The Roman, Byzantine and Ottoman Empires, foreign invasion, communism and tribal conflict: these have been the realities of life in Northern Albania for centuries. In this rich and comprehensive history, Tom Winnifrith examines the many different elements that have shaped this independent and little-known region of the Balkans. He explores the fundamental division between the South of Albania and its mysterious, romantic North - more feudal, more tribal, more Catholic and more prone to Austrian and Italian influence. It is also a region less affected by Greece, both ancient and modern, and by medieval Byzantium or the Orthodox faith. Northern Albania, with a terrain and climate much harsher than the south of the country, has traditionally had little respect for law and authority while its inhabitants remain in thrall to an ancient honour code -- the kanun -- demanding blood feuds and terrible revenge. Nobody's Kingdom traces the history of this ruggedly beautiful region, frequently disturbed by both invaders and internal strife yet retaining a distinct national identity and character. From its origins in the ancient kingdom of Illyria and the Roman province of Illyricum, through Byzantine and Ottoman rule, the granting of Albanian independence in 1912, the rise and fall of communism to its current fragile democracy, Northern Albania can be seen as a cultural crossroads - especially remarkable given its mountainous and difficult landscape. This book, both scholarly and readable, is the first modern comprehensive history of Northern Albania and is a timely and accessible introduction to a remote and inaccessible region.

The Roman, Byzantine and Ottoman Empires, foreign invasion, communism and tribal conflict: these have been the realities of life in Northern Albania for centuries. In this rich and comprehensive history, Tom Winnifrith examines the many different elements that have shaped this independent and little-known region of the Balkans. He explores the fundamental division between the South of Albania and its mysterious, romantic North - more feudal, more tribal, more Catholic and more prone to Austrian and Italian influence. It is also a region less affected by Greece, both ancient and modern, and by medieval Byzantium or the Orthodox faith. Northern Albania, with a terrain and climate much harsher than the south of the country, has traditionally had little respect for law and authority while its inhabitants remain in thrall to an ancient honour code -- the kanun -- demanding blood feuds and terrible revenge. Nobody's Kingdom traces the history of this ruggedly beautiful region, frequently disturbed by both invaders and internal strife yet retaining a distinct national identity and character. From its origins in the ancient kingdom of Illyria and the Roman province of Illyricum, through Byzantine and Ottoman rule, the granting of Albanian independence in 1912, the rise and fall of communism to its current fragile democracy, Northern Albania can be seen as a cultural crossroads - especially remarkable given its mountainous and difficult landscape. This book, both scholarly and readable, is the first modern comprehensive history of Northern Albania and is a timely and accessible introduction to a remote and inaccessible region.

Nobody's Nation offers an illuminating look at the St. Lucian, Nobel-Prize-winning writer, Derek Walcott, and grounds his work firmly in the context of West Indian history. Paul Breslin argues that Walcott's poems and plays are bound up with an effort to re-imagine West Indian society since its emergence from colonial rule, its ill-fated attempt at political unity, and its subsequent dispersal into tiny nation-states. According to Breslin, Walcott's work is centrally concerned with the West Indies' imputed absence from history and lack of cohesive national identity or cultural tradition. Walcott sees this lack not as impoverishment but as an open space for creation. In his poems and plays, West Indian history becomes a realm of necessity, something to be confronted, contested, and remade through literature. What is most vexed and inspired in Walcott's work can be traced to this quixotic struggle. Linking extensive archival research and new interviews with Walcott himself to detailed critical readings of major works, Nobody's Nation will take its place as the definitive study of the poet.

Nobody's Home is a bold view of the American novel from its beginnings to the contemporary scene. Focusing on some of the deepest instincts of American life and culture--individual liberty, freedom of speech, constructing a life--Arnold Weinstein brilliantly sketches the remarkable career of the American self in some of the major works of the past one hundred fifty years. Weinstein contends that American writers are haunted by the twin specters of the self as a mirage, as Nobody, and by the brutal forces of culture and ideology that deny selfhood to people on the basis of money, sex, and color of skin. His central thesis is that language makes possible freedoms and accomplishments that are achievable in no other realm, and that American fiction is a fascinating record of the human fight against coercion, of the kinds of maneuvering room that we may find in life and in art. This study is unique in several respects: it offers some of the keenest readings of major American texts that have ever been written, including some of the most significant works of the past decades, and it fashions a rich and supple view of the American novel as a writerly form of freedom, in sharp contrast to today's critical emphasis on blindness and co-option.

A collect of poetry coming from a tainted and dubious mind, that of my own. Enjoy.

In her long career, Ugresic has published several novels (e.g., The Ministry of Pain), but she made her name with her essay collections, which have caused controversy and earned her the admiration of writers and critics abroad. In these latest musings, written over the course of several years, Ugresic leaves no stone unturned and no thought contained, doing what she does best: writing about the human condition through her own experience. Refusing to establish a central theme, she touches upon a wide range of topics: the paradox of multiculturalism, metaphors as our "defense against nightmares," the eerie similarities between capitalism and communism, and ways in which we try to rise hopelessly above our less-than-perfect existence. Along the way, she pays homage to the works of literature that have influenced her own creative process, in an effort to pay "a symbolic literary tax on narcissim" because "writing is not the humblest of vocations." Perhaps not, but Ugresic certainly knows how to balance being a critic with being criticized. Recommended for all libraries collecting cultural criticism.--Mirela Roncevic, Library Journal Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.