Unorthodox Beauty shows how Russian poets of the early twentieth century consciously adapted Russian Orthodox culture in order to create a distinctly religious modernism. Martha M. F. Kelly contends that, beyond mere themes, these writers developed an entire poetics that drew on liturgical tradition. Specifically, Russian Orthodoxy held out the possibility of unifying spirit and matter, as well as a host of other dichotomies--subject and object, empirical and irrational, noumena and phenomena. The artist could produce a work of transformative and regenerative power. Using a range of crossdisciplinary tools, Kelly reads key works by Blok, Kuzmin, Akhmatova, and Pasternak in ways that illustrate how profoundly religious traditions and ideas shaped Russian modernist literature.

The instant New York Times bestselling memoir of a young Jewish woman's escape from a religious sect, in the tradition of Ayaan Hirsi Ali's Infidel and Carolyn Jessop's Escape, featuring a new epilogue by the author. As a member of the strictly religious Satmar sect of Hasidic Judaism, Deborah Feldman grew up under a code of relentlessly enforced customs governing everything from what she could wear and to whom she could speak to what she was allowed to read. It was stolen moments spent with the empowered literary characters of Jane Austen and Louisa May Alcott that helped her to imagine an alternative way of life. Trapped as a teenager in a sexually and emotionally dysfunctional marriage to a man she barely knew, the tension between Deborah's desires and her responsibilities as a good Satmar girl grew more explosive until she gave birth at nineteen and realized that, for the sake of herself and her son, she had to escape.

The main purpose of this book is to explicate the problematic relationship between the heterogeneity of what is experienced as beautiful and the homogeneity of the conceptualization of that experience, or attempt at such a conceptualization in the era of modern philosophy. While the heterogeneity of what is experienced as beautiful was permitted, and indeed celebrated, in the dominant ancient conception—for example, in the Symposium and Phaedrus of Plato—the need for homogenization in the later appropriation of Plato and in the Enlightenment period relegated the beautiful to the privileged domain of artworks. In her analysis Agnes Heller provides a unique and significant emphasis on the original 'life content' of the experience of the beautiful, which becomes lost in the modern system of the arts. This book details the history of the concept of the beautiful, starting with what Agnes Heller distinguishes between the 'warm' metaphysics of beauty and the 'cold' one—inspired by Plato's Janus-faced relationship to beauty—and ending with a fragmented yet hopeful vision propagated by Friedrich Nietzsche, Walter Benjamin, and Theodor W. Adorno, among others. In between these two historical parentheses—the metaphysical Plato on one hand and the post-metaphysical Nietzsche, Benjamin, and Adorno on the other hand—lay a plenitude of figures and intellectual developments, all of which contributed to the demise of the concept of the beautiful in the Western metaphysical tradition. The most important of these figures and developments are examined in this book.

From the Washington Post columnist and James Beard Award-winning author of Poor Man’s Feast comes a story of seeking truth, acceptance, and self in a world of contradiction... Treyf: According to Leviticus, unkosher and prohibited, like lobster, shrimp, pork, fish without scales, the mixing of meat and dairy. Also, imperfect, intolerable, offensive, undesirable, unclean, improper, broken, forbidden, illicit. Fans of Augusten Burroughs and Jo Ann Beard will enjoy this kaleidoscopic, universal memoir in which Elissa Altman explores the tradition, religion, family expectations, and the forbidden that were the fixed points in her Queens, New York, childhood. Every part of Altman’s youth was laced with contradiction and hope, betrayal and the yearning for acceptance: synagogue on Saturday and Chinese pork ribs on Sunday; bat mitzvahs followed by shrimp-in-lobster-sauce luncheons; her old-country grandparents, whose kindness and love were tied to unspoken rage, and her bell-bottomed neighbors, whose adoring affection hid dark secrets. While the suburban promise of The Brady Bunch blared on television, Altman searched for peace and meaning in a world teeming with faith, violence, sex, and paradox. Spanning from 1940s wartime Brooklyn to 1970s Queens to present-day rural New England, Treyf captures the collision of youthful cravings and grown-up identities. It is a vivid tale of what it means to come to yourself both in spite and in honor to your past.

In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.

YOU CHOOSE is an (anti)-choose-your-own-adventure. You choose: You hear a scream (or not), and what do you do about it. Nothing or stay in your chair and figure out the who what when why or go out the front door and chase the scream to prevent it or create it or capture it. Within the book are choices and non-choices, choices masquerading as choices, labyrinths, your torture and your self-torture, your authorship, multiple worlds, you becoming someone else, another you, you becoming a series of animals, you becoming us, you becoming death, your repeated death, pizza, your mother, inner ear workings, and other tailings or tails or tales. YOU CHOOSE is literary, speculative, uncertain, an attempt at the universal and many worlds, surreal, magically realistic, immersive, and labyrinthine. YOU CHOOSE is published under a CC BY-NC-SA 4.0 License.

The Soviets are often viewed as insatiable industrialists who saw nature as a force to be tamed and exploited. Song of the Forest counters this assumption, uncovering significant evidence of Soviet conservation efforts in forestry, particularly under Josef Stalin. In his compelling study, Stephen Brain profiles the leading Soviet-era conservationists, agencies, and administrators, and their efforts to formulate forest policy despite powerful ideological differences. By the time of the revolution of 1905, modern Russian forestry science had developed an influential romantic strand, especially prevalent in the work of Georgii Morozov, whose theory of "stand types" asked forest managers to consider native species and local conditions when devising plans for regenerating forests. After their rise to power, the Bolsheviks turned their backs on this tradition and adopted German methods, then considered the most advanced in the world, for clear-cutting and replanting of marketable tree types in "artificial forests." Later, when Stalin's Five Year Plan required vast amounts of timber for industrialization, forest radicals proposed "flying management," an exaggerated version of German forestry where large tracts of virgin forest would be clear-cut. Opponents who still upheld Morozov's vision favored a conservative regenerating approach, and ultimately triumphed by establishing the world's largest forest preserve. Another radical turn came with the Great Stalin Plan for the Transformation of Nature, implemented in 1948. Narrow "belts" of new forest planted on the vast Russian steppe would block drying winds, provide cool temperatures, trap moisture, and increase crop production. Unfortunately, planters were ordered to follow the misguided methods of the notorious Trofim Lysenko, and the resulting yields were abysmal. But despite Lysenko, agency infighting, and an indifferent peasant workforce, Stalin's forestry bureaus eventually succeeded in winning many environmental concessions from industrial interests. In addition, the visionary teachings of Morozov found new life, ensuring that the forest's song did not fall upon deaf ears.