I call it poetry, you may call it verse, or something else. I will let you decide.

Now available in paperback for the first time, Jewish Writers of the Twentieth Century is both a comprehensive reference resource and a springboard for further study. This volume: examines canonical Jewish writers, less well-known authors of Yiddish and Hebrew, and emerging Israeli writers includes entries on figures as diverse as Marcel Proust, Franz Kafka, Tristan Tzara, Eugene Ionesco, Harold Pinter, Tom Stoppard, Arthur Miller, Saul Bellow, Nadine Gordimer, and Woody Allen contains introductory essays on Jewish-American writing, Holocaust literature and memoirs, Yiddish writing, and Anglo-Jewish literature provides a chronology of twentieth-century Jewish writers. Compiled by expert contributors, this book contains over 330 entries on individual authors, each consisting of a biography, a list of selected publications, a scholarly essay on their work and suggestions for further reading.

Berger’s slim, user-friendly volume on academic writing is a gift to linguistically-stressed academics. Author of 60 published books, the author speaks to junior scholars and graduate students about the process and products of academic writing. He differentiates between business writing skills for memos, proposals, and reports, and the scholarly writing that occurs in journals and books. He has suggestions for getting the “turgid” out of turgid academic prose and offers suggestions on how to best structure various forms of documents for effective communication. Written in Berger’s friendly, personal style, he shows by example that academics can write good, readable prose in a variety of genres.

By integrating conversations across disciplines, especially focusing on classical studies and Jewish and Christian studies, this volume addresses several imbalances in scholarship on reading and textual activity in the ancient Mediterranean. Contributors intentionally place Jewish, Christian, Roman, Greek and other reading circles back into their encompassing historical context, avoiding subdivisions along modern subject lines, divisions still bearing marks of cultural and ideological interests. In their examination, contributors avoid dwelling upon traditional methodological debates over orality vs. literacy and social classifications of literacy, instead turning their attention to the social-historical: groups of people, circles and networks, strata and class, scribal culture, material culture, epigraphic and papyrological evidence, functions and types of literacy and the social relationships that all of these entail. Overall, the volume contributes to an emerging and important interdisciplinary collaboration between specialists in ancient literacy, encouraging future discussion between two currently divided fields.

An accurate and comprehensive study of the political aspects of Fielding’s art has been sorely needed. As a result of decades of work by literary scholars and a series of great historians, such a study is finally possible. This volume addresses that need, and, in the light of a recent revival of interest in Fielding’s work, it arrives most opportunely. The author offers here a wide-ranging focus and a firm grip on the shifting complexities of Fielding’s political situations—the loyalties and enmities, factional alignments and fractious rhetoric—that allow a satisfactory understanding of Fielding’s political writing. Political writing in Fielding’s day, as in ours, was topical, concerned with evanescent problems and day-to-day needs that were familiar to contemporaries, but that are now recaptured only with greatest difficulty. This study constitutes a thorough reconstruction of Fielding’s political context and extricates from the context Fielding’s own political endeavours. Cleary’s work will make many of Felding’s previously unstudied work accessible to students and scholars of eighteenth-century English literature. A necessary point of reference to both literary specialists and historians concerned with eighteenth-century England.

Ann Beattie, Joyce Carol Oates, Richard Bausch, and twenty-one other celebrated American writers contribute to this moving anthology of fiction, compiled by the editors of the Glimmer Train literary quarterly. In the ten-plus years since Susan Burmeister-Brown and Linda B. Swanson-Davies founded Glimmer Train, they have introduced an astonishing array of talented and innovative authors to a growing readership hungry for inspiring fiction. The stunning stories in this anthology -- many of which have never appeared anywhere except in Glimmer Train Stories -- explore one of the most complex emotional and psychological ties of all: motherhood, and its many facets. The writers in Mother Knows include established authors as well as up-and-coming talents like Junot DÍaz and award-winning writers like Robin Bradford, Nancy Reisman, Lee Martin, and Doug Crandell. Their stories demonstrate that motherhood is more than toilet training and tantrum control, as they portray the full, fierce, joyous, and frightening range of experience that marks this state of being. Mother Knows is a thoughtful and powerful exploration of the most mysterious bond in life.