Collaborative Form attempts to show the nature and limits of works of art that are made up of two or more artistic forms. The first task of this book is to analyze and interpret a set of such combinations. Each chapter treats one collaborative work and attempts to show that the principles of collaboration are the same, whether the components are poetry and graphic works as in Lettera Amorosa by Rene Char and George Braque, poetry and music as in Herzgewachse by Maurice Maeterlinck and Arnold Schoenberg, or more complex sets that include painting, music, dance, lighting, and drama as in Der gelbe Klang by Wassily Kandinsky, Morder, Hoffnung der frauen by Oskar Kokoschka, and Triad by Alwin Nikolais.

Although C. S. Lewis is best known for his prose and for his clear, lucid literary criticism, Christian apologetics, and imaginative Ransom and Narnia stories, he considered himself a poet for the first two and a half decades of his life. Owen Barfield recalls that anyone who met Lewis as a young man in the early 1920s at Oxford University quickly learned he was one “whose ruling passion was to become a great poet. At that time if you thought of Lewis you automatically thought of poetry.”

Ray Bradbury spent decades refashioning many of his early pulp and mainstream magazine stories to form the intricate story-cycle tapestries of The Martian Chronicles and Dandelion Wine; other tales were revised or rewritten for such timeless collections as Dark Carnival, The Illustrated Man, The Golden Apples of the Sun, and The October Country. These volumes represent wonderful and enduring fictional masks for the author, but they are not his original masks. The Collected Stories of Ray Bradbury series returns to the earliest surviving forms of his oldest published tales, presenting many of them in versions not seen since the 1940s and early 1950s, when the Golden Age of the American magazine began to pass into history.

Though it highlights just one year of writing, this third volume of The Collected Stories of Ray Bradbury represents a crucial moment at the midpoint of his first full decade as a professional writer. The original versions of the 1940s stories recovered for The Collected Stories of Ray Bradbury, presented in the order in which they were written and first sent off to find life in the magazine market, suggest that Bradbury’s masks didn’t always appeal to his editors. The Volume 3 stories were all written between March 1944 and March 1945, and the surviving letters of this period reveal the private conflict raging between Bradbury’s efforts to define a distinct style and creative vision at home in Los Angeles and the tyranny of genre requirements imposed by the distant pulp publishing world in New York.

In the past, collections of Bradbury’s works have juxtaposed stories with no indication as to the different time periods in which they were written. Even the mid- and late-career collections that Bradbury himself compiled contained stories that were written much earlier—a situation that has given rise to misconceptions about the origins of the stories themselves. In this new edition, editors William F. Touponce and Jonathan R. Eller present for the first time the stories of Ray Bradbury in the order in which they were written. Moreover, they use texts that reflect Bradbury’s earliest settled intention for each tale. By examining his relationships with his agent, editor, and publisher, Touponce and Eller’s textual commentaries document the transformation of the stories—and Bradbury’s creative understanding of genre fiction—from their original forms to the versions known and loved today.

James Jessen Badal’s extensive research reveals how the citizens of Collinwood were desperate to find someone to blame. Rumor and suspicion splintered the grieving community. And yet they also rose to the challenge of healing: officials reached out to immigrant families unsure of their rights; city charities, churches, and relief agencies responded with medical help, comfort for the bereaved, and financial support; and fundraising efforts to assist families totaled over $50,000—more than $1 million today.

Placing the bilateral relationship in a global context, this military and diplomatic history examines the importance of ideology, material interests, and power in U.S.-Latin American relations. Historian Bradley Coleman demonstrates how the making of the Colombian-American alliance exemplified hemispheric interconnectedness, a condition of ever-growing importance in the twenty-first century. Employing available Colombian and U.S. archival sources, this book fills a gap in the literature on U.S. relations with less developed countries and provides new research on the origins an development of the U.S–Colombian alliance that will serve as an invaluable resource for scholars of U.S. and Latin American diplomacy.

A 37-minute DVD that tells the story of a young Col. George Perkins returning home to Akron after the Civil War. Using vintage photographs and images of re-enactors, it portrays the effect of the war on Perkins and the social and political changes that occurred nationally and on the homefront.

First published in 1960, The Coming of Fabrizze has been called by the New York Herald Tribune a “comic folklore festival about an Italian American colony in Cleveland, Ohio, back in the 1920s when all the land was a little slaphappy—and no one more so than these transplanted countrymen of the Medicis, Giuseppe Garibaldi, Christopher Columbus… and others whose hearts have belonged to Italia.” More a myth or a legend than a realistic novel or sociological novel, Fabrizze is a celebration of the working class and a heroic tale of an immigrant who succeeds by virtue of hard work and honesty. Author Raymond DeCapite’s characterizations of Italian Americans in Cleveland have been compared to the depictions of Armenian Americans in the early writing of William Saroyan, and Ann Ross of the New York Herald Tribune said that DeCapite’s “greatest achievement is his ability to achieve tenderness without sentimentality.”

Recently and increasingly, literary and philosophical scholars are subscribing to the view that philosophy and literature are allies. However, nearly all of these scholars have concentrated on analyses of Greek philosophers and dramatists as well as English novels and novelists with reference to the nature of a good society and a moral life. The essays presented in A Community of Inquiry explore often-neglected works: classical American philosophy, especially pragmatism, and American literature, particularly the realists and naturalists, and mostly ignored fundamental issues of epistemology and metaphysics.