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Contemporary fiction has never been less contemporary. Midcentury writers tended to set their works in their own moment, but for the last several decades critical acclaim and attention have fixated on historical fiction. This shift is particularly dramatic for writers of color. Even as the literary canon has become more diverse, cultural institutions have celebrated Black, Asian American, Latinx, and Indigenous novelists almost exclusively for their historical fiction.

Writing Backwards explores what the dominance of historical fiction in the contemporary canon reveals about American literary culture. Alexander Manshel investigates the most celebrated historical genres—contemporary narratives of slavery, the World War II novel, the multigenerational family saga, immigrant fiction, and the novel of recent history—alongside the literary and academic institutions that have elevated them. He examines novels by writers including Toni Morrison, Viet Thanh Nguyen, Colson Whitehead, Julia Alvarez, Leslie Marmon Silko, Michael Chabon, Julie Otsuka, Yaa Gyasi, Ben Lerner, and Tommy Orange in the context of MFA programs, literary prizes, university syllabi, book clubs, and the National Endowment for the Arts. Manshel studies how historical fiction has evolved over the last half century, documenting the formation of the newly inclusive literary canon as well as who and what it still excludes. Offering new insight into how institutions shape literature and the limits of historical memory, Writing Backwards also considers recent challenges to the historical turn in American fiction.

Contemporary fiction has never been less contemporary. Midcentury writers tended to set their works in their own moment, but for the last several decades critical acclaim and attention have fixated on historical fiction. This shift is particularly dramatic for writers of color. Even as the literary canon has become more diverse, cultural institutions have celebrated Black, Asian American, Latinx, and Indigenous novelists almost exclusively for their historical fiction.

Writing Backwards explores what the dominance of historical fiction in the contemporary canon reveals about American literary culture. Alexander Manshel investigates the most celebrated historical genres—contemporary narratives of slavery, the World War II novel, the multigenerational family saga, immigrant fiction, and the novel of recent history—alongside the literary and academic institutions that have elevated them. He examines novels by writers including Toni Morrison, Viet Thanh Nguyen, Colson Whitehead, Julia Alvarez, Leslie Marmon Silko, Michael Chabon, Julie Otsuka, Yaa Gyasi, Ben Lerner, and Tommy Orange in the context of MFA programs, literary prizes, university syllabi, book clubs, and the National Endowment for the Arts. Manshel studies how historical fiction has evolved over the last half century, documenting the formation of the newly inclusive literary canon as well as who and what it still excludes. Offering new insight into how institutions shape literature and the limits of historical memory, Writing Backwards also considers recent challenges to the historical turn in American fiction.

The republic of Turkey and the Soviet Union both emerged from the wreckage of empires surrounding World War I, and pathways of literary exchange soon opened between the two revolutionary states. Even as the Turkish government pursued a friendly relationship with the USSR, it began to persecute communist writers. Whether going through official channels or fleeing repression, many Turkish writers traveled to the Soviet Union during the 1920s and 1930s, publishing original work, editing prominent literary journals, and translating both Russian classics and Soviet literature into Turkish.

Writing in Red traces the literary and exilic itineraries of Turkish communist and former communist writers, examining revolutionary aesthetics and politics across Turkey and the Soviet Union from the mid-1920s through the 1960s. Nergis Ertürk considers a wide range of texts—spanning genres such as erotic comedy, historical fiction and film, and socialist realist novels and theater—by writers including Nâzim Hikmet, Vâlâ Nureddin, Nizamettin Nazif, Suat Derviş, and Abidin Dino. She argues that these works belong simultaneously to modern Turkish literature, a transnational Soviet republic of letters, and the global literary archive of world revolution, alongside those of other writers who made the “magic pilgrimage” to Moscow. Exploring how Turkish communist writers on the run produced a remarkable transnational literature of dissent, Writing in Red offers a new account of global revolutionary literary culture.

The republic of Turkey and the Soviet Union both emerged from the wreckage of empires surrounding World War I, and pathways of literary exchange soon opened between the two revolutionary states. Even as the Turkish government pursued a friendly relationship with the USSR, it began to persecute communist writers. Whether going through official channels or fleeing repression, many Turkish writers traveled to the Soviet Union during the 1920s and 1930s, publishing original work, editing prominent literary journals, and translating both Russian classics and Soviet literature into Turkish.

Writing in Red traces the literary and exilic itineraries of Turkish communist and former communist writers, examining revolutionary aesthetics and politics across Turkey and the Soviet Union from the mid-1920s through the 1960s. Nergis Ertürk considers a wide range of texts—spanning genres such as erotic comedy, historical fiction and film, and socialist realist novels and theater—by writers including Nâzim Hikmet, Vâlâ Nureddin, Nizamettin Nazif, Suat Derviş, and Abidin Dino. She argues that these works belong simultaneously to modern Turkish literature, a transnational Soviet republic of letters, and the global literary archive of world revolution, alongside those of other writers who made the “magic pilgrimage” to Moscow. Exploring how Turkish communist writers on the run produced a remarkable transnational literature of dissent, Writing in Red offers a new account of global revolutionary literary culture.

Writing News for Broadcast is the Strunk and White of broadcast newswriting books. Long considered the gold standard of broadcast journalism textbooks, this guide for the student and the professional has inspired generations of newscasters through its eloquent examples and emphasis on the writer's responsibility, commitment, and integrity. It is written in a conversational style reflecting years of professional and teaching experience in radio and television newswriting.

This new edition is fully revised with examples throughout, drawn from fine writing by journalists at networks and local stations. It includes updated chapters covering use of the wire services and special formats that have become popular in recent years such as the newsmagazine. But the third edition retains the inspirational quality that has for years made this text so widely respected. In this process of providing clear, succinct instruction in the basics of the trade, it conveys to students and practicing newswriters a sense of the extraordinary tradition within which they work. The authors' emphasis on skill and creativity, responsibility to the listener, and appreciation of the profession's finest hours and finest writers make this book unique.

Writing Resistance is the first close study of the growing body of contemporary Hindi-language Dalit (low caste) literature in India. The Dalit literary movement has had an immense sociopolitical and literary impact on various Indian linguistic regions, yet few scholars have attempted to situate the form within contemporary critical frameworks. Laura R. Brueck's approach goes beyond recognizing and celebrating the subaltern speaking, emphasizing the sociopolitical perspectives and literary strategies of a range of contemporary Dalit writers working in Hindi.

Brueck explores several essential questions: what makes Dalit literature Dalit? What makes it good? Why is this genre important, and where does it oppose or intersect with other bodies of Indian literature? She follows the debate among Dalit writers as they establish a specifically Dalit literary critical approach, underscoring the significance of the Dalit literary sphere as a "counterpublic" generating contemporary Dalit social and political identities. Brueck then performs close readings of contemporary Hindi Dalit literary prose narratives, focusing on the aesthetic and stylistic strategies deployed by writers whose class, gender, and geographic backgrounds shape their distinct voices. By reading Dalit literature as literature, this study unravels the complexities of its sociopolitical and identity-based origins.

Writing Resistance is the first close study of the growing body of contemporary Hindi-language Dalit (low caste) literature in India. The Dalit literary movement has had an immense sociopolitical and literary impact on various Indian linguistic regions, yet few scholars have attempted to situate the form within contemporary critical frameworks. Laura R. Brueck's approach goes beyond recognizing and celebrating the subaltern speaking, emphasizing the sociopolitical perspectives and literary strategies of a range of contemporary Dalit writers working in Hindi.

Brueck explores several essential questions: what makes Dalit literature Dalit? What makes it good? Why is this genre important, and where does it oppose or intersect with other bodies of Indian literature? She follows the debate among Dalit writers as they establish a specifically Dalit literary critical approach, underscoring the significance of the Dalit literary sphere as a "counterpublic" generating contemporary Dalit social and political identities. Brueck then performs close readings of contemporary Hindi Dalit literary prose narratives, focusing on the aesthetic and stylistic strategies deployed by writers whose class, gender, and geographic backgrounds shape their distinct voices. By reading Dalit literature as literature, this study unravels the complexities of its sociopolitical and identity-based origins.

Between the mid-sixteenth and early nineteenth century, the Mughal Empire was an Indo-Islamic dynasty that ruled as far as Bengal in the east and Kabul in the west, as high as Kashmir in the north and the Kaveri basin in the south. The Mughals constructed a sophisticated, complex system of government that facilitated an era of profound artistic and architectural achievement. They promoted the place of Persian culture in Indian society and set the groundwork for South Asia's future development.

In this volume, two leading historians of early modern South Asia present nine major joint essays on the Mughal Empire, framed by an essential introductory reflection. Making creative use of materials written in Persian, Indian vernacular languages, and a variety of European languages, their chapters accomplish the most significant innovations in Mughal historiography in decades, intertwining political, cultural, and commercial themes while exploring diplomacy, state-formation, history-writing, religious debate, and political thought.

Muzaffar Alam and Sanjay Subrahmanyam center on confrontations between different source materials that they then reconcile, enabling readers to participate in both the debate and resolution of competing claims. Their introduction discusses the comparative and historiographical approach of their work and its place within the literature on Mughal rule. Interdisciplinary and cutting-edge, this volume richly expands research on the Mughal state, early modern South Asia, and the comparative history of the Mughal, Ottoman, Safavid, and other early modern empires.

Between the mid-sixteenth and early nineteenth century, the Mughal Empire was an Indo-Islamic dynasty that ruled as far as Bengal in the east and Kabul in the west, as high as Kashmir in the north and the Kaveri basin in the south. The Mughals constructed a sophisticated, complex system of government that facilitated an era of profound artistic and architectural achievement. They promoted the place of Persian culture in Indian society and set the groundwork for South Asia's future development.

In this volume, two leading historians of early modern South Asia present nine major joint essays on the Mughal Empire, framed by an essential introductory reflection. Making creative use of materials written in Persian, Indian vernacular languages, and a variety of European languages, their chapters accomplish the most significant innovations in Mughal historiography in decades, intertwining political, cultural, and commercial themes while exploring diplomacy, state-formation, history-writing, religious debate, and political thought.

Muzaffar Alam and Sanjay Subrahmanyam center on confrontations between different source materials that they then reconcile, enabling readers to participate in both the debate and resolution of competing claims. Their introduction discusses the comparative and historiographical approach of their work and its place within the literature on Mughal rule. Interdisciplinary and cutting-edge, this volume richly expands research on the Mughal state, early modern South Asia, and the comparative history of the Mughal, Ottoman, Safavid, and other early modern empires.

In this provocative book, Anthony Hutchison challenges the belief that the American novel is "antipolitical" and condemns the relative absence of American literature in studies of the political novel. In Hutchison's view, our fiction is always informed by the complexities of the American political tradition, and to acknowledge this is to introduce a new, rewarding chapter of critical inquiry into the study of American literature.

Focusing on the works of Herman Melville, Gore Vidal, Russell Banks, Lionel Trilling, and Philip Roth, Hutchison finds a critique of liberalism put forth by classical republicanism, transcendentalism, Marxism, and neoconservatism at their respective moments of historical ascent. He shows how these authors take very specific historical periods and episodes for their subject matter and interrogate, critique, and contextualize pivotal moments in the intellectual history of American liberalism. In their work, liberalism reconstitutes itself in the face of competing ideological pressures, demonstrating that the novel is very much characterized by a "republican" concern with the health of the polity.

Considering such artists, philosophers, and theorists as Ralph Waldo Emerson, Fyodor Dostoevsky, Hannah Arendt, and John Dewey, alongside numerous contemporary commentators and historians, Hutchison repositions American novelists as serious political thinkers. He reveals Melville's Moby Dick to be the formal template for the American political novel and compares and contrasts its embodiment of "republican" fiction with the "democratic" mode Mikhail Bakhtin associates with Dostoevsky. He especially draws attention to the meaning of republicanism in the early national period, the place of abolitionism in the Civil War, and the post-1930s liberal retreat from Left radicalism.

By concentrating on the tension between issues of liberalism and morality in the political thought of these American novelists, Hutchison hopes to advance a more nuanced and textured understanding of the U.S. political tradition. He scrutinizes a number of critical studies and makes a cogent case for a more interdisciplinary approach to the American political novel that focuses less on the politics of representation and more on the representation of politics.

What does it mean to write in a socialist revolution? What defines labor in a communist society? In revolutionary China, writers were regularly dispatched to the countryside or factories with the expectation that, through immersion in the life of workers and peasants, they would be remade as “culture workers” whose writing could serve the communist project. Their cultural labor would not merely reflect or represent the process of building socialism—it would actively participate in it by excavating the contradictions and challenges of the ongoing reorganization of social relations.

Benjamin Kindler examines how writing transformed the Chinese Revolution even as the revolution remade what it meant to write. He argues that the revolution sought in unparalleled ways to overcome the basic division between those who write and those who work. This book combines close readings of a wide range of texts—from the works of established figures to the writings of amateur workers drawn from the factory floor—with analysis of Chinese socialist political economy. Far from being drab instances of state propaganda, these texts and cultural experiments were lively and inventive attempts to determine what a different, more equal society might look like. Offering new ways to understand cultural production as a material, embodied process, this book reconsiders the role of art and literature in radical politics.

What does it mean to write in a socialist revolution? What defines labor in a communist society? In revolutionary China, writers were regularly dispatched to the countryside or factories with the expectation that, through immersion in the life of workers and peasants, they would be remade as “culture workers” whose writing could serve the communist project. Their cultural labor would not merely reflect or represent the process of building socialism—it would actively participate in it by excavating the contradictions and challenges of the ongoing reorganization of social relations.

Benjamin Kindler examines how writing transformed the Chinese Revolution even as the revolution remade what it meant to write. He argues that the revolution sought in unparalleled ways to overcome the basic division between those who write and those who work. This book combines close readings of a wide range of texts—from the works of established figures to the writings of amateur workers drawn from the factory floor—with analysis of Chinese socialist political economy. Far from being drab instances of state propaganda, these texts and cultural experiments were lively and inventive attempts to determine what a different, more equal society might look like. Offering new ways to understand cultural production as a material, embodied process, this book reconsiders the role of art and literature in radical politics.

Edo-period Japan was a golden age for commercial literature. A host of new narrative genres cast their gaze across the social landscape, probed the realms of history and the fantastic, and breathed new life into literary tradition. But how to understand the politics of this body of literature remains contested, in part because the defining characteristics of much early modern fiction—formulaicness, reuse of narratives, stock characters, linguistic and intertextual play, and heavy allusion to literary canon—can seem to hold social and political realities at arm’s length.

David C. Atherton offers a new approach to understanding the relationship between the challenging formal features of early modern popular literature and the world beyond its pages. Focusing on depictions of violence—one of the most fraught topics for a peaceful polity ruled over by warriors—he connects concepts of form and formalization across the aesthetic and social spheres. Atherton shows how the formal features of early modern literature had the potential to alter the perception of time and space, make social and economic forces visible, defamiliarize conventions, give voice to the socially peripheral, and reshape the contours of community. Through careful readings of works by the major writers Asai Ryōi, Ihara Saikaku, Chikamatsu Monzaemon, Ueda Akinari, and Santō Kyōden, Writing Violence reveals the essential role of literary form in constructing the world—and in seeing it anew.

Edo-period Japan was a golden age for commercial literature. A host of new narrative genres cast their gaze across the social landscape, probed the realms of history and the fantastic, and breathed new life into literary tradition. But how to understand the politics of this body of literature remains contested, in part because the defining characteristics of much early modern fiction—formulaicness, reuse of narratives, stock characters, linguistic and intertextual play, and heavy allusion to literary canon—can seem to hold social and political realities at arm’s length.

David C. Atherton offers a new approach to understanding the relationship between the challenging formal features of early modern popular literature and the world beyond its pages. Focusing on depictions of violence—one of the most fraught topics for a peaceful polity ruled over by warriors—he connects concepts of form and formalization across the aesthetic and social spheres. Atherton shows how the formal features of early modern literature had the potential to alter the perception of time and space, make social and economic forces visible, defamiliarize conventions, give voice to the socially peripheral, and reshape the contours of community. Through careful readings of works by the major writers Asai Ryōi, Ihara Saikaku, Chikamatsu Monzaemon, Ueda Akinari, and Santō Kyōden, Writing Violence reveals the essential role of literary form in constructing the world—and in seeing it anew.

Revolution, foreign occupation, and political, cultural, and economic upheavals defined mid-twentieth-century Chinese society. This new anthology, a sequel to the acclaimed first volume, compiled by Dooling and Kristina Torgeson and covering the early twentieth century, includes an impressive range of literary, personal, and journalistic responses to these tumultuous events. From succinct reportage of contemporary historical circumstances to comic accounts of twentieth-century urban living to carefully stylized modernist works of fiction, the selections in this anthology reflect the diversity, liveliness, humor, and surprising cosmopolitanism of women's writing from the period. This collection also reveals the ways in which women writers imagined and inscribed new meanings to Chinese feminism.

Biographical information on the writers—including Yang Gang, Bai Wei, Hu Lanxi, Yang Jiang, Zong Pu, Chen Ruoxi, and others—introduces the selections from their works. Dooling's critical introduction and bibliographical materials further enrich readers'understanding of the role of women's writing in Chinese literary modernity.

Writing Women in Modern China is the first major anthology in English to highlight the contributions of women to modern literary culture with respect to the heated gender debates of early twentieth-century China. Featuring examples of fiction, drama, autobiography, essays, and poetry by eighteen writers, many of whom have been neglected by mainstream literary history, this collection demonstrates the creative diversity in modern women's writing.

The editors' introduction charts key developments in the study of gender, literature, and women's writing in modern China and provides an overview of the relevant historical events of this century's first three decades. From Qiu Jin's experimental narrative Stones of the Kingwei Bird, one of the earliest fictional representations of women's liberation from the traditional Confucian family, to Bing Xin's "Our Mistress's Parlor," which presents a satire of an intellectual salon in 1930s Shanghai, Writing Women in Modern China offers an unrivaled opportunity to explore an important body of imaginative work.

Revolution, foreign occupation, and political, cultural, and economic upheavals defined mid-twentieth-century Chinese society. This new anthology, a sequel to the acclaimed first volume, compiled by Dooling and Kristina Torgeson and covering the early twentieth century, includes an impressive range of literary, personal, and journalistic responses to these tumultuous events. From succinct reportage of contemporary historical circumstances to comic accounts of twentieth-century urban living to carefully stylized modernist works of fiction, the selections in this anthology reflect the diversity, liveliness, humor, and surprising cosmopolitanism of women's writing from the period. This collection also reveals the ways in which women writers imagined and inscribed new meanings to Chinese feminism.

Biographical information on the writers—including Yang Gang, Bai Wei, Hu Lanxi, Yang Jiang, Zong Pu, Chen Ruoxi, and others—introduces the selections from their works. Dooling's critical introduction and bibliographical materials further enrich readers'understanding of the role of women's writing in Chinese literary modernity.

Konstantin Batyushkov was one of the great poets of the Golden Age of Russian literature in the early nineteenth century. His verses, famous for their musicality, earned him the admiration of Alexander Pushkin and generations of Russian poets to come. In Writings from the Golden Age of Russian Poetry, Peter France interweaves Batyushkov’s life and writings, presenting masterful new translations of his work with the compelling story of Batyushkov’s career as a soldier, diplomat, and poet and his tragic decline into mental illness at the age of thirty-four.

Little known among non-Russian readers, Batyushkov left a varied body of writing, both in verse and in prose, as well as memorable letters to friends. France nests a substantial selection of his sprightly epistles on love, friendship, and social life, his often tragic elegies, and extracts from his essays and letters within episodes of his remarkable life—particularly appropriate for a poet whose motto was “write as you live, and live as you write.” Batyushkov’s writing reflects the transition from the urbane sociability of the Enlightenment to the rebellious sensibility of Pushkin and Lermontov; it spans the Napoleonic Wars and the rapid social and literary change from Catherine the Great to Nicholas I. Presenting Batyushkov’s poetry of feeling and wit alongside his troubled life, Writings from the Golden Age of Russian Poetry makes his verse accessible to English-speaking readers in a necessary exploration of this transitional moment for Russian literature.

Konstantin Batyushkov was one of the great poets of the Golden Age of Russian literature in the early nineteenth century. His verses, famous for their musicality, earned him the admiration of Alexander Pushkin and generations of Russian poets to come. In Writings from the Golden Age of Russian Poetry, Peter France interweaves Batyushkov’s life and writings, presenting masterful new translations of his work with the compelling story of Batyushkov’s career as a soldier, diplomat, and poet and his tragic decline into mental illness at the age of thirty-four.

Little known among non-Russian readers, Batyushkov left a varied body of writing, both in verse and in prose, as well as memorable letters to friends. France nests a substantial selection of his sprightly epistles on love, friendship, and social life, his often tragic elegies, and extracts from his essays and letters within episodes of his remarkable life—particularly appropriate for a poet whose motto was “write as you live, and live as you write.” Batyushkov’s writing reflects the transition from the urbane sociability of the Enlightenment to the rebellious sensibility of Pushkin and Lermontov; it spans the Napoleonic Wars and the rapid social and literary change from Catherine the Great to Nicholas I. Presenting Batyushkov’s poetry of feeling and wit alongside his troubled life, Writings from the Golden Age of Russian Poetry makes his verse accessible to English-speaking readers in a necessary exploration of this transitional moment for Russian literature.

Why is being a victim such a potent identity today? Who claims to be a victim, and why? How have such claims changed in the past century? Who benefits and who loses from the struggles over victimhood in public culture?

In this timely and incisive book, Lilie Chouliaraki shows how claiming victimhood is about claiming power: who deserves to be protected as a victim and who should be punished as a perpetrator. She argues that even though victimhood has long been used to excuse violence and hierarchy, social media platforms and far-right populism have turned victimhood into a weapon of the privileged. Drawing on recent examples such as the overturning of Roe v. Wade, movements like #MeToo and Black Lives Matter, and the COVID-19 pandemic, as well as historical ones from the major wars of the twentieth century and the Civil Rights Movement, Wronged reveals why claims of victimization are so effective at reinforcing instead of alleviating inequalities of class, gender, and race. Unless we come to recognize the suffering of the vulnerable for what it is—a matter not of victimhood but of injustice—Chouliaraki powerfully warns, the culture of victimhood will continue to perpetuate old exclusions and enable further injuries.

Why is being a victim such a potent identity today? Who claims to be a victim, and why? How have such claims changed in the past century? Who benefits and who loses from the struggles over victimhood in public culture?

In this timely and incisive book, Lilie Chouliaraki shows how claiming victimhood is about claiming power: who deserves to be protected as a victim and who should be punished as a perpetrator. She argues that even though victimhood has long been used to excuse violence and hierarchy, social media platforms and far-right populism have turned victimhood into a weapon of the privileged. Drawing on recent examples such as the overturning of Roe v. Wade, movements like #MeToo and Black Lives Matter, and the COVID-19 pandemic, as well as historical ones from the major wars of the twentieth century and the Civil Rights Movement, Wronged reveals why claims of victimization are so effective at reinforcing instead of alleviating inequalities of class, gender, and race. Unless we come to recognize the suffering of the vulnerable for what it is—a matter not of victimhood but of injustice—Chouliaraki powerfully warns, the culture of victimhood will continue to perpetuate old exclusions and enable further injuries.

Established by a pair of philanthropists who believed adamantly in the power of creativity, Yaddo has hosted some of the twentieth century's most renowned writers, composers, and visual artists, including Hannah Arendt, James Baldwin, Saul Bellow, Leonard Bernstein, Elizabeth Bishop, Truman Capote, Flannery O'Connor, Aaron Copland, Langston Hughes, Carson McCullers, Sylvia Plath, Philip Roth, and Clyfford Still.

Richly illustrated with photographs, prints, intimate letters, papers, and ephemera from archives and collections at both Yaddo and The New York Public Library—many of which have never before been seen by the public—Yaddo offers a window into the workings of this famously private institution and insight into the lives and circumstances of the artists who lived and worked there. It examines the relationship between the premier artists' colony and the ideals of democracy and individuality that inform an American vision. From Aaron Copland to Robert Lowell, from Agnes Smedley to Langston Hughes, the volume shares the stories of those who visited this haven and highlights the debates and controversies that threatened to break apart its tranquility. With essays by Marcelle Clements, David Gates, Allan Gurganus, Tim Page, Ruth Price, Barry Werth, Karl Emil Willers, and Helen Vendler, along with an overview by curator Micki McGee, Yaddo revisits the major moments of twentieth-century American culture and history.

Established by a pair of philanthropists who believed adamantly in the power of creativity, Yaddo has hosted some of the twentieth century's most renowned writers, composers, and visual artists, including Hannah Arendt, James Baldwin, Saul Bellow, Leonard Bernstein, Elizabeth Bishop, Truman Capote, Flannery O'Connor, Aaron Copland, Langston Hughes, Carson McCullers, Sylvia Plath, Philip Roth, and Clyfford Still.

Richly illustrated with photographs, prints, intimate letters, papers, and ephemera from archives and collections at both Yaddo and The New York Public Library—many of which have never before been seen by the public—Yaddo offers a window into the workings of this famously private institution and insight into the lives and circumstances of the artists who lived and worked there. It examines the relationship between the premier artists' colony and the ideals of democracy and individuality that inform an American vision. From Aaron Copland to Robert Lowell, from Agnes Smedley to Langston Hughes, the volume shares the stories of those who visited this haven and highlights the debates and controversies that threatened to break apart its tranquility. With essays by Marcelle Clements, David Gates, Allan Gurganus, Tim Page, Ruth Price, Barry Werth, Karl Emil Willers, and Helen Vendler, along with an overview by curator Micki McGee, Yaddo revisits the major moments of twentieth-century American culture and history.

For serious yoga practitioners curious to know the ancient origins of the art, Stephen Phillips, a professional philosopher and sanskritist with a long-standing personal practice, lays out the philosophies of action, knowledge, and devotion as well as the processes of meditation, reasoning, and self-analysis that formed the basis of yoga in ancient and classical India and continue to shape it today.

In discussing yoga's fundamental commitments, Phillips explores traditional teachings of hatha yoga, karma yoga, bhakti yoga, and tantra, and shows how such core concepts as self-monitoring consciousness, karma, nonharmfulness (ahimsa), reincarnation, and the powers of consciousness relate to modern practice. He outlines values implicit in bhakti yoga and the tantric yoga of beauty and art and explains the occult psychologies of koshas, skandhas, and chakras. His book incorporates original translations from the early Upanishads, the Bhagavad Gita, the Yoga Sutra (the entire text), the Hatha Yoga Pradipika, and seminal tantric writings of the tenth-century Kashmiri Shaivite, Abhinava Gupta. A glossary defining more than three hundred technical terms and an extensive bibliography offer further help to nonscholars. A remarkable exploration of yoga's conceptual legacy, Yoga, Karma, and Rebirth crystallizes ideas about self and reality that unite the many incarnations of yoga.

For serious yoga practitioners curious to know the ancient origins of the art, Stephen Phillips, a professional philosopher and sanskritist with a long-standing personal practice, lays out the philosophies of action, knowledge, and devotion as well as the processes of meditation, reasoning, and self-analysis that formed the basis of yoga in ancient and classical India and continue to shape it today.

In discussing yoga's fundamental commitments, Phillips explores traditional teachings of hatha yoga, karma yoga, bhakti yoga, and tantra, and shows how such core concepts as self-monitoring consciousness, karma, nonharmfulness (ahimsa), reincarnation, and the powers of consciousness relate to modern practice. He outlines values implicit in bhakti yoga and the tantric yoga of beauty and art and explains the occult psychologies of koshas, skandhas, and chakras. His book incorporates original translations from the early Upanishads, the Bhagavad Gita, the Yoga Sutra (the entire text), the Hatha Yoga Pradipika, and seminal tantric writings of the tenth-century Kashmiri Shaivite, Abhinava Gupta. A glossary defining more than three hundred technical terms and an extensive bibliography offer further help to nonscholars. A remarkable exploration of yoga's conceptual legacy, Yoga, Karma, and Rebirth crystallizes ideas about self and reality that unite the many incarnations of yoga.

Yoshimasa may have been the worst shogun ever to rule Japan. He was a failure as a soldier, incompetent at dealing with state business, and dominated by his wife. But his influence on the cultural life of Japan was unparalleled. According to Donald Keene, Yoshimasa was the only shogun to leave a lasting heritage for the entire Japanese people.

Today Yoshimasa is remembered primarily as the builder of the Temple of the Silver Pavilion and as the ruler at the time of the Onin War (1467–1477), after which the authority of the shogun all but disappeared. Unable to control the daimyos—provincial military governors—he abandoned politics and devoted himself to the quest for beauty. It was then, after Yoshimasa resigned as shogun and made his home in the mountain retreat now known as the Silver Pavilion, that his aesthetic taste came to define that of the Japanese: the no theater flourished, Japanese gardens were developed, and the tea ceremony had its origins in a small room at the Silver Pavilion. Flower arrangement, ink painting, and shoin-zukuri architecture began or became of major importance under Yoshimasa. Poets introduced their often barely literate warlord-hosts to the literary masterpieces of the past and taught them how to compose poetry. Even the most barbarous warlord came to want the trappings of culture that would enable him to feel like a civilized man.

Yoshimasa and the Silver Pavilion gives this long-neglected but critical period in Japanese history the thorough treatment it deserves.

Yoshimasa may have been the worst shogun ever to rule Japan. He was a failure as a soldier, incompetent at dealing with state business, and dominated by his wife. But his influence on the cultural life of Japan was unparalleled. According to Donald Keene, Yoshimasa was the only shogun to leave a lasting heritage for the entire Japanese people.

Today Yoshimasa is remembered primarily as the builder of the Temple of the Silver Pavilion and as the ruler at the time of the Onin War (1467–1477), after which the authority of the shogun all but disappeared. Unable to control the daimyos—provincial military governors—he abandoned politics and devoted himself to the quest for beauty. It was then, after Yoshimasa resigned as shogun and made his home in the mountain retreat now known as the Silver Pavilion, that his aesthetic taste came to define that of the Japanese: the no theater flourished, Japanese gardens were developed, and the tea ceremony had its origins in a small room at the Silver Pavilion. Flower arrangement, ink painting, and shoin-zukuri architecture began or became of major importance under Yoshimasa. Poets introduced their often barely literate warlord-hosts to the literary masterpieces of the past and taught them how to compose poetry. Even the most barbarous warlord came to want the trappings of culture that would enable him to feel like a civilized man.

Yoshimasa and the Silver Pavilion gives this long-neglected but critical period in Japanese history the thorough treatment it deserves.

A masterpiece of eighteenth-century Japanese puppet theater, Yoshitsune and the Thousand Cherry Trees is an action-packed play set in the aftermath of the twelfth-century Genji–Heike wars. It follows the adventures of the military commander, Yoshitsune, as he tries to avoid capture by his jealous older brother and loyal henchmen. The drama, written by a trio of playwrights, popularizes Japan's martial past for urban Edo audiences. It was banned only once in its long history, for a period after World War II, because occupying American forces feared its nationalizing power.

In this expert translation by Stanleigh H. Jones Jr., readers learn why Yoshitsune and the Thousand Cherry Trees became one of the most influential plays in the repertoires of both kabuki and bunraku puppet theater. He opens with an introduction detailing the historical background, production history, and major features of the bunraku genre, and then pairs his translation of the play with helpful resources for students and scholars. Emphasizing text and performance, Jones's translation underlines not only the play's skillful appropriation of traditional forms but also its brilliant development of dramatic technique.

A masterpiece of eighteenth-century Japanese puppet theater, Yoshitsune and the Thousand Cherry Trees is an action-packed play set in the aftermath of the twelfth-century Genji–Heike wars. It follows the adventures of the military commander, Yoshitsune, as he tries to avoid capture by his jealous older brother and loyal henchmen. The drama, written by a trio of playwrights, popularizes Japan's martial past for urban Edo audiences. It was banned only once in its long history, for a period after World War II, because occupying American forces feared its nationalizing power.

In this expert translation by Stanleigh H. Jones Jr., readers learn why Yoshitsune and the Thousand Cherry Trees became one of the most influential plays in the repertoires of both kabuki and bunraku puppet theater. He opens with an introduction detailing the historical background, production history, and major features of the bunraku genre, and then pairs his translation of the play with helpful resources for students and scholars. Emphasizing text and performance, Jones's translation underlines not only the play's skillful appropriation of traditional forms but also its brilliant development of dramatic technique.

More and more, we present ourselves and encounter others through profiles. A profile shows us not as we are seen directly but how we are perceived by a broader public. As we observe how others observe us, we calibrate our self-presentation accordingly. Profile-based identity is evident everywhere from pop culture to politics, marketing to morality. But all too often critics simply denounce this alleged superficiality in defense of some supposedly pure ideal of authentic or sincere expression.

This book argues that the profile marks an epochal shift in our concept of identity and demonstrates why that matters. You and Your Profile blends social theory, philosophy, and cultural critique to unfold an exploration of the way we have come to experience the world. Instead of polemicizing against the profile, Hans-Georg Moeller and Paul J. D’Ambrosio outline how it works, how we readily apply it in our daily lives, and how it shapes our values—personally, economically, and ethically. They develop a practical vocabulary of life in the digital age. Informed by the Daoist tradition, they suggest strategies for handling the pressure of social media by distancing oneself from one’s public face. A deft and wide-ranging consideration of our era’s identity crisis, this book provides vital clues on how to stay sane in a time of proliferating profiles.

More and more, we present ourselves and encounter others through profiles. A profile shows us not as we are seen directly but how we are perceived by a broader public. As we observe how others observe us, we calibrate our self-presentation accordingly. Profile-based identity is evident everywhere from pop culture to politics, marketing to morality. But all too often critics simply denounce this alleged superficiality in defense of some supposedly pure ideal of authentic or sincere expression.

This book argues that the profile marks an epochal shift in our concept of identity and demonstrates why that matters. You and Your Profile blends social theory, philosophy, and cultural critique to unfold an exploration of the way we have come to experience the world. Instead of polemicizing against the profile, Hans-Georg Moeller and Paul J. D’Ambrosio outline how it works, how we readily apply it in our daily lives, and how it shapes our values—personally, economically, and ethically. They develop a practical vocabulary of life in the digital age. Informed by the Daoist tradition, they suggest strategies for handling the pressure of social media by distancing oneself from one’s public face. A deft and wide-ranging consideration of our era’s identity crisis, this book provides vital clues on how to stay sane in a time of proliferating profiles.

In the 1950s, long before his ascent to international renown, Michel Foucault published a scant few works. His early writings on psychology, psychopathology, and anthropology have been dismissed as immature. However, recently discovered manuscripts from the mid-1950s, when Foucault was a lecturer at the University of Lille, testify to the significance of the work that the philosopher produced in the years leading up to the “archaeological” project he launched with History of Madness.

Elisabetta Basso offers a groundbreaking and in-depth analysis of Foucault’s Lille manuscripts that sheds new light on the origins of his philosophical project. She considers the epistemological style and methodology of these writings as well as their philosophical context and the scholarly networks in which Foucault was active, foregrounding his relationship to existential psychiatry. Young Foucault blurs the boundaries between biography and theory, exploring the transformations—and, at times, contradictions—that characterize the intellectual trajectory of a philosopher who, as Foucault himself put it, “turned to psychology, and from psychology to history.” Retracing the first steps of the philosopher’s intellectual journey, Basso shows how Foucault’s early writings provide key insights into his archaeological work of the 1960s. Assembling a vast array of archival sources—including manuscripts, reading notes, notes for lectures and conferences, and correspondence—this book develops a new and deeper understanding of Foucault’s body of work.

In the 1950s, long before his ascent to international renown, Michel Foucault published a scant few works. His early writings on psychology, psychopathology, and anthropology have been dismissed as immature. However, recently discovered manuscripts from the mid-1950s, when Foucault was a lecturer at the University of Lille, testify to the significance of the work that the philosopher produced in the years leading up to the “archaeological” project he launched with History of Madness.

Elisabetta Basso offers a groundbreaking and in-depth analysis of Foucault’s Lille manuscripts that sheds new light on the origins of his philosophical project. She considers the epistemological style and methodology of these writings as well as their philosophical context and the scholarly networks in which Foucault was active, foregrounding his relationship to existential psychiatry. Young Foucault blurs the boundaries between biography and theory, exploring the transformations—and, at times, contradictions—that characterize the intellectual trajectory of a philosopher who, as Foucault himself put it, “turned to psychology, and from psychology to history.” Retracing the first steps of the philosopher’s intellectual journey, Basso shows how Foucault’s early writings provide key insights into his archaeological work of the 1960s. Assembling a vast array of archival sources—including manuscripts, reading notes, notes for lectures and conferences, and correspondence—this book develops a new and deeper understanding of Foucault’s body of work.

On April 15, 1837, a "long, gawky" Abraham Lincoln walked into Joshua Speed's dry-goods store in Springfield, Illinois, and asked what it would cost to buy the materials for a bed. Speed said seventeen dollars, which Lincoln didn't have. He asked for a loan to cover that amount until Christmas. Speed was taken with his visitor, but, as he said later, "I never saw so gloomy and melancholy a face." Speed suggested Lincoln stay with him in a room over his store for free and share his large double bed. What began would become one of the most important friendships in American history.

Speed was Lincoln's closest confidant, offering him invaluable support after the death of his first love, Ann Rutledge, and during his rocky courtship of Mary Todd. Lincoln needed Speed for guidance, support, and empathy. Your Friend Forever, A. Lincoln is a rich analysis of a relationship that was both a model of male friendship and a specific dynamic between two brilliant but fascinatingly flawed men who played off each other's strengths and weaknesses to launch themselves in love and life. Their friendship resolves important questions about Lincoln's early years and adds significant psychological depth to our understanding of our sixteenth president.

On April 15, 1837, a "long, gawky" Abraham Lincoln walked into Joshua Speed's dry-goods store in Springfield, Illinois, and asked what it would cost to buy the materials for a bed. Speed said seventeen dollars, which Lincoln didn't have. He asked for a loan to cover that amount until Christmas. Speed was taken with his visitor, but, as he said later, "I never saw so gloomy and melancholy a face." Speed suggested Lincoln stay with him in a room over his store for free and share his large double bed. What began would become one of the most important friendships in American history.

Speed was Lincoln's closest confidant, offering him invaluable support after the death of his first love, Ann Rutledge, and during his rocky courtship of Mary Todd. Lincoln needed Speed for guidance, support, and empathy. Your Friend Forever, A. Lincoln is a rich analysis of a relationship that was both a model of male friendship and a specific dynamic between two brilliant but fascinatingly flawed men who played off each other's strengths and weaknesses to launch themselves in love and life. Their friendship resolves important questions about Lincoln's early years and adds significant psychological depth to our understanding of our sixteenth president.

Tunisia became one of the largest sources of foreign fighters for the Islamic State—even though the country stands out as a democratic bright spot of the Arab uprisings and despite the fact that it had very little history of terrorist violence within its borders prior to 2011. In Your Sons Are at Your Service, Aaron Y. Zelin uncovers the longer history of Tunisian involvement in the jihadi movement and offers an in-depth examination of the reasons why so many Tunisians became drawn to jihadism following the 2011 revolution.

Zelin highlights the longer-term causes that affected jihadi recruitment in Tunisia, including the prior history of Tunisians joining jihadi organizations and playing key roles in far-flung parts of the world over the past four decades. He contends that the jihadi group Ansar al-Sharia in Tunisia was able to take advantage of the universal prisoner amnesty, increased openness, and the lack of governmental policy toward it after the revolution. In turn, this provided space for greater recruitment and subsequent mobilization to fight abroad once the Tunisian government cracked down on the group in 2013. Zelin marshals cutting-edge empirical findings, extensive primary source research, and on-the-ground fieldwork, including a variety of documents in Arabic going as far back as the 1980s and interviews with Ansar al-Sharia members and Tunisian fighters returning from Syria. The first book on the history of the Tunisian jihadi movement, Your Sons Are at Your Service is a meticulously researched account that challenges simplified views of jihadism’s appeal and success.

Tunisia became one of the largest sources of foreign fighters for the Islamic State—even though the country stands out as a democratic bright spot of the Arab uprisings and despite the fact that it had very little history of terrorist violence within its borders prior to 2011. In Your Sons Are at Your Service, Aaron Y. Zelin uncovers the longer history of Tunisian involvement in the jihadi movement and offers an in-depth examination of the reasons why so many Tunisians became drawn to jihadism following the 2011 revolution.

Zelin highlights the longer-term causes that affected jihadi recruitment in Tunisia, including the prior history of Tunisians joining jihadi organizations and playing key roles in far-flung parts of the world over the past four decades. He contends that the jihadi group Ansar al-Sharia in Tunisia was able to take advantage of the universal prisoner amnesty, increased openness, and the lack of governmental policy toward it after the revolution. In turn, this provided space for greater recruitment and subsequent mobilization to fight abroad once the Tunisian government cracked down on the group in 2013. Zelin marshals cutting-edge empirical findings, extensive primary source research, and on-the-ground fieldwork, including a variety of documents in Arabic going as far back as the 1980s and interviews with Ansar al-Sharia members and Tunisian fighters returning from Syria. The first book on the history of the Tunisian jihadi movement, Your Sons Are at Your Service is a meticulously researched account that challenges simplified views of jihadism’s appeal and success.

Although a range of program and policy responses to youth gangs exist, most are largely based on suppression, implemented by the police or other criminal justice agencies. Less attention and fewer resources have been directed to prevention and intervention strategies that draw on the participation of community organizations, schools, and social service agencies in the neighborhoods in which gangs operate. Also underemphasized is the importance of integrating such approaches at the local level.

In this volume, leading researchers discuss effective intervention among youth gangs, focusing on the ideas behind, approaches to, and evidence about the effectiveness of community-based, youth gang interventions. Treating community as a crucial unit of analysis and action, these essays reorient our understanding of gangs and the measures undertaken to defeat them. They emphasize the importance of community, both as a context that shapes opportunity and as a resource that promotes positive youth engagement. Covering key themes and debates, this book explores the role of social capital and collective efficacy in informing youth gang intervention and evaluation, the importance of focusing on youth development within the context of community opportunities and pressures, and the possibilities of better linking research, policy, and practice when responding to youth gangs, among other critical issues.

Although a range of program and policy responses to youth gangs exist, most are largely based on suppression, implemented by the police or other criminal justice agencies. Less attention and fewer resources have been directed to prevention and intervention strategies that draw on the participation of community organizations, schools, and social service agencies in the neighborhoods in which gangs operate. Also underemphasized is the importance of integrating such approaches at the local level.

In this volume, leading researchers discuss effective intervention among youth gangs, focusing on the ideas behind, approaches to, and evidence about the effectiveness of community-based, youth gang interventions. Treating community as a crucial unit of analysis and action, these essays reorient our understanding of gangs and the measures undertaken to defeat them. They emphasize the importance of community, both as a context that shapes opportunity and as a resource that promotes positive youth engagement. Covering key themes and debates, this book explores the role of social capital and collective efficacy in informing youth gang intervention and evaluation, the importance of focusing on youth development within the context of community opportunities and pressures, and the possibilities of better linking research, policy, and practice when responding to youth gangs, among other critical issues.

Zeami (1363-1443), Japan's most celebrated actor and playwright, composed more than thirty of the finest plays of no drama. He also wrote a variety of texts on theater and performance that have, until now, been only partially available in English.

Zeami: Performance Notes presents the full range of Zeami's critical thought on this subject, which focused on the aesthetic values of no and its antecedents, the techniques of playwriting, the place of allusion, the training of actors, the importance of patronage, and the relationship between performance and broader intellectual and critical concerns. Spanning over four decades, the texts reflect the essence of Zeami's instruction under his famous father, the actor Kannami, and the value of his long and challenging career in medieval Japanese theater.

Tom Hare, who has conducted extensive studies of no academically and on stage, begins with a comprehensive introduction that discusses Zeami's critical importance in Japanese culture. He then incorporates essays on the performance of no in medieval Japan and the remarkable story of the transmission and reproduction of Zeami's manuscripts over the past six centuries. His eloquent translation is fully annotated and includes Zeami's diverse and exquisite anthology of dramatic songs, Five Sorts of Singing, presented both in English and in the original Japanese.

Zeami (1363-1443), Japan's most celebrated actor and playwright, composed more than thirty of the finest plays of no drama. He also wrote a variety of texts on theater and performance that have, until now, been only partially available in English.

Zeami: Performance Notes presents the full range of Zeami's critical thought on this subject, which focused on the aesthetic values of no and its antecedents, the techniques of playwriting, the place of allusion, the training of actors, the importance of patronage, and the relationship between performance and broader intellectual and critical concerns. Spanning over four decades, the texts reflect the essence of Zeami's instruction under his famous father, the actor Kannami, and the value of his long and challenging career in medieval Japanese theater.

Tom Hare, who has conducted extensive studies of no academically and on stage, begins with a comprehensive introduction that discusses Zeami's critical importance in Japanese culture. He then incorporates essays on the performance of no in medieval Japan and the remarkable story of the transmission and reproduction of Zeami's manuscripts over the past six centuries. His eloquent translation is fully annotated and includes Zeami's diverse and exquisite anthology of dramatic songs, Five Sorts of Singing, presented both in English and in the original Japanese.

Huang Fan burst onto Taiwan's literary scene in the 1980s, publishing pointed urban portraits and political satires that captured the reading public's attention. After decades of innovative work, he is now one of Asia's most celebrated authors, crucial to understanding the development of Taiwanese literature over the past fifty years.

The first collection of Huang Fan's work to appear in English, this anthology includes Zero, a prize-winning dystopian novella echoing George Orwell's chilling 1984. Set in a postapocalyptic world, Zero features Xi De, a young man raised in an elite community who risks everything to challenge his society's charismatic leader and technocratic rule. Huang Fan's novella poignantly illustrates the quandary of an idealistic man trapped among conflicting claims to truth, unsure whether to think of himself as heroic or foolish in his ultimate choice of resistance and sacrifice.

This anthology also features three critically acclaimed short stories: "Lai Suo," which established Huang Fan's reputation as a groundbreaking author; "The Intelligent Man"; and "How to Measure the Width of a Ditch." In "Lai Suo," a naïve individual becomes the pawn of powerful men intent on political advancement. In "How to Measure the Width of a Ditch," an unreliable narrator spins an absurdist, metafictional tale of his childhood in Taipei, and in "The Intelligent Man," Huang Fan weaves an allegorical satire about political reunification set against a backdrop of Taiwanese migration to the United States, with a trenchant look at expanding business interests in mainland China and Southeast Asia. All together, these remarkable works portray the tensions and aspirations of modern Taiwan.

The power sector and transportation tend to dominate conversations about climate change, but there’s an under-the-radar source of climate pollution that must be addressed: industry. Globally, industrial activity is responsible for one-third of human-caused greenhouse gas emissions. Though industry is a major emitter, it is essential for producing the tools we need to fight climate change—like wind turbines, solar panels, and electric vehicles—and for meeting our everyday needs. How can industry eliminate its climate pollution while supplying transformational technologies?

This book delivers a first-of-its-kind roadmap for the zero-carbon industrial transition, spotlighting the breakthrough innovations transforming the manufacturing sector and the policies that can accelerate this global shift. Jeffrey Rissman illustrates the scope of the challenge, diving into the workings of heavy polluters like steel, chemicals, plastics, cement, and concrete. He examines ways to affordably decarbonize manufacturing, such as electrifying industrial processes, using hydrogen, deploying carbon capture and storage, and growing material efficiency with lightweighting and 3D printing. But technologies are only part of the picture. Enacting the right policies—including financial incentives, research and development support, well-designed carbon pricing, efficiency and emissions standards, and green public procurement—can spur investment and hasten emissions reductions. Rissman provides a framework to ensure that the transition to clean industry enhances equity, health, and prosperity for communities worldwide.

Engaging and comprehensive, Zero-Carbon Industry is the definitive guide to decarbonizing the vast—yet often overlooked—global industrial sector.

There is a stark contrast between the overarching importance of history writing in imperial China and the meagerness of historical texts from the centuries preceding the imperial unification of 221 BCE. However, recently discovered bamboo manuscripts from the Warring States period (453–221 BCE) have changed this picture, leading to reappraisals of early Chinese historiography. These manuscripts shed new light on questions related to the production, circulation, and audience of historical texts in early China; their different political, ritual, and ideological usages; and their roles in the cultural and intellectual dynamics of China’s vibrant pre-imperial age.

Zhou History Unearthed offers both a novel understanding of early Chinese historiography and a fully annotated translation of Xinian (String of Years), the most notable historical manuscript from the state of Chu. Yuri Pines elucidates the importance of Xinian and other recently discovered texts for our understanding of history writing in Zhou China (1046–255 BCE), as well as major historical events and topics such as Chu’s cultural identity. Pines explores how Xinian challenges existing interpretations of the nature and reliability of canonical historical texts on the Zhou era, such as Zuo zhuan (Zuo Tradition/Commentary) and Records of the Historian (Shiji). A major work of scholarship and translation, Zhou History Unearthed sheds new light on early Chinese history and historiography, demonstrating how new archaeological findings are changing our knowledge of China’s pre-imperial days.

There is a stark contrast between the overarching importance of history writing in imperial China and the meagerness of historical texts from the centuries preceding the imperial unification of 221 BCE. However, recently discovered bamboo manuscripts from the Warring States period (453–221 BCE) have changed this picture, leading to reappraisals of early Chinese historiography. These manuscripts shed new light on questions related to the production, circulation, and audience of historical texts in early China; their different political, ritual, and ideological usages; and their roles in the cultural and intellectual dynamics of China’s vibrant pre-imperial age.

Zhou History Unearthed offers both a novel understanding of early Chinese historiography and a fully annotated translation of Xinian (String of Years), the most notable historical manuscript from the state of Chu. Yuri Pines elucidates the importance of Xinian and other recently discovered texts for our understanding of history writing in Zhou China (1046–255 BCE), as well as major historical events and topics such as Chu’s cultural identity. Pines explores how Xinian challenges existing interpretations of the nature and reliability of canonical historical texts on the Zhou era, such as Zuo zhuan (Zuo Tradition/Commentary) and Records of the Historian (Shiji). A major work of scholarship and translation, Zhou History Unearthed sheds new light on early Chinese history and historiography, demonstrating how new archaeological findings are changing our knowledge of China’s pre-imperial days.

Zhu Xi (1130–1200) was the preeminent Confucian thinker of the Song dynasty (960–1279). His teachings profoundly influenced China, where for centuries after his death they formed the basis of the country’s educational system. In Korea, Japan, and Vietnam as well, elites embraced his inspired and authoritative synthesis of Confucian thought.

In Zhu’s eyes, the great Way of China was in decline, with its very survival threatened by external enemies and internal moral weakness. In his writings and teaching, Zhu took as his mission the revival of the Confucian tradition, the source of China’s greatness, and its transmission to future generations. For him, restoring Confucianism to its rightful place required drawing on the tradition’s whole sweep, from the sacred texts of the sages and worthies of antiquity to the more recent writings of the great thinkers of the tenth and eleventh centuries.

This book presents the essential teachings of the new Confucian (“Neo-Confucian”) philosophical system that Zhu Xi forged, providing a concise introduction to one of the most important figures in the history of Chinese thought. It offers selections from the Classified Conversations of Master Zhu (Zhuzi yulei), a lengthy collection of Zhu’s conversations with disciples. In these texts, Zhu Xi reflects on the Confucian teachings of the past, revising and refining his understanding of them and shaping that understanding into a cohesive system of thought. Daniel K. Gardner’s translation renders these discussions and sayings in a conversational style that is accessible to new and more advanced readers alike.

Zhu Xi (1130–1200) was the preeminent Confucian thinker of the Song dynasty (960–1279). His teachings profoundly influenced China, where for centuries after his death they formed the basis of the country’s educational system. In Korea, Japan, and Vietnam as well, elites embraced his inspired and authoritative synthesis of Confucian thought.

In Zhu’s eyes, the great Way of China was in decline, with its very survival threatened by external enemies and internal moral weakness. In his writings and teaching, Zhu took as his mission the revival of the Confucian tradition, the source of China’s greatness, and its transmission to future generations. For him, restoring Confucianism to its rightful place required drawing on the tradition’s whole sweep, from the sacred texts of the sages and worthies of antiquity to the more recent writings of the great thinkers of the tenth and eleventh centuries.

This book presents the essential teachings of the new Confucian (“Neo-Confucian”) philosophical system that Zhu Xi forged, providing a concise introduction to one of the most important figures in the history of Chinese thought. It offers selections from the Classified Conversations of Master Zhu (Zhuzi yulei), a lengthy collection of Zhu’s conversations with disciples. In these texts, Zhu Xi reflects on the Confucian teachings of the past, revising and refining his understanding of them and shaping that understanding into a cohesive system of thought. Daniel K. Gardner’s translation renders these discussions and sayings in a conversational style that is accessible to new and more advanced readers alike.

The Analects is a compendium of the sayings of Confucius (551–479 b.c.e.), transcribed and passed down by his disciples. How it came to be transformed by Zhu Xi (1130–1200) into one of the most philosophically significant texts in the Confucian tradition is the subject of this book.

Scholarly attention in China had long been devoted to the Analects. By the time of Zhu Xi, a rich history of commentary had grown up around it. But Zhu, claiming that the Analects was one of the authoritative texts in the canon and should be read before all others, gave it a still more privileged status in the tradition. He spent decades preparing an extended interlinear commentary on it. Sustained by a newer, more elaborate language of metaphysics, Zhu's commentary on the Analects marked a significant shift in the philosophical orientation of Confucianism—a shift that redefined the Confucian tradition for the next eight centuries, not only in China, but in Japan and Korea well.

Gardner's translations and analysis of Zhu Xi's commentary on the Analects show one of China's great thinkers in an interesting and complex act of philosophical negotiation. Through an interlinear, line-by-line "dialogue" with Confucius, Zhu effected a reconciliation of the teachings of the Master, commentary by later exegetes, and contemporary philosophical concerns of Song-dynasty scholars. By comparing Zhu's reading of the Analects with the earlier standard reading by He Yan (190–249), Gardner illuminates what is dramatically new in Zhu Xi's interpretation of the Analects.

A pioneering study of Zhu Xi's reading of the Analects, this book demonstrates how commentary is both informed by a text and informs future readings, and highlights the importance of interlinear commentary as a genre in Chinese philosophy.

The Analects is a compendium of the sayings of Confucius (551–479 b.c.e.), transcribed and passed down by his disciples. How it came to be transformed by Zhu Xi (1130–1200) into one of the most philosophically significant texts in the Confucian tradition is the subject of this book.

Scholarly attention in China had long been devoted to the Analects. By the time of Zhu Xi, a rich history of commentary had grown up around it. But Zhu, claiming that the Analects was one of the authoritative texts in the canon and should be read before all others, gave it a still more privileged status in the tradition. He spent decades preparing an extended interlinear commentary on it. Sustained by a newer, more elaborate language of metaphysics, Zhu's commentary on the Analects marked a significant shift in the philosophical orientation of Confucianism—a shift that redefined the Confucian tradition for the next eight centuries, not only in China, but in Japan and Korea well.

Gardner's translations and analysis of Zhu Xi's commentary on the Analects show one of China's great thinkers in an interesting and complex act of philosophical negotiation. Through an interlinear, line-by-line "dialogue" with Confucius, Zhu effected a reconciliation of the teachings of the Master, commentary by later exegetes, and contemporary philosophical concerns of Song-dynasty scholars. By comparing Zhu's reading of the Analects with the earlier standard reading by He Yan (190–249), Gardner illuminates what is dramatically new in Zhu Xi's interpretation of the Analects.

A pioneering study of Zhu Xi's reading of the Analects, this book demonstrates how commentary is both informed by a text and informs future readings, and highlights the importance of interlinear commentary as a genre in Chinese philosophy.

The Zhuangzi (Sayings of Master Zhuang) is one of the foundational texts of the Chinese philosophical tradition and the cornerstone of Daoist thought. The earliest and most influential commentary on the Zhuangzi is that of Guo Xiang (265–312), who also edited the text into the thirty-three-chapter version known ever since. Guo’s commentary enriches readings of the Zhuangzi, offering keen insights into the meaning and significance of its pithy but often ambiguous aphorisms, narratives, and parables.

Richard John Lynn’s new translation of the Zhuangzi is the first to follow Guo’s commentary in its interpretive choices. Unlike any previous translation into any language, its guiding principle is how Guo read the text; Lynn renders the Zhuangzi in terms of Guo’s understanding. This approach allows for the full integration of the text of the Zhuangzi with Guo’s commentary. The book also features a translation of Guo’s complete interlinear commentary and is annotated throughout.

A critical introduction includes a detailed account of Guo’s life and times as well as analysis of his essential contributions to the arcane learning (xuanxue) of the fourth century and the development of Chinese philosophy. Lynn sheds new light on how the Daoist classic, which has often been seen as a timeless book of wisdom, is situated in its historical context, while also considering it as a guide to personal cultivation and self-realization.

The Zhuangzi (Sayings of Master Zhuang) is one of the foundational texts of the Chinese philosophical tradition and the cornerstone of Daoist thought. The earliest and most influential commentary on the Zhuangzi is that of Guo Xiang (265–312), who also edited the text into the thirty-three-chapter version known ever since. Guo’s commentary enriches readings of the Zhuangzi, offering keen insights into the meaning and significance of its pithy but often ambiguous aphorisms, narratives, and parables.

Richard John Lynn’s new translation of the Zhuangzi is the first to follow Guo’s commentary in its interpretive choices. Unlike any previous translation into any language, its guiding principle is how Guo read the text; Lynn renders the Zhuangzi in terms of Guo’s understanding. This approach allows for the full integration of the text of the Zhuangzi with Guo’s commentary. The book also features a translation of Guo’s complete interlinear commentary and is annotated throughout.

A critical introduction includes a detailed account of Guo’s life and times as well as analysis of his essential contributions to the arcane learning (xuanxue) of the fourth century and the development of Chinese philosophy. Lynn sheds new light on how the Daoist classic, which has often been seen as a timeless book of wisdom, is situated in its historical context, while also considering it as a guide to personal cultivation and self-realization.

Only by inhabiting Dao (the Way of Nature) and dwelling in its unity can humankind achieve true happiness and freedom, in both life and death. This is Daoist philosophy's central tenet, espoused by the person—or group of people—known as Zhuangzi (369?–286? BCE) in a text by the same name. To be free, individuals must discard rigid distinctions between right and wrong, and follow a course of action not motivated by gain or striving. When one ceases to judge events as good or bad, man-made suffering disappears, and natural suffering is embraced as part of life.

Zhuangzi elucidates this mystical philosophy through humor, parable, and anecdote, using non sequitur and even nonsense to illuminate truths beyond the boundaries of ordinary logic. Boldly imaginative and inventively written, the Zhuangzi floats free of its historical period and society, addressing the spiritual nourishment of all people across time. One of the most justly celebrated texts of the Chinese tradition, the Zhuangzi is read by thousands of English-language scholars each year, yet, until now, only in the Wade-Giles romanization. Burton Watson's conversion to pinyin in this book brings the text in line with how Chinese scholars, and an increasing number of other scholars, read it.

Zion and State explores the origins of the struggle between the left and right in Israel and the Zionist movement. Mitchell Cohen traces the emergence of Jewish nationalism and modern Jewish political ideologies in the late nineteenth century, the birth of Zionist political parties at the time of Theodor Herzl, and the genesis of Israeli politics through the first fifteen years of Jewish statehood.

Analyzing the political battles of the 1920s and 1930s, Cohen shows how the Zionist Labor movement led by David Ben-Gurion defeated the challenge of the right-wing Revisionist Zionists led by Vladimir Jabotinsky, demonstrating how the growing dominance of Labor made the birth of Israel possible. At the same time, the author argues that once in power, the labor movement's long-term policies were ultimately self-defeating and helped to lay the groundwork for its own undoing in the 1970s. This new and expanded edition of Zion and State includes a new preface and a new essay, "Between Revolution and Normalcy."

Japanese Zen often implies that textual learning (gakumon) in Buddhism and personal experience (taiken) in Zen are separate, but the career and writings of the Chinese Tang dynasty Chan master Guifeng Zongmi (780-841) undermine this division. For the first time in English, Jeffrey Broughton presents an annotated translation of Zongmi's magnum opus, the Chan Prolegomenon, along with translations of his Chan Letter and Chan Notes.

The Chan Prolegomenon persuasively argues that Chan "axiom realizations" are identical to the teachings embedded in canonical word and that one who transmits Chan must use the sutras and treatises as a standard. Japanese Rinzai Zen has, since the Edo period, marginalized the sutra-based Chan of the Chan Prolegomenon and its successor text, the Mind Mirror (Zongjinglu) of Yongming Yanshou (904-976). This book contains the first in-depth treatment in English of the neglected Mind Mirror, positioning it as a restatement of Zongmi's work for a Song dynasty audience.

The ideas and models of the Chan Prolegomenon, often disseminated in East Asia through the conduit of the Mind Mirror, were highly influential in the Chan traditions of Song and Ming China, Korea from the late Koryo onward, and Kamakura-Muromachi Japan. In addition, Tangut-language translations of Zongmi's Chan Prolegomenon and Chan Letter constitute the very basis of the Chan tradition of the state of Xixia. As Broughton shows, the sutra-based Chan of Zongmi and Yanshou was much more normative in the East Asian world than previously believed, and readers who seek a deeper, more complete understanding of the Chan tradition will experience a surprising reorientation in this book.

The year 1955 was a watershed one for New York’s film industry: Elia Kazan’s On the Waterfront took home eight Oscars, and, more quietly, Stanley Kubrick released the low-budget classic Killer’s Kiss. A wave of films that changed how American movies were made soon followed, led by directors such as Sidney Lumet, William Friedkin, Francis Ford Coppola, and Martin Scorsese. Yet this resurgence could not have occurred without a deeply rooted tradition of local film production.

Richard Koszarski chronicles the compelling and often surprising origins of New York’s postwar film renaissance, looking beyond such classics as Naked City, Kiss of Death, and Portrait of Jennie. He examines the social, cultural, and economic forces that shaped New York filmmaking, from city politics to union regulations, and shows how decades of low-budget independent production taught local filmmakers how to capture the city’s grit, liveliness, and allure. He reveals the importance of “race films”—all-Black productions intended for segregated African American audiences—that not only helped keep the film business afloat but also nurtured a core group of writers, directors, designers, and technicians. Detailed production histories of On the Waterfront and Killer’s Kiss—films that appear here in a completely new light—illustrate the distinctive characteristics of New York cinema.

Drawing on a vast array of research—including studio libraries, censorship records, union archives, and interviews with participants—“Keep ’Em in the East” rewrites a crucial chapter in the history of American cinema.

The year 1955 was a watershed one for New York’s film industry: Elia Kazan’s On the Waterfront took home eight Oscars, and, more quietly, Stanley Kubrick released the low-budget classic Killer’s Kiss. A wave of films that changed how American movies were made soon followed, led by directors such as Sidney Lumet, William Friedkin, Francis Ford Coppola, and Martin Scorsese. Yet this resurgence could not have occurred without a deeply rooted tradition of local film production.

Richard Koszarski chronicles the compelling and often surprising origins of New York’s postwar film renaissance, looking beyond such classics as Naked City, Kiss of Death, and Portrait of Jennie. He examines the social, cultural, and economic forces that shaped New York filmmaking, from city politics to union regulations, and shows how decades of low-budget independent production taught local filmmakers how to capture the city’s grit, liveliness, and allure. He reveals the importance of “race films”—all-Black productions intended for segregated African American audiences—that not only helped keep the film business afloat but also nurtured a core group of writers, directors, designers, and technicians. Detailed production histories of On the Waterfront and Killer’s Kiss—films that appear here in a completely new light—illustrate the distinctive characteristics of New York cinema.

Drawing on a vast array of research—including studio libraries, censorship records, union archives, and interviews with participants—“Keep ’Em in the East” rewrites a crucial chapter in the history of American cinema.

Through home sewing, Sarah A. Gordon examines domestic labor, marketing practices, changing standards of femininity, and understandings of class, gender, and race from 1890 to 1930. As ready-made garments became increasingly available due to industrialization, many women, out of necessity or choice, continued to make their own clothing. In doing so, women used a customary female skill both as a means of supporting traditional ideas and as a tool of personal agency.

The shifting meanings of sewing formed a contested space in which businesses promoted sewing machines as tools for maintaining domestic harmony, women interpreted patterns to suit-or flout-definitions of appropriate appearances, and girls were taught to sew in ways that reflected beliefs about class, race, and region. Unlike studies of clothing that focus on changes in fashion, "Make it Yourself" looks at the social and cultural processes surrounding home production. Gordon examines sewing clothing as work, whether resented or enjoyed, and the function of that work for families and individuals from a range of backgrounds.

Another unique element is Gordon's use of an unusually wide variety of source materials, from diaries, photographs, and government pamphlets to tissue paper patterns, dresses, sewing workbooks, and paper dolls. This "hands on" approach, combined with an accessible writing style, connects the reader to the women and girls who are at the heart of her study. Altogether, "Make it Yourself" provides a new perspective on a widespread yet often neglected form of women's work.