"At last, a scrupulous and sustained--'earsighted'--study of that shadowy yet vital intersection of sound and sense without which literary reading remains a disembodied exercise. . . . Stewart immerses us brilliantly in the poststructural method of a 'phonemic' analysis."--Geoffrey H. Hartman, author of Saving the Text "Stunningly articulate. . . . Alongside brilliant exegeses of passsages from the major English poets, Stewart offers new and dazzling interpretations of the 'poetics of prose' in such novelists as Dickens, Lawrence, Joyce, and Woolf. The book is a tour de force, no doubt about it. In my opinion, Reading Voices will have not only a wide but a lasting reception."--Hayden White, author of Metahistory "This is exciting, virtuoso work in a playfully imaginative hermeneutic mode. Stewart's ear hears fascinating and compelling things, things which have a delightfully rich and thematically complex bearing on much larger textual issues."--Paul Fry, author of The Reach of Criticism "A truly original book. . . . The first work in years to bring together linguistically informed criticism with more philosophically oriented literary theory. The resulting vision of literature is odd, personal, passionate, even outlandish. Not only is Stewart himself and extraordinary stylist, but his work suggests a breakthrough in stylistic criticism so radical as to revitalize the entire field."--Jay Clayton, author of Romantic Vision and the Novel

For ten years, Voice of Witness has illuminated contemporary human rights crises through its remarkable oral history book series. Founded by Dave Eggers, Lola Vollen and Mimi Lok, Voice of Witness has amplified the stories of hundreds of people impacted by some of the most crucial human rights crises of our time, including men and women living under oppressive regimes in Burma, Colombia, Sudan, and Zimbabwe; public housing residents and undocumented workers in the United States; and exploited workers around the globe. This selection of narratives from these remarkable men and women is many things: an astonishing record of human rights issues in the 21st century; a testament to the resilience and courage of the most marginalized among us; and an opportunity to better the understand the world we live in through human connection and a participatory vision of history.

Young Memer takes on a pivotal role in freeing her war-torn homeland from its oppressive captors.

Voices and Books in the English Renaissance offers a new history of reading that focuses on the oral reader and the voice- or performance-aware silent reader, rather than the historical reader, who is invariably male, silent, and alone. It recovers the vocality of education for boys and girls in Renaissance England, and the importance of training in pronuntiatio (delivery) for oral-aural literary culture. It offers the first attempt to recover the voice—and tones of voice especially—from textual sources. It explores what happens when we bring voice to text, how vocal tone realizes or changes textual meaning, and how the literary writers of the past tried to represent their own and others' voices, as well as manage and exploit their readers' voices. The volume offers fresh readings of key Tudor authors who anticipated oral readers including Anne Askew, William Baldwin, and Thomas Nashe. It rethinks what a printed book can be by searching the printed page for vocal cues and exploring the neglected role of the voice in the printing process. Renaissance printed books have often been misheard and a preoccupation with their materiality has led to a focus on them as objects. However, Renaissance printed books are alive with possible voices, but we will not understand this while we focus on the silent reader.

A luminous exploration of the nature of thoughts, from daydreams to the voices in our heads At the moment you caught sight of this book, what were you thinking? Was your thought a stream of sensations? Or was it a voice in your head? Did you ask yourself, "I wonder what that's about?" Did you answer? And what does it mean if you did? When someone says they hear voices in their head, they are often thought to be mentally ill. But, as Charles Fernyhough argues in The Voices Within, such voices are better understood as one of the chief hallmarks of human thought. Our inner voices can be self-assured, funny, profound, hesitant, or mean; they can appear in different accents and even in sign language. We all hear them-and we needn't fear them. Indeed, we cannot live without them: we need them, whether to make decisions or to bring a book's characters to life as we read. Studying them can enrich our understanding of ourselves, and our understanding of the world around us; it can help us understand the experiences of visionary saints, who might otherwise be dismissed as schizophrenics; to alleviate the suffering of those who do have mental health problems; and to understand why the person next to us on the subway just burst out laughing for no apparent reason. Whether the voices in our heads are meandering lazily or clashing chaotically, they deserve to be heard. Bustling with insights from literature, film, art, and psychology, The Voices Within offers more than science; it powerfully entreats us all to take some time to hear ourselves think.

Voyage au bout de la nuit (1932), by Louis-Ferdinand Celine (1894-1961), and Zazie dans le metro (1959), by Raymond Queneau (1903-1976), were two revolutionary novels in their transposition of spoken language into written language. Since their publication they have been adapted into a broad range of media, including illustrated novel, bande dessinee, film, stage performance and recorded reading. What happens to their striking literary voices as they are transposed into media that combine text and image, sound and image, or consist of sound alone? In this study, Armelle Blin-Rolland examines adaptations sparked by these two seminal novels to understand what 'voice' means in each medium, and its importance in the process of adaptation.

More than 1.3 million people visit Alaska each year to experience its unique history, abundant wildlife, diverse cultures, and natural beauty. This book enriches that experience. Here is a collection of authentic voices, oral and written, that depicts Alaska with intelligence, integrity, and authenticity. Encompassing classic and contemporary writers and storytellersestablished and new, insiders and outsidersthis anthology includes fiction, nonfiction, poetry, and oral tradition. Several books that have recently gained national attention are highlighted: Seth Kantner's Ordinary Wolves, Marjo.

Soon to be a Netflix Film Starring Sofia Carson and Corey Mylchreest! “My Oxford Year is a pure delight . . . Julia Whelan has crafted a story that is as fun and charming as it is powerful and wise.” —TAYLOR JENKINS REID “A read bursting with warmth, mirth, and heart. A powerfully heartbreaking and life-affirming tribute to love and to choice.” — ENTERTAINMENT WEEKLY Set amidst the breathtaking beauty of Oxford, this sparkling debut novel tells the unforgettable story about a determined young woman eager to make her mark in the world and the handsome man who introduces her to an incredible love that will irrevocably alter her future—perfect for fans of JoJo Moyes and Nicholas Sparks. American Ella Durran has had the same plan for her life since she was thirteen: Study at Oxford. At 24, she’s finally made it to England on a Rhodes Scholarship when she’s offered an unbelievable position in a rising political star’s presidential campaign. With the promise that she’ll work remotely and return to DC at the end of her Oxford year, she’s free to enjoy her Once in a Lifetime Experience. That is, until a smart-mouthed local who is too quick with his tongue and his car ruins her shirt and her first day. When Ella discovers that her English literature course will be taught by none other than that same local, Jamie Davenport, she thinks for the first time that Oxford might not be all she’s envisioned. But a late-night drink reveals a connection she wasn’t anticipating finding and what begins as a casual fling soon develops into something much more when Ella learns Jamie has a life-changing secret. Immediately, Ella is faced with a seemingly impossible decision: turn her back on the man she’s falling in love with to follow her political dreams or be there for him during a trial neither are truly prepared for. As the end of her year in Oxford rapidly approaches, Ella must decide if the dreams she’s always wanted are the same ones she’s now yearning for.