We are what we remember, and even when we invent, we write what we remember. Every line is a fragment of something else; that is the great collective project that we call culture. In this issue of Granta, writers remember, or invent, scenes from their own lives and the lives of others. Ann Beattie Fiona Benson Andrew Brown Bernard Cooper Lydia Davis David Gates Arcelis Girmay Laura Kasischke Olivia Laing Colin McAdam Lorrie Moore Norman Rush Johnny Steinberg Nathan Thornburgh Marta Werner Edmund White Joy Williams Introducing: Katherine Faw Morris Photography: Brigitte Grignet Yuri Kozyrev Collages: Janet Malcolm

An engaging and authoritative introduction to an increasingly important and popular literary genre Prose Poetry is the first book of its kind—an engaging and authoritative introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. Poets and scholars Paul Hetherington and Cassandra Atherton introduce prose poetry’s key characteristics, chart its evolution from the nineteenth century to the present, and discuss many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today’s most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. Prose Poetry explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry’ s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women’s essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.

Otto Gross was the first analyst to link his work with radical politics, connecting inner, personal transformation with outer, collective change. Since his death in 1920 his work has been suppressed, despite his seminal influence on the developing analytic discipline and on the fields of sociology, philosophy and literature. Here Gottfried M. Heuer introduces Gross’ life and ideas, using an innovative, historiographic methodology he terms trans-historical: a psychoanalytic, intersubjective, and trans-temporal approach to the past, aimed at ‘healing wounded history’ in the present. Heuer considers several previously unpublished sources to explore Gross’s ideas and legacy as well as his unusually bohemian life. His use of the anarchist concept of mutuality to develop a relational and intersubjective approach in his own analytic theory and clinical practice was unique, and his work had a lasting, yet unacknowledged, influence on Freud, Jung (with whom he had the first recorded mutual analysis) and many other analysts. His ideas were appropriated by Max Weber, the founder of sociology, and by the philosopher Martin Buber, playing a pivotal role in what we now call ‘modernity’. Heuer also explores Gross’s paradigmatic father/son battle with his father Hans, who established the science of criminology, and touches upon Gross’s links to the literary field of the early 20th century via Kafka, Werfel, et al., German expressionism and the Dada-movement, as well as the Anglo-American world through the work of D. H. Lawrence. This innovative, multi-faceted approach to Gross’s work and its influence marks a turning point, putting him firmly on the map of the historiography of analysis as well as linking this field with the neighbouring disciplines of the history of law and criminology, literature, sociology and philosophy. In addition, Gross continuing relevance for leading edge clinical and political ideas is addressed. This book will be essential reading for Jungian and Freudian analysts, psychotherapists and counsellors, academics and students of analysis, politics, history, criminology and sociology.

Unusable pasts; scandalous lives; political betrayal, confession and collaboration: reading narrative non-fiction across South Africa's unfinished transition.

The Horror issue features original cover artwork by Jake and Dinos Chapman and a line-up of contributors that includes some of the greatest names in contemporary fiction. Stephen King tells the story of a retired judge with a deadly secret. Don DeLillo imagines a moviegoer-turned-stalker and Paul Auster writes of his mother's death. Rajesh Parameswaran dips into the mind of a tiger who escapes from a zoo and terrorizes a neighbourhood. Will Self writes of his blood disease and Daniel Alarcon explores the phenomenon of staged, high-camp blood baths. Mark Doty ruminates on a close encounter between Walt Whitman and Bram Stoker. CONTRIBUTORS: Daniel Alarcon, Paul Auster, Tom Bamforth, Roberto Bolano, Don DeLillo, Mark Doty, Sarah Hall, Stephen King, Kanitta Meechubot (artist), Julie Ostuka, D.A. Powell (poem), Rajesh Parameswaran, Santiago Roncagliolo, Will Self, Joy Williams.

Granta 155: Best of Young Spanish-Language Novelists 2 showcases the work of twenty-five of the most exciting young writers in the Spanish speaking world, chosen by judges Chloe Aridjis, Horacio Castellanos Moya, Rodrigo Fresn, Aurelio Major, Gaby Wood and guest editor Valerie Miles. Granta 155 is published simultaneously with Granta en Espaol 23: Los Mejores Narradores Jvenes en Espaol 2, in Spain and in the US. Andrea Abreu (Spain) trans. Julia Sanches Jos Adiak Montoya (Nicaragua) trans. Samantha Schnee David Aliaga (Spain) trans. Daniel Hahn Carlos Manuel lvarez (Cuba) trans. Frank Wynne Jos Ardila (Colombia) trans. Lindsay Griffiths and Adrin Izquierdo Gonzalo Baz (Uruguay) trans. Christina MacSweeney Miluska Benavides (Peru) trans. Katherine Silver Martn Felipe Castagnet (Argentina) trans. Frances Riddle Andrea Chapela (Mexico) trans. Kelsi Vanada Camila Fabbri (Argentina) trans. Jennifer Croft Paulina Flores (Mexico) trans. Megan McDowell Carlos Fonseca (Costa Rica/Puerto Rico) trans. Megan McDowell Mateo Garca Elizondo (Mexico) trans. Robin Myers Aura Garca-Junco (Mexico) trans. Lizzie Davis Munir Hachemi (Spain) trans. Nick Caistor Dainerys Machado Vento (Cuba) trans. Will Vanderhyden Estanislao Medina Huesca (Equatorial Guinea) trans. Mara Faye Lethem Cristina Morales (Spain) trans. Kevin Gerry Dunn Alejandro Morelln (Spain) trans. Esther Allen Michel Nieva (Argentina) trans. Natasha Wimmer Mnica Ojeda (Ecuador) trans. Sarah Booker Eudris Planche Savn (Cuba) trans. Margaret Jull Costa Irene Reyes-Noguerol (Spain) trans. Lucy Greaves Aniela Rodrguez (Mexico) trans. Sophie Hughes Diego Ziga (Chile) trans. Megan McDowell

The autumn issue of Granta will include fiction by Judith Hermann and Clemens Meyer (tr. Katy Derbyshire) and essays by Lauren Oyler, Lutz Seiler (tr. Martyn Crucefix) and Peter Richter. Plus, a poem by Frederick Seidel, and photography by Ilyes Griyeb with an introduction by Imogen West-Knights.

Contrary to the view held by many who study American foreign policy, public diplomacy has seldom played a decisive role in the achievement of the country's foreign policy objectives. The reasons for this are not that the policies and interventions are ill-conceived or badly executed, although this is sometimes the case. Rather, the factors that limit the effectiveness of public diplomacy lie almost entirely outside the control of American policy-makers. In particular, the resistance of foreign opinion-leaders to ideas and information about American motives and actions that do not square with their pre-conceived notions of the United States and its activities in the world is an enormous and perhaps insurmountable wall that limits the impact of public diplomacy. This book does not conclude that public diplomacy has no place in the repertoire of American foreign policy. Instead, the expectations held for this soft power tool need to be more realistic. Public diplomacy should not be viewed as a substitute for hard power tools that are more likely to be correlated with actual American influence as opposed to the somewhat nebulous concept of American standing.