There is a striking similarity between Marian devotional songs and secular love songs of the late Middle Ages and Renaissance. Two disparate genres--one sacred, the other secular; one Latin, the other vernacular--both praise an idealized, impossibly virtuous woman. Each does so through highly stylized derivations of traditional medieval song forms--Marian prayer derived from earlier Gregorian chant, and love songs and lyrics from medieval courtly song. Yet despite their obvious similarities, the two musical and poetic traditions have rarely been studied together. Author David J. Rothenberg takes on this task with remarkable success, producing a useful and broad introduction to Marian music and liturgy, and then coupling that with an incisive comparative analysis of these devotional forms and the words and music of secular love songs of the period. The Flower of Paradise examines the interplay of Marian devotional and secular poetics within polyphonic music from ca. 1200 to ca. 1500. Through case studies of works that demonstrate a specific symbolic resonance between Marian devotion and secular song, the book illustrates the distinctive ethos of this period in European culture. Rothenberg makes use of an impressive command of liturgical and religious studies, literature and poetry, and art history to craft a study with wide application across disciplinary boundaries. With its broad scope and unique, incisive analysis, this book will open up new ways of thinking about the history and development of secular and sacred music and the Marian tradition for scholars, students, and anyone with an interest in medieval and Renaissance religious culture.

Rabbi Akiba is famously reported to have said, 'Heaven forbid that any one in Israel ever disputed that the Song of Songs is holy, for the whole world is not worth the day on which the Song of Songs was given to Israel, for all the writings are holy, but the Song of Songs is the Holy of Holies'. This book is an extended elaboration of Rabbi Akiba's statement. It argues that the Song is a Hellenistic composition, drawing on the resources of ancient Near Eastern erotic poetry and characterized by a complex though fragile unity. Through the metaphors, the lovers progressively see themselves reflected in each other, as well as in the world about them and the poetry of love. The poem celebrates the land of Israel in spring, an ideal humanity, and a perfected language. It culminates in the contestation of love and death, and the assertion that only love survives the exigencies of time. The pervasive ambiguity of the Song, in which one never quite knows what happens, is related to the ambivalence of beauty, which is closely related to ugliness. Hence the surrealist imagery of the Song verges upon the grotesque and stretches the resources of our imagination. Through a detailed comparison with the Garden of Eden story, Landy argues that the Song is a vision of paradise seen from the outside, through the ironic poetic gaze, in a world potentially hostile or indifferent.

Fantagraphics is proud to present a major, all-new book by Gary Panter. Songy of Paradise is an inspired interpretation of John Milton’s retelling of the story of Jesus being tempted by Satan after being baptized by John the Baptist and fasting for forty days and nights in the Judaean Desert. Panter’s version doesn’t rely on Milton’s words, but faithfully follows the structure of Milton’s Paradise Regained, with one notable exception: Jesus has been replaced by a hillbilly, Songy, who is on a vision quest before being tempted by a chimeric Satan figure. Gary Panter is one of America’s preeminent artists, designers, and cartoonists, whose work defined the L.A. punk scene and the vibrant work of the television show Pee-Wee’s Playhouse. Songy of Paradise presents Panter’s singular vision in an ornate, hardcover format that does justice to Panter’s densely packed pages, with a stunning two-color stamping on cloth covers. It will be an art object, a brilliant literary experiment, and the most eye-popping graphic novel of 2017.

Ten years in the making, Hersh and Throwing Muses 32-track album Purgatory/Paradise is the centerpiece of this book which also contains more than two dozen photographs and artwork by Kristin Hersh and band member Dave Narcizo, lyrics for each song, stories and essays that accompany each track written by Hersh, and instructions for downloads of exclusive content, including demos and outtakes.

He's known the world over for his heyday with Dawn, but that glittering 1970's whirl was just one chapter in Tony Orlando's rich life. Orlando began his showbiz career as a teen heartthrob with the single "Halfway to Paradise" and had a second successful act as a record company A&R man before he was lured back into the limelight as a performer. Fans from the l960s to the present day have loved his voice, his stage presence and his hits, like "Knock Three Times" and "Tie a Yellow Ribbon 'Round the Old Oak Tree." Now, Tony has written an autobiography as warm and heartfelt as his songs. Halfway to Paradise is rich with stories from the music world-from doo wop to the disco era, from early recording with Gerry Goffin and Carole King to recent concerts in Branson, Missouri and across the United States. It's also full of behind-the-scenes detail of how it felt to be at the top of the entertainment heap-with his #1-rated CBS show, Tony's life in front of and behind the camera was grand, but sometimes not all it seemed. Orlando succumbed to one of the familiar antidotes to the pressures of a big life: drug use, with its predictable toll on family and friendships. And even as his career was soaring, he was unable to save his best friend Freddie Prinze from a fatal downward spiral. With a return to roots-and to the close-knit family that has always sustained him-Tony restored the order and creativity that have allowed him to thrive through four decades of exuberant entertaining. Halfway to Paradise is a wise, funny and spirited life story, and a must-read memoir for fans.

This book is a history of love and the challenge love offers to the laws and customs of its times and places, as told through poetry from the Song of Songs to John Milton’s Paradise Lost. It is also an account of the critical reception afforded to such literature, and the ways in which criticism has attempted to stifle this challenge. Bryson and Movsesian argue that the poetry they explore celebrates and reinvents the love the troubadour poets of the eleventh and twelfth centuries called fin’amor: love as an end in itself, mutual and freely chosen even in the face of social, religious, or political retribution. Neither eros nor agape, neither exclusively of the body, nor solely of the spirit, this love is a middle path. Alongside this tradition has grown a critical movement that employs a 'hermeneutics of suspicion', in Paul Ricoeur’s phrase, to claim that passionate love poetry is not what it seems, and should be properly understood as worship of God, subordination to Empire, or an entanglement with the structures of language itself – in short, the very things it resists. The book engages with some of the seminal literature of the Western canon, including the Bible, the poetry of Ovid, and works by English authors such as William Shakespeare and John Donne, and with criticism that stretches from the earliest readings of the Song of Songs to contemporary academic literature. Lively and enjoyable in its style, it attempts to restore a sense of pleasure to the reading of poetry, and to puncture critical insistence that literature must be outwitted. It will be of value to professional, graduate, and advanced undergraduate scholars of literature, and to the educated general reader interested in treatments of love in poetry throughout history.