Will James first took up the guitar at the age of 11 in his hometown of Minneapolis. He moved to Texas at 17. He now lives in Arkansas.

For 25 years, Maxine Greene has been the philosopher-in-residence at the innovative Lincoln Center Institute, where her work forms the foundation of the Institute's aesthetic education practice. Each summer she addresses teachers from across the country, representing all grade levels, through LCI's intensive professional development sessions. Variations on a Blue Guitar contains a selection of these never-before-published lectures touching on the topics of aesthetic education, imagination and transformation, educational renewal and reform, excellence, standards, and cultural diversity, powerful ideas for today's educators.

A cultural history of the 1930s explores the anxiety, despair, and optimism of the period, exploring how the period culture provided a dynamic lift to the country's morale.

In these days of pandemic, war and political turbulence, hope can seem to be in short supply. But hope is one of the theological virtues and it is far more profound than mere optimism. Today, pessimism and despair seem all too prevalent. What can we do about the poor and starving, about those who seem to be locked in interminable conflict and families weighed down by the consequences of breakdown? Sister Teresa White's book is an antidote to all this and it is written with beautiful simplicity and directness. There is no hiding behind complicated or technical language. In one of the most forceful chapters in the book, the author shows how hope breeds courage and courage breeds hope. But hope is not a matter of wishful thinking. Drawing on St Augustine, the author shows moreover that hope has two essential components. Not just courage but anger as well. The expression of our anger can lead to greater clarity with our discernment and spiritual perception. Hope too can lead us to understand God's solidarity with us in times of sorrow and struggle. Teresa White in this Lent Book draws on inspiration from writers as diverse as Julian of Norwich and Karl Rahner, Elizabeth Barrett-Browning and Henri Nouwen, but throughout the book there is strong scriptural underpinning which the author uses to great effect.

The book studies the impact of Stevensian and Valeryan poetics, and symbolist poetics more broadly, on a range of Anglo-American poets in untypical fashion. Pairing poets who are not usually studied in their relation to one another reveals mutuality and dissimilitude. Chapter I looks at Stevens and Valery from the vantage point of the senses as opposed to the more usual lens of their similar cerebral or philosophical temperaments. Although critics have largely and justifiably seen Stevens and Eliot in oppositional terms (Stevens proclaims them dead opposites), Lisa Goldfarb asks what happens when we look at them from the vantage point of their mutual interest in creating a musical poetics. Auden is principally known for his distaste for the symbolists and their magical poetics, yet he reserves special praise for Valery and considers him as his poetic mentor; Chapter III studies their poetics side-by-side. With Stevens and Audens mutual appreciation of Valery as a starting point, Chapter IV turns to a closer comparative study of Auden and Stevens, two poets who have traditionally been seen as operating in distinct poetic spheres. While Elizabeth Bishop famously eludes categorization in terms of poetic school or affiliation, a fifth chapter addresses her poetic music in relation to French symbolist poetics, one of the many poetic schools she admired. A sixth and final chapter examines Stevens musical legacy, in large part derived from the symbolists, and addresses the work of a range of modern and contemporary poets, with a final section devoted to the work of contemporary poet, Susan Howe.

"The Collected poems of Wallace Stevens, first published in 1954, is seen here as a single, unified, grand poem, 'The whole of harmonium,' as Stevens himself once preferred to call it." Bibliography: p. 173-180.

Over sixty years after his death, Wallace Stevens remains one of the major figures of American modernist poetry, celebrated for his masterful style, formal rigor, and aesthetic investigations of the natural, political, and metaphysical worlds. In Making the Poem, noted Stevens scholar George S. Lensing explores the poet’s progress in the creation of his body of work, considering its development, composition, and reception. Drawing on little-known sources and nuanced readings of Stevens’ texts, Lensing expands the customary view of the poet’s creative approaches. This wide-ranging study extends from the origins and overlapping themes of well-known poems through the social and political backgrounds that marked Stevens’ work to the prosodic and musical elements central to his style. Making the Poem features a dynamic new reading of the important early poem “Sea Surface Full of Clouds”—viewing it alongside his wife Elsie’s journal describing the sea voyage that inspired the poem—and an extensive, multiperspective treatment of the widely anthologized “The Idea of Order at Key West,” as well as a careful excavation of the poem “Mozart, 1935” in the context of the U.S. Great Depression. Lensing concludes with a discussion of the gradual (and sometimes reluctant) recognition Stevens’ work received from poets and critics in Great Britain and Ireland. Stemming from decades of research and writing, Making the Poem: Stevens’ Approaches presents a holistic view of his creative achievements and a wealth of new material for readers to draw upon in their future encounters with the poetry of Wallace Stevens.