Poems are social. They reach out, however crookedly, to another person, however imperfectly imagined. And sometimes they not only embody but enact those things that we might value in the other parts of our social lives--kindness, for example, or joy--as well as the complications those values entail. Looking closely at poems from Lucille Clifton, Elizabeth Bishop, Gwendolyn Brooks, Terrance Hayes, Spencer Reece, Robert Pinsky, Claudia Rankine, Jericho Brown, Patricia Lockwood, Ross Gay, Paisley Rekdal, Gabrielle Calvocoressi, and many others, That Peculiar Affirmative tries to understand what it means for a poem to be humble or humorous, decorous or confident, and what that tells us not only about poems, but also about the larger world of social virtues, personal vulnerabilities, and political problems that define so much of our time together and apart. "If I had to imagine an ideal reader or critic of poetry it would be Jonathan Farmer, and his soulful book of essays, That Peculiar Affirmative, would be my ideal book. These essays constitute more than a series of discrete engagements with modern and contemporary poets; together they conduct nothing less than a spiritual autobiography that tracks the growth of the writer's moral and aesthetic imagination. There is no book like this in its combination of personal revelation and writerly attention to technique, in its thrilling recreation of the mind through poetry redefining what it thinks and feels." --Alan Shapiro "Along the front line of a new generation of poetry commentators, I place Jonathan Farmer beside Meghan O'Rourke, Philip Metres, and Solmaz Sharif. It's a very fertile moment for poetry, and Farmer is one of the first critics I look to now for clarity and depth. His readings in That Peculiar Affirmative are uniformly brilliant, unswayed by partisan aesthetics, and marked by real joy in intellectual and social engagement with the lyric poem. Even his subtitles point to this rare odic impulse; he writes "on" decorum and humility, "on" politics and humor, even as he applies contemporary issues of racial and sexual identity, for instance, to an old-school devotion to close reading. His touchstones--Sidney and Shakespeare, Kristeva and Durrell--are as aptly rangy as his contemporary subjects, from Brooks and Bishop to Ross Gay, Gabrielle Calvocoressi, or Claudia Rankine. I greet this critic and his book with celebratory gratitude." --David Baker "That Jonathan Farmer writes in his introduction that in this book, he 'has tried to make something worth your time' is characteristic of the critical voice you will find in this thoughtful, probing, and reflective book of essays. The 'I' of That Peculiar Affirmative is modest while its eye is expansive and inclusive; Farmer's curiosity is palpable, both in the questions he poses and the questions he hears in the poems he reads. In beautiful and generous essays on subjects of perennial poetic relevance and contemporary sociopolitical relevance, Farmer rethinks topics like joy, decorum, humility, kindness, humor, and political discourse itself through insightful readings of contemporary poets as varied as Ross Gay, Patricia Lockwood, Paisley Rekdal, Jill McDonough, Mary Syzbist, Terrance Hayes, Claudia Rankine, and more, as well as a vast array of interlocutors across time, such as Hamlet, W. H. Auden, Elizabeth Bishop (whose phrase gives this book its title), Lucille Clifton, and even Allie Brosh of the iconic web comic Hyperbole and a Half. As befits an exploration of the social life of poetry, That Peculiar Affirmative is a book that will not only speak to you about poetry, affect, and politics, but will speak with you. Farmer has met his goal and then some: this book is dazzlingly and rewardingly worth your time." --Sumita Chakraborty

A compelling portrait of a beloved poet from one of today's most acclaimed novelists In this book, novelist Colm Tóibín offers a deeply personal introduction to the work and life of one of his most important literary influences—the American poet Elizabeth Bishop. Ranging across her poetry, prose, letters, and biography, Tóibín creates a vivid picture of Bishop while also revealing how her work has helped shape his sensibility as a novelist and how her experiences of loss and exile resonate with his own. What emerges is a compelling double portrait that will intrigue readers interested in both Bishop and Tóibín. For Tóibín, the secret of Bishop's emotional power is in what she leaves unsaid. Exploring Bishop’s famous attention to detail, Tóibín describes how Bishop is able to convey great emotion indirectly, through precise descriptions of particular settings, objects, and events. He examines how Bishop’s attachment to the Nova Scotia of her childhood, despite her later life in Key West and Brazil, is related to her early loss of her parents—and how this connection finds echoes in Tóibín’s life as an Irish writer who has lived in Barcelona, New York, and elsewhere. Beautifully written and skillfully blending biography, literary appreciation, and descriptions of Tóibín’s travels to Bishop’s Nova Scotia, Key West, and Brazil, On Elizabeth Bishop provides a fresh and memorable look at a beloved poet even as it gives us a window into the mind of one of today’s most acclaimed novelists.

I am. We are. That is enough. Now we have to start. These are the opening words of Ernst Bloch's first major work, The Spirit of Utopia, written mostly in 1915-16, published in its first version just after the First World War, republished five years later, 1923, in the version here presented for the first time in English translation. The Spirit of Utopia is one of the great historic books from the beginning of the century, but it is not an obsolete one. In its style of thinking, a peculiar amalgam of biblical, Marxist, and Expressionist turns, in its analytical skills deeply informed by Simmel, taking its information from both Hegel and Schopenhauer for the groundwork of its metaphysics of music but consistently interpreting the cultural legacy in the light of a certain Marxism, Bloch's Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a process of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The alliance between messianism and Marxism, which was proclaimed in this book for the first time with epic breadth, has met with more critique than acclaim. The expressive and baroque diction of the book was considered as offensive as its stubborn disregard for the limits of "disciplines." Yet there is hardly a "discipline" that didn't adopt, however unknowingly, some of Bloch's insights, and his provocative associations often proved more productive than the statistical account of social shifts. The first part of this philosophical meditation--which is also a narrative, an analysis, a rhapsody, and a manifesto--concerns a mode of "self-encounter" that presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. This "we-problem" is worked out by Bloch in terms of a philosophy of the history of music. The "self-encounter," however, has to be conceived as "self-invention," as the active, affirmative fight for freedom and social justice, under the sign of Marx. The second part of the book is entitled "Karl Marx, Death and the Apocalypse." I am. We are. That's hardly anything. But enough to start.

Winner of the Seamus Heaney First Collection Poetry Prize 2021 Shortlisted for the Michael Murphy Memorial Poetry Prize 2021 Arrow is a debut volume extraordinary in ambition, range and achievement. At its centre is 'Dear, beloved', a more-than-elegy for her younger sister who died suddenly: in the two years she took to write the poem, much else came into play: 'it was my hope to write the mood of elegy rather than an elegy proper,' following the example of the great elegists including Milton, to whose Paradise Lost she listened during the period of composition, also hearing the strains of Brigit Pegeen Kelly's Song, of Alice Oswald and Marie Howe. The poem becomes a kind of kingdom, 'one that is at once evil, or blighted, and beautiful, not to mention everything in between'. As well as elegy, Chakraborty composes invocations, verse essays, and the strange extended miracle of the title poem, in which ancient and modern history, memory and the lived moment, are held in a directed balance. It celebrates the natural forces of the world and the rapt experience of balance, form and - love. She declares a marked admiration for poems that 'will write into being a world that already in some way exists'. This is what her poems achieve.

A Stirring Collection of Verse Embark on an evocative journey through life and landscape with Poems, an acclaimed anthology by the peerless Elizabeth Bishop. This anthology places the reader at the heart of experience, rendering the grandeur of human existence and our symbiotic relationship with the natural realm, through precision-tuned verse that oscillates between humor and sorrow, acceptance and affliction. Bishop's artistry immerses us in evocative landscapes, from the nostalgic corners of New England, her childhood abode, to the vibrant hues of Brazil and the lush expanses of Florida, her later homes. Rich in geographical motifs, the collection navigates the intertwined tapestry of human life and nature, revealing the poet's intrinsic ability to render chaos into form. A vital presence in twentieth-century literature, this anthology forges an essential window into Bishop's world, offering a comprehensive view into her profound career. Whether you’re new to Bishop's work or a longtime admirer, you’ll discover the unique perspective she brought to English-language poetry, solidifying this anthology as a definitive cornerstone in any poetry collection.

An eminent constitutional scholar reveals how our approach to rights is dividing America, and shows how we can build a better system of justice.

A tidal wave of panic surrounded homosexuality and AIDS in the 1980s and early 1990s, the period commonly called 'The AIDS Crisis'. With the advent of antiretroviral drugs in the mid '90s, however, the meaning of an HIV diagnosis radically changed. These game-changing drugs now enable many people living with HIV to lead a healthy, regular life, but how has this dramatic shift impacted the representation of gay men and HIV in popular culture? Positive Images is the first detailed examination of how the relationship between gay men and HIV has transformed in the past two decades. From Queer as Folk to Chemsex, The Line of Beauty to The Normal Heart, Dion Kagan examines literature, film, TV, documentaries and news coverage from across the English-speaking world to unearth the socio-cultural foundations underpinning this 'post-crisis' period. His analyses provide acute insights into the fraught legacies of the AIDS Crisis and its continued presence in the modern queer consciousness.

"Poetic exploration in Middle English about the body, physical space, ownership of space, gender, and transitioning genders."--

An eminent authority presents a new perspective on affirmative action in a provocative book that will stir fresh debate about this vitally important issue

This personal history chronicles the triumph and loss of a 1960s initiative to recruit minority students to Columbia University’s School of Architecture. At the intersection of US educational, architectural, and urban history, When Ivory Towers Were Black tells the story of how an unparalleled cohort of ethnic minority students overcame institutional roadblocks to earn degrees in architecture from Columbia University. Its narrative begins with a protest movement to end Columbia’s authoritarian practices, and ends with an unsettling return to the status quo. Sharon Egretta Sutton, one of the students in question, follows two university units that led the movement toward emancipatory education: the Division of Planning and the Urban Center. She illustrates both units’ struggle to open the ivory tower to ethnic minority students and to involve those students in improving Harlem’s slum conditions. Along with Sutton’s personal perspective, the story is narrated through the oral histories of twenty-four fellow students who received an Ivy League education only to find the doors closing on their careers due to Nixon-era urban disinvestment policies.