A stunning debut novel, a modern-day King Lear set in contemporary India: the tale of a battle for power within a turbulent family, for status within a nation in a constant state of transformation, and for the love and respect of a father disappearing into dementia Jivan Singh, the bastard scion of the Devraj family returns to his New Delhi childhood home at the age of twenty-three after fifteen years in the United States. His arrival coincides with the unexpected resignation of the founder and aging patriarch of the Company--its simple name belying its vast holdings across industry and entertainment, and the family's national renown. On the same day, Sita, Devraj's youngest daughter, disappears--refusing to marry the man her father wants for her. Now, Radha and Gargi, Sita's older sisters, are given the Company--and a brutal struggle for power begins. Set against the backdrop of the anti-corruption protests that spread across India in 2011 and 2012, We That Are Young is brilliant in its fierce, incandescent storytelling and the energy of its prose. It tells a deeply insightful tale of India today, the pace of life in one of the world's fastest growing economies, the clash of youth and age, and the ever-present specter of death. But more than that, it is a novel about the human heart--and its inevitable breaking point.
we that are young
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Some of the poems in this volume may be found mediocre, others, less so. Some are more recent; some still less so, if you favor that sort of thingstanza poetry that rhymes and is oblivious of political currents. I happily publish them all. Assembled without regard for composition date, they can be viewed, for better and worse, as mature poems. The same indifference may account for their unevenness. This being my third collection, these pieces can, in some respects, be considered leftovers. They needed to be published to bring to closure the sensibility that formed them. Its not the sort of sensibility you can carry into older age. If this sounds like abandonment, it isnt. I mean to continue tweaking the muse, but from a different angle. Youth is the best time, and the concerns of youth are the most poetical. That season and its concerns are represented by the poems in this volume. May we grow as we go.
This fierce anti-war novel by Irene Rathbone (1892-1980) is told from the perspective of a cultured former suffragist and several of her friends- young women who work at rest camps just behind the lines in France and as nurses of the severely wounded in hospitals in London. When Joan loses both her brother and lover to the war, in anger at the enemy she volunteers for work in a munitions plant- but by the end, she is a confirmed pacifist.
This book offers a theoretical rationale for the emerging presentist movement in Shakespeare studies and goes on to show, in a series of close readings, that a presentist Shakespeare is not an anachronism. Relying on a Brechtian aesthetic of "naïve surrealism" as the performative model of the early modern, urban, public theater, James O’Rourke demonstrates how this Brechtian model is able to capture the full range of interplays that could take place between Shakespeare’s words, the nonillusionist performance devices of the early modern stage, and the live audiences that shared the physical space of the theatre with Shakespeare’s actors. O’Rourke argues that the limitations placed upon the critical energies of early modern drama by the influential new historicist paradigm of contained subversion is based on a poetics of the sublime, which misrepresents the performative aesthetic of the theater as a self-sufficient spectacle that compels reception in its own terms. Reimagining Shakespeare as our contemporary, O’Rourke shows how the immanent critical logic of Shakespeare’s works can enter into dialogue with our most sophisticated critiques of our cultural fictions.
There is some connexion (I like the way the English spell it They’re so clever about some things Probably smarter generally than we are Although there is supposed to be something We have that they don’'t—'don’t ask me What it is. . . .) —John Ashbery, “Tenth Symphony” Something We Have That They Don’t presents a variety of essays on the relationship between British and American poetry since 1925. The essays collected here all explore some aspect of the rich and complex history of Anglo-American poetic relations of the last seventy years. Since the dawn of Modernism poets either side of the Atlantic have frequently inspired each other’s developments, from Frost’s galvanizing advice to Edward Thomas to rearrange his prose as verse, to Eliot’s and Auden’s enormous influence on the poetry of their adopted nations (“whichever Auden is,” Eliot once replied when asked if he were a British or an American poet, “I suppose, I must be the other”); from the impact of Charles Olson and other Black Mountain poets on J. H. Prynne and the Cambridge School, to the widespread influence of Frank O'Hara and Robert Lowell on a diverse range of contemporary British poets. Clark and Ford’s study aims to chart some of the currents of these ever-shifting relations. Poets discussed in these essays include John Ashbery, W. H. Auden, Elizabeth Bishop, T. S. Eliot, Mark Ford, Robert Graves, Thom Gunn, Lee Harwood, Geoffrey Hill, Michael Hofmann, Susan Howe, Robert Lowell, and W. B. Yeats. “Poetry and sovereignty,” Philip Larkin remarked in an interview of 1982, “are very primitive things”: these essays consider the ways in which even seemingly very “unprimitive” poetries can be seen as reflecting and engaging with issues of national sovereignty and self-interest, and in the process they pose a series of fascinating questions about the national narratives that currently dominate definitions of the British and American poetic traditions. This innovative and exciting new collection will be of great interest to students and scholars of British and American poetry and comparative literature.
Shakespeare was acutely aware of our intimate struggles with aging. His dramatic characters either prosper or suffer according to their relationship with maturity, and his sonnets eloquently explore time's ravaging effects. "Wrinkled deep in time" is how the queen describes herself in Antony and Cleopatra, and at the end of King Lear, there is a tragic sense that both the king and Gloucester have acquired a wisdom they otherwise lacked at the beginning of the play. Even Juliet matures considerably before she drinks Friar Lawrence's potion, and Macbeth and his wife prematurely grow old from their murderous schemes. Drawing on historical documents and the dramatist's own complex depictions, Maurice Charney conducts an original investigation into patterns of aging in Shakespeare, exploring the fulfillment or distress of Shakespeare's characters in combination with their mental and physical decline. Comparing the characterizations of elderly kings and queens, older lovers, patriarchal men, matriarchal women, and the senex the stereotypical old man of Roman comedy with the history of life expectancy in Shakespeare's England, Charney uncovers similarities and differences between our contemporary attitudes toward aging and aging as it was understood more than four hundred years ago. From this dynamic examination, a new perspective on Shakespeare emerges, one that celebrates and deepens our knowledge of his subtler themes and characters.
With a remarkable breadth of coverage and a focused, user-friendly approach, this Routledge Literary Sourcebook is the essential guide for any student of King Lear.
This new critical survey--the first book-length work on Trumbos screenwriting--examines the scores of films on which Trumbo worked and explores the techniques that made him, at the time he was blacklisted in 1947, Hollywoods highest-paid writer. Hanson reveals how Trumbo dealt with major themes including rebellion, radical politics, and individualism.