FINALIST FOR THE 2022 NATIONAL BOOK AWARD A new masterwork of satire, lore, and living memory from the leading voice of French-Rwandan literature “Mukasonga breathes upon a vanished world and brings it to life in all its sparkling multifariousness” --J.M. Coetzee In four beautifully woven parts, Mukasonga spins a marvelous recounting of the clash between ancient Rwandan beliefs and the missionaries determined to replace them with European Christianity. When a rogue priest is defrocked for fusing the gospels with the martyrdom of Kibogo, a fierce clash of cults ensues. Swirling with the heady smell of wet earth and flashes of acerbic humor, Mukasonga brings to life the vital mythologies that imbue the Rwandan spirit. In doing so, she gives us a tale of disarming simplicity and profound universal truth. Kibogo’s story is reserved for the evening’s end, when women sit around a fire drinking honeyed brew, when just a few are able to stave off sleep. With heads nodding, drifting into the mist of a dream, one faithful storyteller will weave the old legends of the hillside, stories which church missionaries have done everything in their power to expunge. To some, Kibogo’s tale is founding myth, celestial marvel, magic incantation, bottomless source of hope. To white priests spritzing holy water on shriveled, drought-ridden trees, it looms like red fog over the village: forbidden, satanic, a witchdoctor’s hoax. All debate the twisted roots of this story, but deep down, all secretly wonder – can Kibogo really summon the rain?

Comic elements in Shakespeare's tragedies have often been noted, but while most critics have tended to concentrate on humorous interludes or on a single play, Susan Snyder seeks a more comprehensive understanding of how Shakespeare used the conventions, structures, and assumptions of comedy in his tragic writing. She argues that Shakespeare's early mastery of romantic comedy deeply influenced his tragedies both in dramaturgy and in the expression and development of his tragic vision. From this perspective she sheds new light on Romeo and Juliet, Hamlet, Othello, and King Lear. The author shows Shakespeare's tragic vision evolving as he moves through three possibilities: comedy and tragedy functioning first as polar opposites, later as two sides of the same coin, and finally as two elements in a single compound. In the four plays examined here, Professor Snyder finds that traditional comic structures and assumptions operate in several ways to shape the tragedy: they set up expectations which when proven false reinforce the movement into tragic inevitability; they underline tragic awareness by a pointed irrelevance; they establish a point of departure for tragedy when comedy's happy assumptions reveal their paradoxical "shadow" side; and they become part of the tragedy itself wehen the comic elements threaten the tragic hero with insignificance and absurdity. Susan Snyder is Professor of English at Swarthmore College. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

FINALIST FOR THE 2022 NATIONAL BOOK AWARD A new masterwork of satire, lore, and living memory from the leading voice of French-Rwandan literature “Mukasonga breathes upon a vanished world and brings it to life in all its sparkling multifariousness” --J.M. Coetzee In four beautifully woven parts, Mukasonga spins a marvelous recounting of the clash between ancient Rwandan beliefs and the missionaries determined to replace them with European Christianity. When a rogue priest is defrocked for fusing the gospels with the martyrdom of Kibogo, a fierce clash of cults ensues. Swirling with the heady smell of wet earth and flashes of acerbic humor, Mukasonga brings to life the vital mythologies that imbue the Rwandan spirit. In doing so, she gives us a tale of disarming simplicity and profound universal truth. Kibogo’s story is reserved for the evening’s end, when women sit around a fire drinking honeyed brew, when just a few are able to stave off sleep. With heads nodding, drifting into the mist of a dream, one faithful storyteller will weave the old legends of the hillside, stories which church missionaries have done everything in their power to expunge. To some, Kibogo’s tale is founding myth, celestial marvel, magic incantation, bottomless source of hope. To white priests spritzing holy water on shriveled, drought-ridden trees, it looms like red fog over the village: forbidden, satanic, a witchdoctor’s hoax. All debate the twisted roots of this story, but deep down, all secretly wonder – can Kibogo really summon the rain?

Sanctified Aggression allies itself neither with the easy assumption that religions are by definition violent (and that only the secular/humanist/humane can offer a place of refuge from the ravages of religious authority) nor with the equally facile opposing view that religion expresses the "best" of human aspirations and that this best is always capable of diffusing or sublating the worst. Rather, it works from the premise that biblical, Jewish and Christian vocabularies continue to resonate, inspire and misfire. Some of the essays here explore how these vocabularies and symbols have influenced, or resonate with, events such as the massacre of Jews in Jedwabne, Poland (1941), the Rwandan Massacre (1994), the tragedy at Columbine High School (1999) and the emergence of the "Phineas Priesthood" of white supremacists in North America. Other contributors examine how themes of martyrology, sacrifice and the messianic continue to circulate and mutate in literature, music, drama and film. The collective conclusion is that it is not possible to control biblical and religious violence by simply identifying canonical trouble-spots, then fencing them off with barbed wire or holding peace summits around them. Nor is it always possible to draw clear lines between problem and non-problem texts, witnesses and perpetrators, victims and aggressors or "reality" and "art".

Originally published in 1956, the main emphasis of the book is on the complex age-set organization which constitutes the framework within which the life of every Kikuyu is regulated from infancy to old age. The book shows how the political and territorial organization, the judicial system and the administration of justice, the training of leaders, the structure and the control of social life are all integrated into the age-set system.

LONGLISTED FOR THE NATIONAL BOOK AWARD FOR TRANSLATED LITERATURE A moving, unforgettable tribute to a Tutsi woman who did everything to protect her children from the Rwandan genocide, by the daughter who refuses to let her family's story be forgotten. The story of the author's mother, a fierce, loving woman who for years protected her family from the violence encroaching upon them in pre-genocide Rwanda. Recording her memories of their life together in spare, wrenching prose, Mukasonga preserves her mother's voice in a haunting work of art.

Mukasonga unsparingly resurrects the horrors of the Rwandan geocide while lyrically recording the quieter moments of daily life with her family—a moving tribute to all those who are displaced, who suffer. Mukasonga’s extraordinary, lyrical, and heartbreaking book … is indispensable reading for anyone who cares about the endurance of the human spirit and who hopes for a better world. — Lynne Sharon Schwartz, Los Angeles Review of Books Scholastique Mukasonga’s Cockroaches is a compelling chronicle of the author’s childhood in the years leading up to the 1994 Rwandan genocide. In a spare and penetrating tone, Mukasonga brings to life the scenes of her family’s forced displacement from Rwanda to neighboring Burundi. With a view made lucid through time and pain, Mukasonga erodes the distance between her present and her past, resurrecting and paying homage to her family members who were massacred in the genocide, but also, in movingly simple language, the beauty present in quiet, daily moments with her loved ones. As lyrical as it is tragic, Cockroaches is Mukasonga’s tribute to her family’s suffering and to the lingering grip of the dead on the living.