The world’s enduring struggles fuse with a family’s tiniest gestures in this popular NY-based poet’s most recent collection.

After an introduction to the concept of the narrative character as reader, this book offers a theoretical discussion based on the work of Bakhtin, Austin and Ricoeur. In-depth readings of the stories of Nathan's Parable and The Woman of Tegoa then show them to be oath-provocation stories. The tensions between father and son in the text are related to those between speaker and utterance and between reader and text. The book broadens the theoretical base for discussion of reader response to the Hebrew Bible and offers an original reading for some key texts in 2 Samuel.

It’s the end of the Age of Kali and our world is dying, its bounds shrunken to encompass a single city. In the Earth's final days, lonely young Jay Grant finds his first love in the arms of his neighbor Michèle. Together with six other survivors, they break through the eggshell-thin walls of the world to find a mythical land where the ultimate power of creation resides. Washed ashore from an ocean of milk, they confront personages seemingly out of legend: Ananta Sesha, the lord of the Nagas; Varuna, whose eyes are the stars; Indra, king of the devas; and the tormented being who calls himself the Preserver. Jay and Michèle want nothing more than a life together, but the gods themselves stand in their way. Separated by divine malice and tormented by falsified memories, Jay and Michèle struggle to reunite, transforming themselves into beings beyond the merely human to confront the demiurge responsible for Earth's destruction.

Through attuned close readings, this volume brings out the imaginative and formal brilliance of Percy Bysshe Shelley's writing as it explores his involvement in processes of dialogue and influence. Shelley recognizes that poetic individuality is the reward of connectedness with other writers and cultural influences. 'A great Poem is a fountain forever overflowing with the waters of wisdom and delight', he writes, 'and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight' (A Defence of Poetry). He is among the major Romantic poetic exponents and theorists of influence, because of his passionately intelligent commitment to the onward dissemination of ideas and feelings, and to the unpredictable ways in which poets position themselves and are culturally positioned between past and future. The book has a tripartite structure. The first three chapters seek to illuminate his response to representative texts, figures, and themes that constitute the triple pillars of his cultural inheritance: the classical world (Plato); Renaissance poetry (Spenser and Milton); Christianity and, in particular, the concept of deity and the Bible. The second and major section of the book explores Shelley's relations and affinities with, as well as differences from, his immediate predecessors and contemporaries: Hazlitt and Lamb; Wordsworth; Coleridge; Southey; Byron; Keats (including the influence of Dante on Shelley's elegy for his fellow Romantic) and the great painter J. M. W. Turner, with whom he is often linked. The third section considers Shelley's reception by later nineteenth-century writers, figures influenced by and responding to Shelley including Beddoes, Hemans, Landon, Tennyson, and Swinburne. A coda discusses the body of critical work on Shelley produced by A. C. Bradley, a figure who stands at the threshold of twentieth-century thinking about Shelley.