A pioneering, interdisciplinary study of how transnational novelists and critics use music as a critical device to structure narrative and to model ethical relations.

A pioneering, interdisciplinary study of how transnational novelists and critics use music as a critical device to structure narrative and to model ethical relations.

Within the recent explosion of creative nonfiction, a new type of form is quietly emerging, what Brenda Miller calls "hermit crab essays." The Shell Game is an anthology of these intriguing essays that borrow their structures from ordinary, everyday sources: a recipe, a crossword puzzle, a Craig's List ad. Like their zoological namesake, these essays do not simply wear their borrowed "shells" but inhabit them so perfectly that the borrowed structures are wholly integral rather than contrived, both shaping the work and illuminating and exemplifying its subject. The Shell Game contains a carefully chosen selection of beautifully written, thought-provoking hybrid essays tackling a broad range of subjects, including the secrets of the human genome, the intractable pain of growing up black in America, and the gorgeous glow residing at the edges of the autism spectrum. Surprising, delightful, and lyric, these essays are destined to become classics of this new and increasingly popular hybrid form.

"In Borrowed Design, Steven Heller and Julie Lasky offer a critical assessment of the use and abuse of what designers employ or ""borrow"" to creatae their works. Contemporary designers often engage historical styles for their own objectives without fully understanding a style's original context of purpose. Borrowed Design is an invaluable source for any student or professional in graphic or fine arts who intends to establish personal guidelines regarding the appropriate use of history in their work."

An informative and insightful collection of essays on cultural appropriation, focusing on America's appropriation and use of Native American culture specifically. The topics in this book covers topics from the arts, land, and artifacts to ideas, knowledge, and symbols.

Borrowed Lives is a novel. It is an enactment of issues of literary philosophy and criticism, including the question of whether there can be originality, coherence, and authenticity in life and art. It deepens William Blake's point — Make your own myth or else be enslaved by another man's — by asking whether one's own myth isn't also another man's myth and by portraying the terrible consequences of taking one's own myth literally.

In "The Borrowed World, "Emily Leithauser transforms keenly felt experience and bittersweet memories into poems of impressive craftsmanship. She deftly muses on the dichotomies of, among other things, childhood and growing up, the headiness of love gained and the pangs of love lost, the joys of the nuclear family and the trials when it gets broken up. Although a first book, "The Borrowed World" is the seasoned work of poet of abundant talent coming into her powers and deservedly, the winner of the 2015 Able Muse Book Award. PRAISE FOR THE BORROWED WORLD: In "The Borrowed World, " Emily Leithauser's formal mastery her consummate knack for writing lines and sentences as crisp and elegant as the "Edo" prints to which she pays homage entwines with the sheer immediacy and vulnerability of the poet's voice. Leithauser portrays the inevitability of loss, in romantic and familial relationships, and yet, without ever offering false resolutions or pat conclusions, she manages to make her poems themselves convincing stays against loss. I mean that this book is made to endure. "The Borrowed World" marks the arrival of a major talent. Peter Campion, 2015 Able Muse Book Award judge Emily Leithauser s first collection, "The Borrowed World, " is an elegant meditation on inheritance, the vagaries of love and loss, familial relations with all the devastating implosions within and our relationship to the past filtered through the flawed lens of memory. These are deeply felt poems and Leithauser has a finely-tuned ear for the lyricism of syntax and the enduring rhythms of traditional forms. "The Borrowed World" is her stunning debut. Natasha Trethewey, 2012 2014 US Poet Laureate If her intensely accurate perceptions of the physical world and the beautiful forms in which she sets those perceptions were all that Emily Leithauser gave us in these poems, they would be more than enough to satisfy the hungriest poetry reader. But step by perspicuous step, in poem after poem, she enlarges and encompasses, she broadens and deepens and transmutes perception into feeling, feeling into thought, and thought into revelation. Vijay Seshadri, winner of the Pulitzer Prize Love poems, family poems, narrative poems: "The Borrowed World" is a moving and memorable debut which covers a lot of ground but is always rooted in actualities. The poems are very well-made, too, but their equally great distinction is to be well-felt subtle in their account of the observing "I," and simultaneously generous and shrewd in their understanding of others. Page by page, they create a series of powerful cameos; taken as a whole, their larger purpose emerges: to register what can be known and (especially) not known about our lives as individuals, and to value what time allows us to enjoy on earth, while admitting the brevity of our stay here. Andrew Motion, 1999 2009 UK Poet Laureate I have read "The Borrowed World" several times, and each time I find more in it to be delighted and touched by. Emily Leithauser's art waits for you, and I am sure that you will be as pleased and moved by it as I have been. Michael Palma (from the foreword) ABOUT THE AUTHOR: Emily Leithauser was born in Washington, DC, and grew up in Western Massachusetts. She earned her MFA in poetry at Boston University and her PhD in English at Emory University, where she is a Lecturer in the Creative Writing Program. Her work has appeared in "New Ohio Review, Blackbird, Literary Imagination, " and "Southwest Review, " among other journals. She is the recipient of the 2015 Tennessee Williams/New Orleans prize for poetry. She lives in Atlanta with her fiance, Simon, and their two dogs. " The Borrowed World" is the winner of the 2015 Able Muse Book Award. "

Born to nomadic and bohemian parents who rarely had time for her, the author presents a portrait of her childhood, detailing her many homes, from an orphanage in Manhattan to a sugar plantation in Cuba.

A Borrowed Man: a new science fiction novel from Gene Wolfe, the celebrated author of the Book of the New Sun series. It is perhaps a hundred years in the future, our civilization is gone, and another is in place in North America, but it retains many familiar things and structures. Although the population is now small, there is advanced technology, there are robots, and there are clones. E. A. Smithe is a borrowed person. He is a clone who lives on a third-tier shelf in a public library, and his personality is an uploaded recording of a deceased mystery writer. Smithe is a piece of property, not a legal human. A wealthy patron, Colette Coldbrook, takes him from the library because he is the surviving personality of the author of Murder on Mars. A physical copy of that book was in the possession of her murdered father, and it contains an important secret, the key to immense family wealth. It is lost, and Colette is afraid of the police. She borrows Smithe to help her find the book and to find out what the secret is. And then the plot gets complicated. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

In literary studies today, debates about the purpose of literary criticism and about the place of formalism within it continue to simmer across periods and approaches. Anna Kornbluh contributes to—and substantially shifts—that conversation in The Order of Forms by offering an exciting new category, political formalism, which she articulates through the co-emergence of aesthetic and mathematical formalisms in the nineteenth century. Within this framework, criticism can be understood as more affirmative and constructive, articulating commitments to aesthetic expression and social collectivity. Kornbluh offers a powerful argument that political formalism, by valuing forms of sociability like the city and the state in and of themselves, provides a better understanding of literary form and its political possibilities than approaches that view form as a constraint. To make this argument, she takes up the case of literary realism, showing how novels by Dickens, Brontë, Hardy, and Carroll engage mathematical formalism as part of their political imagining. Realism, she shows, is best understood as an exercise in social modeling—more like formalist mathematics than social documentation. By modeling society, the realist novel focuses on what it considers the most elementary features of social relations and generates unique political insights. Proposing both this new theory of realism and the idea of political formalism, this inspired, eye-opening book will have far-reaching implications in literary studies.