New Books in Literary Studies

Lawrence LipkingView on Amazon[Cross-posted from New Books in Astronomy] Lawrence Lipking's new book, What Galileo Saw: Imagining the Scientific Revolution (Cornell University Press, 2014) examines the role of imagination and creativity in the seventeenth century developments that have come to be known as the Scientific Revolution.  Whereas some accounts suggest that this period involved the rejection of imaginative thinking, Lipking traces it through the works of Galileo, Kepler, Bacon, Newton, Hooke, and many others, demonstrating that the ability to envision new worlds is as crucial to their critical insights as rational thought.  Each chapter of the book approaches a different discipline, from astronomy to natural history and the life sciences, exploring the intersection between imagination and the emerging ideas surrounding the scientific process.

Shengqing WuView on Amazon[Cross-posted from New Books in East Asian Studies] Shengqing Wu's gorgeous new book begins by exploring the image of the treasure pagoda to introduce readers to an aesthetics of ornamental lyricism in Chinese poetry at the turn of the twentieth-century. Modern Archaics: Continuity and Innovation in the Chinese Lyric Tradition, 1900-1937 (Harvard University Asia Center, 2014) then continues gorgeously, exploring practices and discourses of classical poetry in early twentieth-century China in beautiful prose that carries a powerful argument. Challenging some widespread assumptions about the practice of classical poetry in modern China, and simultaneously problematizing the relationship between the spoken and written word in modern Chinese literary discourse, Wu argues that Chinese lyric poetry from 1900-1937 saw the innovative development of a new aesthetic style, ideological commitment, and social practice in reaction to political, cultural, and historical necessities of the time. Paying careful attention to the formal aspects of these poems, the three main sections of Modern Archaics consider the relationship between history and lyricism in contexts of (1) historical trauma and loss; (2) the development of affective communities that treated lyric composition as an integral part of shared social practice; and (3) travel and translation. There's also some wonderful material on gendered lyric composition and women's history. It's well worth reading for anyone interested in modern Chinese literature, the histories of poetry and/or translation, and literary theory.

Nabil MatarView on Amazon[Cross-posted from New Books in Islamic Studies] In Henry Stubbe and the Beginnings of Islam: The Originall & Progress of Mahometanism­ (Columbia University Press, 2013), Nabil Matar masterfully edits an important piece of scholarship from seventeenth-century England by scholar and physician, Henry Stubbe (1632-76). Matar also gives a substantial introduction to his annotated edition of Stubbe's text by situating the author in his historical context. Unlike other early modern writers on Islam, Stubbe's ostensible goals were not to cast Islam in a negative light. On the contrary, he sought to challenge popular conceptions that understood Islam in negative terms, and although there is no evidence that Stubbe entertained conversion, he admits many admirable characteristics of Islam, ranging from Muhammad's character to the unity of God. The English polymath was well versed in theological debates of his time and therefore equipped all the more to write the Originall, given the benefit of his comparative framework, which in part explains why the first portion of his text devotes itself to the history of early Christianity. Strikingly, however, it seems that Stubbe never learned Arabic, even though he studied religion with a leading Arabist of his time, Edward Pococke. Indeed, one novelty of Stubbe's work was precisely his re-evaluation of Latin translations (of primary texts) that were already in circulation. Stubbe's contributions to scholarship also speak to the history of Orientalism–a word that did not yet exist at Stubbe's time–or how scholars in the "West" more broadly have approached Islam. Stubbe's Originall offers insights into present-day Western discourses that still struggle–at times with egregious incompetence–to make sense of Islam and Muslims. In this regard, Matar's detailed scholarly account of Henry Stubbe and his carefully edited version of the Originall remains as timely as ever. Undoubtedly, this meticulously researched book will interest an array of scholars, including those from disciplines of English literature, History, and Religious Studies.

William ChittickView on Amazon[Cross-posted from New Books in Islamic Studies] Where does love come from and where will it lead us? Throughout the years various answers have been given to these questions. In Divine Love: Islamic Literature and the Path to God (Yale University Press, 2013), William Chittick, professor at Stony Brook University, responds to these queries from the perspective of the rich literary traditions of Islam. He reveals how some Muslims explained the origins, life, and goal of love through a detailed investigation of authors writing in Persian and Arabic mainly from the eleventh to twelfth centuries. For these authors, love is manifest through the relationship between God and creation in all of its various iterations. Commentary and explanation are drawn from numerous sources beginning with the Qur'an but most extensively from Rashid al-din Maybudi's Qur'an commentary, Unveiling of the Mysteries, and Ahmad Sam'ani's  Repose of the Spirits. In our conversation we discussed the role of the Persian Muslim tradition, the cosmological roles of Adam and Muhammad, the centrality of the heart in the spiritual psychology, states and stations, the macrocosm and microcosm, and the suffering of separation.

Mark RifkinView on Amazon[Cross-posted from New Books in Native American Studies] In Settler Common Sense: Queerness and Everyday Colonialism in the American Renaissance  (University of Minnesota Press, 2014), Mark Rifkin, a professor at the University of North Carolina-Greensboro and incoming president of the Native American and Indigenous Studies Association, explores three of the most canonical authors in the American literary awakening–Hawthorne, Thoreau, and Melville–demonstrating how even as their texts mount queer critiques of the state, they take for granted–even depend upon–conceptions of place, politics and personhood normalized in the settler-state's engagement with Indigenous peoples. Rifkin's exegesis is relevant far beyond nineteenth-century literary studies. As "settler colonialism" gains currency in left and academic circles as a descriptor of the present reality in the United States, Canada, Israel and elsewhere, there is a tendency to identify its workings only in the encounter between the colonizers and the colonized, the state and Indigenous peoples. This is a mistake, Rifkin warns. None of the novels he interrogates deal specifically with Native people. Yet colonialism is not, he writes, a dynamic that inheres only Native bodies. Rather, it's a persistent "phenomenon that shapes nonnative subjectivities, intimacies, articulations and sensations separate from whether or not something recognizably Indian comes into view." Colonialism is thus a common sense.

Melanie C. HawthorneView on Amazon[Cross-posted from New Books in Biography] "Why write the biography of a nobody?" That is the question with which Melanie C. Hawthorne begins Finding the Woman Who Didn't Exist: The Curious Life of Gisèle d'Estoc (University of Nebraska Press, 2014) but in justifying the writing of such a life and then, in turn, excavating its contours, Hawthorne winds up exploring a number of issues fundamental to the genre of biography. In particular, the biographer's inability fill all gaps, the frequent encounters with dead ends and his/her reliance, at times almost wholly, upon sheer luck. Also, the legacies of the biographers who have gone before us. In d'Estoc's case, as Hawthorne writes, "It is almost as though these experts avoided finding proof of d'Estoc's existence and one has to ask why." One of the significant contributions of  Finding the Woman Who Didn't Exist is its transparency- Hawthorne's willingness to include in her text the details of research, alongside serious critical engagement with the notion of what it means to be a researcher in the humanities and why humanities research matters. This flows seamlessly throughout her exploration of d'Estoc's life as she explores the fluidity of life stories, the need to continually rearrange and reevaluate them, "to keep creating unexpected bends on the old narrative paths in order to wake us up to seeing them in a new light." To illustrate this, she uses the story of a 19th century French writer/artist/anarchist, a woman who once pretended to be someone else and whose false identity ultimately historically hijacked the original. It's a story steeped in its times and yet one which also appears surprisingly modern here, and one which- as it is written- highlights fundamental truths about the genre. One of my favorites is this: "Stories teach us not to take things for granted, and the final lesson of biography is that despite the fact that specific stories always begin and end somewhere, in real life there are no such definitive markers." The story Hawthorne presents of d'Estoc is deliberately left messy, which is- in the end- perhaps its greatest strength.

Martin Joseph PonceView on Amazon[Cross-posted from New Books in Asian American Studies] Martin Joseph Ponce's recently published book, Beyond the Nation: Diasporic Filipino Literature and Queer Reading (NYU Press, 2012), traces the roots of Filipino literature to examine how it was shaped by forces of colonialism, imperialism, and migration. Rather than focusing on race and nation as main categories of analysis, Ponce uses a queer diasporic reading to consider the multiple audiences for Filipino literature. In doing so, he explores alternatives to the nation as the basis for an imagined community, and focuses instead on sexual politics and the transpacific tactics of reading.

Christina LaffinView on Amazon[Cross-posted from New Books in East Asian Studies] Known primarily as a travel writer thanks to the frequent assignment of her Diary in high school history and literature classes, Nun Abutsu was a thirteenth-century poet, scholar, and teacher, and also a prolific writer. Christina Laffin's new book explores Abutsu's life and written works, taking readers in turn through her letters, memoirs, poems, prayers, and travel diary, among others. Each chapter of Rewriting Medieval Japanese Women: Politics, Personality, and Literary Production in the Life of Nun Abutsu (University of Hawai'i Press, 2013) looks at one of Abutsu's literary products and considers how and why the document was produced and what it can tell us about the literary environment for thirteenth century Japanese women. Rewriting Medieval Japanese Women is careful to read these sources not as transparent guides to fact, but instead as narrative forms that were shaped by conventions of their respective genres. From the diary Fitful Slumbers to the poetry manual The Evening Crane and beyond, Laffin also pays special attention to Abutsu's scholarly interpretations of The Tale of Genji. Laffin's book is a fascinating and carefully-wrought story, and in re-situating Abutsu's work within Japanese literary studies it also opens a space for renewed attention to medieval women's writing more broadly conceived.

Eric LeMayView on Amazon[Cross-posted from New Books in Literature] Some people describe a lonesome highway or the middle of a desert town–even a state like Ohio–as "the middle of nowhere."  But for others, like Eric LeMay, no such place exists. There is always a "there there."  It's the presence within the absence that draws LeMay.  Either because the absence offers mystery, intangibility, or perhaps it trembles with what came before.  Hamlet pondered, "To be or not to be?" but in LeMay's writing, the self, our world, even texts don't exist as either/or puzzles.  It's the missing pieces–the in-betweens–that are as much a part of everything as anything else.  LeMay's In Praise of Nothing:  Essays, Memoir, and Experiments (Emergency Press, 2014) not only makes something from nothing, it shows us how we all do.  LeMay contemplates the namelessness of John or Jane Doe, the Rumsfeldian "Unknown unknowns, " the past's echoes, and Ground Zero, yet he also elucidates the ways in which words–those in existence and those imagined–can create a new reality or alter the perception of the self. Here is LeMay's experiment–to sift through layers of texts, images, research, language, and memory in order to reveal how we make meaning out of nothing at all. According to LeMay's own description, In Praise of Nothing "exists on the printed page and it also exists, slightly altered, in an electronic version . . . shadow versions and doppelgangers, doubles and divergences, lurking in the digital world."  So you can read, for example, "Losing the Lottery," a randomly-numbered collage of statistics, anecdotes, quotes, and personal accounts of the obsession with those overwhelming unknowns, the winning numbers, or you can go online and "play" your own.  LeMay is an innovator in the interactive digital essay, and while you can read "Viral-Ize" and "Resistable" in the pages of his book, you can also go to your computer and click to see what's there, what's not, and most importantly, how what we see and what we don't are equally integral in the making and multiplying of meaning. Montaigne asked, "What do I know?"  But what if we what we know is nothing?  In this playful and poignant collection, Eric LeMay shows us that nothing is never nothing.  It's really something. NB: There's a fascinating website about In Praise of Nothing that you can find here.

Michael SalerView on Amazon[Cross-posted from New Books in Digital Culture] In As If: Modern Enchantment and the Literary Prehistory of Virtual Reality (Oxford, 2012), historian Michael Saler explores the precursors of the current proliferation of digital virtual worlds. Saler challenges Max Weber's analysis of modernity as the disenchanting of the world, and demonstrates that modernity is deeply "enchanted by reason." Saler demonstrates this argument by examining a new phenomenon: adult engagement with and immersion in fictional worlds. He argues that from the 1880s, a growing number of individuals both in Britain and in the US were enticed by fictional characters such as Sherlock Holmes to "communally and persistently" inhabit worlds of the imagination. Readers were drawn in particular to a new literary genre "The New Romanticism" that rose in Britain in the 1880s. The genre combined the objective style of realism with the fantastic content of romance. Novels such as "Drakula" and "Treasure Island" made the fantastic seem plausible through the use of scientific detail and the inclusion of maps, photographs and footnotes. Victorian readers had acquired a sophistication that enabled them to immerse themselves in the fiction while keeping an ironic distance from it. Their delight was derived from their awareness to the fabrication rather than from being deluded by it. In addition to a theoretical framework, Saler provides an in-depth and enjoyable exploration of the work of authors that dominated the genre, and of the communities they inspired. Three chapters explain contemporary fascination with the novels of Arthur Conan Doyle, H.P. Lovecraft and J.R.R Tolkien. The chapters also elaborate the important role of readers in sustaining their success. As such they provide an important contribution to the history of fan culture. Finally, Saler offers a defense against labeling the engagement with imaginary and virtual worlds as escapism. He argues that imagined worlds should be valued as safe havens to reflect on the 'real' world and consider social and cultural change. A space to practice empathy and tolerance that teaches us to think of the world not in "just so" terms but through the more forgiving "as if" perspective. Imagined and virtual worlds are a reminder that the 'real world' too is a social construct that can and should be questioned.

Lucy Hughes-HallettView on Amazon[Cross-posted from New Books in Biography] Winner of the 2013 Samuel Johnson Prize, Lucy Hughes-Hallett's biography of Gabriele d'Annunzio is a book with a big mission: to write inventively about the life of someone with whom most everyone outside of Italy is entirely unfamiliar whilst also promoting the literary legacy of a man celebrated within his own country and little translated (much less read) everywhere else. In the end, Gabriele d'Annunzio: Poet, Seducer, and Preacher of War (Knopf, 2013) succeeds on both fronts, which is precisely why it remains one of the most lauded biographies of the last year. It's not a straightforward day-by-day narrative. Rather, the story zooms in and out, taking flight and exuberantly soaring through whole weeks, months, years only to, at other moments, slow down to sensuously revel in the details of a weekend on the beach or an afternoon spent in bed. There's something about this technique that beautifully mimics the ways in which we often reflect upon our own lives, with whole boring years blotted from memory whilst every single detail of a particularly haunting evening is eternally seared upon the brain. This is, I imagine, in large part why the book is such joy to read- because (at the risk of making sound simple something which very much isn't) we're reading the life of a flamboyant character written in much the same way we tend to think upon our own. d'Annunzio thought words, written well, could inflame nations and excite history and change the world. For him, writes Hughes-Hallett, "writing was a martial art." Artistically, he was a poet, novelist, playwright and lover (the classification isn't accidental- for d'Annunzio experienced love affairs as real relationships and literary creations), but also a soldier, flier, and politician. Those are the raw ingredients of his story. Superficially fascinating, to be sure, but it's Hughes-Hallet's mixing of them that so animates the biography of this short, bald man with narrow sloping shoulders and terrible teeth. And it's the tensions that emerge through the telling that ensure that, even if you've never read a word of d'Annunzio's poetry, his story sticks with you, which is a sign of an both a good book and an interesting life.

Robert MitchellView on Amazon[Cross-posted from New Books in Science, Technology, and Society] Robert Mitchell's new book is wonderfully situated across several intersections: of history and literature, of the Romantic and contemporary worlds, of Keats' urn and a laboratory cylinder full of dry ice. In Experimental Life: Vitalism in Romantic Science and Literature (Johns Hopkins University Press, 2013), Mitchell argues that we are in the midst of a vitalist turn in the humanities, social sciences, and natural sciences, and that this is only the latest in a series of eras of what he calls "experimental vitalism." Experimental Life is largely devoted to exploring the first of those eras by tracing an experimental vitalism through a wide range of Romantic textual worlds from the late eighteenth and early nineteenth centuries. After a wonderful discussion of the meanings of the "experimental" in the arts and sciences, Mitchell's book proceeds to look at a series of cases through which we can understand how Romantic thinkers sought out the points of perplexity in vital phenomena, encouraged that perplexity, and often did so by exploring "altered states" that seemed to confuse life and death. These altered states included suspended animation, disorientation, digestion and collapsurgence, mediality, and encounters with the uncanniness of plant life, and Mitchell's treatment of each case is both beautifully articulated and full of unusual and illuminating juxtapositions. Ultimately, Experimental Life offers readers not just a way of understanding these Romantic contexts, but also engages each case in a way that informs how we think about contemporary biomedical sciences and biopolitics.

Christopher P. HanscomView on Amazon[Cross-posted from New Books in East Asian Studies] In The Real Modern: Literary Modernism and the Crisis of Representation in Colonial Korea (Harvard University Asia Center, 2013), Christopher P. Hanscom explores literary modernism in the work of three writers who were central to literary production in 1930s Korea. After introducing a useful critique of the standard approach to literary history and realism therein, the book unfolds in three pairs of chapters that each introduce a major figure in the study and offer a close reading of their work as a way to open up a larger theme and aspect of the book's argument. Hanscom thus expertly guides us through the literary criticism and fictional work of three members of a modernist collective known as the Group of Nine: Pak T'aewon, Kim Yujong, and Yi T'aejun. Each of them was struggling with a larger "crisis of representation" and taking a skeptical stance toward the capacity of language to correspond to the world beyond. In Pak's work we were a concern with a colonial "double-bind;" in Kim's work we see an ironic discourse and a critique of empiricism in science, love, and aesthetics; and in Yi's work we see the emergence of a hybrid form of prose lyric that experiments with what it means to "write speech." In conclusion, Hanscom uses the example of Korean modernism to open up the way we think of comparative literature and literary history more broadly. It is a fascinating study.

Colette ColliganView on Amazon[Cross-posted from New Books in French Studies] From the end of the nineteenth century through the middle of the twentieth, Paris was a center for the publication of numerous English-language books, including many of a sexually explicit, pornographic nature. Colette Colligan's new book, A Publisher's Paradise: Expatriate Literary Culture in Paris, 1890-1960 (University of Massachusetts Press, 2014) explores the rich and fascinating history of these "Paris editions" across seven decades of literary publishing in France, in English. Troubling too-simplistic notions of British prudishness versus French sexual liberalism and "high" versus "low" literatures, Colligan's book makes a significant contribution to our understanding of Paris's expatriate past that remains part of the mythology of the city to this day. The book includes discussion of the cultural, legal, and commercial sides of this story, as well as closer textual analyses of some key examples of "degraded" and high modernist literature. In its chapters, readers will be introduced to characters and works that may not be so well known, including the British expatriate publisher Charles Carrington (whose publishing credits include Oscar Wilde's The Picture of Dorian Gray in 1908). In addition to illuminating the lives of lesser known figures and texts, A Publisher's Paradise also situates the history of "dirty books" published in the French capital to literary legends Sylvia Beach (the owner of the Parisian landmark English-language bookstore Shakespeare and Co. and publisher of James Joyce's Ulysses in 1922) and Vladimir Nabokov (whose novel Lolita was first published by Maurice Girodias' Olympia Press in Paris in 1955). The book will be a rewarding read to anyone interested in the histories of publishing, pornography, and/or Parisian cultural life.

Adam HenigView on Amazon[Cross-posted from New Books in African American Studies] Alex Haley's 1976 book Roots: The Saga of an American Family still stands as a memorable epic journey into the history of African Americans during the enslavement period and after. The 1977 televised miniseries was a must-watch event of the day, and it remains an important production in television history. However, a little more than a decade after his success, Haley was in trouble. His wealth had dwindled and he had strained relationships with other writers. What happened? Adam Henig tells us in his new book Alex Haley's Roots: An Author's Odyssey (2014). Listen to this lively interview with the author.