Oxford University Press has once again teamed up with the Bryant Park Reading Room on their summer literary series. The Bryant Park Reading Room was first established in 1935 by the New York Public Library as a refuge for the thousands of unemployed New Yorkers during the Great Depression.
French and Francophone Studies is a vibrant and diverse field of study, in which research on nineteenth century literature, and research from the perspective of postcolonial theory, are thriving—and indeed represent particular areas of growth. What does it mean, then, to argue for a “postcolonial nineteenth century”? It would certainly be misleading to see the two areas as completely divorced or discordant.
The Oxford Dictionary defines poetry as a piece of writing expressing feelings and ideas that are given intensity by particular attention to diction. Poetry at its core is a uniquely personal form of expression. To honor National Poetry Month, we’re sharing what poetry means to the writers of the Pavilion Poetry Series, including a sample from Nuar Alsadir’s new collection Fourth Person Singular. Maybe it will inspire to explore what poetry means to you.
In our contemporary moment, as our digital spaces are saturated with feeds and streams of images, it’s clearer than ever that photography is a medium poised between arresting singularity and ambiguous plurality. Art historians have conventionally focused on the singularity of the photograph and its instant of capture. But the digital turn has prompted many scholars to reconsider photography in its many serialized incarnations.
“When Paris sits down at the table, the entire world stirs….” Eugène Briffault’s Paris à Table captures the manners and customs of Parisian dining in 1845. He gives a panoramic view of the conception of a dish (as detailed as the amount of coal used in stoves) to gastronomy throughout the city—leaving no bread roll unturned as he investigates how Paris eats. The below excerpt from Paris à Table (translated into English by J. Weintraub) provides statistics to capture the magnitude of the Parisian way of life.
Are you familiar with the mullet? It’s a distinctive hairstyle—peculiarly popular in continental Europe in the 1980s—in which the hair is cut short on the top and sides but left long at the back. Whatever the aesthetic gravity of the mullet, it comes with a philosophy. The philosophy of the mullet is this: “Business in the front, party in the back.” I’ll argue that the reverse holds true for the horror genre, didactically speaking. Horror fiction is sexy. Horror has zombies. It has ghosts and vampires. It has Hannibal Lecter and Jigsaw, Michael Myers and Jason Voorhees, Freddy Krueger and Leatherface. It has cannibal hillbillies and crazed college kids.
This year marks the 200th anniversary of the publication of Frankenstein, Mary Shelley’s acclaimed Gothic novel, written when she was just eighteen. The ghoulish tale of monsters—both human and inhuman—continues to captivate readers around the world, but two centuries after Shelley’s pitiably murderous monster was first brought to life, how does the tale speak to the modern age? The answer is that the story remains strikingly relevant to a contemporary readership, through its exploration of scientific advancements and artificial intelligence.
The American Renaissance—perhaps the richest literary period in American history, critics argue—produced lettered giants Ralph Waldo Emerson, Henry David Thoreau, Walt Whitman, Herman Melville, Nathaniel Hawthorne, and Emily Dickinson. Much like the social and historical setting in which it was birthed, this period was full of paradoxes that were uniquely American.
f the challenges Arthur Machen presents to an editor, two, in particular, have shadowed me during the preparation of this new collection of his stories. The first is simply the special sense of responsibility one feels when curating the work of a deeply loved writer—for even when Machen’s reputation has been at low ebb (as, often enough, it has been), he has always had a hard core of devoted admirers.
Tragedy provokes sorrow and concludes with downfall and death. Comedy elicits laughter and ends happily. Laurence Sterne’s Tristram Shandy is one of the funniest novels of world literature. But does the work, overshadowed by death, end happily? Can death and comedy mix? “Everybody dies. If you are going to take that badly, you’re doing it wrong. So you have to take it as a joke.” The sentiments of the celebrated Spanish cartoonist Antonio Fraguas, Forges, who died on 22 February 2018, might echo those of Sterne, whose own death took place 250 years ago on 18 March 1768.
Not long ago, a colleague was setting up a meeting and suggested bringing along spouses to socialize after the business was done. Not getting a positive reply, she emailed: “I’m getting a lack of enthusiasm for boring spouses with our meeting.” A minute later, a second, clarifying email arrived indicating that she “meant boring as a verb not an adjective.” She had spotted the ambiguity in the first message.
Since the first poems published by former slaves Phyllis Wheatley and Jupiter Hammon around the time of the American Revolution, African American literature has played a vital role in the history and culture of the United States. The slave narratives of figures such as Frederick Douglass and Harriet Wilson became a driving force for abolitionism before the Civil War, and the tumultuous end of Reconstruction brought about the exploration of new genres and themes during the height of the Jim Crow era.
In March of 1924, Charles S. Johnson, sociologist and editor of Opportunity: A Journal of Negro Life, approached Alain Locke with a proposal: a dinner was being organized with the intention to secure interracial support for Black literature. Locke, would attend the dinner as “master of ceremonies,” with the responsibility of finding a common language between Black writers and potential White allies.
Of all Shakespeare’s great plays his most frequently published work in his lifetime his erotic poem, Venus and Adonis. Shakespeare’s Sonnets and Poems may often feel less familiar than his plays, but they have also seeped into our cultural history. Within them, they reveal much about the Bard himself and include a number of surprises. Here are a few lesser known facts about Shakespeare’s sonnets and poems.
For university libraries, it can sometimes be difficult to get students—especially new students— comfortable with coming into the library and engaging with library staff. We asked some librarians how they get creative with their student outreach to welcome students to campus and to the library. By welcoming students back with these events every quarter, librarians remind them that they are the reason university libraries are here.
Then Ovid is your man – and woman, as the case may be … Fidus amor. That’s “true love” in Latin. Historically, such love is often claimed to have emerged with the troubadours of twelfth century Provence. The troubadours used the Occitan term fin amor for this kind of love rather than the more famous […]