The Beloveds

An exploration of domestic derangement, as sinister as Daphne Du Maurier’s classic Rebecca, that plumbs the depths of sibling rivalry with wit and menace. Oh, to be a Beloved—one of those lucky people for whom nothing ever goes wrong. Everything falls into their laps without effort: happiness, beauty, good fortune, allure. Betty Stash is not a Beloved—but her little sister, the delightful Gloria, is. She’s the one with the golden curls and sunny disposition and captivating smile, the one whose best friend used to be Betty’s, the one whose husband should have been Betty’s. And then, to everyone’s surprise, Gloria inherits the family manse—a vast, gorgeous pile of ancient stone, imposing timbers, and lush gardens—that was never meant to be hers. Losing what Betty considers her rightful inheritance is the final indignity. As she single-mindedly pursues her plan to see the estate returned to her in all its glory, her determined and increasingly unhinged behavior—aided by poisonous mushrooms, talking walls, and a phantom dog—escalates to the point of no return. The Beloveds will have you wondering if there’s a length to which an envious sister won’t go.

Winner of the Pulitzer Prize, Toni Morrison’s Beloved is a spellbinding and dazzlingly innovative portrait of a woman haunted by the past. Sethe was born a slave and escaped to Ohio, but eighteen years later she is still not free. She has borne the unthinkable and not gone mad, yet she is still held captive by memories of Sweet Home, the beautiful farm where so many hideous things happened. Meanwhile Sethe’s house has long been troubled by the angry, destructive ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved. Sethe works at beating back the past, but it makes itself heard and felt incessantly in her memory and in the lives of those around her. When a mysterious teenage girl arrives, calling herself Beloved, Sethe’s terrible secret explodes into the present. Combining the visionary power of legend with the unassailable truth of history, Morrison’s unforgettable novel is one of the great and enduring works of American literature.

The Age of Beloveds offers a rich introduction to early modern Ottoman culture through a study of its beautiful lyric love poetry. At the same time, it suggests provocative cross-cultural parallels in the sociology and spirituality of love in Europe—from Istanbul to London—during the long sixteenth century. Walter G. Andrews and Mehmet Kalpakli provide a generous sampling of translations of Ottoman poems, many of which have never appeared in English, along with informative and inspired close readings. The authors explain that the flourishing of Ottoman power and culture during the “Turkish Renaissance” manifested itself, to some degree, as an “age of beloveds,” in which young men became the focal points for the desire and attention of powerful officeholders and artists as well as the inspiration for a rich literature of love. The authors show that the “age of beloveds” was not just an Ottoman, eastern European, or Islamic phenomenon. It extended into western Europe as well, pervading the cultures of Venice, Florence, Rome, and London during the same period. Andrews and Kalpakli contend that in an age dominated by absolute rulers and troubled by war, cultural change, and religious upheaval, the attachments of dependent courtiers and the longings of anxious commoners aroused an intense interest in love and the beloved. The Age of Beloveds reveals new commonalities in the cultural history of two worlds long seen as radically different.

In this new monograph, author Debra Dudek defines a new era of vampire texts in which vampires have moved from their iconic dark, feared, often seductive figure lingering in alleys, to the beloved and morally sensitive vampire winning the affections of teen protagonists throughout pop culture. Dudek takes a close look at three hugely-popular vampire series for young adults, drawing parallels between the TV series Buffy the Vampire Slayer, the Twilight Saga novels/films, and The Vampire Diaries TV series/book series. By defining a new era of vampire texts and situating these three series within this transition, The Beloved Does Not Bite signals their significance and lays the groundwork for future scholarship on the flourishing genre of paranormal romances for young adults.

Covering a period from the late-fourteenth to mid-sixteenth century, Aileen A. Feng’s engagingly written work identifies and analyzes a Latin humanist precursor to the poetic movement known as Renaissance Petrarchism. Though Petrachism is usually read solely as a vernacular poetic tradition, in Writing Beloveds, Feng recovers the initial political purposes in Latin prose and traces how poetry set the terms for gender, agency, and power in early modern Italy. By revealing the literary motifs in men’s and women’s writing about gender she maps how certain figures in Petrarch’s writing transmitted gendered ideas of power and reflected a growing anxiety about women as public figures. This work includes nuanced analyses of poetry, linguistic treatises, debates on imitation, representations of gender and epistolary correspondence in Latin and Italian. Writing Beloveds is a landmark study that highlights the new social reality of women writers in early modern Europe.

Ramon LLull (1232-1316) was born the son of a prosperous Catalan merchant and spent his youth pursuing worldly pursuits, until a series of powerful visions of Christ moved him to devote his life entirely to serving God.

Under what circumstances can love generate moral reasons for action? Are there morally appropriate ways to love? Can an occurrence of love or a failure to love constitute a moral failure? Is it better to love morally good people? This volume explores the moral dimensions of love through the lenses of political philosophy, psychology, and neuroscience. It attempts to discern how various social norms affect our experience and understanding of love, how love, relates to other affective states such as emotions and desires, and how love influences and is influenced by reason. What love is affects what love ought to be. Conversely, our ideas of what love ought to be partly determined by our conception of what love is.