An insightful and long overdue reassessment of the full scope of the career of Robert Indiana, who combined Pop Art, hard-edged abstraction, and language-based conceptualism

--Book Jacket.

Indiana often calls itself the Crossroads of the Nation. It's not also perhaps the very nexus of US weirdness. Armed with Oddball Indiana, you'll soon discover the strange underbelly of the Hoosier State, from brain sandwiches to square donuts. Indiana has monuments to Michael Jackson, the comic strip character Joe Palooka, and the World's Largest Egg. It's where Alka-Seltzer and Wonder Bread were invented, where A Christmas Story actually took place, and where the good but angry citizens of Plainfield conspired to dump President Martin Van Buren in a mud puddle. Along with humorous histories and offbeat observations, Oddball Indiana provides addresses, websites, hours, fees, and driving directions for each of its 350+ entries.

Informed by literary theory and Homeric scholarship as well as biblical studies, Biblical Narrative and the Death of the Rhapsode sheds new light on the Hebrew Bible and, more generally, on the possibilities of narrative form. Robert S. Kawashima compares the narratives of the Hebrew Bible with Homeric and Ugaritic epic in order to account for the "novelty" of biblical prose narrative. Long before Herodotus or Homer, Israelite writers practiced an innovative narrative art, which anticipated the modern novelist's craft. Though their work is undeniably linked to the linguistic tradition of the Ugaritic narrative poems, there are substantive differences between the bodies of work. Kawashima views biblical narrative as the result of a specifically written verbal art that we should counterpose to the oral-traditional art of epic. Beyond this strictly historical thesis, the study has theoretical implications for the study of narrative, literature, and oral tradition. Indiana Studies in Biblical Literature -- Herbert Marks, General Editor

In the Philadelphia neighborhood known as the Badlands, drug gangs rule absolutely. Each time a life is lost in the carnage of the local drug wars, a boldly drawn chalk outline of a body appears on the street leading up to City hall: a teenaged dealer, a priest, a little girl with a jump rope. Ofelia Santoro rides her bicycle through the dark, decaying streets, looking for her fourteen-year-old-son, Gabriel. She’s afraid of what she might find. Gabriel has fallen in with the most savage of the drug dealers, but now wants to get out—if he can. In this gritty, fast-moving novel, acclaimed Philadelphia Inquirer columnist Steve Lopez brings home the violence that is scarring America’s vast urban wastelands, and the humanity that might save them. “An unfancy prose is streaked by strong, cinematic images . . . Lopez aims to prick consciences, in the tradition of the documentary novelist, and he does so with considerable style.”—The Daily Telegraph “Lopez has done what Balzac, Dickens . . . and Dostoevsky did so masterfully: he has taken a torch to the back of the cave and returned to tell us what he has seen.” –Pete Hamill, The Philadelphia Inquirer

Catalogue of an exhibition held at Waddington Custot Galleries, Oct. 3 - Nov. 10, 2012.