Lost Beyond Telling

In seeking to give voice to absent things or lost experiences, Richard Stamelman says, modern poetry attempts to give absence a shape. Loss, in his view, is both the cause and the subject of the modern poem. Fittingly, in Lost beyond Telling he formulates and develops what he calls a poetics of loss, with which he frames his treatment of modern French poetry.

This collection, spanning nearly a decade of artistic activity, features selections of writings that trace the intellectual influences and track the development of one of the more formidable and productive minds in the contemporary art world. The writings comprise Enrique Martínez Celaya’s public lectures; essays; interviews; correspondence with artists, critics, and scholars; artist statements; blog posts; and journal entries. These texts were written during Martínez Celaya’s appointment as Visiting Presidential Professor at the University of Nebraska; Roth Distinguished Visiting Scholar at Dartmouth College; and, most recently, as the first Provost Professor of Humanities and Arts at the University of Southern California. Marked by Martínez Celaya’s encyclopedic curiosity and considerable knowledge about the world, these writings and interviews explore the role of art in life, evaluate texts by other modern and contemporary artists and thinkers, and reveal the artist’s deep engagement with artistic, philosophical, and literary lines of inquiry.

This study explores the interrelationship between spatiality and subjecthood in the work of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. Concerned with various modes of poetry and drama, it also examines the cross-pollination that can occur between these modes, focusing on a range of core texts including Mallarmé's Igitur and Un Coup de dés; Apollinaire's 'Zone' and various of his calligrammes; Maeterlinck's early one-act plays: L'Intruse, Les Aveugles, and Intérieur; and Jarry's Ubu roi and César-Antechrist.. The poetic and dramatic practices of these four authors are assessed against the broader cultural and philosophical contexts of the fin de siècle. The fin de siècle witnessed a profound epistemological shift: the Newtonian-Cartesian paradigm, increasingly challenged throughout the nineteenth century, was largely dismantled, with ramifications beyond physics, philosophy, and psychology. Chapter 1 introduces three foundational notions—Newtonian absolute space, the unitary Cartesian subject, and subject-object dualism—that were challenged and ultimately overthrown in turn-of-the-century science and art. Developments in theatre architecture and typographic design are examined against this philosophical backdrop with a view to establishing a diachronic and interdisciplinary framework of the authors in question. Chapter 2 focuses on the spatial dimension of Mallarmé's Un Coup de dés and Apollinaire's calligrammes—works which defamiliarise page-space by undermining various (naturalised) conventions of paginal configuration. In Chapter 3, the notion of liminality is implemented in an analysis of character and diegetic space as constructed in Jarry's Ubu roi and Maeterlinck's one-acts. Chapters 4 and Chapter 5 undertake a more abstract investigation of parallel inverse processes-the subjectivisation of space and the spatialisation of the subject—manifest not only in the works of Mallarmé, Maeterlinck, Apollinaire, and Jarry, but in the period's poetry and drama more generally.

This historical romance embodies family memoirs and chronicles the journeys of the Konrad family through the life of Angele. Her love for singing classical numbers makes the novel a delightful find for any reader who recognizes the arias named or is curious about what a professional singing career entails. In addition, the detailed portrayals of various cultural markers or religious denominations—such as the Mennonites with their languages, customary habits and tastes, and common personality traits—are intriguing. Lastly, the novel also endeavours to capture the reality of grief over the death of a loved one, causing the reader to meditate on how one mourns over time and how one rises from life altering challenges.

John Buchan is one of the finest writers of historical romances, novels packed with beautifully described landscapes and rich powerful characters.

Enjoy this meticulously edited Sci-Fi Collection and lose your-self in Lost Worlds of the greatest masters of science fiction genre: H. G. Wells: The Shape of Things to Come Abraham Merritt: The Moon Pool The Metal Monster Dwellers in the Mirage The People of the Pit Arthur Conan Doyle: The Lost World Jules Verne: Journey to the Center of the Earth Twenty Thousand Leagues under the Sea The Mysterious Island Edward Bulwer-Lytton: The Coming Race George MacDonald: Lilith H. Rider Haggard: King Solomon's Mines She: A History of Adventure Gertrude Barrows Bennett (aka Francis Stevens): The Citadel of Fear Lewis Grassic Gibbon: Three Go Back Francis Bacon: New Atlantis C. J. Cutcliffe Hyne: The Lost Continent