"Many fictional works have real, historical authors as characters. Great national literary icons like Virgil and Shakespeare have been fictionalized in novels, plays, poems, movies, and operas. This fashion might seem typically postmodern, the reverse side of the contention that the Author is Dead; but this collection of essays shows that the representation of historical authors as characters can boast of a considerable history, and may well constitute a genre in its own right. This volume brings together a collection of articles on appropriations of historical authors, written by experts in a wide range of major Western literatures."--BOOK JACKET.

Winner of the Pulitzer Prize, Toni Morrison’s Beloved is a spellbinding and dazzlingly innovative portrait of a woman haunted by the past. Sethe was born a slave and escaped to Ohio, but eighteen years later she is still not free. She has borne the unthinkable and not gone mad, yet she is still held captive by memories of Sweet Home, the beautiful farm where so many hideous things happened. Meanwhile Sethe’s house has long been troubled by the angry, destructive ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved. Sethe works at beating back the past, but it makes itself heard and felt incessantly in her memory and in the lives of those around her. When a mysterious teenage girl arrives, calling herself Beloved, Sethe’s terrible secret explodes into the present. Combining the visionary power of legend with the unassailable truth of history, Morrison’s unforgettable novel is one of the great and enduring works of American literature.

“The heart of Orr’s poetry, now as ever, is the enigmatic image . . . mystical, carnal, reflective, wry.”—San Francisco Review This book-length sequence of ecstatic, visionary lyrics recalls Rumi in its search for the beloved and its passionate belief in the healing qualities of art and beauty. Concerning the Book that is the Body of the Beloved is an incantatory celebration of the “Book,” an imaginary and self-gathering anthology of all the lyrics—both poems and songs—ever written. Each poem highlights a distinct aspect of the human condition, and together the poems explore love, loss, restoration, the beauty of the world, the beauty of the beloved, and the mystery of poetry. The purpose and power of the Book is to help us live by reconnecting us to the world and to our emotional lives. I put the beloved In a wooden coffin. The fire ate his body; The flames devoured her. I put the beloved In a poem or song. Tucked it between Two pages of the Book. How bright the flames. All of me burning, All of me on fire And still whole. There is nothing quite like this book—an “active anthology” in the best sense—where individuals find the poems and songs that will sustain them. Or the poems find them. Gregory Orr is the author of eight books of poetry, four volumes of criticism, and a memoir. He has received numerous awards for his work, most recently the Academy Award in Literature from the American Academy of Arts and Letters. Orr has taught at the University of Virginia since 1975 and was, for many years, the poetry editor of The Virginia Quarterly Review. He lives with his family in Charlottesville, Virginia.

Slovenian philosopher Miran Bozovic's An Utterly Dark Spot examines the elusive status of the body in early modern European philosophy by examining its various encounters with the gaze. Its range is impressive, moving from the Greek philosophers and theorists of the body (Aristotle, Plato, Hippocratic medical writers) to early modern thinkers (Spinoza, Leibniz, Malebranche, Descartes, Bentham) to modern figures including Jon Elster, Lacan, Althusser, Alfred Hitchcock, Stephen J. Gould, and others. Bozovic provides startling glimpses into various foreign mentalities haunted by problems of divinity, immortality, creation, nature, and desire, provoking insights that invert familiar assumptions about the relationship between mind and body. The perspective is Lacanian, but Bozovic explores the idiosyncrasies of his material (e.g., the bodies of the Scythians, the transvestites transformed and disguised for the gaze of God; or Adam's body, which remained unseen as long as it was the only one in existence) with an attention to detail that is exceptional among Lacanian theorists. The approach makes for engaging reading, as Bozovic stages imagined encounters between leading thinkers, allowing them to converse about subjects that each explored, but in a different time and place. While its focus is on a particular problem in the history of philosophy, An Utterly Dark Spot will appeal to those interested in cultural studies, semiotics, theology, the history of religion, and political philosophy as well. Miran Bozovic is Associate Professor of Philosophy at the University of Ljubljana, Slovenia. He is the author of Der grosse Andere: Gotteskonzepte in der Philosophie der Neuzeit (Vienna: Verlag Turia & Kant, 1993) and editor of The Panopticon Writings by Jeremy Bentham (London: Verso, 1995).

Centering on the "knowledge of God" and the ultimate painful, paradoxical triumph of God's grace, the book of Hosea is one of ambivalence and redemption. The redemptive message of Hosea is underscored by H. D. Beeby's canonical and Christological interpretation. Beeby stresses that the true context of the book is much wider than the eighth century B.C.; Hosea must continually be heard against the background of and in response to the reader's own time. This commentary makes Hosea's message available today to all who struggle with questions of gospel and culture, contextualization, idolatry, church and state, and interfaith dialogue.

Winner of a 2021 South Central Modern Language Association Book Prize At the heart of America’s slave system was the legal definition of people as property. While property ownership is a cornerstone of the American dream, the status of enslaved people supplies a contrasting American nightmare. Sarah Gilbreath Ford considers how writers in works from nineteenth-century slave narratives to twenty-first-century poetry employ gothic tools, such as ghosts and haunted houses, to portray the horrors of this nightmare. Haunted Property: Slavery and the Gothic thus reimagines the southern gothic, which has too often been simply equated with the macabre or grotesque and then dismissed as regional. Although literary critics have argued that the American gothic is driven by the nation’s history of racial injustice, what is missing in this critical conversation is the key role of property. Ford argues that out of all of slavery’s perils, the definition of people as property is the central impetus for haunting because it allows the perpetration of all other terrors. Property becomes the engine for the white accumulation of wealth and power fueled by the destruction of black personhood. Specters often linger, however, to claim title, and Ford argues that haunting can be a bid for property ownership. Through examining works by Harriet Jacobs, Hannah Crafts, Mark Twain, Herman Melville, Sherley Anne Williams, William Faulkner, Eudora Welty, Toni Morrison, Octavia Butler, and Natasha Trethewey, Ford reveals how writers can use the gothic to combat legal possession with spectral possession.