Poetry. Illustrated with etchings by Russell Chatham. "Throughout the seven sections that are woven into a unified whole, Adnan displays a remarkable sensibility for the precise details that fuse the landscapes of individual and social nightmares. Through an ingenious synthesis of the best elements of the surrealist, cut-up and Language schools of writing, Adnan has attained a unique poetic voice." The San Francisco Chronicle"

As skilled a philosopher as she is a poet, Adnan weaves multiple sonic, theoretical, syntactic pleasures at once.

The Apocalypse informed medieval expectations of the end of the world, responses to strange and exotic invaders, and the legend of Alexander the Great. An Alexandrian World Chronicle represented the early Christian chronicle tradition that would dominate medieval historiography. Both crossed the Mediterranean in Late Antiquity.

In the first comprehensive history of American evangelicalism to appear in a generation, Matthew Sutton shows how charismatic Protestant preachers, anticipating the end of the world, paradoxically transformed it. Narrating the story from the perspective of the faithful, he shows how apocalyptic thinking influences the American mainstream today.

Poetry. "A series of meditations following the sun, SEASONS arrives in mesmerizing waves of observation and reflection. The blue depths of Adnan's inquiry--into the nature of Being, Time, knowledge itself--crest moment upon moment of quiet revelation, as the passions of history, myth, today, and yesterday rage and subside beneath her watchful eye. 'To think is not to contemplate, it's to witness.' So stanzas wash upon the page's horizon, ever moving toward the mind's encounters with the world. Intimate with ephemera, alert to what's hidden, SEASONS seeks the universe within and beyond the spirit's changeable weather, finding everywhere its center."--Megan Pruiett

A collection of stories about displacement, love, loss, poetry and war, from the Lebanese poet and painter who has been called “arguably the most celebrated and accomplished Arab-American author writing today” (Melus). The stories in Master of the Eclipse are populated by filmmakers, poets, girls, professors, and prostitutes who live in Beirut, Paris, Sicily, California, Saddam’s Iraq, and New York. The world of these stories is ours, with the same occupations and wars—a “world that would be a cemetery” were it not also a place where taxis are “yellow flowers floating down the avenues.” From the collection’s title story, a long meditation on history and war, power and poetry, to its concluding tale, a strangely quiet vision of a tree floating in a Damascus stream, Etel Adnan’s painterly vision, her cosmopolitan flexibility, and her philosophical bent are on full display. This is a woman, after all, trained in philosophy at the Sorbonne, Harvard, and the University of California at Berkeley, who became a painter, and then a poet. Her voice comes to us as something the opposite of her title: She is a master of light and revelation, of language, variety, and color.