Hailed as the first great Soviet writer, Isaac Babel was at once a product and a victim of violent revolution. In tales of Cossack marauders and flashy Odessa gangsters, he perfectly captured the raw, edgy mood of the first years of the Russian Revolution. Masked, reckless, impassioned, charismatic, Babel himself was as fascinating as the characters he created. At last, in renowned author Jerome Charyn, Babel has a portraitist worthy of his quicksilver genius. Though it traces the arc of Babel’s charmed life and mysterious death, Savage Shorthand bursts the confines of straight biography to become a meditation on the pleasures, torments, and meanings of Babel’s art. Even in childhood, Babel seemed destined to leave a mark. But it was only when his mentor, Maxim Gorky, ordered him to go out into the world of revolutionary Russia that Babel found his true voice and subject. His tales of the bandit king Benya Krik and the brutal raids of the Red Cavalry electrified Moscow. Overnight, Babel was a celebrity, with throngs of admirers and a train of lovers. But with the rise of Stalin, Babel became a living ghost. Charyn brilliantly evokes the paranoid shadowland of the first wave of Stalin’s terror, when agents of the Cheka snuffed out artists like candle flames. Charyn’s chilling account of the circumstances of Babel’s death–hidden and lied about for decades by Stalin’s agents–finally sets the record straight. For Jerome Charyn, Babel is the writer who epitomizes the vibrancy, violence, and tragedy of literature in the twentieth century. In Savage Shorthand, Charyn has turned his own lifelong obsession with Babel into a dazzling and original literary work.

Shakespeare's Caliban examines The Tempest's "savage and deformed slave" as a fascinating but ambiguous literary creation with a remarkably diverse history. The authors, one a historian and the other a Shakespearean, explore the cultural background of Caliban's creation in 1611 and his disparate metamorphoses to the present time.

This volume of fourteen interviews covers the prolific and rich career of author Jerome Charyn (b. 1937). Four of the interviews appear in English for the first time, and two interviews appear here in print for the first time as well. As one of his autobiographical volumes claims, Jerome Charyn is a “Bronx Boy,” a child born from immigrant parents who went through Ellis Island in the 1920s like so many other travelers without luggage, a “little werewolf” who grew up on his own in the chaos of the Bronx ghetto. “I think I was defined by two things: World War II and the movies.” His work remains deeply marked by this childhood largely forgotten by the American Dream. If Charyn has spent much of his life in Paris, he has paradoxically never left the Bronx: “‘El Bronx’ is there inside my head, and I revisit it the way Hemingway would fish the Big Two-Hearted River in his dreams.” His whole work is a long attempt at evoking his own history and celebrating his lifelong marveling at the power of language—“our second skin”—as well as his deep, unflinching belief in the promises of fiction. Since 1964, Charyn has published more than fifty books ranging from fiction to nonfiction and including short stories; very popular crime novels; graphic novels cowritten with European artists; essays on American culture and cinema as well as on New York; autobiography; and biography—an ever-changing production that has made it difficult for critics to classify him. And yet in many ways Charyn's writing thrives on constant currents: the words “voice,” “song,” “undersong,” or “rhythm” return frequently in his interviews as he explains what literature is to him and ceaselessly asserts that he is trying “to find a music for a musicless world,” a language for “people who cannot speak.”

Variously identified as an art, a technology, and a professional prerequisite, forms of shorthand have been in use from Antiquity to the modern day. Far from a niche corner in manuscript studies, shorthand represents an almost global phenomenon that has touched upon many aspects of everyday life and of scholarship. Due to its immediate illegibility, however, and the daunting task of decipherment, shorthand has long been neglected as a research object in its own right. The immense quantity of extant and unread shorthand manuscripts has been downplayed, as has the technology's place in cultures of learning, religious devotion, court practice, parliamentary procedure, authorial composition, corporate life, public and private writing, and the academy. As the first ever peer-reviewed volume on the subject, this book presents a much-needed introduction to shorthand, its history, and its disparate historiography, alongside eight contributions by shorthand specialists that showcase some of the many lines of inquiry that shorthand inspires across a range of disciplinary and methodological perspectives. For readers with a vested interest in shorthand, this volume provides a range of approaches to shorthand in the Latin West, from the Middle Ages to the nineteenth century, upon which to orient, substantiate, and inform their own work. For general readers, this publication invites scholars to consider ways in which historically overlooked or underestimated forms of writing facilitated a variety of writing cultures in different contexts, periods, and languages.