An important contribution to the understanding of the theatrical output of major figure of Spanish literary canon.

Federico García Lorca (1898-1938), is often thought of as a fine lyric poet of the 1920s who then developed into one of Spain's greatest playwrights (1931-36). But other aspects of Lorca's literary career are equally significant: the earlier theatrical pieces, which he had started writing by 1918, the bold, experimental, expressionist plays of 1930-31, and (the subject of this volume) the later poetry written as his powers as a dramatist matured in the 1930s. Professor Anderson's book is the first in any language to focus specifically on Lorca's poetic output from 1931 to 1936. It offers extensive, detailed analyses of all the poetry composed during that period: Diván del Tamarit with its Arab-Andalusian flavour and stylization, the Llanto por Ignacio Sánchez Mejías, a sustained lament on the death of a bullfighter friend, Seis poemas galegos, and Sonetos, love poetry echoing Petrarch, Shakespeare and Góngora - four collections equal or superior in quality, power and suggestiveness to Lorca's canonic poetical works. Adopting a literary-critical approach based on the close reading of individual texts, with relevant background information, Professor Anderson elaborates on the themes and techniques, imagery and symbolism, strengths and weaknesses, of each poem in the four collections. Thereby he can relate this corpus to the whole of Lorca's work, showing that it cannot be neatly categorized under any of the avant-garde "-isms" prevalent in the 1920s and 1930s. His arguments for a revised appraisal of Lorca's creative development lead to a compelling case for a re-evaluation of his "late poetry". An Appendix gives English translations of all the poems under discussion (other Spanish quotations are translated in the text), and there is a fifteen-page bibliography of primary and secondary material.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

On August 6, 1945, when the world's first atomic bomb was dropped on Hiroshima, the Furuta family was living one mile away from the hypocenter. Five year old Kikuko, her mother, Masako, and her two brothers barely escaped with their lives. However, their soldier father was not so fortunate. Masako never talked about her family's experiences on that day and the grim days following the bombing. Then one day, Masako started to talk about what happenedbreaking a silence of nearly fifty years. Written by Kikuko (Furuta) Otake, now a retired assistant professor of Japanese in the United States, Masako's story is a collection of prose-poetry, based on the true story of her family's tragedy. It is written with an "Objectivist" lineation similar in its understated power to Charles Reznikoff's Testimony. Kikuko Otake's Masako's Story is a powerful addition to the literature of the Atomic Bomb, and yet more evidence that we should all work together to stop the Nuclear madness.

THE STORY: This play by Pulitzer Prize-winner Nilo Cruz is set in Andalusia, Spain, where the restless ghost of the Spanish poet Federico García Lorca still wanders through the streets and converses with the living. BEAUTY OF THE FATHER is about a

Contributing Authors Include Henry Remak, Edward Seeber, J. T. Shaw And Many Others.