"Through more than a dozen collections, C.D. Wright pushed the bounds of imagination as she explored desire, loss and physical sensation. Her posthumously published book, ShallCross features seven poem sequences that show her tremendous range in style and approach. As she considers, among other topics, some dark intuitions about human nature, she also nudges readers to question who is telling the story and where one’s thought can lead."—The Washington Post "Wright gets better with each book, expanding the reach of her art; it seems it could take in anything."—Publishers Weekly "Wright belongs to a school of exactly one."—New York Times Book Review "C.D. Wright is entirely her own poet, a true original."—The Gettysburg Review In a turbulent world, C.D. Wright evokes a rebellious and dissonant ethos with characteristic genre-bending and expanding long-form poems. Accessing journalistic writing alongside filmic narratives, Wright ranges across seven poetic sequences, including a collaborative suite responding to photographic documentation of murder sites in New Orleans. ShallCross shows plain as day that C.D. Wright is our most thrilling and innovative poet. From "Obscurity and Elegance": Whether or not the park was safe she was going in. A study concluded, for a park to be successful there had to be women. The man next to the monument must have broken away from her. Perhaps years before. That the bond had been carnal is obvious. He said he was just out clearing his head… C.D. Wright (1949-2016) taught at Brown University for decades and published over a dozen works of poetry and prose, including One With Others, which won the National Book Critics Circle Award and was nominated for a National Book Award; One Big Self: An Investigation; and Rising Falling Hovering. Among her many honors are the Griffin International Poetry Prize and a MacArthur Fellowship.

A sumptuously magical, brand new take on a tale as old as time - read the Beast's side of the story at long last. 'Utterly Enchanting' - Kate Forsyth, author of Bitter Greens and The Wild Girl 'A beautiful retelling . . . poetical, imaginative, inventive' - New York Journal of Books '5 out of 5 stars . . . magical romance at its best' - Sam Hawke, author of City of Lies ********* I am neither monster nor man - yet I am both. I am the Beast. I know why I was cursed; I know the legacy of evil I carry in my tainted blood. So how could she ever love me? My Isabeau. She opened my eyes, my mind and my heart when I was struggling just to be human. And now I might lose her forever. Lose yourself in this gorgeously rich and magical retelling of The Beauty and the Beast that finally lays bare the beast's heart.

In stark contrast to the widespread preoccupation with the wartime looting of priceless works of art, BoÅ1⁄4ena Shallcross focuses on the meaning of ordinary objects -- pots, eyeglasses, shoes, clothing, kitchen utensils -- tangible vestiges of a once-lived reality, which she reads here as cultural texts. Shallcross delineates the ways in which Holocaust objects are represented in Polish and Polish-Jewish texts written during or shortly after World War II. These representational strategies are distilled from the writings of Zuzanna Ginczanka, WÅ‚adysÅ‚aw Szlengel, Zofia NaÅ‚kowska, CzesÅ‚aw MiÅ‚osz, Jerzy Andrzejewski, and Tadeusz Borowski. Combining close readings of selected texts with critical interrogations of a wide range of philosophical and theoretical approaches to the nature of matter, Shallcross's study broadens the current discourse on the Holocaust by embracing humble and overlooked material objects as they were perceived by writers of that time.

Aubrey Shallcross loses direction and feels lost after selling his successful business and retiring. In the absence of routine and structure, the auditory and visual hallucinations he’s experienced since childhood become stronger and more vivid. He finds comfort from fear and anxiety in the familiarity of Triple Suiter, his mind’s other voice, as they explore his psyche and the remnants of Catholicism Aubrey has shunned. To maintain his sanity and manage intrusions from a bad voice called the Slim Hand, Shallcross indulges his passions for training horses, surfing, and music. Aubrey’s life is transformed by the love of an unusual women and they lead a life of devotion and magic until a jealous stalker fills Aubrey's life with pain and darkness.

This book comprehensively rethinks the relationship between G.K. Chesterton and a range of key literary modernists. When Chesterton and modernism have previously been considered in relation to one another, the dynamic has typically been conceived as one of mutual hostility, grounded in Chesterton’s advocacy of popular culture and modernist literature’s appeal to an aesthetic elite. In setting out to challenge this binary narrative, Shallcross establishes for the first time the depth and ambivalence of Chesterton’s engagement with modernism, as well as the reciprocal fascination of leading modernist writers with Chesterton’s fiction and thought. Shallcross argues that this dynamic was defined by various forms of parody and performance, and that these histrionic expressions of cultural play not only suffused the era, but found particular embodiment in Chesterton’s public persona. This reading not only enables a far-reaching reassessment of Chesterton’s corpus, but also produces a framework through which to re-evaluate the creative and critical projects of a host of modernist writers—most sustainedly, T.S. Eliot, Wyndham Lewis, and Ezra Pound—through the prism of Chesterton's disruptive presence. The result is an innovative study of the literary performance of popular and ‘high’ culture in early twentieth-century Britain, which adds a valuable new perspective to continuing critical debates on the parameters of modernism.