Browse Our Literature 2017 Catalog

The highlights in our Literature 2017 catalog include a fascinating analysis of the Sorcerer’s Apprentice fairy tale by Jack Zipes, a major history of French literature, and the final volume in Reiner Stach’s definitive biography of Kafka. #MLA17 is coming up on January 5th, so make sure to stop by our booth and check out some of these books in person. Browse the full catalog below:

Today the story of the Sorcerer’s Apprentice is best-known from the classic sequence in Disney’s Fantasia in which Mickey Mouse, tired of lugging heavy buckets of water, enlists magical help to complete his chores but finds the situation rapidly spiraling out of control. But did you know that variations on this tale have been told in countless cultures across the centuries? Fairy tale scholar Jack Zipes collects over seventy versions of the story in The Sorcerer’s Apprentice, written by authors ranging from Ovid to the Brothers Grimm.

The Sorcerer's Apprentice - Jack Zipes

For A History of Modern French Literature, Christopher Prendergast marshals a team of over thirty leading scholars to produce an accessible yet thorough study of French literature from the sixteenth century to the modern day. From Rabelais to Beckett and beyond, every facet of French literature is covered in this compendium.

A History of Modern French Literature, edited by Christopher Prendergast

Kafka: The Early Years completes Reiner Stach’s monumental biography. Drawing on a plethora of sources, many unpublished, Stach draws an unparalleled picture of Kafka’s youth, and the nineteenth-century city of Prague in which he was raised. This is a probing study of the formative events in the life of one of literature’s most psychologically profound writers.

Kafka: The Early Years, by Reiner Stach

Find these new titles and many more in our Literature 2017 catalog.

An interview with Pamela Schnitter, member of the Book, Jacket & Journal Committee

The Book, Jacket, and Journal Show is a juried design competition, open only to AAUP member publishers. Every fall the call-for-entries is distributed, and in January, the jurors gather in AAUP’s New York offices to examine hundreds of submissions and select the very best examples of book, journal, and cover designs. The Book, Jacket & Journal Committee comprises seven members who are charged with selecting judges for the AAUP Book, Jacket, and Journal Show, soliciting donations of paper and printing for the call for entries, as well as the catalog and the award certificates. The committee members are also responsible for designing the call for entries, the web theme, the catalog, the signage, and the awards certificate itself. Chris Lapinski, Design Coordinator at PUP, interviewed Pamela Schnitter, a designer and member of the Book, Jacket & Journal Committee.

Pam Schnitter

Judges discussing submissions. From left to right: Kimberly Glyder, Henk van Assen, Daphne Geismar, Benjamin Shaykin


What inspired you to join the Committee?

I was determined to keep the show vibrant and current, especially in terms of publishing e-books and thinking of additional award categories, such as marketing and web design. It might be too early to implement a straight e-book design category — that seems to be out of our hands currently — but maybe in the future. As the publishing world evolves, I strongly believe there are other categories we need to think about in order to remain relevant and vibrant.

What was your most challenging responsibility?

The most challenging responsibility was also the most rewarding, and that was selecting the jurors. They had to be from outside the AAUP community, though they didn’t necessarily have to be designers. So I had to do a lot of research. I reviewed portfolios and websites, read letters of recommendation. It was very tricky because of the pressure to get the right people.

Did you have any preferences?

I felt that some of the jurors should be teachers because of their experience in assessing other designers’ work and giving good feedback. I also wanted individuals with a cutting edge and inspirational style. As it turned out, all except one were teachers. We tried to select a broad range of individuals from the East Coast and the West Coast, though we ended up with a significant number of jurors from RISD [Rhode Island School of Design]. Most had a background in trade publishing.

Did you notice that trade designers had a different outlook than university press designers?

No, I think the two worlds have really come together.

What was the most gratifying part of your experience?

Working with others in the AAUP community, and particularly with other designers, both within AAUP and outside. Learning from them, sharing new ideas about design — that was especially rewarding. And then seeing how it all came together — it was fun watching the jurors get along so well.

Were there any interesting lessons you learned?

When designers become judges, I realized how important it is to give them space to form their own opinions. I felt they should be unhindered in making the best and most honest assessment of other people’s work.

Do you recommend that others consider joining the committee?

Absolutely. It’s great to have contact with other designers and to share our experiences. It’s also a commitment: the committee requests that you stay on for a few years to learn the responsibilities of being a member and to make the transition easier. That’s something to take into consideration, but it’s worthwhile.

Snapping photos at dinner after panel discussion. From left to right: Daphne Geismar, Benjamin Shaykin, Kimberly Glyder, Henk van Assen

Robert E. Lerner on the captivating life of Ernst Kantorowicz

LernerRobert E. Lerner met Ernst Kantorowicz as a graduate student at Princeton, and was left with an unforgettable impression. The first complete biography of the man to date, Lerner’s Ernst Kantorowicz: A Life details the fascinating life of the influential and controversial German-American intellectual whose dramatic life intersected with many of the great events and thinkers of his time. Recently, Lerner took the time to answer some questions about the biography and what led him to Kantorowicz as a subject.

You have written a number of books on history before, but this is your first biography. What led you in this direction?

RL: My subject, Ernst Kantorowicz (1895-1963), author of celebrated works in history, was wounded at the battle of Verdun in 1916, fought against red revolutionaries in Munich in 1919, was a prominent member of a bizarre poetic circle in Germany during the Weimar era, spoke publicly in opposition to Nazism in 1933, eluded Gestapo arrest in 1938, lead a fight against a McCarthyite Board of Regents at the University of California in 1949-50, and was a central personality at the Institute for Advanced Study in Princeton. Moreover, he was a major intellectual figure of the twentieth century. Is that enough?

But why did you decide to write it now, when previously you have written almost exclusively on medieval topics?

RL: Actually, the project had been taking shape for decades. I met Kantorowicz once when I was a graduate student at Princeton, and he left an unforgettable impression. Later, in 1988, I was asked to speak about him on the occasion of a conference on “German-Speaking Refugee Historians in the United States.” To prepare, I interviewed a number of his surviving friends. And then I realized that there were many others I had not interviewed, and then I learned that there were many surviving letters, and so it went. I became a sort of Kantorowicz memorabilia collector. (I own the great man’s clothes brush—no joke.) “EKa,” as he preferred to be called, had a scintillating wit and was the subject of a large number of arresting anecdotes. But how could I go on collecting without anything to show for it aside from the contents of file folders? So a biography had to be written.

What are some of the things you’d like to have readers take away from your book?

RL: That depends partly on their interests. Those interested in the writing of history might want to see how a brilliant historian drew innovatively on the widest variety of sources—legends, prophecies, manifestos, panegyrics, mosaics, coins, ceremonial chants, and legal treatises. Others interested in the cultures of the Weimar Republic might want to become aware of how a secular Jew espoused the occult ideal of a “Secret Germany.” But anyone at all might want to see how a man who sent a copy of his first book to General von Hindenburg later became so alienated from everything the general stood for that he named a Thanksgiving Turkey “von Hintenburg” (rear-end-burg). Kantorowicz was not only notoriously eccentric (he wore a vest-pocket handkerchief even to cook-outs and on the beach) but had a coruscating wit. I’ve been thinking of compiling a “Kantorowicz joke book.” But for the present I hope I’ve written a gripping intellectual biography.

Robert E. Lerner is the author many books, mainly about the subject of medieval times. He is a fellow member of the Medieval Academy of America and the American Academy in Rome and a former member of of the Institute of Advanced Study in Princeton. Lerner is professor emeritus of history at Northwestern University, where he taught medieval history for more than forty years.

Jason Stanley: On the Question of the Stability of Democracy

After a divisive election, the question of democracy’s stability has again commanded public attention. What has philosophy said to this, one of our discipline’s foundational questions?

Plato and Aristotle both regarded stability as a vital metric by which to evaluate political systems, though they differed in their judgments about democracy. Plato’s Republic is about proper governance, of the City and the Soul. In Book VIII, Socrates introduces the democratic city to his interlocutor Adeimantus, as follows:

First of all, then, aren’t they free? And isn’t the city full of freedom and freedom of speech? And doesn’t everyone in it have the license to do what he wants?
That’s what they say at any rate.
And where people have this license, it’s clear that each of them will arrange his own life in whatever manner pleases him.
It is.
Then I suppose that it’s most of all under this constitution that one finds people of all varieties.
Of course. [557b]

What follows this passage is a description of “the characteristics of democracy,” such as “the city’s tolerance.” [558b] In summary, “…it would seem to be a pleasant constitution, which lacks rulers and not variety and which distributes a sort of equality to both equals and unequals alike.” [558c]

A culture whose central value is liberty will lead to sweeping social equality. In a democratic city, students in the academies challenge their teachers (there are campus protests) [563a]. A democratic culture equalizes those who are natural-born and immigrant; in such a system “[a] resident alien or a foreign visitor is made equal to a citizen.” [562e] Democracy is inconsistent with enslaving others [563b], and in a democracy there is equality between men and women [563b].

Lacking access to a quality education is a severe restriction on freedom, as it limits one’s career possibilities. Lacking a safe source of fresh water is a limit on freedom, as the search for it can absorb time better spent on pursuing liberty, rather than attending to necessity. A society’s commitment to liberty is precarious if the sphere of free action accorded to some, merely by virtue of birth position, is vastly greater than the sphere of free action accorded to others. This is why we provide public goods, in the form of for example public education, and drinking water. But even if unjust inequality is eliminated, liberty will lead to inequalities of wealth due to life choices. In a society devoted to liberty, people will rise to positions of wealth and influence by such choices, and obstacles to the rise of members of traditionally oppressed groups will be dismantled.

Socrates recognizes that the flourishing of liberties, the diversity of practices and customs, and social equality may seem attractive. However, he urges us to attend to its risks. People are not naturally inclined to self-governance, “always in the habit of setting up one man as their special champion, nurturing him and making him great.” [565d] Democracy also creates a vast amount of resentment, due to the social upheaval required by prizing freedom, and the attendant costs to traditions, customs, and hierarchies. A tyrant takes advantage of the resentments created by democracy, and the hunger for authority. The tyrant “dominates a docile mob” by bringing “someone to trial on false charges.” [565a] The tyrant’s “impious tongue and lips taste kindred citizen blood,” and the tyrant “drops hints to the people about the cancellation of debts and the redistribution of land.” [566a]

About the first days of the future tyrant’s reign, Plato writes:

During the first days of his reign, and for some time after, won’t he smile in welcome at anyone he meets, saying that he’s no tyrant, making all sorts of promises both in public and in private, freeing the people from debt, redistributing the land to them and to his followers, and pretending to be gracious and gentle to all? [566d,e]

What follows [566e -569c] is a description of the descent from the first days. The tyrant will need to “stir up a war, so that the people will continue to feel the need for a leader” [566e], those who dare “to speak freely to each other and to him, criticizing what’s happening” [567b] will be purged. Finally, the tyrant will appoint a bodyguard from among his most “loyal followers.” [567e]

Plato sees in democracy’s ideal of the freedom of speech the cause of its inevitable downfall. Ever increasing pressure for freedom and equality will lead to resentments of fellow citizens, as will the inevitable hypocritical use of these ideals (e.g. when the ideal of liberty is used to justify corruption). A tyrant will exploit these resentments to stoke fear of fellow citizens. Taking advantage of the human attraction to authority, they will present themselves as the only savior from the enemies who are the focus of their demagoguery. Once the tyrant takes over they will end democracy, replacing it with tyranny.

Aristotle was more sanguine. In Aristotle’s democratic city, all citizens participate in the formation of the laws by which they are governed, an activity that for Aristotle was the purest expression of freedom. The equal participation of all citizens in the formation of the policies that will be adopted and fairly applied lends the system its stability. Aristotle also emphasizes Democracy’s epistemic virtues, arguing that open and honest cooperative deliberation about policy between all citizens yields better results, in the form of wiser policy, further strengthening the stability of the system. Democracy requires a clean public square.

Plato’s democratic city is based upon a notion of liberty as unconstrained freedom to satisfy one’s desires, freedom from the limitations of customs and traditions. Aristotle’s conception of democracy, by contrast, allows democratic societies to have homogeneous value systems. However, this is possible only if all citizens freely and equally participate in the decision to adopt them, decisions that must be continually revisited. Participating equally in such decisions is, for Aristotle, genuine freedom.

Contemporary liberal democracies differ from these conceptions of democracy in at least two ways. First, they incorporate essential insights of Christianity, such as the concept of human rights. Secondly, they involve elected representatives to act on behalf of our best interests, tasked to deliberate with one another reflectively, openly, and truthfully, with willingness to changing their minds and compromise.

American democracy differs in a significant way from most other Western democracies, which make Plato’s concerns particularly relevant. Democracies throughout the world, in the words of Jeremy Waldron, have the “conviction that a liberal democracy must take affirmative responsibility for protecting the atmosphere of mutual respect for its citizens.” But our Constitution provides the broadest protections for speech in the political arena. India’s first amendment bans hate speech; our first amendment protects it. In many other democracies, a public official who described Islam as “like a cancer,” a “political ideology that hides behind this notion of being a religion,” as the incoming National Security Advisor has said, would be prosecuted. In the United States, we have chosen a different path. If Plato is right, our democracy is especially in danger.

The historical record, however, speaks differently. The United States is the world’s oldest continuous government. Our institutions and practices seem especially safe.

Yet optimism is warranted only insofar as it reflects our country’s historical commitment to its values. Sadly our democracy has always been partial, its ideals hypocritically employed. In 1852, in a Fourth of July speech, Frederick Douglass asked:

What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us?

Perhaps the fact that American politicians have traditionally felt the need to express their loyalty most centrally to the democratic ideal of freedom speaks to the strength of our country’s democratic character, even in the face of its history?

Aimé Césaire writes, “a civilization which justifies colonization – and therefore force – is already a sick civilization, a civilization which is morally diseased, which irresistibly, progressing from one consequence to another, one denial to another call for its Hitler, I mean its punishment.” This was not lost on Thomas Jefferson, whose rejection of what we now call “nation building” was due to his understanding of the difficulty of insulating an imperial power’s domestic politics from the clearly anti-democratic practices required in invading and occupying other nations by force. When we waged war against the Japanese, we interned our fellow citizens of Japanese ancestry. Our recent colonial adventures in the Middle East threaten to reverberate in similar ways back to our shores.

This election campaign raises clear concerns about our democratic character. A press free to criticize those in political power is the emblem of a healthy democracy. But during his campaign rallies, the president-elect would place the media into a “pen,” and whip his audience into a frenzy of hatred against them. Campaigning by demonizing a critical media is campaigning against democracy. The explicit illiberalism of the president-elect, his hatred of the press and his open intolerance, is what attracted voters to him.

Clinton’s campaign made a devastating error by failing to recognize the appeal of illiberalism. The strategy of their ad campaign, which featured lengthy snippets of the president-elect at his most illiberal, presupposed a general commitment to liberal democratic values. It is in any case a familiar point from George Lakoff’s 2004 book Don’t Think of an Elephant, that one should not repeat the opposition’s rhetorical frames even if it is to condemn them. Instead, one should provide an alternative positive vision, in this case of liberal democratic values. Anything else is campaign money spent on advertising for the opposition.

For Aristotle, it is the law that gives democracy its stability. If all citizens participate equally in its formation, and the law is applied fairly, the system will be stable. Taking these two criteria as metrics of stability, how should we think of our current situation?

In many states, the laws that ensured that minority groups could equally participate have been abandoned and replaced by laws that impede their ability. The president-elect has nominated Jeff Sessions to administer the laws; he is famous for harshly pursuing the prosecution of civil rights activists registering black fellow citizens for voter fraud. The president-elect has claimed that there was an immense voter fraud problem in the recent election. Bernie Sanders has pointed out that there is a “hidden message” here; it is green lighting Republican governors to pursue restrictive voter registration laws that disenfranchise minorities in large numbers.

It is also important to note how the president-elect communicates the message that even more restrictive voter registration laws are required. He does so by appealing to his power as leader to define an alternative reality. Given his alternative reality, one needs such laws. Therefore, one needs such laws. This is not normal democratic politics. It is authoritarian politics. The leader can dictate the reality that justifies the application of the laws.

There are other signs of an embrace of an authoritarian conception of the law. Recently, Sessions praised the president-elect’s 1989 comments about the Central Park Five, teenagers accused and convicted on the basis of coerced testimony of a terrible crime and later completely exonerated, as showing his commitment to “law and order.” At the time, the president-elect described them as “crazed misfits,” and called for their execution. Sessions’ use of “law and order” refers to a system of laws that has at its center an authority figure whose judgments, whether fair or not, constitute the law. This is a conception of law and order the rejection of which is the very basis upon which our country is founded. To be subject to the arbitrary whim of a ruler is not freedom.

From a perspective that regards tradition, identity, or religion as the chief sources of value, liberal democracy is an existential threat to what gives meaning to human life. If liberal democracy’s disturbances of the social order bring no obvious benefit, materially or spiritually, to those to whom the losses have been most deeply felt, we can hardly expect universal support for its values.

Carl Schmitt denounced freedom as a merely hypocritical ideal, on the grounds that liberal states regularly defend their freedoms by suspending them. A healthy liberal democratic culture resists these temptations to “protect” its democratic freedoms in such manifestly hypocritical ways. And yet our nation has a long history of this kind of hypocrisy. Nixon advisor John Ehrlichman recently described the motivation for Nixon’s “war on drugs” as follows:

The Nixon campaign in 1968, and the Nixon White House after that, had two enemies: the antiwar left and black people. You understand what I’m saying? We knew we couldn’t make it illegal to be either against the war or black, but by getting the public to associate the hippies with marijuana and blacks with heroin, and then criminalizing both heavily, we could disrupt those communities. We could arrest their leaders, raid their homes, break up their meetings, and vilify them night after night on the evening news. Did we know we were lying about the drugs? Of course we did.

In Michigan, democratically elected mayors and city councils are disbanded in cases of supposed “financial emergency.” Even liberal democracy’s greatest critics did not think its citizens would allow the language of emergency to be so misused in peacetime.

And what if the United States fails? What if we replace our allegiance to freedom with an allegiance to some version of national identity, of a fictionalized shared heritage, or an official national religion? What if we become a one party state, with a muted and cowed press, left with the formal procedures of democracy but little else? What obstacles will face those of us who seek to make America great again?

We have grown accustomed to hyper-incarceration as a solution to our social problems. This is dangerous in a country that has only ever known what W.E.B. Du Bois called our “two systems of justice,” one for our white citizens, and the other for our black citizens. When the president-elect randomly tweets, apropos nothing, that burning the flag should lead to loss of citizenship, or a term in prison, he is signaling that it is the second system of justice that awaits those who dissent.

Both previous administrations have defended an all-powerful security apparatus and severe punishment for its whistleblowers. In the face of legal protest, our police don the garments of our military. Too many members of the political class in the UK and USA have profited mightily from power. While it has not been to the extent of the world’s most notable authoritarians, it has been notable enough to ward off future alarm bells that should be headed. Charges of dynastic succession will ring hollow when it is recalled that in this election, the “smart money” pit the son and brother of two former presidents against the wife of another.

Suspicion of the press has mutated into the loss of truth; we lack a common reality. But when truth is gone, the press can no longer defend itself against charges of bias. Our deliberative bodies have long since collapsed, our representatives locked in combat, not cooperation. Politicians have placed fealty to Christian values explicitly over democratic ones, and have been rewarded for it at the ballot box. With this background, it is understandable that many Americans are sympathetic to the view that all politics is struggle between groups, with the façade of cooperation or honesty being only propaganda used to mask that reality. Convincing American citizens that the values of liberal democracy are not mere masks for political struggle between groups is the largest challenge we face.

Illiberal nationalist parties have swept to power, or its doorstep, in healthy and prosperous European liberal democracies. Judging by Hungary and Poland, such parties have no incentive to be fair to their critics. Nor we should not expect them to be. Fairness is a liberal value. Illiberal nationalists view politics through the prism of war, and the legal system as a weapon.

Plato predicted that democracy would end by the hand of a demagogue who stoked the fuel of the resentments caused by freedom’s disturbances of the ground of tradition. Faced with an enemy for whom political disagreement is war, the struggle to retain our liberal freedoms will be hard. We must resist the temptation to adopt their ethic; it is no way to defend our own. But the window of liberal democracy is closing, and the time for its vigorous defense is now.

StanleyJason Stanley is the Jacob Urowsky Professor of Philosophy at Yale University. He is the author of How Propaganda Works.

Eléna Rivera on her new collection, Scaffolding

RiveraEléna Rivera’s new collection of poems, Scaffolding, is a sequence of eighty-two sonnets written over the course of a year, dated and arranged in roughly chronological order. The work vividly reflects life in New York City, where Rivera resides. A poet and translator, Rivera’s earlier collections include The Perforated Map; her translation of Bernard Noël’s The Rest of the Voyage won the Robert Fagles Translation Prize. Recently, Rivera answered some questions about her book, the interplay between form and content, and the life that informs her writing.

Why the sonnet?

ER: I’ve always been interested in form, the interplay between form and content, between the inner and the outer. I wanted to experience what it would be like to write discreet poems over time. I had been engaged with writing long poems for a while. I’d work on a piece, playing with different possibilities, until the form would come to me and I knew then that the poem had found its direction (the amount of time I have, and the concerns of the poem, are what dictate the poem’s length). I was interested in the book as form (a love of the epic) and made one-of-a-kind books, and books in hand-letterpress editions (fascinated by the weight of the single lead letter). At first the sonnet seemed the complete opposite of what I had been doing, but really it wasn’t that different, the form got smaller, tighter, and I filled it rather than found it; it shaped the conversation, the music of it. I really became fascinated by the fourteen-line form, what such a compact container could give rise to, and once I committed myself to it I felt compelled to continue.

And why the additional eleven-syllable line constraint?

ER: At the time I was translating a book from the French written in hendecasyllable lines. I wondered if writing in lines of eleven-syllables would be as difficult as translating them. I wrote a few sonnets in eleven-syllable lines, enjoyed the constraint, and found it much easier than translating into eleven-syllables lines. Of course we don’t usually count syllables in English, but I found this constraint useful, gave the poems more breadth. I was inspired by Bernard Noël’s example, and translating him, as I was by the experiments of the Oulipo writers in France, like Jacques Roubaud for example. I liked too that the eleven-syllables veered away from the pentameter line we’re so used to hearing; it added unaccountable rhythms below the surface of the lines. I read sonnets, conversed with sonnets, responded to what was on my mind on any given day, and would then shape the poems into these eleven-syllables lines.

Is that why your sonnets are dated?

ER: Yes. After the first few sonnets, I gave myself the task to write a sonnet a day for a year. Needless to say that didn’t quite work out the way I imagined it would because of time constraints mostly. I also threw out many very bad sonnets, which diminished their numbers. It’s when I began revising that I also realized that I had to change the date of a poem and add a new date, to show that a poem might have been written on one day and much later rewritten on another day. Some poems just worked right away and others were more reluctant. Sometimes I liked the new version as much as the old one and kept both. I wanted to track that; I wanted it to be a book of sonnets that showed what was on my mind on a particular day, what I was reading, thinking, in touch with, remembering, etc.

I noticed that you include a spattering of words in French and Spanish, why is that?

ER: I grew up speaking French and Spanish. I had some knowledge of English, but for me English is a learned language not the one we spoke at home. My mother spoke to us in Spanish and some French, and we spoke to our parents in French (I was in French schools from the time I was three). So I consider French and Spanish my “mother-tongues.” I learned English quite quickly once we moved to the United State, and worked hard at it (the kids in my public Junior High School were unforgiving regarding my strange accent).

So how did it happen that you grew up speaking French and Spanish?

ER: My parents met while working in the Hispanic Division of the Library of Congress. My mother wanted to travel, and in her family there had always been an element of yearning for Spain, where she was born (lots of stories around that). My father is American and half-Mexican from New Orleans, and my mother is Spanish and German. Her father, a Botanist, was a refugee from Franco’s government during the Spanish Civil War, and had to flee the country. My mother grew up in South America, fleeing countries as dictatorships rose. Later after my parents married, they moved to Mexico where I was born, and three years later moved to France. My mother was eager to go to Europe and my father, who wrote poetry, and had written a thesis on Rimbaud, was easily convinced. They led quite the bohemian life of expatriates in Paris in the ’60s and ’70s. There were also all the political events, the marches and protests, and getting locked in the Sorbonne in 1968. All their friends were musicians, painters, writers. I grew up in museums, galleries, listening to a lot of jazz. We moved to New York when I was 13, and that’s when I experienced the shock of the violence in America, the racial hatred that was all around me. I didn’t understand it, but the violence of the country really marked me, and enters my poems. After my parents separated, we left New York City and lived in Los Angeles, San Francisco, and Muir Beach in Northern California. It was only much later in my 30s when Russell and I moved to Montréal that I started to incorporate some French into my poems — Montréal being a bilingual city. I had written poems and other pieces in French, but never tried to publish them. I’ve gone back to France at various periods of my life, one time for as long as two years, and now in the last 10 years I’ve been translating and working with French poets, and so the French is reentering. I’d like to do more with the two languages, and Spanish, too. I miss the languages; they are an integral part of my being. Sometimes I just can’t think of the word in English, and the word in French or Spanish will emerge — so much more expressive of the emotion or thought than the English word.

Do you think of yourself as European or French then?

ER: No, not anymore. I don’t think of myself as belonging to one particular country. I am in the place I’m in; that’s it, and I write from that place. Susan Howe said in an interview, “Trust the place to form the voice,” and the poems in Scaffolding are very much New York poems.

About the title, Scaffolding, could you elaborate a bit more about that?

ER: When I wrote the poems, our building complex was undergoing extensive facade work. The place was covered in scaffolding for about a four-year period — a long time. It wasn’t until I finished the manuscript that I began thinking of Scaffolding as a title. The sonnet form is a kind of “scaffolding,” a structure, for the substance and sounds of the poem, as is the hendecasyllable line. I also like the darker meaning of the word, “an elevated platform on which a criminal is executed;” there was something that felt dangerous about these poems, about what I was doing.

Why poetry?

ER: That’s complicated. Many reasons. It’s my vocation. I write poems. I’m always writing (poems and prose). From a very young age, I wrote, painted, put on plays, and sang. When we moved to America, I wanted to be an actress. I kept writing, but I didn’t think of writing as something one made one’s life around, not until my late 20s. My relationship to English is very complicated. Writing and reading are very physical endeavors for me — when I read I get so excited, I want to meet it, to be there in the language with it. Writing was always a necessity that helped me to live in the world. Writing was a way out of erasure, the silence that is imposed from the outside. In writing and reading, I found the words that I didn’t have otherwise. And then there is another kind of silence, one that sets one free, but for that one has to be able to speak, beyond categories, beyond the idea of “self,” beyond any kind of fixed and permanent “I” (that illusion).

Eléna Rivera is a poet and a translator. Her poems have appeared in publications such as the Nation, Denver Quarterly, the New York Times and many others. She is the author of The Perforated Map and Unknowne Land. Her  ranslation of Bernard Noël’s The Rest of the Voyage won the Robert Fagles Translation Prize. Rivera was born in Mexico City and spent her childhood in Paris. She currently resides in New York City.

Mark Williams: A look at Irish gods and their legacy

WilliamsAgeless fairies inspired J.R.R. Tolkien’s immortal elves; W. B. Yeats invoked Irish divinities to reimagine the national condition. Why have Ireland’s mythical beings loomed so large in the world’s imagination? In Ireland’s Immortals: A History of the Gods of Irish Myth, Mark Williams weaves together the fascinating stories of some of Ireland’s famous gods and goddesses, from the heroic Lug to the fire goddess Brigit. He explores the religious history in the myths, showing how Ireland’s pagan divinities were transformed into literary characters in the medieval Christian era. Recently, Williams took the time to answer some questions about Irish gods and their stories.

Apparently Ireland has a pantheon of native gods?!

MW: Yes! — though in many ways they are unique, and don’t look all that much like the pantheons of other peoples and places. They’re called the Túatha Dé Danann in Irish, or ‘The Peoples of the Goddess Danu,’ as it’s usually translated. They tend to be imagined as immortal, beautiful aristocrats, sumptuously dressed and eternally young. In many stories from medieval Ireland, they live in a kind of parallel world, which can be accessed via the hills and Neolithic passage-graves which dot the Irish landscape. Some of them have vivid personalities: there’s the Morrígan, a battle-goddess who sometimes takes the form of a crow, for instance, or the young and heroic god Lug of the Long Arm. My favorite is Brigit, the goddess of poetry, medicine and blacksmithing who also moonlights as Ireland’s most important female saint — or at least has been thought to.

What is unusual about the Irish gods?

MW: Across Irish literature, in both Irish and English, their major characteristic is ontological ambiguity: the nature of their nature, so to speak, is never wholly fixed. In the first place, it’s hard to simply identify them as gods, as they have only an uncertain and wavering link to the actual deities worshiped by the pre-Christian Irish. Ireland’s conversion to Christianity saw the jettisoning of the vast majority of deities the Irish had once worshiped, while a small number were ‘reincarnated’ as medieval literary characters. This latter process was in no way inevitable, and the Anglo-Saxons did nothing of the sort, for example: you don’t find versions of Woden and Thunor turning up as literary characters in secular story, whereas the Irish constantly worked former gods into their sagas and tales, often worrying about how to place them in a Christian cosmos. Serious suggestions included the idea that they were merciful angels, ‘half-fallen’ angels, demons, or a race of humans who had somehow escaped the Fall and so retained more-than-human powers.

That the old gods were remembered at all was down to the deep respect for the past, which was characteristic of the medieval Irish. The Anglo-Saxons knew that they had arrived from somewhere else in the relatively recent past, but the Irish — around the conversion period, at least — seem to have thought themselves to be indigenous to their land. They were deeply invested in their own nativeness, so that their landscape, culture, and ancestry were all bound up together. (A new story was developed later which asserted that they hailed from Scythia, via Spain). But literature and shaping of a literate culture were in the hands of a clerical intelligentsia, who felt perfectly at liberty to make major changes in the depiction of ancient, once-divine figures. It is very striking how much the multi-talented god Lug (or Lugh) resembles the biblical King David, for example — both are young, handsome, royal figures, both are skilled musicians and poets, and both kill a giant with a slingshot to the head in single combat. Though there is no question that a god named Lug (or Lugus) was part of Irish paganism, one wonders how much of his ancient character actually persists in the literary Lug. This kind of remodeling might have happened to any number of the divine figures in Irish literature; far from representing the ignorant interference of clerics in ancient traditions, it actually reflects an attitude of deep respect on their part, and underscores their investment in the patterns and personages of their island’s ancient past.

The second peculiarity about the gods is that they are often depicted as ‘fairies’ — the not very satisfactory English term for the Irish áes síde, ‘the people of the hollow hills’. It is the second of these two Irish words which was later anglicised as Shee — a term familiar to all aficionados of nineteenth-century Irish literature. Rather than being gods, in this guise they act as humanity’s idealized twin-race. They are beautiful, immortal, and gifted with magic powers, and their lifestyle is largely characterized by graceful ease. In many ways they are the forerunner of Tolkien’s Elves, but they are less solemn and remote. In this guise they balloon in number: they become an imagined people, not a pantheon.

The third factor is that towards the end of the first millennium AD the Irish developed a complex backstory for their island, and a place for the Túatha Dé Danann was found within this elaborate timeline. They were now imagined as only one of a series of invading races who had ruled Ireland in the deep past. The climax of this kind of ‘synthetic history’ (as it is known) came in the late eleventh century, with the creation of ‘The Book of Invasions.’ In this schema, the gods were imagined as human beings who had simply learned how to supercharge their abilities with magical knowledge. They were (the synthetic history tells us) the third or fourth race to rule over Ireland, before they were in turn defeated by the incoming Gaels, the ethnic Irish. This scenario is transparently a creation of the high Middle Ages, but it became the basic imaginative frame for Ireland’s native gods until the nineteenth century.

The upshot of all these variations on the ontology of the Túatha Dé Danann was that it was actually quite difficult for antiquarian writers in modernity — as they combed through the records of the Irish past —to spot that these literary figures had once been Ireland’s native gods. Considerable preparation of the intellectual ground was necessary, and here the newly developed scholarly disciplines of anthropology, philology, and comparative mythology all played important roles. It wasn’t until the 1870s that the idea really took off, and soon it became a cultural and scholarly commonplace.

Why are the Irish gods less famous than the Graeco-Roman and Norse gods?

MW: The classical gods were the divinities of two cultures which were deeply admired by later ages, and were inseparable from the literature of those cultures; the gods of Greece and Rome therefore became part of the universal intellectual and imaginative patrimony of Europe. In the Middle Ages and on into the Early Modern era, Christian intellectuals felt perfectly at liberty to adopt them as symbols, personifications, allegories, and rhetorical tropes. (Dante calls on Apollo, for example, right at the heart of the greatest Christian poem of the Middle Ages). And later, with the Romantic movement, the impulse emerged to take the classical gods down from their niches in literary rhetoric and reclaim them as images of divine power in the natural world, even as living spiritual forces. So the gods of Greece and Rome have never actually been away, and have been naturalized for centuries in literature in English.

It’s worth noting, however, that the classical gods had no specifically national dimension, precisely because they were so universal. The Norse gods were quite different. Like the Irish gods, they were associated with a vernacular northern European language and had starring roles in a splendid medieval literature. In modernity, they could be claimed as the ‘native’ gods of those areas of Europe in which a Germanic language was spoken. This meant Germany, of course, but also — because of the Anglo-Saxon heritage — England, which gave the Norse gods a ready-made audience and a role as the ‘divine machinery’ in many forms of quasi-nationalist creative expression. The classic example is Wagner, whose monumental Der Ring des Nibelungen brought the Northern pantheon to international attention as a family of archetypal figures on a cosmic scale, explicitly paralleled to the gods of Greece. The Gaelic gods, in contrast, were associated only with Ireland and with the poorest and most remote parts of Scotland, and so seemed vague and outlandish in comparison.

Why did someone like W. B. Yeats take an interest?

MW: Yeats, and his friend the mystic George Russell, are really the essential figures in the late nineteenth century recovery of the Irish gods, though they had important precursors. Yeats was well-placed to take advantage of the new scholarship which had retrieved the Túatha Dé Danann as Ireland’s native pantheon. In his early-career siftings of material, he was able to boldly assert the fundamental identity of the fairies of folklore, the Túatha Dé Danann of the medieval literature, and the gods of the ancient Irish. Here the occult acted as a crucial unifying frame; Yeats was deeply invested in occultism as a system of thought, and he used it to give meaning and context to the Irish pantheon. To use anachronistic language, he came to believe, around the turn of the century, that the native gods were the archetypes of the national

unconscious, and that it might be possible to retrieve and reactivate them, creating a system of hermetic ‘images’ with which to reimagine the national condition. To this end he attempted to establish the so-called ‘Celtic Mysteries’ — a hermetic order on specifically national lines which would invoke and stir into life these figures from the depths of the national psyche, persuading them to intervene in a conflicted present. He certainly didn’t succeed in the way that he expected, but—more than a hundred years later—more people have heard of Lug, and Danu, and Brigit than ever before, and indeed the Irish gods are the focus of several forms of renewed and reimagined modern Paganism. So who knows? They are certainly alive now.

Is Ireland’s Immortals meant to be funny?

MW: In places, yes, I hope so; the material seemed to demand it, but in two different ways. On one level, the ferocious weirdness of some of the medieval tales can be laugh-out-loud funny in a way that must have been intentional on the part of the saga-authors. My colleague at Oxford, Heather O’Donoghue — who’s written a wonderful history of Norse mythology — has remarked that myth tends to be the most surreal manifestation of a given culture, and I’ve tried to bring this dimension of the literature out. I dwell, for example, on a scene in a ninth-century saga in which the Dagda, the Falstaffian ‘great father’ of the Irish gods — the rough equivalent of Zeus — takes a very long time to relieve his bowels, before being spanked by a woman he is trying to seduce.

On another level, some of the activities of those involved in the gods’ retrieval in modernity — especially in what might be called the late-Victorian New Age — can’t help but raise a smile in a more cynical era. To me it’s fascinating that a connection can be traced between major political movements that affected the fate of nations on the one hand, and the activities of a clique of irrationalizing intellectuals, fired up by some pretty way-out ideas, on the other. That aspect of things seemed to demand a certain respectful wryness, because the idea of ritually awakening the archetypes of the national unconscious is an astonishing and beautiful one, even if the actual execution could be a bit bonkers. The only such person whom I couldn’t write about respectfully — to start with — was William Sharp, the Scottish writer who posed as a Hebridean seeress he named ‘Fiona Macleod.’ He was a plus-fours wearing six-footer with a big, red face, but he wrote all his most successful ‘Celtic’ work in the guise of this wafty, Enya-like figure. He probably reminds me a bit too closely of my own naïve, teenage forays into things Celtic — all mist-shrouded dolmens and dangly druidical tat — and the act of self-exorcism led me to be unfair to Sharp. I was taken to task — quite rightly — for being too nasty by one of the referees of the book, and in revisions I hope I’ve been more even-handed.

Finally, I have to say that writing about Liam O’Flaherty’s 1930 story The Ecstasy of Angus — a steamy bit of erotica involving the hot-to-trot goddess Fand and the love-god Angus Óg — was an absolute hoot. As the couple get down to it, O’Flaherty actually brings on a chorus of fairies who prance about brandishing dildos. It was impossible to analyze with a straight face, though I hope I’ve made the case that the story does have a dark, politically serious dimension to it.

Why did you write the book, and what influenced it?

MW: I had various aims in mind. First, there was a gap in the scholarship: there was no up-to-date guide to the gods in medieval Irish literature, nor to their recuperation in the modern era. In the two parts of the book I’ve tried to tell both stories in a way that makes one dimension illuminate the other. I’d always wanted to do the project: my undergraduate training was in Classics and English, so I cut my intellectual teeth on reception history, meaning the afterlife and reworking of classical texts by later writers. So we would look, for example, at Milton’s reuse of Virgil and Homer, or at Shakespeare’s allusions to Ovid, or at the links between the end of the tradition of epic poetry and the genesis of the novel. One of the things this gave me was a predisposition to read culture in terms of wholeness and continuity, rather than fracture and disjointedness. But the relationship between Irish literature in English and medieval Irish literature is very different to that between later literature and that of Graeco-Roman antiquity. With the Irish material, ‘reception’ of this sort is problematic because everything is charged with the legacy of a contested and traumatic colonial history, so my impulse towards wholeness needed considerable modification. In 1981 Richard Jenkyns — later to be my Oxford tutor — wrote a splendid book called The Victorians and Ancient Greece, which I actually read at school, and that was a big influence: Part Two could have been subtitled ‘The Victorians and Ancient Ireland.’ Another big influence was the Norse expert Heather O’Donoghue, as — of course — were the works of Roy Foster: one of the greatest pleasures of the process was getting to know him. The biggest influence of all is Ronald Hutton of the University of Bristol. I read his The Pagan Religions of the Ancient British Isles when I was seventeen, and Part One of the book is in one sense a vast expansion of his chapter in that book on the Celts, ‘The People of the Mist.’ He has also written an elegant few pages about Yeats’s and Russell’s astral adventures in his book The Triumph of the Moon, and Part Two of Ireland’s Immortals handles the same material at book length.

One thing I hope for the book is that it might have the effect of freeing things up a bit for younger scholars in Celtic. Celtic Studies as an academic discipline emerged from various kinds of Romantic nationalism in the nineteenth century, and the legacy of that origin is only now really being assessed by scholars — we’re starting to get superb biographical studies of major figures, for example. But the most obvious consequence has been a massive counter-reaction in scholarship against anything woolly or mystical: Celtic Studies has evolved into a hard-headed and rather inward-looking discipline, focused on the production of critical editions and the analysis of the languages. Unfortunately, the field is currently undergoing a period of contraction: there are fewer places in the world where the languages are taught, and important Professorships—including that at my own institution—are under threat. I hope one thing the book might do is to say, look, as Celticists we can reach out, we can talk to colleagues in English and in intellectual history. People who work on Irish literature in English and those who work on literature in Irish hardly ever seem to talk to one another, with a few noble exceptions such as Declan Kiberd. I hope that one thing the book will do is to underline that there is genuine value in seeing the bigger picture from time to time. (That said — lest any colleagues reading this think me to be encouraging a hermeneutic free-for-all — I must say to any student Celticists out there: make sure you learn your paradigms.) But the literature — extraordinary, uncanny, and beautiful as it is — will languish in neglect until we get in the habit of claiming for ourselves significance and status.

Mark Williams teaches medieval Irish, Welsh and English literature at Lincoln College, University of Oxford, where he is the June Li Fellow in the Humanities and Tutor in English. He has also taught for Cambridge University’s Department of of Anglo-Saxon, Norse, & Celtic. Williams is the author of Fiery Shapes: Celestial Portents and Astrology in Ireland and Wales, 700–1700.

Thomas Laqueur awarded 2016 Cundill Prize in Historical Literature

LaqueurWarmest congratulations to Thomas W. Laqueur, acclaimed cultural historian and author of The Work of the Dead: A Cultural History of Mortal Remains, for winning the 2016 Cundill Prize in Historical Literature at McGill University.

Laqueur, whose book offers a compelling and richly detailed account of how and why the living have cared for the dead since antiquity, received the high honor at a gala ceremony in Toronto last night. The Cundill Prize, now in its ninth year, is one of the most lucrative prizes in the field of historical literature. Shortlisted authors win $10,000 and the winner receives $75,000. The shortlist of three finalists was chosen on October 6th and include:

David Wootton- The Invention of Science: A New History of the Scientific Revolution (HarperCollins) 

Andrea Wulf- The Invention of Nature: Alexander Von Humboldt’s New World (Alfred A. Knopf, John Murray Publishers)

This year’s short list was chosen by the Cundill jury, which included Timothy Brook, Republic of China Chair, University of British Columbia; John Darwin, Professor of Global and Imperial History and Director, Oxford Centre for Global History, University of Oxford; and Anna Porter, Co-founder, Key Porter Books and author (Buying a Better World: George Soros and Billionaire Philanthropy, The Ghosts of Europe).

Congratulations to Thomas Laqueur and all the finalists for this high honor.

Thomas Laqueur receives The Cundill Prize

Thomas Laqueur receives the 2016 Cundill Prize in Historical Literature at McGill University


Books for Understanding: A Reading List

In the aftermath of the election, here are some books for better understanding the current political climate:

White Backlash
Marisa Abrajano & Zoltan Hajnal


The Rise and Fall of American Growth
Robert Gordon


Democracy for Realists
Christopher Achen & Larry Bartels

Achen Bartels

Expert Political Judgement
Philip Tetlock


Against Democracy
Jason Brennan

Free Trade under Fire
Douglas Irwin


Waiting for José
Harel Shapira


James Campbell


Red State Religion
Robert Wuthnow


How Propaganda Works
Jason Stanley


Good Neighbors
Nancy L. Rosenblum


 Myth of the Rational Voter
Bryan Caplan


On Bullshit
  Harry Frankfurt


Enemy painting and everyday life: stunning images from Bosch and Bruegel

KournerAt first glance, the works of Hieronymus Bosch and Pieter Bruegel seem to have little to do with each other. Bosch’s work is bizarre, diabolic, and outlandish. Bruegel depicted peasants in their every day life and realistic landscapes. On closer inspection, these two artists had more in common than one would think. They were both exploring the image as enemy; in Bosch’s work, everyday life is a trap set by an enemy of God, while in Bruegal the enemy is a humanly fabricated mask. In Bosch and Bruegel: From Enemy Painting to Everyday Life, Joseph Koerner sets these two masters in conversation with one another. This handsome edition is elegantly written and lavishly illustrated. In advance of its publication, here is a sampling of some of the book’s beautiful images.


This Halloween, a few books that won’t (shouldn’t!) die

If Halloween has you looking for a way to combine your love (or terror) of zombies and academic books, you’re in luck: Princeton University Press has quite a distinguished publishing history when it comes to the undead.


As you noticed if you follow us on Instagram, a few of our favorites have come back to haunt us this October morning. What is this motley crew of titles doing in a pile of withered leaves? Well, The Origins of Monsters offers a peek at the reasons behind the spread of monstrous imagery in ancient empires; Zombies and Calculus  features a veritable course on how to use higher math skills to survive the zombie apocalypse, and International Politics and Zombies invites you to ponder how well-known theories from international relations might be applied to a war with zombies. Is neuroscience your thing? Do Zombies Dream of Undead Sheep? shows how zombism can be understood in terms of current knowledge regarding how the brain works. Or of course, you can take a trip to the graveyard of economic ideology with Zombie Economics, which was probably off marauding when this photo was snapped.

If you’re feeling more ascetic, Black: The History of a Color tells the social history of the color black—archetypal color of darkness and death—but also, Michel Pastoureau tells us, monastic virtue. A strikingly designed choice:

In the beginning was black, Michel Pastoureau tells us in Black: A History of a Color

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Happy Halloween, bookworms.

Affordable Housing in New York: A slideshow of an urban landscape

Bloom LasnerAffordable Housing in New York examines the people, places, and policies that have helped make New York livable, from early experiments by housing reformers and the innovative public-private solutions of the 1970s and 1980s,  to today’s professionalized affordable housing industry. A richly illustrated, dynamic portrait of an evolving city, this comprehensive and authoritative history of public and middle-income housing in New York contributes significantly to contemporary debates on how to enable future generations of New Yorkers to call the city home. In honor of #Archtober, NYC’s month-long celebration of architecture and design, we’ve selected a few images from the book to share: 

Presenting the trailer for Virus by Marilyn Roossinck

Virus by Marilyn Roossinck is your go-to guide to the fascinating world of viruses. This stunningly illustrated reference work offers an unprecedented look at 101 microbes that infect all branches of life on Earth—from humans and other animals to insects, plants, fungi, and bacteria. Check out our new trailer for an introduction:



VirusMarilyn J. Roossinck is professor of virus ecology in the Department of Plant Pathology and Environmental Microbiology at Pennsylvania State University. She lives in Bellefonte, Pennsylvania.