Traumatic Tales: British Nationhood and National Trauma in Nineteenth-Century Literature explores intersections of nationalism and trauma in Romantic and Victorian literature from the emergence of British nationalism through the height of the British Empire. From the national tales of the early nineteenth century to the socially incisive realist novels that emerged later in the century, nationalism is inescapable in this literature, as much current scholarship acknowledges. Nineteenth-century national trauma, however, has only recently begun to be explored. Taking as its starting point the unsettling effects of nationalism, the essays in this collection expose the violence underlying empire-building, particularly in regard to subject identity. National violence—imperialism, colonialism and warfare—necessarily grounds nation-formation in deep-lying trauma. As the essays demonstrate, such fraught nexus are made visible in national tales as well as in political policy, exposed by means of theoretical and historical analyses to reveal psychological, political, social and individual trauma. This exploration of violence in the construction of national ideology in nineteenth-century Britain rethinks our understanding of cultural memory, national identity, imperialism, and colonialism, recent thrusts of Romantic and Victorian study in nineteenth-century literature.

Stories of Therapy, Stories of Faith is a collection of stories from therapists who have amplified the theology already present in their work. In particular, these authors, a group of counseling practitioners and educators, bring forward a dialogue between their practices and a social Trinitarian theology that emphasizes the relational nature of God and humans. The resulting stories of practice give voice to the ethical hope that counseling practice is participation in the redemptive story of the Gospel. The authors write about their motivations for practice in initiatives as diverse as parenting, trauma work, opposing bullying in schools, reengaging orphaned African children with their heritage, providing hospitality for difference, and counselor education. Stories of Therapy, Stories of Faith will be of interest to counselors and counselor educators, particularly those drawn to developing their ethical and theological commitments within their therapeutic practices.

E. T. A. Hoffmann’s classic tales of Gothic horror and fantasy are presented in a new translation accompanying the beguiling drawings of Natalie Frank E. T. A. Hoffmann (1776–1822) was one of the greatest German Romantic authors of fantasy and a pioneer in the genre we now call Gothic horror. His innovative stories explore ideas of madness, genius, doppelgängers, artificial intelligence, and the boundaries between realities and dreams. Artist Natalie Frank and leading fairy-tale scholar Jack Zipes have joined forces in this lavishly illustrated volume of five of Hoffmann’s most influential tales: The Golden Pot, The Sandman, The Nutcracker and the Mouse King, The Mystifying Child, and The Mines of Falun. In addition to offering fresh translations, Zipes introduces the project and sheds light on how Hoffmann’s lifetime of personal traumas shaped his writing. Frank’s richly rendered gouache and chalk pastels reveal Hoffmann’s worlds in full-page drawings and marginalia. Pivotal scenes of transformation, courage, love, desire, and betrayal are illustrated through a feminist lens, focusing on strong, self-aware female characters. A foreword by novelist Karen Russell delves into the influence the tales had on her own literary career and the ways in which she emulates Hoffmann today. The Wounded Storyteller will introduce Hoffmann’s timeless work to a new generation of readers.

After twenty years of war in Iraq and Afghanistan, a global pandemic, protests against racial violence, and frequent shootings, more Americans than ever are living with the effects of trauma. The good news is that Jesus was born and died in a traumatized world, and his story speaks forever to wounded people worldwide. Army veteran and Episcopal priest David Peters explores Jesus’ life story through the post-traumatic lens with which the Gospel writers first wrote it—as people who had seen their leader executed by the same oppressive government that had already shrouded their whole lives in anxiety and fear. Meeting the post-traumatic Jesus—the only Jesus the world has ever known—can be a balm to the wounds of modern Christians and spiritual seekers.

In THE NEW STORY more than 30 tales from around the world and easy to do exercises give a fresh and encouraging take on how to bring about understanding, compassion and transformation in a wide spectrum of life situations - at school, in work life, at home, in a quiet conversation with a friend but also in the wider arena of multicultural politics, mediation and social healing. During times of turbulence and conflict, storytelling dedicated to peace and reconciliation has proven successful in creating a common ground between people of all ages, from different cultures and disparate world views. A human culture is cultivated, engendering a free space where story speaks to story and we come to appreciate the uniqueness of everyone ́s contribution to a more inclusive and resilient society. In rich and lively picture language myths, wisdom tales, life stories and intuitively created stories are shared and everyone has a voice. Full of practical examples combined with leading edge contributions from modern storytellers at work in places like Israel, Kurdistan and the Nordic countries, this book will inspire all who are looking to awaken positivity and enthusiasm wherever they are. Here you will learn new skills to heal the past, honor the present and create sustainable futures together with others.

Featuring contributions from a wide array of international scholars, the book explores the variety of representational strategies used to depict female traumatic experiences in texts by or about women, and in so doing articulates the complex relation between trauma, gender and signification.

Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema’s indexicality is so narrowly defined, the entire nature of film is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock’s Saving Mr. Banks (2013); Richard Linklater’s oeuvre; Paul Greengrass’s United 93 (2006); Oliver Stone’s World Trade Center (2006); Stephen Daldry’s Extremely Loud and Incredibly Close (2011); and Christopher Nolan’s Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation.

This book argues that it is witnesses who are the targets of terrorism and that the question of whose witnessing counts, and which stories are the most legitimate, is of vital importance for understanding the meanings and consequences of contemporary terrorism.

Pour an amber pool of pure sorghum syrup onto a clean plate. Make your pool about three inches in diameter, the size of a homemade chocolate chip cookie or a slice of summer tomato. In the middle of the sorghum pool, put a chunk of pure, sweet butter that is not too soft and not too hard. With a fork, press the butter into the sorghum. Scoop up the edge of the syrup with a fork and drizzle the syrup on top of the butter. Scoop-mix-scoop-mix until you form a happy thick gold union of sorghum and butter. Take a bite, and join past, present, and future, fine taste and excellent nutrition, in one sweet mouthful. Sorghum is that rare food that is good, good for us, good for small farms and farm families, good for communities, and good for the earth. Until now, pure sorghum syrup has been a secret known only in a few midwestern and southern states. This book lets readers in on such secrets as sorghum's newly discovered super anti-oxidant power, along with the all-important sources of the very best syrup. For readers new to sorghum, this book offers tasty bits of information about this caramel syrup's origins, cultivation, nutrition, and uses. Longtime sorghum fans will find fresh tidbits to savor. Eight great recipes promise new taste adventures in the kitchen. In Sorghum Nation, we treasure the traditions of sorghum, the pressing and cooking outdoors that attract an eager crowd, the smell of the cane juice cooking down on blue autumn days, the taste of the green foam licked off the end of a peeled piece of cane. Indoors, we celebrate the happy moment after a good meal when butter and sorghum begin their swirling dance and prepare to glorify a biscuit. Even so, sorghum's past and present pale compared to its future. Eco-friendly, cash-producing sorghum cane, which growers around the world use for food, fiber, and fuel, can support our farms and small communities. Those of us who love the small farms and farmers of Sorghum Nation have the future in our sticky hands. The more we buy and use this intriguing, flexible food, the more sparkling and prosperous our beloved communities will be.

These chapters gathered from two special issues of the journal Life Writing take up a major theme of recent work in the Humanities: Trauma. Autobiography has had a major role to play in this ‘age of trauma’, and these essays turn to diverse contexts that have received little attention to date: partition narratives in India, Cambodian and Iranian rap, refugee letters from Nauru, graffiti in Tanzania, and the silent spaces of trauma in Chile and Guantanamo. The contexts and media of these autobiographical trauma texts are diverse, yet they are linked by attention to questions of who gets to speak/write/inscribe autobiographically and how and where and why, and how can silences in the wake of traumatic experiences be read. These essays deliberately set out to establish some new fields for research in trauma studies by reaching out to a broader global context, into various texts, media and artifacts, representing diverse histories with specific attention to different voices, bodies, memories and subjectivities. This collection addresses the contemporary circuits of trauma story, and the media and icons and narratives that carry trauma story to political effect and emotional affect. This book was previously published as two special issues of Life Writing.