which discuss some of the most compelling poetic and critical receptions of the Iliad and the Odyssey since the late nineteenth century, and the institutional reception of the epics in colleges and universities in the United States over the past two centuries. Written over a period of 45 years, this collection reflects the author's long-standing interest in, and scholarly and critical approaches to, the literary interpretation of Homeric poetry.
Joey and the Black Boots, the ReBoot issue, from Kitty Litter Press. The first issue after a long hiatus. Featuring poets, writers, and artists from around the world.
Canadian cartoonist Gregory Gallant, pen name Seth, emerged as a cartoonist in the fertile period of the 1980s, when the alternative comics market boomed. Though he was influenced by mainstream comics in his teen years and did his earliest comics work on Mister X, a mainstream-style melodrama, Seth remains one of the least mainstream-inflected figures of the alternative comics' movement. His primary influences are underground comix, newspaper strips, and classic cartooning. These interviews, including one career-spanning, definitive interview between the volume editors and the artist published here for the first time, delve into Seth's output from its earliest days to the present. Conversations offer insight into his influences, ideologies of comics and art, thematic preoccupations, and major works, from numerous perspectives--given Seth's complex and multifaceted artistic endeavours. Seth's first graphic novel, It's a Good Life, If You Don't Weaken, announced his fascination with the past and with earlier cartooning styles. Subsequent works expand on those preoccupations and themes. Clyde Fans, for example, balances present-day action against narratives set in the past. The visual style looks polished and contemplative, the narrative deliberately paced; plot seems less important than mood or characterization, as Seth deals with the inescapable grind of time and what it devours, themes which recur to varying degrees in George Sprott, Wimbledon Green, and The Great Northern Brotherhood of Canadian Cartoonists.
Yearbook' is a collection of true stories that I desperately hope are just funny at worst, and life-changingly amazing at best. (I understand that it's likely the former, which is a fancy 'book' way of saying 'the first one'). I talk about my grandparents, doing stand-up comedy as a teenager, bar mitzvahs and Jewish summer camp, and tell way more stories about doing drugs than my mother would like. I also talk about some of my adventures in Los Angeles, and surely say things about other famous people that will create a wildly awkward conversation for me at a party one day.
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