Paperback Edition Research Articles

Books Received

Books Received Mark I. West Artist to Artist: 23 Major Illustrators Talk to Children about Their Art. Edited by David Briggs, Courtney Palmer, and Kiffin Steurer. New York: Philomel Books, 2007. A project of the Eric Carle Museum of Picture Book Art, this anthology features brief essays by twenty-three contemporary illustrators of picture books. Among the illustrators included are Mitsumasa Anno, Quentin Blake, Nancy Ekholm Burkert, Leo Lionni, Jerry Pinkney, Alice Provensen, Maurice Sendak, Chris Van Allsburg, and Rosemary Wells. Each essay includes relevant illustrations. Although these essays are intended for children, there is much in this book that would be of interest to adult readers. A Boy Named Shel: The Life and Times of Shel Silverstein. By Lisa Rogak. New York: Thomas Dunne Books/St. Martin's Press, 2007. In this lively biography of Shel Silverstein, Lisa Rogak tells the stories behind the creation of Silverstein's famous children's books, including The Giving Tree, Where the Sidewalk Ends, and A Light in the Attic. However, she also covers his adolescent years in Chicago, his career as a cartoonist, his contributions to country music, and his relationship with his daughter, who died at the young age of eleven. Rogak is more interested in covering details of Silverstein's life than she is in discussing his literary works, but for readers who want to know more about the man who penned some of the most popular poems ever written for children, this biography is an excellent place to start. Golden Legacy: How Golden Books Won Children's Hearts, Changed Publishing Forever, and Became an American Icon Along the Way. By Leonard S. Marcus. New York: Golden Books/Random House, 2007. The release of this homage to Golden Books was timed to coincide with the sixty-fifth anniversary of the publication of the first Little Golden Book, which came out in 1942. Leonard Marcus provides a detailed and lavishly illustrated history of the Golden Books. As he explains, some of the major authors and illustrators in the children's literature world got their starts with Golden Books, including Margaret Wise Brown, Feodor Rojankovsky, Richard Scarry, and Garth Williams. Psychoanalytic Responses to Children's Literature. By Lucy Rollin and Mark I. West. Jefferson, NC: McFarland, 2008 (paperback edition). [End Page 207] McFarland published the original hardback edition of this book in 1999, but it is now releasing a paperback edition that is appropriately priced for use as a text in children's literature courses. This book includes psychoanalytic interpretations of numerous children's books, including James and the Giant Peach, Harriet the Spy, The Wind in the Willows, Charlotte's Web, Pinocchio, and The Prince and the Pauper. [End Page 208] Copyright © 2008 Children's Literature Association

Discovering Mahler: Writings on Mahler 1955–2005 (review)

Discovering Mahler: Writings on Mahler 1955-2005. By Donald Mitchell. Rochester, NY: Boydell Press, 2007. [l, 680 p. ISBN-10184383345X; ISBN-10 9781843833451, $80.] Illustra - tions, music examples, portraits, appendices, references, indexes. Described by publisher as the fourth and final volume of Donald Mitchell's unique studies of Mahler and his Discovering Mahler would seem to belong to biographically oriented volumes that author has published to date, namely Gustav Mahler: The Early Years (Berkeley: University of California Press, 1958; sub - sequently revised, with latest edition dating from 2003); Gustav Mahler: The Wunder horn Years (Berkeley: University of Cali fornia Press, 1975; and revised several times, with latest edition dating from 2005); and Gustav Mahler: Songs and Sym - phonies of Life and Death (Berkeley: Uni - versity of California Press, 1985, rev. ed. 2002). Since first two volumes take up music through composition of Fourth Symphony, and author discusses at length settings of poetry by Friedrich Ruckert, Eighth Symphony, and Das Lied von der Erde in third, expectation exists for a fourth volume devoted to three instrumental symphonies in order to complete kind of seeming gap that exists among published volumes. This is not case and, thus, subtitle of Discovering Mahler reflects nature of volume more accurately, since it is a collection of various articles and short pieces about Mahler that Mitchell wrote during half century between 1955 and 2005 and, in this sense resembles author's Cradles of New: Writings on Music 1951-1991 (London: Faber and Faber, 1995). The latter volume intersects Disco v - ering Mahler through inclusion of three articles on Mahler (Mahler and Nature: Landscape into Music, Mahler's Hun - garian Glissando, and Mahler's Abschied: A Wrong Note Righted) that are also found in present collection. Ap - parently, no other full-length study is planned since, as Mitchell states in Abschied that prefaces this book it will be his last published volume about music, and in it he claims to have nothing more to say on subject. Some of articles are reprinted from recent publications, like The Mahler Com - panion, ed. by Donald Mitchell and Andrew Nicholson (New York: Oxford University Press, 1999) and Mahler Studies, ed. by Stephen E. Hefling (New York: Cambridge University Press, 1997) and, as such, may already be familiar. Yet publication in Discovering Mahler of Mitchell's contribution to 1980 edition of The New Grove Dictionary of Music and Musicians should be read with bibliographic caution, since both this article and its published revision have been superseded by Peter Franklin's article on Mahler in second edition of The New Grove. In addition, provenance of 'Hidden Treasure Within': The Early Songs for Voice and Piano and Wunderhorn- Lieder is stated as derived from Donald Mitchell, ed., Gustav Mahler: The World Listens (Haarlem: TEMA Uitgevers, 1995) and augmented with additional sections interpolated from liner notes Mitchell contributed to two recordings, as well as further inclusion of material from paperback edition of The Mahler Companion (which is essentially a revised edition, because of its inclusion of an article not issued in preceding hardcover edition). Such revisions constitute a revised version of article. A similar problem exists in organization of volume, which divides contents under rubrics Vision, Scrutiny (in which pieces are arranged by work discussed) Reflection, and Resonance, all concepts that fit materials in each of them. While any arrangement is arbitrary, order of materials in Scrutiny inevitably results in presenting writings from various times side-by-side, as well as shifting tone between pieces. A more useful format would distinguish intended original audiences for essay, which include articles in professional journals, contributions to collected essays; liner notes, and texts of talks. …

A Commentary on Ovid's Fasti, Book 6 (review)

Reviewed by: A Commentary on Ovid's Fasti, Book 6 Niklas Holzberg R. Joy Littlewood . A Commentary on Ovid's Fasti, Book 6. Oxford: Oxford University Press, 2006. Pp. lxxxvi, 259. $130.00. ISBN 978-0-19927134-4. Littlewood is well known to students of the Fasti, having published between 1975 and 1981, at a time when this work was only seldom an object of literary criticism, excellent analyses of the artistry (structure, narrative technique, variatio of style, intertextuality, and humor) displayed by Ovid in three longish passages from books 2, 4, and 5. This approach, favored in Fasti studies since the mid-eighties and most notably taken by Barchiesi, Hinds, Miller, and Newlands, is combined here in Littlewood's commentary on book 6 with penetrating discussions of two other aspects: religious history (Littlewood's follows the trail, e.g., of Bömer, Frazer, Le Bonniec, Porte, and Schilling) and the Augustan backdrop, an insightful picture of which was first drawn by Herbert-Brown. Her explications are as complex as we could wish them to be, and their place beside those of Fantham for book 4 and Green for book 1 is assured. Littlewood lays the foundation for her commentary with an exhaustive introduction, addressing there the aspects that will be central to her interpretation. She begins by discussing the political situation in Rome during the composition of the Fasti, focusing in particular on the reorganization of religion by Augustus reflected in the text. Littlewood characterizes the work as a mixture of "Greco-Roman literary tradition with contemporary antiquarian knowledge and personal experience" (xli); she names the principal motifs within its unmistakably thematic structure, describes the narrative technique (paying particular attention to Ovid's adaptation of narratives from Livy), and closes with a short chapter on the text (Littlewood uses, with few deviations, the Alton/Wormell/Courtney edition, 4th ed. [Leipzig 1997]). [End Page 259] In the headnotes for the separate sections, and passim in entries on specific verses, the aspects introduced in Littlewood's preliminaries are then considered in greater depth or supplemented with further information (Littlewood refers, for example, only ad loc. to the influence of didactic poetry). On the whole, her entries read more like portions of a continuous interpretation than typical commentary notes, which tend to drift into not strictly pertinent areas. Littlewood never forgets the priorities defined at the outset. She thus demonstrates convincingly that in book 6, which Ovid drafted in exile as clearly the last (for now? for ever?) within a structural unit, he creates an antithesis between the theme "war" introduced in the proem (by Juno and Iuventas) and that of "peace" in book 1. And she highlights again and again the elegist's humorous handling of his material, doubtless correct in her assumption that, when Ovid slips an erotic double entendre or two into a Roman myth (in 436–460, for instance, Vesta is "on fire" and so Metellus "penetrates" the sanctuary: see pp. 137–40), he is not being subversive, but simply offering a contemporary audience, Augustus included, something as funny as it is clever. One minor quibble: Littlewood skirts round knotty language problems. Should a commentary not steer readers through difficult, not immediately comprehensible passages (and there are some in Ovid, too), presenting a carefully reasoned translation? Littlewood heads the various sections of Fasti 6 with paraphrases which stick closely to the Latin wording, but good, literal translations might have been the wiser choice. She does occasionally render a verse into English, but not always very well (or does she really think that 15f. quas Priamides . . . contulit, for example, means "whom the son of Priam . . . encountered?"), and in rare glances at the meaning of a word or phrase, she invariably refers us not to the TLL, but to the OLD. But Littlewood more than compensates with countless brilliant observations on Ovid's consummate style, particularly where he himself dazzles with sound-play and nifty word-order (cf. esp. 110–11 on 341–342). These contributions alone will make Littlewood's commentary an indispensable tool for readers of the Fasti. If they can afford it, that is. A paperback edition soon please, publisher! Niklas Holzberg University of Munich Copyright © 2008...

The Ways that Never Parted: Jews and Christians in Late Antiquity and the Early Middle Ages. Edited by Adam H. Becker and Annette Yoshiko Reed

This volume grew out of a series of seminars that culminated in a conference held at Princeton University in 2002. The conference volume was originally published in hardback in 2003 by Mohr Siebeck. Aside from a short preface (ix–xii) in the paperback edition, the contents of both versions are identical. Despite the somewhat overheated title, the goal of the volume is rather modest. All of the papers seek, in one fashion or another, to call into question what is sometimes referred to as the “master narrative” of Christian origins. This narrative—which sees the decisive formation of a Christian identity and the exclusion of Christians from Judaism, their “mother” religion, in the late first or early second century—has been under attack for more than forty years. These papers do not exactly provide the coup de grace to this narrative (which has had a remarkable staying power for reasons that deserve investigation in their own right), but they do make important contributions to thinking about the issues of the formation of Jewish and Christian identities and community relations in late antiquity. As the editors state in the introduction (although it is not elaborated until Gager's essay deep in the volume), they intend to convey “the need to focus with renewed energy and intensity on Jews and Christians in Late Antiquity and the early Middle Ages, before settling on any new generalizations about Judaism and Christianity during this period” (24, original emphasis).

Earth under fire: how global warming is changing the world

More than a warning, Earth Under Fire is the most complete illustrated guide to the effects of climate change now available. It offers an upbeat and intelligent account of how we can lessen the effects of our near-total dependence on fossil fuels using technologies and energy sources already available. A thorough revision and a new preface for the paperback edition bring the compelling facts about climate change up to date.

The Anglo-American Misalliance

Research Article| March 01 2008 The Anglo-American Misalliance Sasha Abramsky Sasha Abramsky Sasha Abramsky is a senior fellow at the Demos think-tank. His work has appeared in The Atlantic, The Nation, and The London Guardian, among other publications. The paperback edition of his most recent book, American Furies: Crime, Punishment, and Vengeance in the Age of Mass Imprisonment, was released in May. Search for other works by this author on: This Site Google World Policy Journal (2008) 25 (1): 72–79. https://doi.org/10.1162/wopj.2008.25.1.72 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Sasha Abramsky; The Anglo-American Misalliance. World Policy Journal 1 March 2008; 25 (1): 72–79. doi: https://doi.org/10.1162/wopj.2008.25.1.72 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsWorld Policy Journal Search Advanced Search The text of this article is only available as a PDF. © 2008 World Policy Institute2008World Policy Institute Article PDF first page preview Close Modal Issue Section: Reconsiderations You do not currently have access to this content.

Enhancing evolution: the ethical case for making better people

Preface to the Paperback Edition ix Foreword by Steve Rayner xix Acknowledgments xxv Introduction 1 Chapter 1: Has Humankind a Future? 8 Chapter 2: Enhancement Is a Moral Duty 19 Chapter 3: What Enhancements Are and Why They Matter 36 Chapter 4: Immortality 59 Chapter 5: Reproductive Choice and the Democratic Presumption 72 Chapter 6: Disability and Super-Ability 86 Chapter 7: Perfection and the Blue Guitar 109 Chapter 8: Good and Bad Uses of Technology 123 Chapter 9: Designer Children 143 Chapter 10: The Irredeemable Paradox of the Embryo 160 Chapter 11: The Obligation to Pursue and Participate in Research 184 Notes 207 Bibliography 227 Index 239

<i>Gundam</i> and the Future of Japanoid Art

Gundam and the Future of Japanoid Art Takayuki Tatsumi (bio) When I saw the Kubrick-conceived, Spielberg-directed film AI in the summer of 2001, I immediately thought of the Japanese mecha tradition from Gundam on down to Evangelion. AI is full of images that look like live-action realizations of anime’s ideas—from the setting two thousand years hence, in a world emerging from the threat of nuclear weapons, to the submarine city in the final scenes. In the same year, I wrote an afterword for the new paperback edition of Tsuki ni mayu, chi ni wa kajitsu (2000, Cocoons on the moon, fruit on the earth), a Gundam novel written by the popular fiction writer Fukui Harutoshi.1 It was an assignment I eagerly accepted: Fukui had already gained acclaim as a talented new writer after winning a series of fiction prizes, including three prominent awards for his third novel Bōkoku no iijisu (Aimless aegis) in 1999.2 But his reputation derived less from science fiction than from espionage novels centered on international intrigue. His books frequently addressed the justification for and latent power of Japan’s armed forces in the context of the U.S.–Japan Joint Security Treaty. Still, it is not so surprising that a young author with an interest in military affairs would turn to Gundam, and Fukui puts his characteristic spin on the Gundam world, [End Page 191] highlighting issues associated with Japan’s self-defense forces. (For example, it is in exchange for lunar technology necessary for self-defense that Gwen offers use of the battleship Willgem and the Turn A Gundams.) About a month after the publication of the paperback edition of Tsuki ni mayu, the terrorist attacks of September 11 and the ensuing Iraq war renewed controversy over the role of Japan’s self defense forces, and Fukui became a hotter property than ever. In sum, the anime imagination of future war, with its emphasis on mecha, meshed closely with the emergence of the war on terror and even seemed to anticipate its dynamics. We can trace the history of the mecha back to Robert A. Heinlein’s 1959 novel Starship Troopers, which introduced the concept of the “powered suit.” The novel spawned a stormy ideological debate about whether Heinlein’s ideas were fascist. In Japan, too, a violent dispute erupted between Yano Tetsu, the translator of the 1967 Japanese version, and the critic Ishikawa Kyōji. Needless to say, the impact of Heinlein on Japanese prose science fiction is complex and will continue to change. But Starship Troopers had another legacy: in 1977, Hayakawa publishers issued a paperback edition with a cover illustration of the powered suit drawn by Studio Nue (Figure 1), and this image would have a profound impact on the design of “mobile suits” in Japanese robot anime, starting with Gundam.3 Heinlein describes the suit as making its wearer look like “a big steel gorilla.” The suit is compact enough to fit inside a small space capsule, but powerful enough that a single soldier can wipe out a tank division. Although it weighs two thousand pounds, the suit’s advanced feedback and amplification technology do not require special training to use: it can sense what the wearer’s body is trying to do and magnify it. The novel describes this as “controlled force . . . force controlled without your having to think about it. . . . that is the beauty of a powered suit: you don’t have to think about it.”4 This idea of power without conscious thought surely had great appeal after the turmoil of the 1960s, during a new decade in which design philosophy gradually replaced political ideology, and the postwar emphasis on a politics of perseverance (manifested particularly in sports manga) gave way to an interest in cuttingedge aesthetics. Tired of agonizing over abstract problems with no solution or conclusion, people were entranced by a technology that symbolized such stylish agility—the mobility to outflank any opponent. [End Page 192] Click for larger view View full resolution Figure 1. Powered suit illustration by Katō Naoyuki, one of several Studio Nue covers for the Hayakawa bunko edition of Robert A. Heinlein’s Starship...

The Very First Lady Chatterley? Mrs. Havelock Ellis’s Seaweed

The Very First Lady Chatterley? Mrs. Havelock Ellis’s Seaweed Jo-Ann Wallace On 31 May 1898 George Bedborough—secretary of the English branch of the Legitimation League (a society whose object was the legalizing of illegitimate children) and editor of the League's journal, the Adult—was arrested for selling a copy of Havelock Ellis's recently published Sexual Inversion to an undercover Scotland Yard detective, John Sweeney. As numerous biographers and historians (not to mention the detective himself) have pointed out, Sweeney was less interested in Ellis's book than in the Legitimation League's seeming advocacy of free love and the anarchists numbered among its members. However, one effect of Bedborough's arrest was the accidental suppression of Mrs. Havelock (Edith) Ellis's first novel, Seaweed: A Cornish Idyll. Seaweed, like Sexual Inversion, had been published by "Dr. Roland de Villiers" under the imprint of the University Press at Watford. It was seized, along with Sexual Inversion and several other publications, during the raid on Bedborough's shop. Although she attempted to sell it by post from her cottage in Cornwall, Edith Ellis's book dropped from sight until it was revised and reissued as Kit's Woman: A Cornish Idyll in 1907. Two years later, the novel was again slightly revised, this time eliminating much of the Cornish dialect, and published in the United States as Steve's Woman. At the instigation of Daphne (Mrs. Clifford) Bax, Edith Ellis revisited the novel again, transforming it into a four-act play that received a special performance at the Court Theatre with Beryl Faber playing the leading role. Finally, the London publisher T. Werner Laurie brought out a popular (i.e., paperback) edition of Kit's Woman in 1916, the year of Edith Ellis's death.1 The novel is of interest not only for its accidental implication in one of the famous censorship trials of the period and its subsequently volatile publishing history (described in more detail below), but for its subject [End Page 123] matter which in many ways anticipates, and quite possibly inspired, D. H. Lawrence's Lady Chatterley's Lover, another famously censored and suppressed book.2 As I will argue in what follows, Seaweed presents numerous interesting challenges for literary historiography generally and for modernist literary history in particular. It requires us to broaden our understanding of literary modernism to account not only for its much-vaunted cosmopolitanism and internationalism but also for its varied and localized development, in this case the development of a specifically English modernism with its roots in late-nineteenth-century English progressive idealism. Edith Ellis & Seaweed: A Cornish Idyll Edith Ellis (née Lees, 1861–1916) was a turn-of-the-century writer, lecturer, and social experimenter. Although she is today more often remembered as the lesbian wife of the sexual psychologist Havelock Ellis—who included her as a case study in Sexual Inversion—during her lifetime she was a well-known figure in her own right.3 In the late 1880s, together with Ramsay MacDonald (who would go on to become Britain's first Labour Prime Minister), she helped establish the Fellowship of the New Life's experiment in communal living at 29 Doughty Street in Bloomsbury. The Fellowship had its origins in October 1883 when Percival Chubb (among others), inspired by the teachings of Scottish philosopher Thomas Davidson, organized a meeting of several sympathetic men and women to discuss the possibility of founding "a communistic society whose members should lead the new higher life."4 The Fellowship was committed to principles of social justice based on class and sexual reform, goals that it believed were best pursued through simplicity of living, the combining of manual with intellectual labour, and "the highest and completest education of the young."5 Less than three months after its initial meeting, a number of members split from the founding group to form the Fabian Society. There was some continuing overlap in membership in the two associations and the Fellowship—which by now had attracted the interest of people like Havelock Ellis, Edward Carpenter, Edward Pease and Frank Podmore—lasted another fifteen years. In that time, it published a quarterly magazine, Seed...

Myths and Monuments: The Case of Alfred H. Hunter

Myths and Monuments:The Case of Alfred H. Hunter Terence Killeen (bio) The first intimation of the book we now know as Ulysses is contained in a postcard from James Joyce to his brother Stanislaus from Rome postmarked 30 September 1906: `I have a new story for Dubliners in my head. It deals with Mr Hunter'.1 The story was to be called 'Ulysses'.2 On 13 November Joyce asked Stanislaus how he liked the title and on 3 December he requested him to write what he remembered of Hunter.3 But the pressures of Joyce's life in Rome meant the story was never written: on 6 February 1907 he wrote to Stanislaus that '"Ulysses" never got any forrader than the title'.4 The idea then lay dormant until 1915, when Joyce informed Stanislaus in a postcard in German from Trieste, dated 16 June, that Ulysses (the novel) was begun.5 There has been much debate about the identity of 'Mr Hunter' and the nature of his involvement with Joyce. Richard Ellmann, who talked to Stanislaus Joyce about this, says in the first edition of his biography that Hunter was 'a dark-complexioned Dublin Jew [...] who was rumoured to be a cuckold'.6 In the second edition, he declares 'Hunter was rumoured to be Jewish and to have an unfaithful wife.'7 Some of the certainty of the first edition has wavered (Hunter is now only 'rumoured to be Jewish' and no statement as to his complexion is ventured). Again, in a later reference in the second edition, Hunter is described as a `putatively Jewish Dubliner'.8 In fact, these are not the only differences between Ellmann's account of Hunter in the first and second editions of his biography: some of the other disparities are even more significant and occasioned critical comment from another leading Joycean of Ellmann's generation, Hugh Kenner. What happened between the two versions of Ellmann's text was outlined by Kenner in his review of the second edition of the biography.9 The first edition of Ellmann's biography appeared in 1959. In 1968, the first paperback edition of Ulysses was published.10 It contained at the end of the volume an afterword by Richard Ellmann in which he sets out some of the background to the book.11 It includes an account of a fracas in June 1904 after which, Ellmann states, Joyce 'was dusted off and taken home by a man named [End Page 47] Alfred Hunter.'12 As Kenner points out, unwary readers might imagine that this declaration, which is unsourced, has the authority of the great biography behind it, but in fact, this episode is not mentioned at all in the first edition.13 It does appear in the second edition of the biography, but in a far more qualified fashion than in the Penguin afterword.14 Here we read 'If Dublin report can be trusted [...] Joyce was said to have been dusted off and taken home by a man named Alfred H. Hunter'. This sentence is accompanied by a footnote which states: 'W.P. D'Arcy, a friend of Joyce's father, heard the story from John Joyce; letter to me from D'Arcy. Other confirmation is lacking'.15 In his article in Mazes, (and earlier in A Colder Eye), Kenner outlines his own experiences with W.P. D'Arcy.16 He met D'Arcy in Dublin in November 1956 who imparted a good deal of information to him, none of it very well substantiated. Kenner says that D'Arcy told him that the original of Blazes Boylan was a man named Creech, and produced a photograph of this individual, but was unable to provide any further evidence to back up this claim.17 In view of the fact that Kenner wishes to highlight the unreliability of this source of Dublin lore, and thereby to tarnish Ellmann's account of Joyce's alleged 'rescue' it comes as something of a surprise to learn that his own account of this meeting is not without its inconsistencies. In a letter to Adaline Glasheen, 2 January 1957, Kenner tells her that the name of the original of Blazes Boylan given him...

The So-Called Deuteronomistic History: A Sociological, Historical and Literary Introduction (review)

Hebrew Studies 49 (2008) 344 Reviews Archeology: Reassessing Methodologies and Assumptions [ed. J. K. Hoffmeier and A. Millard; Grand Rapids, Mich.: Eerdmans, 2004], pp. 193– 232). There follow sixty-three documents, chosen because they shed light on the nomadic way of life, their institutions, the difficult issue of sharing the grazing territories, and their role in the army. Overall, Moshe Anbar’s book is a successful and comprehensive presentation of the documents relating to his chosen themes and, as such, provides an invaluable and inviting gateway to primary sources for the non-specialist Hebrew reader. Philippe Abrahami Université Lyon 2 Lyon, France philippe.abrahami@univ-lyon2.fr THE SO-CALLED DEUTERONOMISTIC HISTORY: A SOCIOLOGICAL , HISTORICAL AND LITERARY INTRODUCTION. By Thomas Römer. Pp. x + 202. New York: T & T Clark, 2007. Paper 29.95. Anyone interested in the Deuteronomistic History will be grateful that this book (originally published in 2005) is now available in a much less expensive paperback edition. Römer provides the reader with a survey of scholarship on the Deuteronomistic History from before Martin Noth to the present and then explores a compromise between the two major theories of the composition of the Deuteronomistic History. Römer reviews the many notions about the composition of the Deuteronomistic History and notes that “a student of the Hebrew Bible might wonder how he or she should handle these conflicting positions” (p. 41). He unfolds the main positive and negative aspects of the two main theories. The “Crossian model” (Römer’s term) postulates an edition of the Deuteronomistic History during the reign of Josiah, later updated during the exile. It explains why some texts (e.g., 2 Samuel 7) reflect optimism about the monarchy and the future of the state but does not adequately provide for the prevalence of passages concerning the destruction of Jerusalem and the exile , which point to more than an exilic updating of a Josianic document. The Göttingen school postulates three exilic editions of the Deuteronomistic History and rightly emphasizes how the exile permeates the Deuteronomistic History, but the multiplication of redactional layers undermines the evident unity of the whole. Römer hopes to chart a compromise between these posi- Hebrew Studies 49 (2008) 345 Reviews tions. He suggests a Josianic edition, significantly revised during the exile, and again during the Persian period. After reviewing the content of the Deuteronomistic History (chap. 1) and reviewing the development of various theories about its composition (chap. 2), Römer provides (chap. 3) a summary of his position through an analysis of “the foundation myth of the Deuteronomistic School” in 2 Kings 22–23 and an application of his theory to Deuteronomy 12, in which he finds evidence for the three proposed redactions. In the remaining three chapters, he articulates each of the three redactions, providing a general idea of the differences between them. He grounds his argument for the first edition of the Deuteronomistic History during the reign of Josiah in scholarship that finds significant parallels between Deuteronomy and Neo-Assyrian treaty language, between Joshua and Neo-Assyrian conquest narratives, and between the royal narratives in Kings and Neo-Assyrian royal chronicles. He argues that the Josianic Deuteronomistic History consisted of a form of Deuteronomy (mostly laws), an early version of Joshua 5–12, a story legitimizing David’s rise (parts of 1 Samuel 1; 9–11; 13–14; 16–27; 29; 31; 2 Samuel 2–5), an account of Solomon focused on the temple, and a brief narrative of the divided monarchy without the many prophetic and battle narratives added later. The conclusion of the work with the praise of Josiah in 2 Kgs 23:25a echoed the beginning of the story in Deut 6:4–5. In Römer’s view, this Josianic edition “was merely a work of literary propaganda,” without the chronological framework added later and therefore not “a unified literary work” (p. 71). During the exile, this Josianic collection of scrolls was edited into a more coherent history. This reworking of the Deuteronomistic History was associated with intellectuals and high officials attempting to make sense of the exile as the consequence of national sin. This exilic edition is “the first attempt to...

Claudio Magris: Danube. Translated from Italian by Patrick Creagh (Paperback edition). London: The Harvill Press. 2001. 416 pp. $13.50

This article is a book review about Claudi Magris' book, Danube, which presents an engaging journey along the Danube River. Claudio Magris guides the reader from the river’s source in the Bavarian hills through Austro-Hungary and the Balkans to its mouth at the Black Sea. The book is unique in its successful intertwining of travel impressions, prose, historical insights and philosophical reflection.

Zayde: A Spanish Romance (review)

Reviewed by: Zayde: A Spanish Romance Claire Carlin Marie-Madeleine Lafayette . Zayde: A Spanish Romance, ed. and trans. Nicholas D. Paige. Chicago: University of Chicago Press, 2006. xxix+210 pp. US$18, £11.50 (pb). ISBN 978-0-226-46852-5. Since its inception, "The Other Voice in Early Modern Europe" series from the University of Chicago Press has made available women's writings from Italy, France, Germany, and Spain, many for the first time in English. The selections are often unavailable in modern, affordable paperback editions even in their original language, a situation that fortunately is changing, perhaps under the impetus of the Chicago series. The French women writers already featured in the collection are Marie Dentière, Louise Labé, Mme de Maintenon, Madeleine de Scudéry, and Marie-Catherine Desjardins (Mme de Villedieu); two treatises by Gabrielle Suchon and a selection of fairy tales are the next French volumes projected. The choice of Zayde among the works of Mme de Lafayette is consistent with the effort to bring lesser-known works to a wide readership. While other Lafayette novels (La Princesse de Montpensier, La Comtesse de Tende, to say nothing of La Princesse de Clèves) have been published in recent, inexpensive paperback editions in France, Zayde has not appeared in print in French since 1990 (though it is available on the Gallica site of the Bibliothèque Nationale); the only English translation dates from 1678. Nicholas Paige's edition situates the novel in seventeenth-century French culture and in the history of the [End Page 252] genre so that North American undergraduates, along with an audience of educated readers outside the academy, will be able to appreciate fully the particularities of this work. The subtitle "A Spanish Romance" signals the importance of genre in this case. The unlikely plot twists, the imbricated tales, the heroic characters of the sprawling Baroque novels popular until around 1660 have been set in a new frame, compressed to fewer than 200 pages. Of all the attempts to remake romance in a condensed form in the final decades of the century, Zayde, first published in 1669, proved to be the only commercial success. Paige explains its subsequent disappearance from the canon as a key element in the history of the novel: as romance became feminized, associated primarily with women readers and writers, it was increasingly devalued, and by the nineteenth century it was eliminated from the realm of "serious" literature in favour of the realist strain, which was perceived as more than mere escapism. Paige helps the non-specialist reader to realize how Zayde questions and subverts the romance genre even as it takes full advantage of romance conventions. Rather than a parody in the manner of Sorel or Marivaux, "Zayde is the last great French romance" (13) in the sense that it links the embedded stories, using them to create "a sort of taxonomy of unhappiness in which heroes and heroines are separated not by real, external obstacles—an earthquake, a father's interdiction, an uncertain birth, a rival's challenge—but rather by different psychological bents" (18-19). The characters' inability to interpret narrative because of their own flawed vision requires the reader to recognize and interpret gaps in understanding caused by human frailty. Lafayette's genius in renewing the conventions of romance was little appreciated after the eighteenth century as "the realist prejudice has rewritten our conception of what the novel is and made it nearly impossible to appreciate the other novelistic genres to which early modern women made a particularly active contribution" (2). After having exposed the broad context in which Zayde must be situated in order to be appreciated, Paige's translation and its accompanying notes continue to bolster the reader's understanding of French culture in 1670. Helpful glosses on notions such as admiration, inclination, attachement, engagement, and galanterie, for example, explain the resonance of these words in salon culture. Notes are also provided when Paige wishes to elucidate his choices for other complex concepts, such as esprit, fortune, humeur, or patrie. The elegant translation balances the "charming archaism" (32) associated with romance (even for early modern readers) with the need to appeal to twenty-first...

Remembering Stephen Randall Niblo (1941–2008)

Today I feel like the boy featured at the start of the story Crazy February: Death and Life in the Mayan Highlands of Mexico by the US anthropologist Carter Wilson. My copy of this book is the 1974 University of California paperback edition and it is falling apart. This boy is all at once the perpetrator and victim of his own circumstance. He has a man, who we will find out he has killed, strapped to his back and he is on a journey to a town where justice will be dealt. Why do I feel like this boy?

The next catastrophe: reducing our vulnerabilities to natural, industrial, and terrorist disasters

Preface to the Paperback Edition vii Acknowledgments xlix Part One: Introduction and Disasters li Chapter 1 Shrink the Targets 1 Chapter 2 Natural Disasters? 14 Part Two: Can Government Help? 41 Chapter 3 The Government Response: The First FEMA 43 Chapter 4 The Disaster after 9/11: The Department of Homeland Security and a New FEMA 68 Part Three: The Disastrous Private Sector 131 Chapter 5 Are Terrorists as Dangerous as Management? The Nuclear Plant Threat 133 Chapter 6 Better Vulnerability through Chemistry 174 Chapter 7 Disastrous Concentration in the National Power Grid 211 Chapter 8 Concentration and Terror on the Internet 248 Part Four: What Is to Be Done? 289 Chapter 9 The Enduring Sources of Failure: Organizational, Executive, and Regulatory 291 Appendix A Three Types of Redundancy 327 Appendix B Networks of Small Firms 331 Bibliography 335 Index 355

Prices of Music Monographs and Scores as Reflected in Notes, 2001-2006

Prices of Music Monographs and Scores as Reflected in Notes, 2001–2006 Paula Hickner (bio) As in previous years, all numbers presented here are based on data drawn from this journal's "Books Recently Published" and "Music Received" columns. Books and scores reviewed in Notes and imprints before 2004 are not included in the 2006 figures. No distinction is made between paperback and hardback editions, or between volumes issued with accompanying materials (CDs, CD-ROMs, etc.) and those without. If prices are available for both paperback and hardback editions, the price of the hardback edition has been used. Likewise, if a book is available in hardcopy and as an electronic text, the price of the hardcopy has been used. Price trends for books are given as a whole and also by language: English, French, German, Italian, and Spanish. Out of 1,459 books from the "Books Recently Published" columns in 2006, 1,237 (85 percent) have been used in calculating this year's price trends. Not included in the 2006 figures are 165 books with imprints before 2004, and fifty-seven books without available prices. Broken down by language, the total number of books included in this year's figures are: English, 740 of 852 (87 percent); French, 152 of 170 (89 percent); German, 234 of 268 (87 percent); Italian, 35 of 47 (74 percent); and Spanish, 76 of 122 (62 percent). As with books, data for scores as a whole are given first, followed by six score categories. Categories of scores used in "Music Received" do not always correspond directly with categories in this column. In those cases, this compiler has placed the score in the most appropriate or closely related category. "Music Received" columns for 2006 listed 533 scores. Of the 533 scores, 462 (87 percent) met the criterion of having an imprint date of 2004 or later and were not choral octavos. Prices were available for all scores in this survey. All prices are reported in U.S. dollars and reflect retail prices; they do not reflect discounts or special sale pricing. When given, prices listed in the "Music Received" columns were used in compiling the data. Prices not given in Notes were obtained from a number of online sources including, but not limited to: Amazon.com and its various international [End Page 248] sites (www.amazon.com); Casalini Libri (www.casalini.it); Otto Harrassowitz (www.harrassowitz.de); Puvill Libros (www.puvill.com); Theodore Front Musical Literature (www.tfront.com); and individual publishers' sites. Prices were converted to U.S. dollars on 4 and 7 May 2007 using the Universal Currency Converter (http://www.xe.com/ucc). Although every effort was made to collect and report data accurately, errors and inconsistencies may exist; please use the data with this in mind. This column is intended to show general trends in pricing of music materials and should be used only as a guide to collection-development planning. The definitions for the categories are: * * * Monographs: Books that are typically classified in the Library of Congress classification schedule at ML or MT. All books with an imprint date of 2004 or later, whether issued as installments in a publisher's continuation under a distinctive series title or issued individually, are included. * * * Historical and monumental editions: Critical editions of scores usually representing specific ethnic, national, geographical, or chronological repertories, or the compositions of a particular individual. These scores are typically classified in the Library of Congress classification schedule at M2, M3, and M3.1. Historical and monumental editions usually appear with critical apparatus, and include facsimile editions not intended primarily for performance. Titles issued with parts or an accompanying volume of critical notes are counted as one item. * * * Large instrumental works: Orchestral works, concertos, wind ensembles, and band music. Full scores present the notation for all the performing forces required by a composition simultaneously, by means of vertical and horizontal alignment and placement upon each page. * * * Multivoice vocal work: Operas, oratorios, choral works, and musicals. Both full and vocal scores are included. Vocal scores present the text and notation for all the vocal lines required by a composition, but present the notation for all the accompanying instrumental forces condensed and arranged...

Seán O’Casey: writer at work. By Christopher Murray. Pp xvi, 590, illus. Dublin: Gill & Macmillan. 2006. €14 paperback edition.

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An Irish working class: explorations in political economy and hegemony, 1800–1950. By Marilyn Silverman. Pp xiii, 566, illus. Toronto: University of Toronto Press. 2006. $35 paperback edition.

An Irish working class: explorations in political economy and hegemony, 1800–1950. By Marilyn Silverman. Pp xiii, 566, illus. Toronto: University of Toronto Press. 2006. $35 paperback edition.

Stefan Collini. Absent Minds - Intellectuals in Britain

Stefan Collini’s research in intellectual history in Britain makes up an imposing bibliography, and for a writer investigating reception (see his forthcoming book Common Reading: Critics, Historians, Publics, February 2008), it must be a pleasure to see one’s books published in paperback editions and sometimes translated. That Stefan Collini already has a reading public is tautological. Collini’s last published book makes no exception to the rule: Absent Minds, Intellectuals in Britain, is a ...

Revised and second editions, paperbacks and reprints - Aubrey Burl. A brief history of Stonehenge: a complete history and archaeology of the world’s most enigmatic stone circle. 2007 (first paperback edition, first published in hardback by Constable in 2006). London: Constable & Robinson; 978-1-84529-591-2 paperback £8.99 - Brian M. Fagan Return to Babylon: Travelers, Archaeologists, and Monuments in Mesopotamia. Revised

Revised and second editions, paperbacks and reprints - Aubrey Burl. A brief history of Stonehenge: a complete history and archaeology of the world’s most enigmatic stone circle. 2007 (first paperback edition, first published in hardback by Constable in 2006). London: Constable & Robinson; 978-1-84529-591-2 paperback £8.99 - Brian M. Fagan Return to Babylon: Travelers, Archaeologists, and Monuments in Mesopotamia. Revised