In this book, Octavio R. González revisits the theme of alienation in the twentieth-century novel, identifying an alternative aesthetic centered on the experience of double exile, or marginalization from both majority and home culture. This misfit modernist aesthetic decenters the mainstream narrative of modernism—which explores alienation from a universal and existential perspective—by showing how a group of authors leveraged modernist narrative to explore minoritarian experiences of cultural nonbelonging. Tying the biography of a particular author to a close reading of one of that author’s major works, González considers in turn Nella Larsen’s Quicksand, Wallace Thurman’s The Blacker the Berry, Jean Rhys’s Quartet, and Christopher Isherwood’s A Single Man. Each of these novels explores conditions of maladjustment within one of three burgeoning cultural movements that sought representation in the greater public sphere: the New Negro movement during the Harlem Renaissance, the 1920s Paris expatriate scene, and the queer expatriate scene in Los Angeles before Stonewall. Using a methodological approach that resists institutional taxonomies of knowledge, González shows that this double exile speaks profoundly through largely autobiographical narratives and that the novels’ protagonists challenge the compromises made by these minoritarian groups out of an urge to assimilate into dominant social norms and values. Original and innovative, Misfit Modernism is a vital contribution to conversations about modernism in the contexts of sexual identity, nationality, and race. Moving beyond the debates over the intellectual legacies of intersectionality and queer theory, González shows us new ways to think about exclusion.

Ford Madox Ford is a major modernist writer, yet many of his works do not conform to our assumptions about modernism. Examining ways in which he, alongside other 'misfit moderns', undermines 'stabilities' we expect from novels and memoirs, this book poses questions about the nature of narrative and the distinction between modernism and modernity.

In this book, Octavio R. González revisits the theme of alienation in the twentieth-century novel, identifying an alternative aesthetic centered on the experience of double exile, or marginalization from both majority and home culture. This misfit modernist aesthetic decenters the mainstream narrative of modernism—which explores alienation from a universal and existential perspective—by showing how a group of authors leveraged modernist narrative to explore minoritarian experiences of cultural nonbelonging. Tying the biography of a particular author to a close reading of one of that author’s major works, González considers in turn Nella Larsen’s Quicksand, Wallace Thurman’s The Blacker the Berry, Jean Rhys’s Quartet, and Christopher Isherwood’s A Single Man. Each of these novels explores conditions of maladjustment within one of three burgeoning cultural movements that sought representation in the greater public sphere: the New Negro movement during the Harlem Renaissance, the 1920s Paris expatriate scene, and the queer expatriate scene in Los Angeles before Stonewall. Using a methodological approach that resists institutional taxonomies of knowledge, González shows that this double exile speaks profoundly through largely autobiographical narratives and that the novels’ protagonists challenge the compromises made by these minoritarian groups out of an urge to assimilate into dominant social norms and values. Original and innovative, Misfit Modernism is a vital contribution to conversations about modernism in the contexts of sexual identity, nationality, and race. Moving beyond the debates over the intellectual legacies of intersectionality and queer theory, González shows us new ways to think about exclusion.

This "Journal of Emergent Architecture and Design" created quite a stir with its introduction last year and stated mission: to reinvigorate the current architectural discipline by introducing and recognizing the work of promising students and young professionals whose cross-disciplinary projects, ideas, buildings, and other media offer innovative directions for the growth of architecture. will continue the discussion on academia with interviews and profiles including the up-and-coming New York firm su11 and Auburn's Rural Studio.

This book introduces the important words and themes which students need to know in order to succeed at criminology. It doesn't aim to be a dictionary rather it brings together a comprehensive list of those essential words that students need. It has the advantage of being able to offer longer definitions of terms as well as suggesting terms which are new to the subject area and which are helping change the discipline eg 'green criminology'. The book is a proactive intervention in the development of criminology and includes cross referencing throughout, relevant sources cited, annotated guide to further reading and an overview of critiques of each concept.

This book is an invaluable reference for those new to the field of criminology, who are looking for a clear outline of the major perspectives and traditions found in criminology. The author has outlined the ideas, concepts and traditions of the key theoretical perspectives that drive contemporary debate. Topics discussed include: Anomie theory Classical criminology Critical criminology Labelling theory Positivism Post-modernism Subcultural theory Key Perspectives in Criminology is not simply a dictionary of criminology, but a welcome introduction for those with a genuine interest in the terms, concepts, themes and debates in the field.

Myth and misconception have obstructed a clear understanding of the poetry and person of Marianne Moore. In this groundbreaking study, Taffy Martin delves beneath the layers of myth and recaptures the excitement that Moore's contemporaries, particularly William Carlos Williams, felt when they encountered her poetry. She reveals that, far from being a stanch upholder of Modernist order and stasis, Moore continually undermines the stability of her own medium, language. Unlike the writings of other Modernist poets, such as T. S. Eliot, who tried to create islands of order in the seas of twentieth-century fragmentation, Moore's work shows surprising awareness of that fragmentation. In this way, she anticipates the thematic preoccupation of Postmodernist writers and critics. In Marianne Moore, Subversive Modernist, Taffy Martin combines traditional scholarship and contemporary critical theory to create a feminist reading of one of the twentieth century's most difficult poets. In so doing, she places Moore in the tradition of Modernism, defines Moore's quarrels with it, and thus produces a broader understanding of both the poet and the movement. Drawing on Moore's unpublished correspondence, her reading notebooks, and her workbooks, as well as feminist criticism's attention to writers who elude traditional critical approaches, this excellent study provides much-needed insights into the Modernism, life, and art of Marianne Moore.

Moby-Dick's Ishmael and Queequeg share a bed, Janie in Zora Neale Hurston's Their Eyes Were Watching God imagines her tongue in another woman's mouth. And yet for too long there has not been a volume that provides an account of the breadth and depth of queer American literature. This landmark volume provides the first expansive history of this literature from its inception to the present day, offering a narrative of how American literary studies and sexuality studies became deeply entwined and what they can teach each other. It examines how American literature produces and is in turn woven out of sexualities, gender pluralities, trans-ness, erotic subjectivities, and alternative ways of inhabiting bodily morphology. In so doing, the volume aims to do nothing less than revise the ways in which we understand the whole of American literature. It will be an indispensable resource for scholars, graduate students, and undergraduates.

"It is widely understood that the modernist novel sought to escape what Virginia Woolf called the "tyranny" of plot. Yet even as twentieth-century writers pushed against the constraints of Victorian, plot-driven novels, Pardis Dabashi shows that plot kept its hold on them through the influence of another medium: the cinema. Focusing on the novels of Nella Larsen, Djuna Barnes, and William Faulkner-writers known for their moviegoing affinities and connections to early film-Dabashi uses the relationship between literature and the cinema to reveal a profound longing for plot in modernist fiction. Dabashi links the moviegoing practices of Larsen, Barnes, and Faulkner to the tensions in their works, tensions between the formal properties of the novels and the characters in them. In making a distinction between what the novel is doing and what their characters desire, these authors ponder how it is one thing to withhold plot as a gesture of modernist aesthetics, and quite another to be denied the comfort of plot's architecture in one's living and breathing existence"--

In the last years of the nineteenth century, the Tunisian city of Qayrawān suddenly found itself covered in murals. Concentrated on and around the city’s Great Mosque, these monumental artworks were only visible for about fifty years, from the 1880s through the 1930s. This book investigates the fascinating history of who created these outdoor paintings and why. Using visual archaeological methods, William Gallois reconstructs the visual history of these works and vividly brings them back to life. He locates pictorial records of the murals from the backdrops of photographs, postcards, and other forms of European ephemera. In Qayrawān, he identifies a form of religious painting that transposed traditional aesthetic forms such as house decoration, embroidery, and tattooing—which lay exclusively within the domains of women—onto the body of a conquered city. Gallois argues that these works were created by women as a form of “emergency art,” intended to offer amuletic protection for the community, and demonstrates how they differ markedly from “classical” Islamic antecedents and modern modes of Arab cultural production in the Middle East and North Africa. Based on extensive archival research, this study is both a record of a unique moment in the history of art and a challenge to rethink the spiritual force and agency of a group of anonymous female artists whose paintings aspired to help save the world at a time of great peril. It will be welcomed by scholars of art history, Islamic studies, Middle East studies, and the history of magic.