As a growing number of contemporary novelists write for publication in multiple languages, the genre's form and aims are shifting. Born-translated novels include passages that appear to be written in different tongues, narrators who speak to foreign audiences, and other visual and formal techniques that treat translation as a medium rather than as an afterthought. These strategies challenge the global dominance of English, complicate "native" readership, and protect creative works against misinterpretation as they circulate. They have also given rise to a new form of writing that confounds traditional models of literary history and political community. Born Translated builds a much-needed framework for understanding translation's effect on fictional works, as well as digital art, avant-garde magazines, literary anthologies, and visual media. Artists and novelists discussed include J. M. Coetzee, Junot Díaz, Jonathan Safran Foer, Mohsin Hamid, Kazuo Ishiguro, Jamaica Kincaid, Ben Lerner, China Miéville, David Mitchell, Walter Mosley, Caryl Phillips, Adam Thirlwell, Amy Waldman, and Young-hae Chang Heavy Industries. The book understands that contemporary literature begins at once in many places, engaging in a new type of social embeddedness and political solidarity. It recasts literary history as a series of convergences and departures and, by elevating the status of "born-translated" works, redefines common conceptions of author, reader, and nation.

The epoch of representation is as old as the West. Indeed, representation is the West, understood as what at once designates and expands its own limits. But what comes after the West? What comes after representation's disclosure of its own limit? The central problem posed in these essays, collected from over a decade of work, is how in the wake of Western ontologies to conceive the coming, the birth that characterizes being. We are now at the limit of representation, where objects as we experience them have been show to be merely objects of representation--or rather, of presentation, since there is nothing to (re)present. The first part of this book, "Existence," asks how, today, one can give sense of meaning to existence as such, arguing that existence itself, as it comes nude into the world, must now be our "sense." In examining what this birth to presence might be, we should not ask what presence "is"; rather we should conceive presence as presence to someone, including to presence itself. This birth is not the constitution of an identity, but the endless departure of an identity from, and from within, its other, or others. Its coming is not desire but jouissance, the joy of averring oneself to be continually in the state of being born--a rejoicing of birth, a birth of rejoicing. The second section, "Poetry," asks: What art exposes this? In writing, in the voice, in painting? And what if art is exposed to it? How does it inscribe (or rather, "exscribe," in a term the book develops) the coming existence as such? The author's trajectory in this book crosses those of Hegel, Schlegel, Baudelaire, Nietzsche, Freud, and Heidegger, in their comments on art and politics, existence and corporeality, everyday life and its modes of existence and ecstasy. An analysis that dares this crossing involves all the varied accounts of existence, political as well as philosophical, and all the realms of poverty.

Bringing together leading critics and literary scholars, A New Vocabulary for Global Modernism argues for new ways of understanding the nature and development of twentieth-century literature and culture. Scholars have largely understood modernism as an American and European phenomenon. Those parameters have expanded in recent decades, but the incorporation of multiple origins and influences has often been tied to older conceptual frameworks that make it difficult to think of modernism globally. Providing alternative approaches, A New Vocabulary for Global Modernism introduces pathways through global archives and new frameworks that offer a richer, more representative set of concepts for the analysis of literary and cultural works. In separate essays each inspired by a critical term, this collection explores what happens to the foundational concepts of modernism and the methods we bring to modernist studies when we approach the field as a global phenomenon. Their work transforms the intellectual paradigms we have long associated with modernism, such as tradition, antiquity, style, and translation. New paradigms, such as context, slum, copy, pantomime, and puppets emerge as the archive extends beyond its European center. In bringing together and reexamining the familiar as well as the emergent, the contributors to this volume offer an invaluable and original approach to studying the intersection of world literature and modernist studies.

This is a groundbreaking work which links the novels of modernist, contemporary, and postcolonial authors to rethink the political nature of cosmopolitanism.

Published in France as La jeune nee in 1975, and now translated for the first time into English, The Newly Born Woman seeks to uncover the veiled structures of language and society that have situated women in the position called 'woman's place.'

In the #1 New York Times–bestselling author’s first book, the troublemaking team of Bruno and Boots wages war—and school will never be the same. The basis for the movie now streaming on TubiTV Bruno and Boots are always in trouble. So the Headmaster, aka “The Fish” decides it would be best to separate them. Bruno must now room with ghoulish Elmer Dimsdale, plus his plants, goldfish, and ants. And Boots is stuck with nerdy, preppy, paranoid George Wexford-Smyth III. Of course, this means war. Because Bruno and Boots are determined to get their old room back, no matter what it takes. Praise for the Bruno & Boots series “Korman has a unique talent for creating genuinely funny, roll-on-the-floor, laugh-out-loud books. All of his many books are bestsellers, a testament to his popularity with kids.” —Quill & Quire “A hilarious series.” —Booklist “Korman’s vibrant dialogue and breakneck action are the highlights of this merry romp . . . Laughs are as plentiful as [Bruno and Boots’s] misadventures.” —Publishers Weekly

'But I, being poor, have only my dreams; / I have spread my dreams under your feet...' By turns joyful and despairing, some of the twentieth century's greatest verse on fleeting youth, fervent hopes and futile sacrifice.