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Richard Delancey is soon called into action once more, as Britain prepares for the threat of a new French assault. Disturbing rumors are circulating about Napoleon's new weapons of war: vessels driven by steam-engines, new explosive devices, and, most troubling of all, a French secret weapon named Nautilus, which can travel underwater and attach explosive devices below the waterline. It will take all of Delancey's skill and courage to confront the threats.
Sequel to Heaven, How I Got Here Tells the stories of Peter and Judas Powerful and gripping narrative
Paracritical Hinge is a collection of varied yet interrelated pieces highlighting Nathaniel Mackey’s multifaceted work as writer and critic. It embraces topics ranging from Walt Whitman’s interest in phrenology to the marginalization of African American experimental writing; from Kamau Brathwaite’s “calibanistic” language practices to Federico García Lorca’s flamenco aesthetic of duende and its continuing repercussions; from H. D.’s desert measure and coastal way of knowing to the altered spatial disposition of Miles Davis’s trumpet sound; from Robert Duncan’s serial poetics to diasporic syncretism; from the lyric poem’s present-day predicaments to gnosticism. Offering illuminating commentary on these and other artists including Amiri Baraka, Mississippi Fred McDowell, Wilson Harris, Jack Spicer, John Coltrane, Jay Wright, and Bob Kaufman, Paracritical Hinge also sheds light on Mackey’s own work as a poet, fiction writer, and editor.
The Trilett family and friends prepare for the joyous celebration of Tahn and Netta's wedding. Returning from a party in her honor, Netta is kidnapped, and her coachman and escorts are found murdered. It looks like the work of bandits, but Tahn is secretly sent a message that Netta will be released if he will present himself in trade. Tahn believes that his murderously jealous cousin, Baron Lionel Trent, is responsible for the villainy. The baron would surely kill Tahn given the chance, just to eliminate the possibility of a rival heir. But Tahn chooses to go to the assigned meeting place anyway, alone as ordered, in hopes of securing Netta's release. Will he succeed in rescuing his bride? Or will Tahn and Netta forever miss their chance at happiness?
By the 1920s in Central Europe, it had become a truism among intellectuals that natural science had "disenchanted" the world, and in particular had reduced humans to mere mechanisms, devoid of higher purpose. But could a new science of "wholeness" heal what the old science of the "machine" had wrought? Some contemporary scientists thought it could. These years saw the spread of a new, "holistic" science designed to nourish the heart as well as the head, to "reenchant" even as it explained. Critics since have linked this holism to a German irrationalism that is supposed to have paved the way to Nazism. In a penetrating analysis of this science, Anne Harrington shows that in fact the story of holism in Germany is a politically heterogeneous story with multiple endings. Its alliances with Nazism were not inevitable, but resulted from reorganizational processes that ultimately brought commitments to wholeness and race, healing and death into a common framework. Before 1933, holistic science was a uniquely authoritative voice in cultural debates on the costs of modernization. It attracted not only scientists with Nazi sympathies but also moderates and leftists, some of whom left enduring humanistic legacies. Neither a "reduction" of science to its politics, nor a vision in which the sociocultural environment is a backdrop to the "internal" work of science, this story instead emphasizes how metaphor and imagery allow science to engage "real" phenomena of the laboratory in ways that are richly generative of human meanings and porous to the social and political imperatives of the hour.