Anthology of Modern American Poetry

Anthology of Modern American Poetry Review

Anthology of Modern American Poetry Overview

Anthology of Modern American Poetry contains more than 750 poems by 161 American poets, including many who have not been anthologized before. Spanning a period from Walt Whitman to Sherman Alexie, this collection is the first to review the twentieth century comprehensively. It presents not only the canonical poetry of the last hundred years but also numerous poems by women, minority, and progressive writers only rediscovered in the past two decades.

Uniquely comprehensive, Anthology of Modern American Poetry represents Robert Frost with 23 poems, Wallace Stevens with 22, and Marianne Moore with 14, including her most ambitious long poems. William Carlos Williams is represented not only by his exquisite short lyrics, but also with an experimental combination of poetry and prose. With 29 poems, Langston Hughes is given full treatment for the first time in any comprehensive anthology. Substantial selections by contemporary poets like John Ashbery, Sylvia Plath, Frank O'Hara, Philip Levine, Lucille Clifton, Judy Grahn, Adrian Louis, Yusef Komunyakaa, Martín Espada, and Sherman Alexie are also included.

Anthology of Modern American Poetry is the first anthology to give full treatment to American long poems and poem sequences. T.S. Eliot's The Waste Land, Gertrude Stein's "Patriarchal Poetry," William Carlos Williams's The Descent of Winter, Edna St. Vincent Millay's "Sonnets from an Ungrafted Tree," Muriel Rukeyser's "The Book of the Dead," Melvin Tolson's Libretto for the Republic of Liberia, Theodore Roethke's "North American Sequence," Gwendolyn Brooks's "Gay Chaps at the Bar," Kenneth Rexroth's "The Love Poems of Marichiko," both Allen Ginsberg's "Howl" and his "Wichita Vortex Sutra," and both Adrienne Rich's "Shooting Script" and her "Twenty-One Love Poems" are all included in their entirety.

Anthology of Modern American Poetry offers the most detailed annotations available in an anthology of this type. Many works benefit from specially commissioned research that provides students with such help as the identification of the inventive references in Melvin Tolson's poetry, translation of all foreign language passages, and illumination of obscure references. This is also the only American poetry anthology to present selected poems in the beautifully illustrated form in which they first appeared. In addition, an accompanying website featuring readings of poems and historical background is available at http://www.english.uiuc.edu/maps.

Ideal for courses in modern American poetry, modern American literature, modern or contemporary poetry, creative writing-poetry, and American studies, Anthology of Modern American Poetry introduces students to the last 100 years of our poetic heritage in a uniquely rich and provocative format.

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American Jesus: How the Son of God Became a National Icon

American Jesus: How the Son of God Became a National Icon Review

American Jesus: How the Son of God Became a National Icon Overview

Jesus the Black Messiah; Jesus the Jew; Jesus the Hindu sage; Jesus the Haight-Asbury hippie: these Jesuses join the traditional figure of Jesus Christ in American Jesus, which was acclaimed upon publication in hardcover as an altogether fresh exploration of American history--and as the liveliest book about Jesus to appear in English in years.

Our nation's changing images of Jesus, Stephen Prothero contends, are a kind of looking class into the national character. Even as most Christian believers cleave to a traditional faith, other people give Jesus a leading role as folk hero, pitchman, and countercultural icon. And so it has been since the nation's founding--from Thomas Jefferson, who took scissors to his New Testament to sort out true from false Jesus material; to the Jews, Buddhists and Muslims who fit Jesus into their own traditions; to the people who adapt Jesus for stage and screen and the Holy Land theme park. American Jesus is "a lively, illuminating and accessible survey that takes us into unexpected corners of our shared religious heritage" (Dan Cryer, Newsday).

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65th Tony Awards: American Theatre Wing Spech by Angela Lansbury

65th Tony Awards: American Theatre Wing Spech by Angela Lansbury Video Clips. Duration : 1.98 Mins.

65th Tony Awards American Theatre Wing Spech by Angela Lansbury.

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The Juvenilization of American Christianity

The Juvenilization of American Christianity Review

The Juvenilization of American Christianity Overview

Pop worship music. Falling in love with Jesus. Mission trips. Wearing jeans and T-shirts to church. Spiritual searching and church hopping. Faith-based political activism. Seeker-sensitive outreach. These now-commonplace elements of American church life all began as innovative ways to reach young people, yet they have gradually become accepted as important parts of a spiritual ideal for all ages. What on earth has happened?

In The Juvenilization of American Christianity Thomas Bergler traces the way in which, over seventy-five years, youth ministries have breathed new vitality into four major American church traditions -- African American, Evangelical, Mainline Protestant, and Roman Catholic. Bergler shows too how this "juvenilization" of churches has led to widespread spiritual immaturity, consumerism, and self-centeredness, popularizing a feel-good faith with neither intergenerational community nor theological literacy. Bergler’s critique further offers constructive suggestions for taming juvenilization.

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The Best American Essays of the Century (The Best American Series)

The Best American Essays of the Century (The Best American Series) Review

The Best American Essays of the Century (The Best American Series) Overview

This singular collection is nothing less than a political, spiritual, and intensely personal record of America’s tumultuous modern age, as experienced by our foremost critics, commentators, activists, and artists. Joyce Carol Oates has collected a group of works that are both intimate and important, essays that move from personal experience to larger significance without severing the connection between speaker and audience.
From Ernest Hemingway covering bullfights in Pamplona to Martin Luther King, Jr.’s “Letter from Birmingham Jail,” these essays fit, in the words of Joyce Carol Oates, “into a kind of mobile mosaic suggest[ing] where we’ve come from, and who we are, and where we are going.” Among those whose work is included are Mark Twain, John Muir, T. S. Eliot, Richard Wright, Vladimir Nabokov, James Baldwin, Tom Wolfe, Susan Sontag, Maya Angelou, Alice Walker, Joan Didion, Cynthia Ozick, Saul Bellow, Stephen Jay Gould, Edward Hoagland, and Annie Dillard.

The Best American Essays of the Century (The Best American Series) Specifications

The title The Best American Essays of the Century seems transparent enough, but don't be deceived. What Joyce Carol Oates has assembled is not so much a diverse collection as a sonorous march through what keeps getting called the American century. Read this not as a collection to dip into but as a history--a history of race in America. Oates says it best herself in her introduction: "It can't be an accident that essays in this volume by men and women of ethnic minority backgrounds are outstanding; to paraphrase Melville, to write a 'mighty' work of prose you must have a 'mighty' theme." The mighty pens at work here belong to, among others, Zora Neale Hurston ("How It Feels to Be Colored Me"), Langston Hughes ("Bop"), and James Baldwin ("Notes of a Native Son"). Oates has opted not for the most unexpected but for the most important and stirring essays of our time.

Other chords sound repeatedly as well: the problem of our relationship with nature (Annie Dillard, John Muir, and Gretel Ehrlich); the difficulty of identity in disrupted times (F. Scott Fitzgerald, Joan Didion, and Michael Herr). In her essay "The White Album," Didion famously declares: "We tell ourselves stories in order to live." The stories Oates has collected are not easy. Here is the hard-won truth, from writers unwilling to forgive even themselves. Even Martin Luther King Jr. doesn't let himself off the hook, as he writes in his "Letter from Birmingham Jail": "If I have said anything in this letter that is an overstatement of the truth and is indicative of an unreasonable impatience, I beg you to forgive me. If I have said anything in this letter that is an understatement of the truth and is indicative of my having a patience that makes me patient with anything less than brotherhood, I beg God to forgive me." --Claire Dederer

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Powell V. Alabama: The Scottsboro Boys and American Justice (Historic Supreme Court Cases)

Powell V. Alabama: The Scottsboro Boys and American Justice (Historic Supreme Court Cases)

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Examines the individuals and the issues involved in the landmark U.S. Supreme Court case which affirmed the right of an accused person to effective legal representation. ...Read more

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The Crucible, To Kill a Mockingbird, and the Prejudices of the American Judicial Branch

The American judicial system comes with built-in safeguards against wrongful prosecution: suspects are innocent until proven guilty; everyone is entitled to due process; juries cannot prosecute if they have reasonable doubt; double jeopardy prevents anyone from being re-tried for the same crime once acquitted.

Of course, everyone knows that idealism don't always translate so well from theory into reality. US courts have a horrific history of injustice - a fact which is reflected in many of our most famous works of literature. Just think Arthur Miller's 1953 play, "The Crucible." Set in Puritan New England in the 1690's, the story revisits the Salem witch hunts that rocked the cradle of American civilization.

Scottsboro

Through the power of the local courts, a handful of scared young girls accuse dozens of their fellow townspeople of witchcraft. Most confess to spare their own lives, but those that stand strong are executed for their supposed dealings with the devil. Although colonial New England obviously pre-dates the American judicial branch, the historical shout-out is actually a thinly veiled allegory about McCarthyism in twentieth-century America.

The Crucible, To Kill a Mockingbird, and the Prejudices of the American Judicial Branch

Of particular relevance to The Crucible was the House Committee on Un-American Activities (HCUA), which investigated, tried, and blacklisted hundreds of alleged communists during the 1940's and 50's. The wave of accusations and convictions destroyed the careers and personal lives of many prominent Americans. In fact, just a few years after the play was first produced, Miller himself was tried by the HCUA, fined 0, sentenced to thirty days in prison, and blacklisted. Fortunately for Miller and his then-wife, Marilyn Monroe, the conviction was overturned the following year.

In 1960, one-time author Harper Lee published what is now the most famous American novel about the legal justice system: To Kill a Mockingbird. In it, an African-American man named Tom Robinson receives the death sentence for raping a white woman despite an abundance of evidence demonstrating his innocence. Although the plot isn't modeled after one event in particular, it all-too clearly resembles countless real stories like that of the Scottsboro Boys, nine black defendants who were convicted of raping two white women in 1931 on very shaky evidence.

To Kill a Mockingbird explicitly addresses the weaknesses of the American court system, particularly in speeches given by Robinson's attorney, Atticus Finch. "A court is only as sound as its jury," he says, "and a jury is only as sound as the men who make it up." And it's true: despite all the constitutional guarantees and legal safeguards, court rulings don't often transcend the prejudices of their time.

Given the reality of the situation, you might say it's hard to have faith in such a system - especially considering that it's designed to have faith in itself; after all, the reason legal precedents are very hard to circumvent is because we want to believe that our predecessors knew what they were doing. It's the same logic that guides the constitutional ban on double jeopardy: to question the final ruling of the court by re-charging someone with the same crime would effectively challenge the integrity of the system itself.

So when, for example, someone confesses to a crime with no consequences after being "proven" innocent (remember O. J. Simpson's tell-all book, If I Did It?), all that talk about protecting the court's integrity suddenly seems very cheap. Is it worth insisting that the American legal system is working if it means turning a blind eye to obvious lapses in justice? And if not, what kind of system could we even replace it with?

The Crucible, To Kill a Mockingbird, and the Prejudices of the American Judicial Branch

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