As a rule, a good novel does not always make a good play--especially a novel as unconventional as this one by Dylan Thomas. But Andrew Sinclair's brilliant adaptation of Adventures in the Skin Trade is the exception. This is the story of young Samuel Bennet--a not entirely innocent provincial--who leaves his Welsh home to let adventure find him in London. Sam is soon deeply involved--all the while with his finger stuck fast in an ale bottle--with a fantastic assortment of odd characters whom only Dylan Thomas could have conceived. What The Times Literary Supplement said about Adventures in the Skin Trade as a novel still applies to the play: "There is no doubt of Thomas's genius as a comic writer ... there are memorable images and phrases on every page." One reason is Andrew Sinclair's exceptionally skillful adaptation.

Thomas's unfinished novel of a Welsh boy's adventures in London is accompanied by twenty short stories.

Worldly Provincialism introduces readers to German anthropology during the age of empire and illustrates how the initial motives and interests that gave birth to German anthropology were channeled and shaped by contexts as various as romantic voyages in the South Pacific, the Herero wars in Southwest Africa, open-air presentations of exotic peoples in Berlin, and prison camps during World War I. It also shows that Germans' unique intellectual traditions, their emphasis on concepts of culture, and the late arrival of both the German nation-state and the German colonial empire affected their interest in and relationships with non-Europeans. Worldly Provincialism confirms that there is no justification for presupposing that Europeans shared a common cultural code while abroad or for assuming that they would have behaved similarly during their interactions with non-Europeans. Thus, we must rethink the relationships among anthropology, colonialism, and race. It also forces a rethinking of our understanding of race in the nineteenth century, when race science emerged and eclipsed many alternative racial theories. H. Glenn Penny is Assistant Professor of History, University of Missouri-Kansas City. Matti Bunzl is Aaron and Robin Fischer Assistant Professor of Jewish Culture and Society, Department of Anthropology, University of Illinois at Urbana-Champaign.

Een jonge vrouw, opgevoed door haar vader in een klein stadje in Alaska, wordt na zijn dood in haar dromen door hem achtervolgd.

When the actor Ted Danson appeared in blackface at a 1993 Friars Club roast, he ignited a firestorm of protest that landed him on the front pages of the newspapers, rebuked by everyone from talk show host Montel Williams to New York City's then mayor, David Dinkins. Danson's use of blackface was shocking, but was the furious pitch of the response a triumphant indication of how far society has progressed since the days when blackface performers were the toast of vaudeville, or was it also an uncomfortable reminder of how deep the chasm still is separating black and white America? In Racechanges: White Skin, Black Face in American Culture, Susan Gubar, who fundamentally changed the way we think about women's literature as co-author of the acclaimed The Madwoman in the Attic, turns her attention to the incendiary issue of race. Through a far-reaching exploration of the long overlooked legacy of minstrelsy--cross-racial impersonations or "racechanges"--throughout modern American film, fiction, poetry, painting, photography, and journalism, she documents the indebtedness of "mainstream" artists to African-American culture, and explores the deeply conflicted psychology of white guilt. The fascinating "racechanges" Gubar discusses include whites posing as blacks and blacks "passing" for white; blackface on white actors in The Jazz Singer, Birth of a Nation, and other movies, as well as on the faces of black stage entertainers; African-American deployment of racechange imagery during the Harlem Renaissance, including the poetry of Anne Spencer, the black-and-white prints of Richard Bruce Nugent, and the early work of Zora Neale Hurston; white poets and novelists from Vachel Lindsay and Gertrude Stein to John Berryman and William Faulkner writing as if they were black; white artists and writers fascinated by hypersexualized stereotypes of black men; and nightmares and visions of the racechanged baby. Gubar shows that unlike African-Americans, who often are forced to adopt white masks to gain their rights, white people have chosen racial masquerades, which range from mockery and mimicry to an evolving emphasis on inter-racial mutuality and mutability. Drawing on a stunning array of illustrations, including paintings, film stills, computer graphics, and even magazine morphings, Racechanges sheds new light on the persistent pervasiveness of racism and exciting aesthetic possibilities for lessening the distance between blacks and whites.

1. The book is in keeping with contemporary developments in literary criticism and interpretation. 2. The book is the first to offer a comprehensive critical overview of Thomas’s entire output. 3. It provides exciting new commentaries on cultural appropriations and interpretations of Thomas in the media, letters, and popular culture. 4. It contains work by some of the leading voices in the fields of Thomas studies and Welsh Writing in English. 5. It offers key insights into the Welsh contexts of Thomas’s work and legacy.

Opening with Thomas's life, the book offers vignettes of Swansea in the 1920s and 1930s, pre- and post-war Laugharne and rural West Wales, wartime London and New York City in the early 1950s, seen through the poet's eyes. Thomas's political views are focused on, as well as his social attitudes.

This critical study covers the whole range of Dylan Thomas's writing, both poetry and prose, in an accessible appraisal of the work and achievement of a major and dynamic poet. It interrelates the man and his national-cultural background by defining in detail the Welshness of his poetic temperament and critical attitudes, as both man and poet. At the same time, it illustrates Thomas's wide knowledge of and impact on the long and varied tradition of poetry in English. In that connection, it delineates and delimits Thomas's relationship to surrealism, compares and contrasts his work with that of other poets of the 1930s and 1940s, and shows how its power survives his early death in 1953, in the decade of the 'Movement' poets and beyond. A major aspect of this book is the close textual analysis of the works quoted; it explores anew the recognition due to the man who wrote the work, and helps us to separate the intrinsic achievement of the work from the foisted perceptions of the 'legend'.