This title was first published in 2002: In the topsy-turvy 1580s and 1590s, as the episodic Anglo-Spanish war became the greatest threat to "English" security since circa 1066, Marlowe rose up in the London theatres like some Phaeton of the entertainment industry, taking war itself as a central subject of his art. This book reads his plays - especially "Tamburlaine", "Edward II", "The Massacre at Paris", and "Doctor Faustus" - as part of a bright new conversation then taking place in London about the nature of state security and martial law, the decorum of playing "the soldier" on stage, the rhetoric of warfever, and the necessity for draconian prescriptions about English manhood. Those public conversations, spilling out of Whitehall, the church pulpits, and the pubs, took center stage during the few years the playwright worked in London. The author argues that the Marlowe plays wrestle with the philosophical assumptions about the nature of war and the role and status of soldiers in English culture.

Contributions to this volume explore the idea of Marlowe as a working artist, in keeping with John Addington Symonds' characterization of him as a "sculptor-poet." Throughout the body of his work-including not only the poems and plays, but also his forays into translation and imitation-a distinguished company of established and emerging literary scholars traces how Marlowe conceives an idea, shapes and refines it, then remakes and remodels it, only to refashion it further in his writing process. These essays necessarily overlap with one another in the categories of lives, stage, and page, which signals their interdependent nature regarding questions of authorship, theater and performance history, as well as interpretive issues within the works themselves. The contributors interpret and analyze the disputed facts of Marlowe's life, the textual difficulties that emerge from the staging of his plays, the critical investigations arising from analyses of individual works, and their relationship to those of his contemporaries. The collection engages in new ways the controversies and complexities of its subject's life and art. It reflects the flourishing state of Marlowe studies as it shapes the twenty-first century conception of the poet and playwright as master craftsman.

Contending that criticism of Marlowe’s plays has been limited by humanist conceptions of tragedy, this book engages with trauma theory, especially psychoanalytic trauma theory, to offer a fresh critical perspective within which to make sense of the tension in Marlowe’s plays between the tragic and the traumatic. The author argues that tragedies are trauma narratives, narratives of wounding; however, in Marlowe’s plays, a traumatic aesthetics disrupts the closure that tragedy seeks to enact. Martin’s fresh reading of Massacre at Paris, which is often dismissed by critics as a bad tragedy, presents the play as deliberately breaking the conventions of the tragic genre in order to enact a traumatic aesthetics that pulls its audience into one of the early modern period’s most notorious collective traumatic events, the massacre of French Huguenots in Paris in 1572. The chapters on Marlowe’s six other plays similarly argue that throughout Marlowe’s drama tragedy is held in tension with-and disrupted by-the aesthetics of trauma.

Focusing upon Marlowe the playwright as opposed to Marlowe the man, the essays in this collection position the dramatist's plays within the dramaturgical, ethical, and sociopolitical matrices of his own era. The volume also examines some of the most heated controversies of the early modern period, such as the anti-theatrical debate, the relations between parents and children, Machiavaelli1s ideology, the legitimacy of sectarian violence, and the discourse of addiction. Some of the chapters also explore Marlowe's polysemous influence on the theater of his time and of later periods, but, most centrally, upon his more famous contemporary poet/playwright, William Shakespeare.

There has never been a retrospective on Christopher Marlowe as comprehensive, complete and up-to-date in appraising the Marlovian landscape. Each chapter has been written by an eminent, international Marlovian scholar to determine what has been covered, what has not, and what scholarship and criticism will or might focus on next. The volume considers all of Marlowe’s dramas and his poetry, including his translations, as well as the following special topics: Critical Approaches to Marlowe; Marlowe’s Works in Performance; Marlowe and Theatre History; Electronic Resources for Marlovian Research; and Marlowe’s Biography. Included in the discussions are the native, continental, and classical influences on Marlowe and the ways in which Marlowe has interacted with other contemporary writers, including his influence on those who came after him. The volume has appeal not only to students and scholars of Marlowe but to anyone interested in Renaissance drama and poetry. Moreover, the significance for readers lies in the contributors’ approaches as well as in their content. Interest in the biography of Christopher Marlowe and in his works has bourgeoned since the turn of the century. It therefore seems especially appropriate at this time to present a comprehensive assessment of past and present traditional and innovative lines of inquiry and to look forward to future developments.

“This epic account is as thrilling and fast-paced as the raid itself and will quickly rival, if not surpass, Dee Brown’s Grierson’s Raid as the standard.” —Terrence J. Winschel, historian (ret.), Vicksburg National Military Park Winner, Operational/Battle History, Army Historical Foundation Distinguished Book Award Winner, Fletcher Pratt Literary Award, Civil War Round Table of New York There were other simultaneous operations to distract Confederate attention from the real threat posed by U. S. Grant’s Army of the Tennessee. Benjamin Grierson’s operation, however, mainly conducted with two Illinois cavalry regiments, has become the most famous, and for good reason: For 16 days (April 17 to May 2) Grierson led Confederate pursuers on a high-stakes chase through the entire state of Mississippi, entering the northern border with Tennessee and exiting its southern border with Louisiana. Throughout, he displayed outstanding leadership and cunning, destroyed railroad tracks, burned trestles and bridges, freed slaves, and created as much damage and chaos as possible. Grierson’s Raid broke a vital Confederate rail line at Newton Station that supplied Vicksburg and, perhaps most importantly, consumed the attention of the Confederate high command. While Confederate Lt. Gen. John Pemberton at Vicksburg and other Southern leaders looked in the wrong directions, Grant moved his entire Army of the Tennessee across the Mississippi River below Vicksburg, spelling the doom of that city, the Confederate chances of holding the river, and perhaps the Confederacy itself. Based upon years of research and presented in gripping, fast-paced prose, Timothy B. Smith’s The Real Horse Soldiers captures the high drama and tension of the 1863 horse soldiers in a modern, comprehensive, academic study. Readers will find it fills a wide void in Civil War literature.

War and Words is a sweeping study of the profound, painful, and most significantly, defining cultural moments. Working from Homer through to Hemingway and in all traditions, some of the nation's best scholars of literature illustrate how literature and language affect not only the present but also future generations by shaping history even as it represents it. This powerful collection affirms that the humanities remain a site of the most profound reflection on human experience and historical events that have, for better and worse, shaped world civilization.