Digressions

Revelation 7:1-17 occurs between the opening of the sixth and seventh seal and Rev 10:1-11:13 between the sixth and seventh trumpet blasts. Interpreters often explain these passages as "interludes," "parentheses," or "expansions," but not in terms of ancient communication. Peter S. Perry analyzes these interruptions in the seals and trumpets in light of digressions in ancient rhetorical theory and practice. Digressions are described by Hermagoras, Cicero, and Quintilian and widely used, including in Josephus' works, Jubilees, Sibylline Oracles I/II, Zechariah, and Exodus. As with other ancient digressions, Rev 7:1-17 and 10:1-11:13 are unessential to the logical flow but essential to the book's impact. These passages excite the emotions, shape character, and give insight into John's rhetorical strategy and goals.

Rivers is considered by many scholars to be the "Godfather" and "Grand Father" of Pop art, because he was one of the first artists to really merge non-objective, non-narrative art with narrative and objective abstraction. This is a collection of his works from his long career.

An unprecedented eyewitness account of the New York School, as seen between the lines of O'Hara's poetry Joe LeSueur lived with Frank O'Hara from 1955 until 1965, the years when O'Hara wrote his greatest poems, including "To the Film Industry in Crisis," "In Memory of My Feelings," "Having a Coke with You," and the famous Lunch Poems—so called because O'Hara wrote them during his lunch break at the Museum of Modern Art, where he worked as a curator. (The artists he championed include Jackson Pollock, Joseph Cornell, Grace Hartigan, Jane Freilicher, Joan Mitchell, and Robert Rauschenberg.) The flowering of O'Hara's talent, cut short by a fatal car accident in 1966, produced some of the most exuberant, truly celebratory lyrics of the twentieth century. And it produced America's greatest poet of city life since Whitman. Alternating between O'Hara's poems and LeSueur's memory of the circumstances that inspired them, Digressions on Some Poems by Frank O'Hara is a literary commentary like no other—an affectionate, no-holds-barred memoir of O'Hara and the New York that animated his work: friends, lovers, movies, paintings, streets, apartments, music, parties, and pickups. This volume, which includes many of O'Hara's best-loved poems, is the most intimate, true-to-life portrait we will ever have of this quintessential American figure and his now legendary times.

Digressions and the Human Imagination makes a significant contribution to our anthropological knowledge about human creativity. The creative force of the human imagination is widely considered as a key ingredient in understanding how social and cultural transformations occur. And yet, what we know about the nature of creative processes is surprisingly limited. Taking their cue from literary studies, the contributors to this volume explore digression as human creativity’s main impulse. They offer a series of experimental explorations of digression in different arenas of social life – literature, conversations, myths, humour, art, and wayfinding. In their examination of the relationship between creativity and digressive processes, the contributions challenge and eventually collapse conventional distinctions between ‘artistic’ and ‘scientific’ imaginaries. This book articulates with clarity the freedom and joy of wandering off in new directions, but also the potentially transgressive and even revolutionary character that digression has when it is put to work through the creativity of the human imagination. It will be relevant for anthropologists and other scholars from across the humanities and social sciences with an interest in creativity.

With studies of, amongst others, Miguel de Cervantes, Anton Chekhov, Charles Baudelaire and Henry James, this landmark collection of essays is a unique and wide-ranging exploration and celebration of the many forms of digression in major works by fifteen of the finest European writers from the early modern period to the present day.