Minggu, 12 April 2009

Interpreter of Maladies (Paperback)

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From Publishers Weekly
The rituals of traditional Indian domesticityAcurry-making, hair-vermilioningAboth buttress the characters of Lahiri's elegant first collection and mark the measure of these fragile people's dissolution. Frequently finding themselves in Cambridge, Mass., or similar but unnamed Eastern seaboard university towns, Lahiri's characters suffer on an intimate level the dislocation and disruption brought on by India's tumultuous political history. Displaced to the States by her husband's appointment as a professor of mathematics, Mrs. Sen (in the same-named story) leaves her expensive and extensive collection of saris folded neatly in the drawer. The two things that sustain her, as the little boy she looks after every afternoon notices, are aerograms from homeAwritten by family members who so deeply misunderstand the nature of her life that they envy herAand the fresh fish she buys to remind her of Calcutta. The arranged marriage of "This Blessed House" mismatches the conservative, self-conscious Sanjeev with ebullient, dramatic TwinkleAa smoker and drinker who wears leopard-print high heels and takes joy in the plastic Christian paraphernalia she discovers in their new house. In "A Real Durwan," the middle-class occupants of a tenement in post-partition Calcutta tolerate the rantings of the stair-sweeper Boori Ma. Delusions of grandeur and lament for what she's lostA"such comforts you cannot even dream them"Agive her an odd, Chekhovian charm but ultimately do not convince her bourgeois audience that she is a desirable fixture in their up-and-coming property. Lahiri's touch in these nine tales is delicate, but her observations remain damningly accurate, and her bittersweet stories are unhampered by nostalgia. Foreign rights sold in England, France and Germany; author tour.
Copyright 1999 Reed Business Information, Inc.


Unaccustomed Earth: Stories (Vintage Contemporaries) (Paperback)

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Nathaniel Hawthorne wrote, "Human nature will not flourish, any more than a potato, if it be planted and replanted, for too long a series of generations, in the same worn out soil. My children ... shall strike their roots into unaccustomed earth." This quote, which was a revelation to me, so much so that I redid my work e-mail "inspiration quote" signature to put it it, is the inspiration of Jhumpa Lahiri's new collection of short stories called "Unaccustomed Earth".


The White Tiger: A Novel (Man Booker Prize) (Paperback)

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From Publishers Weekly
Starred Review. First-time author Adiga has created a memorable tale of one taxi driver's hellish experience in modern India. Told with close attention to detail, whether it be the vivid portrait of India he paints or the transformation of Balram Halwai into a bloodthirsty murderer, Adiga writes like a seasoned professional. John Lee delivers an absolutely stunning performance, reading with a realistic and unforced East Indian dialect. He brings the story to life, reading with passion and respect for Adiga's prose. Lee currently sits at the top of the professional narrator's ladder; an actor so gifted both in his delivery and expansive palette of vocal abilities that he makes it sound easy. A Free Press hardcover (Reviews, Jan. 14). (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Audio CD edition.


Out Stealing Horses: A Novel (Paperback)

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This is one of the best novels to come out of Scandinavia in recent years. Written from the point of view of a 70-year old man reflecting on the time he spent with his father near the Swedish border during the Second World War, the narrative present of the novel alternates back and forth between his current solitude and his adolescent confusion over his father's wartime activities. The novel is enormously sad and haunting, and the language beautifully simple and evocative.


Loving Frank: A Novel (Paperback)

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Amazon.com Review
Amazon Significant Seven, August 2007: It's a rare treasure to find a historically imagined novel that is at once fully versed in the facts and unafraid of weaving those truths into a story that dares to explore the unanswered questions. Frank Lloyd Wright and Mamah Cheney's love story is--as many early reviews of Loving Frank have noted--little-known and often dismissed as scandal. In Nancy Horan's skillful hands, however, what you get is two fully realized people, entirely, irrepressibly, in love. Together, Frank and Mamah are a wholly modern portrait, and while you can easily imagine them in the here and now, it's their presence in the world of early 20th century America that shades how authentic and, ultimately, tragic their story is. Mamah's bright, earnest spirit is particularly tender in the context of her time and place, which afforded her little opportunity to realize the intellectual life for which she yearned. Loving Frank is a remarkable literary achievement, tenderly acute and even-handed in even the most heartbreaking moments, and an auspicious debut from a writer to watch. --Anne Bartholomew


The Guernsey Literary and Potato Peel Pie Society (Hardcover)

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From Publishers Weekly
The letters comprising this small charming novel begin in 1946, when single, 30-something author Juliet Ashton (nom de plume Izzy Bickerstaff) writes to her publisher to say she is tired of covering the sunny side of war and its aftermath. When Guernsey farmer Dawsey Adams finds Juliet's name in a used book and invites articulate—and not-so-articulate—neighbors to write Juliet with their stories, the book's epistolary circle widens, putting Juliet back in the path of war stories. The occasionally contrived letters jump from incident to incident—including the formation of the Guernsey Literary and Potato Peel Pie Society while Guernsey was under German occupation—and person to person in a manner that feels disjointed. But Juliet's quips are so clever, the Guernsey inhabitants so enchanting and the small acts of heroism so vivid and moving that one forgives the authors (Shaffer died earlier this year) for not being able to settle on a single person or plot. Juliet finds in the letters not just inspiration for her next work, but also for her life—as will readers. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.


The Sweetness at the Bottom of the Pie (Hardcover)

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Amazon Best of the Month, April 2009: It's the beginning of a lazy summer in 1950 at the sleepy English village of Bishop's Lacey. Up at the great house of Buckshaw, aspiring chemist Flavia de Luce passes the time tinkering in the laboratory she's inherited from her deceased mother and an eccentric great uncle. When Flavia discovers a murdered stranger in the cucumber patch outside her bedroom window early one morning, she decides to leave aside her flasks and Bunsen burners to solve the crime herself, much to the chagrin of the local authorities. But who can blame her? What else does an eleven-year-old science prodigy have to do when left to her own devices? With her widowed father and two older sisters far too preoccupied with their own pursuits and passions—stamp collecting, adventure novels, and boys respectively—Flavia takes off on her trusty bicycle Gladys to catch a murderer. In Alan Bradley's critically acclaimed debut mystery, The Sweetness at the Bottom of the Pie, adult readers will be totally charmed by this fearless, funny, and unflappable kid sleuth. But don't be fooled: this carefully plotted detective novel (the first in a new series) features plenty of unexpected twists and turns and loads of tasty period detail. As the pages fly by, you'll be rooting for this curious combination of Harriet the Spy and Sherlock Holmes. Go ahead, take a bite. --Lauren Nemroff


10,000 B.C. (2008)

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Product Description
The filmmaker who launched a UFO invasion in Independence Day and unleashed the forces of global warming in The Day After Tomorrow now unveils a new day of adventure, a time when mammoths shake the earth and mystical spirits shape human fates. Roland Emmerich directs 10,000 BC, the eye-filling tale of the first hero. That hero is young hunter D’Leh (Steven Strait), set out on a bold trek to rescue his kidnapped beloved (Camilla Belle) and fulfill his prophetic destiny. He’ll face an awesome saber-toothed tiger. Cross uncharted realms. Form an army. And uncover an advanced but corrupt Lost Civilization. There, he will lead a fight for liberation – and become the champion of the time when legend began.


Jumper (2008)

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As preposterous action movies go, Jumper is pleasantly unpretentious and breezily entertaining. A young man named David (Hayden Christensen) discovers he has the power to teleport (or "jump") anywhere he can visualize. After using this power to steal and make a comfortable life for himself, he pursues the girl he longed for in school (Rachel Bilson, The O. C.). But as he does so, another jumper (Jamie Bell, Billy Elliot) and a pack of fanatical jumper-hunters called paladins (led by a white-haired Samuel L. Jackson) crashes into David's freewheeling life. Jumper wastes no time trying to explain how jumping works or delving into the hows and whys of the paladins; this is an alluring fantasy of power directed at a pell-mell pace by Doug Liman (The Bourne Identity, Mr. and Mrs. Smith, Go). There's a brief moment when it feels like the movie will bog down in romance and vague gestures towards character development--happily, that's the moment when Bell appears and the whole movie shifts into overdrive. You might wish that Bell and Christensen had swapped roles; Bell has a far more engaging personality, and Christensen's bland good looks might better suit a more aggressive character. Nonetheless, Jumper has oodles of dynamism and nifty visual effects to propel its comic-book storyline forward. A variety of recognizable actors in bit parts (such as Diane Lane and Kristen Stewart, Panic Room) suggest that the filmmakers are laying the groundwork for sequels. Based on a critically-acclaimed science-fiction novel by Steven Gould. --Bret Fetzer


Cloverfield (2008)

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One of the first things a viewer notices about Cloverfield is that it doesn't play by ordinary storytelling rules, making this intriguing horror film as much a novelty as an event. Told from the vertiginous point-of-view of a camcorder-wielding group of friends, Cloverfield begins like a primetime television soap opera about young Manhattanites coping with changes in their personal lives. Rob (Michael Stahl-David) is leaving New York to take an executive job at a company in Japan. At his goodbye party in a crowded loft, Rob’s brother Jason (Mike Vogel) hands a camcorder to best friend Hud (T.J. Miller), who proceeds to tape the proceedings over old footage of Rob’s ex-girlfriend, Beth (Odette Yustman)--images shot during happy times in that now-defunct relationship. Naturally, Beth shows up at the party with a new beau, bumming Rob out completely. Just before one's eyes glaze over from all this heartbreaking stuff (captured by Hud, who's something of a doofus, in laughably shaky camerawork), the unexpected happens: New York is suddenly under attack from a Godzilla-like monster stomping through midtown and destroying everything and everybody in sight. Rob and company hit the streets, but rather than run with other evacuees, they head toward the center of the storm so that Rob can rescue an injured Beth. There are casualties along the way, but the journey into fear is fascinating and immediate if emotionally remote--a consequence of seeing these proceedings through the singular, subjective perspective of a camcorder and of a story that intentionally leaves major questions unanswered: Who or what is this monster? Where did it come from? The lack of a backstory, and spare views of the marauding creature, are clever ways by producer J.J. Abrams and director Matt Reeves to keep an audience focused exclusively on what’s on the screen. But it also makes Cloverfield curiously uninvolving. Ultimately, Cloverfield, with its spectacular effects brilliantly woven into a home-video look, is a celebration of infinite possibilities in this age of accessible, digital media. --Tom Keogh


Battlestar Galactica - Season 4.0 (2004)

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I would describe the first half of this season as occasionally mind-blowing, always gripping. It wasn't perfect, certainly, but it was pretty close. Each of this season's episodes was consistently good, compared to some of the weaker stand-alone episodes in the second half of seasons 2 and 3. BSG has made a successful and compelling transformation from a black/white, us vs. them SciFi/action series into a morality tale about peaceful coexistence, and every step of the way has been executed brilliantly. I'm eagerly awaiting the finale, though I would have welcomed additional seasons.



Dr. Horrible's Sing-Along Blog

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Product Description
Special Features:

Commentary! The Musical
Commentary by the cast and crew
Evil League of Evil application videos
Making-of featurettes
Subtitles: English, Spanish, French, German, Chinese, Japanese

Neil Patrick Harris (How I Met Your Mother) stars as Billy, A.K.A. Dr. Horrible, a budding super-villain whose plans for world domination continually go awry. His two goals: getting accepted into the Evil League of Evil, and working up the guts to speak to his laundromat crush Penny, played by Felicia Day (The Guild). The only thing standing in his way is Captain Hammer, Billy's superhero arch-nemesis played by Nathan Fillion (Firefly). With one big score, Billy could get into the E.L.E. and earn the respect of Penny, but only if he can keep her away from the dashing Captain Hammer...


Pride and Prejudice and Zombies: The Classic Regency Romance - Now with Ultraviolent Zombie Mayhem! (Paperback)

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Product Description
"It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains." So begins Pride and Prejudice and Zombies, an expanded edition of the beloved Jane Austen novel featuring all-new scenes of bone-crunching zombie mayhem. As our story opens, a mysterious plague has fallen upon the quiet English village of Meryton—and the dead are returning to life! Feisty heroine Elizabeth Bennet is determined to wipe out the zombie menace, but she's soon distracted by the arrival of the haughty and arrogant Mr. Darcy. What ensues is a delightful comedy of manners with plenty of civilized sparring between the two young lovers—and even more violent sparring on the blood-soaked battlefield as Elizabeth wages war against hordes of flesh-eating undead. Can she vanquish the spawn of Satan? And overcome the social prejudices of the class-conscious landed gentry? Complete with romance, heartbreak, swordfights, cannibalism, and thousands of rotting corpses, Pride and Prejudice and Zombies transforms a masterpiece of world literature into something you'd actually want to read.


Shine

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Vanished Smile: The Mysterious Theft of Mona Lisa (Hardcover)

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In Paris at the start of a radically new century, the most famous face in the history of art stepped out of her frame and into a sensational mystery.

On August 21, 1911, the unfathomable happened--Leonardo da Vinci’s Mona Lisa vanished from the Louvre. More than twenty-four hours passed before museum officials realized she was gone. The prime suspects were as shocking as the crime: Pablo Picasso and Guillaume Apollinaire, young provocateurs of a new art. As French detectives using the latest methods of criminology, including fingerprinting, tried to trace the thieves, a burgeoning international media hyped news of the heist.


The Apple That Astonished Paris (Paperback)

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Product Description
In 1988 the University of Arkansas Press published Billy Collins’s THE APPLE THAT ASTONISHED PARIS, his "first real book of poems," as he describes it in a new, delightful preface written expressly for this new printing to help celebrate both the Press’s twenty-fifth anniversary and this book, one of the Press’s all-time best sellers. In his usual witty and dry style, Collins writes, "I gathered together what I considered my best poems and threw them in the mail." After "what seemed like a very long time" Press director Miller Williams, a poet as well, returned the poems to him in the "familiar self-addressed, stamped envelope." He told Collins that there was good work here but that there was work to be done before he’d have a real collection he and the Press could be proud of: "Williams’s words were more encouragement than I had ever gotten before and more than enough to inspire me to begin taking my writing more seriously than I had before."


Questions About Angels: Poems (Pitt Poetry Series) (Hardcover)

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I only happened to come across Billy Collins by sheer accident at the bookstore. Curious, I pulled it out and began to read. I, a T.S. Eliot fanatic, was struck down by the absence of those very things I love about Eliot. Collins has a deceptively simple style bereft of even the vaguest trace of poetic posturing. He is not obsessed with language and never picks a word just for the echoes it might produce. One thing I noticed while reading the other reviews of this book was the repition of the word 'accessible,' so I'm not the only one to believe that Collins can be argued about at the dinner table while you're waiting for dessert to be brought out. (Of course, at that point dessert may just never get brought out.) This does not mean that Collins has a 'point' he wishes to express with each poem. On the contrary, each poem leaves a distinct aftertaste that lingers in those deliciously ripe moments after you close the book for a second to savor what you have just finished reading. It is this blend of philosophy and beauty that draws you into his poetry and makes you hunger for more.


Sailing Alone Around the Room: New and Selected Poems (Paperback)

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From Publishers Weekly
This collection hit the front page of the New York Times its first time out of the blocks in 1999, as the University of Pittsburgh Press, Collins's longtime publisher, denied Random the rights to the poems as the poet tried to jump ship. The two houses and Collins's agent, Chris Calhoun (Dan Menaker is Collins's editor at Random), later worked out a deal that gave Pitt a few more months to ride Picnic, Lightning (1998) and Collins's other books without this culling treading on its sales. As it now appears, the book includes 23 poems from Picnic, more than from any of Collins's previous three books included here. (Work from the early Video Poems and Pokerface is absent.) Collins's poems are generally conveyed by a speaker whose genial, highly literate analogue of earnestness perfectly produces inchoate quotidian restlessness matched by fear-based appreciation of the mundane. A typical Collins poem begins with "How agreeable it is not to be touring Italy this summer," "The way the dog trots out the front door" or the observation that "It is possible to be struck by a meteor/ or a single-engine plane/ while reading in a chair at home" and continues by juxtaposing, say, close descriptions of "the instant hand of Death" and "the rasp of the steel edge/ against a round stone,/ the small plants singing/ with lifted faces." It's a formula that has worked well for Collins, and he does not abandon it in the 20 new poems here. (On-sale date: Sept. 11) Forecast: A reading on NPR's A Prairie Home Companion was the beginning of serious sales for Picnic, Lightning (40,000 copies and counting), while The Art of Drowning has sold 26,000 since 1995, and Questions About Angels clocks in at 21,000 since 1991. Collins's reading tours for this book should help reach even more readers, and some browsers may remember the Times story.
Copyright 2001 Reed Business Information, Inc. --This text refers to the Hardcover edition.


Billy Collins Live: A Performance at the Peter Norton Symphony Space April 20, 2005 [AUDIOBOOK] [UNABRIDGED] (Audio CD)

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In this exclusive audio publishing event, Billy Collins, former U.S. Poet Laureate, shares an evening of his poetry in a benefit reading for WNYC, New York Public Radio. Often compared to Robert Frost, his poetry has been embraced by people of all ages and backgrounds, and his readings are most often standing room only.

Performed by the author at Peter Norton Symphony Space in New York City, Billy Collins reads 24 of his poems, including "Dharma" --a spiritual yet humbling ode to man's best friend, "The Lanyard--an amusing recollection about the popular, if not pointless, summer camp pastime, and "Consolation" --a tongue-in-cheek reflection of a cancelled European trip, and the benefits of staying home instead. In addition to the poetry readings, Collins also spends some time in a brief question and answer session where he reflects on what makes good poetry, his own process of reaching his audiences as a poet, the success of his Poetry 180 programs in schools nationwide, and an amusing sidebar on his memories growing up as an only child. At times pensive and sardonic, amusing and subtly sarcastic, Billy Collins Live celebrates both the simple and the complex in a language that appeals to all.




Ballistics: Poems (Hardcover)

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From Publishers Weekly
The latest from former U.S. laureate Collins (The Trouble with Poetry and Other Poems) again shows the deft, often self-mocking touch that has made him one of America's bestselling poets: while this volume hardly breaks new ground, it should fly off the shelves. To his jokes about, and against, his own poetizing, Collins now adds two new emphases: on life in France, where (to judge by the poems) he has spent some time and (more pervasively) a preoccupation with the end of life. Collins is never carefree, but he is, as always, accessible and high-spirited, making light even when telling himself that nothing lasts: Vermont, Early November finds the poet in his kitchen, wringing his signature charm from the eternal carpe diem theme, determined to seize firmly/ the second Wednesday of every month. For Collins, such are his stock in trade, humorous and serious at once. His tongue-in-cheek assault on the gloom and doubt in our poetry is his only remedy for the loneliness that (even for him) shadows all poems: this is a poem, not a novel, he laments, and the only characters here are you and I,/ alone in an imaginary room/ which will disappear after a few more lines. (Sept.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.



Jumat, 10 April 2009

Journey into the Whirlwind (Helen and Kurt Wolff Books) (Paperback)

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In 1989, the Sovremmenik Theatre in Moscow brought Eugenia Ginzburg's autobiography to the stage for the first time. When the curtain came down an emotional audience rose up and applauded for twenty-four minutes. The tragedy of an entire nation had finally been dramatized in one woman's poignant account. 1937, the year that Eugenia Ginzburg was arrested and falsely charged as a Trotskyist terrorist counterrevolutionary, was only the beginning of Stalin's purges. Nearly six million people were arrested on trumped up charges, and millions were executed or perished in prisons and camps. Eugenia Ginzburg, an historian and loyal Communist Party member, chronicles her own terrifying arrest, interrogation, and eighteen-year imprisonment. She speaks with brutal honesty; her ability to recount the minutes and hours of her internment is surpassed only by her extraordinary will to survive. These memoirs are important for those who wish to understand Russian history and for anyone who has ever wondered how they might survive in a maelstrom, facing constant betrayals, overwhelming physical hardship, agonizing loneliness, and a longing for the past. Eugenia Ginzburg shows us "how thin the line is between high principles and blinkered intolerance" and yet she emerges from these pages as a compassionate woman with the "conviction that dignity and honor are not just empty words." -- For great reviews of books for girls, check out Let's Hear It for the Girls: 375 Great Books for Readers 2-14. -- From 500 Great Books by Women; review by Rebecca Sullivan



Man And Superman (Paperback)

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The Crucible (Penguin Classics) (Paperback)

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Based on historical people and real events, Arthur Miller's play uses the destructive power of socially sanctioned violence unleashed by the rumors of witchcraft as a powerful parable about McCarthyism.



The Scarlet Letter (Paperback)

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Gr 8 Up-Actress Elizabeth McGovern reads this acceptable abridgement with precise, clear diction. Her expressive voice is pleasant, effectively using breath sounds and pauses to recreate dramatic moods. Her usually quick tempo keeps the text from being ponderous, but it can be slower when necessary. Given the time period of the original work, her formal tone is appropriate. Her speech changes slightly for the different characters, but there is not much dialogue. The abridgement retains the continuity of the story. Consider purchasing this version for special education students who can't handle the longer, original text.-Claudia Moore, W.T. Woodson High School, Fairfax, VA



The Adventures of Huckleberry Finn (Paperback)

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A seminal work of American Literature that still commands deep praise and still elicits controversy, Adventures of Huckleberry Finn is essential to the understanding of the American soul. The recent discovery of the first half of Twain's manuscript, long thought lost, made front-page news. And this unprecedented edition, which contains for the first time omitted episodes and other variations present in the first half of the handwritten manuscript, as well as facsimile reproductions of thirty manuscript pages, is indispensable to a full understanding of the novel. The changes, deletions, and additions made in the first half of the manuscript indicate that Mark Twain frequently checked his impulse to write an even darker, more confrontational book than the one he finally published. --This text refers to an out of print or unavailable edition of this title.



Literature: An Introduction to Fiction, Poetry, and Drama, Interactive Edition (with MyLitLab) (10th Edition) (Hardcover)

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The most popular introductory anthology of its kind, Kennedy/Gioia’s Literature continues to inspire people with engaging insights on reading and writing about stories, poems, and plays. Literature, Interactive Edition, 11/e comes automatically with a specialized version of MyLiteratureLab, Longman's multimedia website designed specifically for Kennedy/Gioia users. MyLiteratureLab icons are found in the margins of the text along with a list of media assets at the front of the anthology.


Senin, 06 April 2009

Marxist / Materialist Feminism

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"Marxist Feminism / Materialist Feminism"
by Martha E. Gimenez

[Copyright Martha E. Gimenez, 1998]

It was possible, in the heady days of the Women's Liberation Movement, to identify four main currents within feminist thought; Liberal (concerned with attaining economic and political equality within the context of capitalism); Radical (focused on men and patriarchy as the main causes of the oppression of women); Socialist (critical of capitalism and Marxism, so much so that avoidance of Marxism's alleged reductionisms resulted in dual systems theories postulating various forms of interaction between capitalism and patriarchy); and Marxist Feminism (a theoretical position held by relatively few feminists in the U. S. -- myself included -- which sought to develop the potential of Marxist theory to understand the capitalist sources of the oppression of women).

These are, of course, oversimplified descriptions of a rich and complex body of literature which, however, reflected important theoretical, political and social cleavages among women that continue to this date. Divisions in feminist thought multiplied as the effects of post-structuralist and post-modern theorizing merged with grass roots challenges to a feminism perceived as the expression of the needs and concerns of middle and upper middle class white, "First World" women. In the process, the subject of feminism became increasingly difficult to define, as the post- modern critique of "woman" as an essentialist category together with critiques grounded in racial, ethnic, sexual preference and national origin differences resulted in a seemingly never ending proliferation of "subject positions," "identities," and "voices." Cultural and identity politics replaced the early focus on capitalism and (among Marxist feminists primarily) class divisions among women; today class has been reduced to another "ism;" i.e., to another form oppression which, together with gender and race integrate a sort of mantra, something that everyone ought to include in theorizing and research though, to my knowledge, theorizing about it remains at the level of metaphors (e.g., interweaving, interaction, interconnection etc.).

It was, therefore, very interesting to me to read, a few years ago, a call for papers for an edited book on Materialist Feminism. The description of Materialist Feminism put forth by the editors, Chrys Ingraham and Rosemary Hennessy, was to me indistinguishable from Marxist Feminism. This seemed such a promising development in feminist theory that I proceeded to invite the editors to join me in creating an electronic discussion list on Materialist Feminism, MatFem. Initially, I thought that Materialist Feminism was simply another way of referring to Marxist Feminism, but I was mistaken; the two are, to some extent, distinct forms of feminist theorizing. There is, however, such similarities between Materialist and Marxist Feminist thought in some feminists' work that some degree of confusion between the two is to be expected.

My goal, in this introduction to the page, is to explore the differences and the similarities between these two important currents within feminist theory. This is not an easy task; theorists who self-identify as materialist or as marxist feminists differ in their understanding of what those descriptive labels mean and, consequently, the kind of knowledges they produce. And, depending on their theoretical allegiances and self-understanding within the field, feminists may differ in their classification of other feminists works, so that clear lines of theoretical demarcation between and within these two umbrella terms are somewhat difficult to establish. Take, for example, Lise Vogel's work. I always considered her a Marxist Feminist because, unlike Socialist Feminists (whose avoidance of Marx's alleged reductionisms led them to postulate ahistorical theories of patriarchy), she took Marxism seriously and developed her analysis of reproduction as a basis for the oppression of women firmly within the Marxist tradition. But the subtitle of her recent book (a collection of previously published essays), is "Essays for a Materialist Feminism;" self-identifying as a socialist feminist, she states that socialist feminists "sought to replace the socialist tradition's theorizing about the woman question with a 'materialist' understanding of women's oppression" (Vogel, 1995, p. xi). This is certainly news to me; Socialist Feminism's rejection of Marx's and Marxism's "reductionism" lead to the deliberate effort to ground "patriarchy" outside the mode of production and, consequently and from the standpoint of Marxist theory, outside history. Materialism, Vogel tells us, was used to highlight the key role of production, including domestic production, in understanding the conditions leading to the oppression of women. (But wasn't Engels' analysis materialist? and didn't Marxist Feminists [Margaret Benston and Peggy Morton come to mind) explore the ways production -- public and domestic -- oppressed and exploited women?) Materialism was also used as "a flag," to situate Socialist Feminism within feminist thought and within the left; materialist feminism, consequently cannot be reduced to a trend in cultural studies, as some literary critics would prefer (Vogel, 1995, xii).

These brief comments about Vogel's understanding of Materialist Feminism highlight some of its problematic aspects as a term intended to identify a specific trend within feminist theory. It can blur, as it does in this instance, the qualitative differences that existed and continue to exist between Socialist Feminism, the dominant strand of feminist thought in the U.S. during the late 1960s and 1970s, and the marginalized Marxist Feminism. I am not imputing such motivations to Lise Vogel; I am pointing out the effects of such an interpretation of U.S. Socialist Feminism which, despite the use of Marxist terms and references to capitalism, developed, theoretically, as a sort of feminist abstract negation of Marxism. Other feminists, for different reasons, would also disagree with Vogel's interpretation; for example, for Toril Moi and Janice Radway, the relationship between Socialist Feminism and Materialist Feminism "is far from clear" (Moi and Radway, 1994: 749). Acknowledging the problematic nature of the term, in a special issue of The South Atlantic Quarterly dedicated to this topic they do not offer a theory of Materialist Feminism, nor a clear definition of the term. Presumably, the articles included in this issue will give the reader the elements necessary to define the term for herself because all the authors "share a commitment to concrete historical and cultural analysis, and to feminism understood as an 'emancipatory narrative'"(Moi and Radway, 1994:750). One of these authors, Jennifer Wicke, defines it as follows: "a feminism that insists on examining the material conditions under which social arrangements, including those of gender hierarchy, develop... materialist feminism avoids seeing this (gender hierarchy) as the effect of a singular....patriarchy and instead gauges the web of social and psychic relations that make up a material, historical moment" (Wicke, 1994: 751);"...materialist feminism argues that material conditions of all sorts play a vital role in the social production of gender and assays the different ways in which women collaborate and participate in these productions"... "there are areas of material interest in the fact hat women can bear children... Materialist feminism... is less likely than social constructionism to be embarrassed by the occasional material importance of sex differences.."(Wicke, 1994: 758-759).

Insistence on the importance of material conditions, the material historical moments as a complex of social relations which include and influence gender hierarchy, the materiality of the body and its sexual, reproductive and other biological functions remain, however, abstract pronouncements which unavoidably lead to an empiricist focus on the immediately given. There is no theory of history or of social relations or of the production of gender hierarchies that could give guidance about the meaning of whatever it is observed in a given "material historical moment."

Landry and MacLean, authors of MATERIALIST FEMINISMS (1993), tell us that theirs is a book "about feminism and Marxism" in which they examine the debates between feminism and Marxism in the U.S. and Britain and explore the implications of those debates for literary and cultural theory. The terrain of those early debates, which were aimed at a possible integration or synthesis between Marxism and feminism, shifted due to the emergence of identity politics, concern with postcolonialism, sexuality, race, nationalism, etc., and the impact of postmodernism and post- structuralism. The new terrain has to do with the "construction of a materialist analysis of culture informed by and responsive to the concerns of women, as well as people of color and other marginalized groups" (Landry and MacLean, 1993: ix-x). For Landry and Maclean, Materialist Feminism is a "critical reading practice...the critical investigation, or reading in the strong sense, of the artifacts of culture and social history, including literary and artistic texts, archival documents, and works of theory... (is) a potential site of political contestation through critique, not through the constant reiteration of home-truths" (ibid, pp. x-xi). Theirs is a "deconstructive materialist feminist perspective" (ibid, p. xiii). But what, precisely, does materialist mean in this context? What theory of history and what politics inform this critique? Although they define materialism in a philosophical and moral sense, and bring up the difference between mechanical or "vulgar"materialism and historical materialism, there is no definition of what materialism means when linked to feminism. Cultural materialism, as developed in Raymond William's work, is presented as a remedy or supplement to Marx's historical materialism. There is, according to Williams, an "indissoluble connection between material production, political and cultural institutions and activity, and consciousness ... Language is practical consciousness, a way of thinking and acting in the world that has material consequences (ibid, p. 5). Williams, they point out, "strives to put human subjects as agents of culture back into materialist debate" (ibid, p. 5).

The implications of these statements is that "humans as agents of culture" are not present in historical materialism and that Marx's views on the relationship between material conditions, language, and consciousness are insufficient. But anyone familiar with Marx's work knows that this is not the case. In fact, it is Marx who wrote that "language is practical consciousness" and posited language as the matter that burdens "spirit" from the very start, for consciousness is always and from the very first a social product (Marx, [1845-46] 1994, p.117).

Landry and Maclean present an account of the development of feminist thought from the late 1960s to the present divided in three moments: the encounters and debates between marxism and feminism in Britain and the U.S.; the institutionalization and commodification of feminism; and "deconstructive materialist feminism." These are "three moments of materialist feminism" (ibid, p.15), a very interesting statement that suggest that Materialist Feminism -- a rather problematic and elusive concept which reflects, in my view, postmodern sensibilities about culture and about the subject of feminism -- had always been there, from the very beginning, just waiting to be discovered. Is that really the case? If so, what is this materialism that lurked under the variety of feminist theories produced on both sides of the Atlantic since the late 1960s? Does reference to "material conditions" in general or to "the material conditions of the oppression of women" suffice as a basis for constructing a new theoretical framework, qualitatively different from a Marxist Feminism? If so, how? The authors argue that feminist theories focused exclusively on gender and dual systems theories that bring together gender and class analysis face methodological and political problems that "deconstructive reading practices can help solve;" they propose "the articulation of discontinuous movements, materialism and feminism, an articulation that takes the political claims of deconstruction seriously... deconstruction as tool of political critique (ibid, p. 12-13). But isn't the linking between deconstruction and Marxism what gives it its critical edge? It is in the conclusion that the authors, aiming to demonstrate that materialism is not an alias for Marxism, outline the difference between Marxist Feminism and Materialist Feminism as follows:

"Marxist feminism holds class contradictions and class analysis central, and has tried various ways of working an analysis of gender oppression around this central contradiction. In addition to class contradictions and contradictions within gender ideology... we are arguing that materialist feminism should recognize as material other contradictions as well. These contradictions also have histories, operate in ideologies, and are grounded in material bases and effects.... they should be granted material weight in social and literary analysis calling itself materialist.... these categories would include...ideologies of race, sexuality, imperialism and colonialism and anthropocentrism, with their accompanying radical critiques" (ibid, p. 229).

While this is helpful to understand what self-identified materialist feminists mean when they refer to their framework, it does not shed light on the meaning of material base, material effect, material weight. The main concept, materialism, remains undefined and references to ideologies, exploitation, imperialism, oppression, colonialism, etc. confirm precisely that which the authors intended to dispel: materialism would seem to be an alias for Marxism.

Rosemary Hennessy (1993) traces the origins of Materialist Feminism in the work of British and French feminists who preferred the term materialist feminism to Marxist feminism because, in their view, Marxism had to be transformed to be able to explain the sexual division of labor (Beechey, 1977: 61, cited in Kuhn and Wolpe, 1978: 8). In the 1970s, Hennessy states, Marxism was inadequate to the task because of its class bias and focus on production, while feminism was also problematic due to its essentialist and idealist concept of woman; this is why materialist feminism emerged as a positive alternative both to Marxism and feminism (Hennessy, 1993: xii). The combined effects of the postmodern critique of the empirical self and the criticisms voiced by women who did not see themselves included in the generic woman subject of academic feminist theorizing resulted, in the 1990s, in materialist feminist analyses that "problematize 'woman' as an obvious and homogeneous empirical entity in order to explore how 'woman' as a discursive category is historically constructed and traversed by more than one differential axis" (Hennessy, 1993: xii). Furthermore, Hennessy argues, despite the postmodern rejection of totalities and theoretical analyses of social systems, materialist feminists need to hold on to the critique of the totalities which affect women's lives: patriarchy and capitalism. Women's lives are every where affected by world capitalism and patriarchy and it would be politically self-defeating to replace that critique with localized, fragmented political strategies and a perception of social reality as characterized by a logic of contingency.

Hennessy's views on the characteristics of Materislist Feminism emerge through her critical engagement with the works of Laclau and Mouffe, Foucault, Kristeva and other theorists of the postmodern. Materialist Feminism is a "way of reading" that rejects the dominant pluralist paradigms and logics of contingency and seeks to establish the connections between the discursively constructed differentiated subjectivities that have replaced the generic "woman" in feminist theorizing, and the hierarchies of inequality that exploit and oppress women. Subjectivities, in other words, cannot be understood in isolation from systemically organized totalities. Materialist Feminism, as a reading practice, is also a way of explaining or re-writing and making sense of the world and, as such, influences reality through the knowledges it produces about the subject and her social context. Discourse and knowledge have materiality in their effects; one of the material effects of discourse is the construction of the subject but this subject is traversed by differences grounded in hierarchies of inequality which are not local or contingent but historical and systemic, such as patriarchy and capitalism. Difference, consequently, is not mere plurality but inequality. The problem of the material relationship between language, discourse, and the social or between the discursive (feminist theory) and the non-discursive (women's lives divided by exploitative and oppressive social relations) can be resolved through the conceptualization of discourse as ideology . A theory of ideology presupposes a theory of the social and this theory, which informs Hennessy's critical reading of postmodern theories of the subject, discourse, positionality, language, etc., is what she calls a "global analytic" which, in light of her references to multinational capitalism, the international division of labor, overdetermined economic, political and cultural practices, etc, is at the very least a kind of postmodern Marxism. But references to historical materialism, and Althusser's theory of ideology and the notion of symptomatic reading are so important in the development of her arguments that one wonders about her hesitation to name Marx and historical materialism as the theory of the social underlying her critique of the postmodern logic of contingency; i.e., the theory of capitalism, the totality she so often mentions together with patriarchy as sources of the exploitation and oppression of women and as the basis for the "axis of differences" that traverse the discursive category "woman." To sum up, Hennessy's version of Materialist Feminism is a blend of post-marxism and postmodern theories of the subject and a source of "readings" and "re- writings" which rescue postmodern categories of analysis (subject, discourse, difference) from the conservative limbo of contingency, localism and pluralism to historicize them or contextualizing them by connecting them to their systemic material basis in capitalism and patriarchy. This is made possible by understanding discourse as ideology and linking ideology to its material base in the "global analytic."

In Hennessy's analysis, historical materialism seems like an ever present but muted shadow, latent under terms such as totality, systemic, and global analytic. However, in the introduction to MATERIALIST FEMINISM: A Reader in Class, Difference and Women's Lives (1997), written with her co-editor, Chrys Ingraham, there is a clear, unambiguous return to historical materialism, a recognition of its irreplaceable importance for feminist theory and politics. This introduction, entitled "Reclaiming Anticapitalist Feminism," is a critique of the dominant feminist concern with culture, identity and difference considered in isolation from any systemic understanding of the social forces that affect women's lives, and a critique of an academic feminism that has marginalized and disparaged the knowledges produced by the engagement of feminists with Marxism and their contributions to feminist scholarship and to the political mobilization of women. More importantly, this introduction is a celebration of Marxist Feminism whose premises and insights have been consistently "misread, distorted, or buried under the weight of a flourishing postmodern cultural politics" (ibid, p.5). They point out that, whatever the name of the product of feminists efforts to grapple with historical materialism (marxist feminism, socialist feminism or materialist feminism), these are names that signal theoretical differences and emphases but which together indicate the recognition of historical materialism as the source of emancipatory knowledge required for the success of the feminist project. In this introduction, materialist feminism becomes a term used interchangeably with marxist feminism, with the latter being the most prominently displayed. The authors draw a clear line between the cultural materialism that characterizes the work of post-marxist feminists who, having rejected historical materialism, analyze cultural, ideological and political practices in isolation from their material base in capitalism, and materialist feminism (i.e., marxist or socialist feminism) which is firmly grounded in historical materialism and links the success of feminist struggles to the success of anticapitalist struggles; "unlike cultural feminists, materialist, socialist and marxist feminists do not see culture as the whole of social life but rather as only one arena of social production and therefore as only one area of feminist struggle" (ibid, p. 7). The authors differentiate materialist feminism from marxist feminism by indicating that it is the end result of several discourses (historical materialism, marxist and radical feminism, and postmodern and psychoanalytic theories of meaning and subjectivity) among which the postmodern input, in their view, is the source of its defining characteristics. Nevertheless, in the last paragraphs of the introduction there is a return to the discussion of marxist feminism, its critiques of the idealist features of postmodernism and the differences between the postmodern and the historical materialist or marxist analyses of representations of identity. But, they point out, theoretical conflicts do not occur in isolation from class conflicts and the latter affect the divisions among professional feminists and their class allegiances. Feminists are divided in their attitudes towards capitalism and their understanding of the material conditions of oppression; to be a feminist is not necessarily to be anticapitalist and to be a materialist feminist is not equivalent to being socialist or even critical of the status quo. In fact, "work that claims the signature "materialist feminism" shares much in common with cultural feminism, in that it does not set out to explain or change the material realities that link women's oppression to class" (ibid, p.9). Marxist feminism, on the other hand, does make the connection between the oppression of women and capitalism and this is why the purpose of their book, according to the authors, is "to reinsert into materialist feminism -- especially in those overdeveloped sectors where this collection will be most widely read -- those (untimely) marxist feminist knowledges that the drift to cultural politics in postmodern feminism has suppressed. It is our hope that in so doing this project will contribute to the emergence of feminisms' third wave and its revival as a critical force for transformative social change (ibid, p. 9).

In light of the above, given the inherent ambiguity of the term Materialist Feminism, shouldn't it be more theoretically adequate and politically fruitful to return to Marxist Feminism? Is the effort of struggling to redefine Materialist Feminism by reinserting Marxist Feminist knowledges a worthwhile endeavor? How important is it to broaden the notion of Materialist Feminism to include Marxist Feminist contents? Perhaps the political climate inside and outside the academy is one where Marxism is so discredited that Marxist Feminists are likely to find more acceptance and legitimacy by claiming Materialist Feminism as their theoretical orientation. I do not in anyway impute this motivation to Ingraham and Hennessy whose introduction to their book is openly Marxist. In fact, after I read it and looked over the table of contents I thought a more adequate title for the book would have been Marxist Feminism. And anyone familiar with historical materialism can appreciate the sophisticated Marxist foundation of Hennessy's superbly argued book. In my view, as the ruthlessness of the world market intensifies the exploitation of all working people among which women are the most vulnerable and the most oppressed, the time has come not just to retrieve the Marxist heritage in feminist thought but to expand Marxist Feminist theory in ways that both incorporate and transcend the contributions of postmodern theorizing.

The justification for using Materialist Feminism rather than Marxist Feminism is the alleged insufficiency of Marxist Theory for adequately explaining the oppression of women. Lurking behind the repeated statements about the the shortcomings of Marxism there is an economistic and undialectical understanding of Marx and Marxist theory. That Marx may not have addressed issues that 20th century feminists consider important is not a sufficient condition to invalidate Marx's methodology as well as the potential of his theory of capitalism to help us understand the conditions that oppress women. But regardless of those pronouncements, it is fascinating, in retrospect, to read the theory produced by self- defined Materialist Feminists and realize that they are actually using and developing Marxist theory in ways that belie statements about its inherent shortcomings. And it is important to know how Kuhn and Wolpe, authors of FEMINISM AND MATERIALISM (1978) define the term materialism; they adopted Engels' definition of the term: "According to the materialist conception, the determining factor in history is, in the final instance, the production and reproduction of immediate life. This, again, is of a twofold character: on the one side, the production of the means of existence, of food, clothing and shelter and the tools necessary for that production; on the other side, the production of human beings themselves, the propagation of the species" (Engels, [1883] 1972, p.71)(Kuhn and Wolpe, 1978: 7). Kuhn, Wolpe and the contributors to their book in various ways expanded the scope of historical materialism to produce new knowledges about the oppression of women under capitalism. But materialist feminism, a term which may have been useful in the past might have lost its effectivity today. How useful is it to broaden the meaning of Materialist Feminism today to encompass Marxist Feminism if, at the same time, the term is claimed by cultural materialists whose views are profoundly anti-marxist? How will the new generations learn about the theoretical and political importance of historical materialism for women if historical materialist analysis is subsumed under the Materialist Feminist label? Doesn't this situation contribute to the marginalization of scholars who continue to self-identify as Marxist Feminists? I understand Marxist Feminism as the body of theory produced by feminists who, adopting the logic of analysis of historical materialism, expand the scope of the theory while critically incorporating useful insights and knowledges from non-marxist theorizing, just as Marx grappled with the discoveries of the classical economists and their shortcomings. Why should this theoretical enterprise present itself under a different name, especially one likely to elicit some degree of confusion among the younger generations of feminists? Furthermore, the political cost of doing, essentially, Marxist theorizing under the banner of Materialist Feminism is likely to be exceedingly high. Why? Because, by overstressing the "materialist" aspect in historical materialism it can contribute justify the dominant stereotypes about Marxism: its materialism, meaning its alleged anti-agency, anti-human, deterministic, reductionist limitations.

The answers to these questions are political and will come from feminists practices and dialogue and from the effects of the intensification of capitalist rule upon both first and third world peoples. In the meantime, it is important to know that Marxist and some works within Materialist Feminism share fundamental theoretical assumptions and political goals.
Bibliography

Grosz, Elizabeth. Volatile Bodies: Toward a Corporeal Feminism. 1994.

Hennessy, Rosemary. Materialist Feminism and the Politics of Difference. 1993.

Hennessy, Rosemary and Chrys Ingraham, eds. Materialist Feminism: A Reader in Class, Difference, and Women's Lives. 1997.

Kuhn, Annette and AnnMarie Wolpe, eds., FEMINISM AND MATERIALISM. Women and Modes of Production. Routledge and Kegan Paul, 1978.

Landry, Donna and Gerald Maclean, MATERIALIST FEMINISMS. Blackwell, 1993.

Moi, Toril and Janice Radway, "Editors' Note." The South Atlantic Quarterly (Fall, 1994): 749.

Sharpe, Jenny. Allegories of Empire: The Figure of Woman in the Colonial Text. 1993.

Vogel, Lise. WOMAN QUESTIONS. Essays for a Materialist Feminism. Routledge, 1995.

Wicke, Jennifer. "Celebrety Material: Materialist Feminism and the Culture of Celebrety." The South Atlantic Quarterly (Fall, 1994): 751-78.Gimenez, Martha and Jane Collins, ed.Work Without Wages. SUNY Press, 1990.

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Contemporary Literary Criticism

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Hopscotch Julio Cortázar
INTRODUCTION

The publication of Hopscotch in 1963—and its English translation three years later—confirmed Cortázar's reputation as a major figure in the Latin American literary "Boom" of the 1950s and 1960s and established him as a writer of international stature.

Noted for its experimental structure, the novel contains three parts: two traditional narratives—the first set in Paris, the second in Buenos Aires—and a collection of fragments which can, if the reader so wishes, be incorporated into a second, more complex reading. Hopscotch explores traditional novelistic problems of love and death; casts an ironic eye on the existential anxieties of Horacio Oliveira, its alienated, postwar protagonist; and questions the rational foundation of the realist novel and Western civilization. However, Cortázar complicates and enriches these themes through metafictional play, exposing the process of story-telling, and inviting reader participation both in a postmodern literary game and in the fate of his characters.
Plot and Major Characters

The first two sections of Hopscotch, "From the Other Side," and "From This Side," form a complex but otherwise traditional narrative that can be read by a "passive" reader as the story of an Argentinean intellectual expatriate in Paris who returns disillusioned to Argentina. The third section, however, titled "From Diverse Sides," comprises seventy-five optional "Expendable Chapters." These segments, which often contradict the preceding chapter as they offer new perspectives and disturb the reader with abrupt changes in tone and content, encourage readers to critically examine their reactions to the text and thus pursue a more "active" and participatory reading. Oliveira, the narrator-protagonist, is a self-absorbed, aimless bohemian who belongs to the Serpent Club, a group of friends who spend long hours in the Latin Quarter of Paris listening to jazz records and discussing art, philosophy, and such literary hypotheses as Gregorovius' dictum "Paris is one big metaphor." The club members—Babs, Ronald, Etienne, Gregorovius, Ossip, Guy Monod, Perico, Pola, and La Maga—represent numerous countries and share Oliveira's rootless and fanciful attachment to the city. In the narrative of the first 56 chapters, Hopscotch chronicles Oliveira's intellectual quest for a vaguely defined Absolute, the "kibbutz of desire"—an idealistic combination of individuality and community. In contrast to Oliveira's unhappy longing is La Maga, a mysterious
Julio Cortázar
Julio Cortázar
and haunting character who heightens Oliveira's sense of the absurd and suggests a more authentic means of interacting with reality. Scattered among the many chapters of discussion are a number of crucial events that determine Oliveira's destiny. His experiences in Paris, partly chosen, partly governed by chance, are described obliquely, often either implied or requiring reader inference. Oliveira meets Berthe Trépat, a concert pianist whose repertoire is obscure and whose small audience shrinks until only Oliveira is left. During another evening, Oliveira discovers the death of La Maga's child Rocamadour but says nothing to comfort La Maga, who later disappears. The ambiguity of her fate—did she leave Paris or drown herself in the Seine—plays an important role in the second part of the novel, for it questions whether La Maga's appearance in Buenos Aires is some sort of fantastic event or a symptom of Oliveira's insanity. In chapter 36 Oliveira has a sexual encounter on the banks of the Seine with an indigent woman, an event which precipitates his departure from Paris. In the second section of Hopscotch, Oliveira returns to Buenos Aires, where he rejoins his friends the Travelers, Manuel and Talita, and an old girlfriend, Gekrepten. In a long chapter reminiscent of Absurdist theater, Oliveira persuades Talita to cross a precarious hand-made bridge high above the street, simply to bring him some mate. Oliveira joins Manuel and Talita in a circus, but when the circus is sold so that its owner can purchase a psychiatric clinic, all three make abrupt career changes to become warders in the asylum, and Oliveira's own faint grasp on sanity is weakened. At the close of chapter 56, Oliveira is left debating whether or not to commit suicide by jumping from a window onto the grid of a hopscotch game below. In the alternative, second reading suggested by Cortázar's "Table of Instructions," the reader begins at chapter 73, then follows the traditional chapter sequence while "hopping" back and forth to the "expendable chapters" which form the third section of the novel. It is here, in chapter 60, that the "Morelliana" (the words of the fictional author Morelli) first appear, along with further disjointed fragments of narrative; newspaper and magazine cuttings from such diverse sources as Levi Strauss's Tristes Tropiques, L'Express, and the London Observer; and quotations from such writers as Anaïs Nin, Lawrence Ferlinghetti, Alban Berg, Octavio Paz. Morelli, a writer often read as Cortázar's double within the novel, is knocked down by a motor car; Oliveira subsequently gains access to the writer's papers, which then become the focus of much discussion in the Serpent Club. The presence of Morelli's writing in the second reading also complicates the reader's previously comfortable relationship with the narrative; Morelli blurs the line between writer and story, and his ideas become a commentary on Hopscotch itself. The "active" reading of Hopscotch leaves the novel unresolved, with the reader instructed to shuttle back and forth between chapter 58 and 131 indefinitely.
Major Themes

The controlling image in Hopscotch of a children's game, in which the goal is to move from Earth to Heaven, is an embodiment of Oliveira's quest for an accessible Absolute. The key theme and impetus of the traditional narrative in the first 56 chapters is Oliveira's sense of exclusion from an imagined state of grace and his attempts to find, as he calls it, a "kibbutz of desire," an idealized place of community and self-sufficiency. For Oliveira, La Maga represents such a state, and Oliveira tries to create his own version through encounters with strangers such as the pianist Berthe Trépat. Oliveira's sexual transgression with the clocharde Emmanuèle—a character whose indigence essentially excludes her from the nexus of Oliveira's desire—enables him to close his quest for the mythic "kibbutz," as he finds acceptance at society's lowest depth. Manuel, Oliveira's counterpart in Buenos Aires, shares with La Maga the status of Oliveira's "double" by which he can be defined, just as Buenos Aires will be determined by its semblance to Paris. Related to this is the theme of Argentinean national identity, Latin America's ambivalent attitude toward European culture, and especially toward literary culture. Allied to his critique of the Argentinean's cultural indebtedness to Europe is Cortázar's commentary on the failings of Western rationalism, including the traditionally lucid literary narrative that Hopscotch seeks to disrupt. The "second" and optional reading introduces problems of literary and linguistic theory, making Oliveira's quest part and parcel of a writing and reading strategy. Hopscotch thus becomes for the "active" reader a self-reflexive novel which problematizes its own authorship and raises the theme of the double or multiple articulation, for in this sense the "writing" is shown to be shared between Cortázar, Morelli, and the participant reader. Another major theme is madness and the individual's relation to society. Towards the conclusion of the second narrative, Oliveira kisses Talita, believing her to be La Maga. One of Manuel's options in response to Oliveira's act is to declare him insane; and Oliveira's sanity, as he is contemplating suicide at the novel's end, is questionable. As Steven Boldy has stated: madness assumes "several connotations in the novel, where Oliveira muses on the possibility of 'joining the world, the Great Madness.' In a mad world, to go mad is to be reconciled to reality and society, to be at one with its absurd or conventional laws. It is this acceptance, of which Oliveira has always before been incapable, that his long path has prepared him to embrace."
Critical Reception

Many critics have praised Hopscotch's literary experimentalism and compared the novel to James Joyce's Ulysses (1922). While acknowledging Cortázar's debt to a more original work, commentators have found something new and more "decadent" in Cortázar's vision. Hopscotch has frequently been construed as a critique of Western rationalism, with scholars suggesting that the novel's passages of absurd humor and aimless philosophizing form a continuity with the Surrealist movement. Although some critics have been impressed by Cortázar's erudite display in Hopscotch—his knowledge of jazz, art, literature, and philosophy, as well as what they consider his conceptual tours de force—others have noted the danger of intimidating the reader. For example, the "philosophizing" in the Serpent Club has struck some critics as "tedious and verbose;" others have noted Cortázar's sensitive ear for the literary qualities of Argentinean common speech. The theme of trans-Atlantic cultural influence has been widely noted, and certain Latin American critics have focused on Cortázar's concern in Hopscotch with Argentinean national and cultural identity and the problem of exile and expatriation. For others, Oliveira's bohemian disaffiliation in Paris is a counterpart of his psychic alienation. Another set of scholars consider Hopscotch a major example of the postmodern novel, arguing that its metatextuality, its foregrounding of problems of reading and authorship, its discursive play, and its disruption of traditional narrative, all signal an important advance on the modernism of Joyce.

Shakespeare After All (Paperback)

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I bought this book on the strength of Marjorie Garber's excellent past Renaissance scholarship. I was expecting something more theoretically informed and original, but as it is this is a very worthwhile book, and I predict it will be an essential reference book for teachers and students. It's a BIG book with a substantial chapter on each play (but not the sonnets), as with Harold Bloom's book on Shakespeare. Garber, however, is less idiosyncratic than Bloom; She synthesizes the best of recent scholarship, but without footnotes or extensive theorizing a la Derrida and Lacan. Garber combines close attention to language with valuable historical background and context. For example, in her chapter on Macbeth, she relates a "new critical" analysis of the clothing imagery to sumptuary laws regarding clothing (laws which served to enforce the social hierachy of Renaissance England). The strengths of this book are her comprehensive discussions of the play, which sum up what we know for sure about the plays including the relevant historical contexts, and her brilliant analysis of Shakespeare's language, i.e., close reading. While her work is illuminated by recent scholarship, she avoids the Stalinesque imperatives of political correctness. Compare Garber's intelligent discussion of the problem of gender in Macbeth with Stephen Orgel's "introduction" in The Complete Pelican Shakespeare, in which he reductively reads the play as a "misogynist fantasy." The only reason I docked the book one star is that, based on the chapters I've read so far, she doesn't really make a major original contribution to Shakespeare studies (in contrast to, for example, Greenblatt's recent bio of Shakespeare, Will in the World) so much as synthesize what we already know. All in all, a very valuable reference book that I will be consulting regularly in my college teaching. Highly recommended for high school teachers, English majors (undergraduate and graduate), and all fans of Shakespeare.

Shakespeare: The Invention of the Human (Paperback)

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"Personality, in our sense, is a Shakespearean invention, and is not only Shakespeare's greatest originality but also the authentic cause of his perpetual pervasiveness." So Harold Bloom opines in his outrageously ambitious Shakespeare: The Invention of the Human. This is a titanic claim. But then this is a titanic book, wrought by a latter-day critical colossus--and before Bloom is done with us, he has made us wonder whether his vision of Shakespeare's influence on the whole of our lives might not be simply the sober truth. Shakespeare is a feast of arguments and insights, written with engaging frankness and affecting immediacy. Bloom ranges through the Bard's plays in the probable order of their composition, relating play to play and character to character, maintaining all the while a shrewd grasp of Shakespeare's own burgeoning sensibility.

It is a long and fascinating itinerary, and one littered with thousands of sharp insights. Listen to Bloom on Romeo and Juliet: "The Nurse and Mercutio, both of them audience favorites, are nevertheless bad news, in different but complementary ways." On The Merchant of Venice: "To reduce him to contemporary theatrical terms, Shylock would be an Arthur Miller protagonist displaced into a Cole Porter musical, Willy Loman wandering about in Kiss Me Kate." On As You Like It: "Rosalind is unique in Shakespeare, perhaps indeed in Western drama, because it is so difficult to achieve a perspective upon her that she herself does not anticipate and share." Bloom even offers some belated vocational counseling to Falstaff, identifying him as an Elizabethan Mr. Chips: "Falstaff is more than skeptical, but he is too much of a teacher (his true vocation, more than highwayman) to follow skepticism out to its nihilistic borders, as Hamlet does."

In the end, it doesn't matter very much whether we agree with all or any of these ideas. What does matter is that Bloom's capacious book sends us hurrying back to some of the central texts of our civilization. "The ultimate use of Shakespeare," the author asserts, "is to let him teach you to think too well, to whatever truth you can sustain without perishing." Bloom himself has made excellent use of his hero's instruction, and now he teaches us all to do the same. --Daniel Hintzsche --This text refers to an out of print or unavailable edition of this title.

How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines (Paperback)

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The author is an English professor at the University of Michigan and it becomes apparent quite quickly that he is one of those popular professors who is chatty and has lots of students signing up for his introductory courses on literature. The language is friendly and the examples are entertaining as well as informative. If I lived in Flint, I'd take his classes.

There have been many times I've read a book and just *known* the author is trying to impart more than I am taking away from the prose, and I hear about symbolism in literature, yet I have very little success finding it on my own. One time in high school I had a very good English teacher who would point out the symbolism in stories and novels, but he never told us how to do it, as this book does. With chapters on a wide range of topics (journeys, meals, poetry, Shakespeare, the Bible, mythology, fairy tales, weather, geography, violence, politics, sex and illness, among others) and a wide variety of examples, I found myself learning A LOT. Certainly this would not be of much value to a literature graduate student or professor, but for the rest of us this is a great introduction to getting more out of our reading (or viewing, as the author also touches on film, though to a lesser extent).

The book concludes with a test, in which you read a short story and interpret it using the principles put forth by Professor Foster, then interpretations by several students and Foster himself -- delightful and illuminating! Finally, the author gives a suggested reading/viewing list and an index.

Two problems with the book: first, as I mentioned, the style of the author is conversational, but sometimes to the point of being distracting; secondly, the topics covered are quite idiosyncratic, leaving out as many as are included, though the author addresses this. Still, I give the book 5 out of 5 because it was entertaining, accessible and it has improved my understanding and appreciation of subsequent books I've read and even films I've seen.

Literary Criticism: An Introduction to Theory and Practice (Paperback)

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4 years of English studies, and I never once sat down to read literary theory until I had to take a course in it. Bressler's book helped me immensely to sort out the confusing mass that is theory. He lists a dozen or so major movements, such as formalism, reader-response criticism, structuralism, and post-structuralism, and also includes "additional" chapters on individual theorists such as Barthes, Levi-Strauss, etc. The explanations are concise. I also like how this professor turned author looks at theory from the student's perspective: he breaks down complicated ideas into manageable parts, without losing the essential point of the theory.

Active Life Outdoor Challenge

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Product Features

* Get Active – A fun and easy way to get off the couch and get hearts pumping!
* Gameplay Variety – Play over a dozen fast-paced games, alone or with friends, in energetic events that gets players’ whole bodies into the action.
* Tremendous Replay Value – Over a dozen games, each with multiple levels of play: river rafting, mine-cart adventure, log jumping, see-saw, jump rope, water trampoline, plus many more!
* Mii Support – Play as your Mii from the very beginning
* The Active Life Mat – The specially-designed mat is bundled with the game so you can jump straight into the action!

SimAnimals

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Amazon.com Product Description
SimAnimals, the latest Sim video game from Electronic Arts, lets you explore a vast forest of wild animals and make it your own. With over 30 species of animals spread out in the woodlands, swamps, and more, this game will reveal secrets about the wilderness and teach you what it takes to survive in the wildlife.

The Thinker's Toolkit: 14 Powerful Techniques for Problem Solving (Paperback)

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Regardless of whether you specialize in a particular business skill, work in IT, are a consultant, or someone who wants to make a critical personal decision, this book will give you the necessary tools for decision making.

It has three parts: (1) 50 pages on the basics of problem solving and decision making, (2) a collection of the fourteen tools that will make you an effective problem solver or decision maker, and (3) Next steps for refining your problem solving.

Part 1 prepares you by getting you to think about thinking and providing insights to problem solving - sort of like a warm up before you engage in strenuous exercise. This is appropriate because as you work through the exercises associated with each tool you will be getting a strenuous mental workout - the author makes you think hard throughout the book.

Critical Thinking (Paperback)

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In this book, Alec Fisher aims to teach directly an important range of thinking skills. The skills are fundamental critical (and creative) thinking skills, and they are taught in a way which expressly aims to facilitate their transfer to other subjects and other contexts. The method is to use 'thinking maps' which help improve thinking by asking key questions of students when they are faced with different types of problems. Alec Fisher explains the language of reasoning, how to understand different kinds of arguments and how to ask the right question. Other topics include: different patterns of reasoning and standards which apply in different contexts, how to clarify and interpret ideas, how to judge the credibility of claims, and how to decide whether a person really justifies their conclusions, given their audience. Particular attention is given to understanding casual explanations and evaluating decisions. THe book includes many examples and exercises which give extensive practice in developing critico-creative thinking skills.

Asking the Right Questions: A Guide to Critical Thinking (8th Edition) (Paperback)

tittleThis book has been a tremendously positive influence on my life as well as on the lives of those to whom I have recommended it! Before studying "Asking the Right Questions," I was well educated, but nevertheless my thinking was often muddled and illogical. As a graduate student, this book helped me to better define my own ideas as well as understand the ideas of others. I learned how to engage in truly meaningful discourse with others about ideas and principles because I could apply a more rational approach. Differences of opinion became engaging rather than destructive or unproductive. This book and its philosophy gives me hope in the idea of the "democracy of ideas."

Literature: An Introduction to Fiction, Poetry, and Drama, Interactive Edition (with MyLitLab) (10th Edition) (Hardcover)

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Product Description

The most popular introductory anthology of its kind, Kennedy/Gioia’s Literature continues to inspire people with engaging insights on reading and writing about stories, poems, and plays. Literature, Interactive Edition, 11/e comes automatically with a specialized version of MyLiteratureLab, Longman's multimedia website designed specifically for Kennedy/Gioia users. MyLiteratureLab icons are found in the margins of the text along with a list of media assets at the front of the anthology.

Poets in their own right, editors X. J. Kennedy and Dana Gioia bring personal warmth and a human perspective to this comprehensive anthology. Literature, Interactive Edition, 11/e, presents readable discussions of the literary devices, illustrated by engaging works, supported by useful writing tips, and followed by seven chapters devoted to writing that have been thoroughly updated to reflect MLA’s latest guidelines. Conversations with Amy Tan, Kay Ryan (the 2008 poet laureate), and David Ives, conducted by Dana Gioia, offer readers an insider’s look into the importance of reading to three contemporary writers. A Latin American Writers casebook is new to Fiction and collects some of the finest authors from the region including Octavia Paz, Gabriel Garcia Marquez, and Ines Arendondo. A casebook on Nathaniel Hawthorne’s “Young Goodman Brown” is now featured as part of the Three Stories In-depth chapter. Many new writers have been added including Naguib Mahfouz, Virginia Woolf, Sherman Alexie, Mary Oliver, Bettie Sellers, and Anne Deavere Smith