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Through archival research, this short article provides for the first time a published transcription of the Zulu poet Benedict Wallet Vilakazi's translations of two poems by Francis Thompson (1859-1907), the English poet and Catholic mystic: "The Hound of Heaven" and "To W. M." In doing so, not only does it add 196 lines of poetry to the corpus of Zulu literature from an important period in its literary history, but also provides further examples of Vilakazi's own conception of, and contributions to, the development of Zulu poetry through translation, especially within the context of literary debates in the 1930s., Among the papers of the Francis Thompson collection (MS.2006.023), housed in the John J. Burns Library, Boston College, are a unique set of translations into various languages of the English [...]

This essay offers close analyses of the dust jacket illustrations for Hemingway's early Scribner publications (The Sun Also Rises, Torrents of Spring, and A Farewell to Arms). While these illustrations seem, at first glance, to have little to do with the books' narratives, themes, or styles, they serve at least two functions worth recovering. First, the illustrations work to locate Hemingway in literary and cultural traditions whose values were understood and largely shared by the mainstream book-buying American public in the 1920s. In addition, informed by the discourses of paratextual theory and book studies, I argue that they are influential early interpretive readings by the jacket designer, interpretive thresholds informed by the illustrator's own understanding of the texts and their value. KEYWORDS: Jacket design, Cover, Marketing, and Paratexts, 'About the Jacket--you must know best but it seems lousy to me.' --Ernest Hemingway to Maxwell Perkins, 3 October 1929 (1) Ernest Hemingway disliked the dust jacket illustrations for his [...]

Underlying Hemingway's stories is his sense of humanity's place in nature, according to Darwin's theory of natural selection, and, far more importantly, according to the theory of sexual selection that Darwin produced in The Descent of Man, and Selection in Relation to Sex. Like the many writers who preceded Hemingway in their own studies of Darwin, he questioned the meaning of love, but he also showed how Darwin's 'war of nature' underlies his characters' efforts to deal with the two motives of life, hunger and reproduction. KEYWORDS: Darwin, Sexual Selection, War, In both the long search for submerged meanings in Hemingway's fiction (spurred by his claim that his stories are like icebergs, with massive subsurface dimensions), and in the many assessments [...]

The Special Collections Library at the University of Virginia holds three drafts for the screenplay of the 1957 film of The Sun Also Rises. Hemingway read Peter Viertel's second attempt at a working script-the one titled 'Revised Temporary' -and penciled in over fifty critical comments on it. Hemingway was most aroused by the choice of one word-'impotent:' Jake Barnes 'was not impotent;' Hemingway wrote, but the film as produced stuck with the word. When it came to clarifying the nature of Jake's wound, Viertel was later to write, 'we were never really able to solve this problem:' All along, however, Hemingway had meant to confer upon his hero a problem that has no name. Hemingway sentenced Jake Barnes to a wound that resists signification in order to remind us of the deep pleasure we take in wound-hunting, especially when searching for The Wound that (may have) shaped the author himself. KEYWORDS: Screenplay, Wound, Penis, Uncanny, Impotent, and Signification, This is a tale of three screenplays. The screenplays, held in the Special Collections at the University of Virginia, have been rarely--if ever--accessed by Hemingway scholars. One of the screenplays [...]

Extending upon recent interventions by 'environmental Hemingway' scholars, this article suggests that several of Hemingway's early short stories and poems exhibit a reluctant, panic-infused realization of their protagonists' complicity in mass environmental degradation-a phenomenon that Timothy Morton calls 'dark ecology' -tempered by their deferral of personal responsibility for such degradation. While Hemingway's protagonists strive to construct a pastoral understanding of the natural world as an autonomous site of salvation, care, and escape, this article suggests that ultimately, their relationships with nature remain inextricable from the logics of extractivism and haunted by the imminent ravages of industrial modernity. KEY WORDS: Ecology, Environment, Modernism, Industrialism, and Nature, Introduction As nature writer Edward Hoagland once put it, 'We have in America the 'Big Two-Hearted River' tradition: taking your wounds to the wilderness for a cure, a conversion, a [...]

In a speech delivered to a group of Pan-Africanists in London on May 2, 1949, Richard Wright (1949: 2-3) outlines what he thinks should be the task of the diasporic [...]

When, in 1990, Susan Sontag praised Machado de Assis as Latin America's greatest writer, and thereby relegating Jorge Luis Borges to second place, many readers wondered: From whence does this [...]

This essay explores the historical and generic basis for a tragic reading of The Book of Sir Thomas More. The early modern period's dominant forms of tragedy (such as revenge tragedy and historical tragedy) typically focus on the dynastic-imperial struggles of aristocratic powers against the backdrop of centralization and state-building. Sir Thomas More inverts this representational hierarchy by leaving the monarch unrepresented, relegating to the background the well-known factional conflicts that undergirded the Henrician Reformation. Instead, the play dramatizes the history of Tudor consolidation from the perspective of London's citizenry, who are made to grapple with the meaning of their own freedom in an age of mass migration. The result, I suggest, is a charter myth not of the nation-state but of London and its civic institutions: a tragic meditation on the place of the city and its citizens in the world., 1. MIGRATION AND THE MOMENT OF TRAGEDY By 1600, London's population had nearly tripled to two hundred thousand from seventy-five thousand fifty years before. (1) The growth of the metropolis [...]

Nora! Nora! ... Empty. She's gone. (A sudden hope leaps in him.) The greatest miracle--?! Torvald in Henrik Ibsen, A Doll House (1879) I have peeped into a great many [...]

Cet article analyse le leadership de Tsurumi en matiere de justice sociale a travers son etude desfeminismes et de l'histoire du Japon. Tsurumi a revele la brutalite capitaliste vecue par [...]

Le Depeupleur (1970), Samuel Beckett's short work of prose translated by the author himself as The Lost Ones (1972), crafts a scenario in which 200 bodies are confined to a squat cylinder with scant more than a square meter each and only the rumor of an exit. The confinement Beckett imposes on these dehumanized bodies goes beyond the spatial, and also manifests itself on temporal, linguistic, and narrative planes. Beckett's two versions of the text (English and French) engage each other in ways that both reinforce the confined nature of this fictional universe as well as generate possibilities for liberation. Keywords: Samuel Beckett / Le Depeupleur / The Lost Ones / self-translation / translation, Picture a sparsely furnished study, the boulevard Saint-Jacques, 1965. In characteristically straightforward French, Samuel Beckett conjures up the image of a large cylinder. He meticulously notes heights, widths, areas, perimeters, [...]

This essay relates Margaret Atieno Ogola's I Swear by Apollo (2002) to Kenya's postcolonial context to signal the contribution of literary texts to the understanding of Kenya's sociopolitical and economic orientations. Particularly instructive are theoretical inspirations and epistemological insights from studies that locate literature on illness in medical humanities and narrative medicine, demonstrating the extent to which Ogola deploys illness and the Hippocratic Oath as emblems of sociopolitical convulsion. By focusing on how digressions act as bricks, not only for political-medical dialogue to help recontextualize medicine in literature, but also in converting medical signs into poetical elements, the article diagrams a reparative trajectory that can be taken in a politically apocalyptic scenario., Introduction Illness and political ideologies in postcolonial texts and contexts complement each other like two sides of a coin. Margaret Atieno Ogola's novel I Swear by Apollo (2002) combines pathological [...]

In a series of articles in ETC, I have argued strenuously that the writing public has virtually no understanding of how poorly we transact thoughts and ideas in our sadly [...]