The Rest Is Silence

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994.

Winner, H.R. (Bill) Percy Novel Prize Finalist, Amazon.ca First Novel Award Finalist, Jim Connors Dartmouth Book Award Finalist, Ottawa Book Award In the backwoods of Nova Scotia, a man has decided to withdraw from the world and live off the land. Meanwhile, news reports begin to trickle in of a global catastrophe. Someone has released a genetically modified strain of bacteria that devours plastic. The world will never again be the same. In this masterfully atmospheric novel, both apocalyptic in scope and intimate in setting, Scott Fotheringham cracks opens Pandora's box to let loose a trail of chilling consequences.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

This eclectic selection of poems straddles decades, generations and continents and constitutes the stories collected by the author over a lifetime. The works reflect on the human condition, what the oral historian Studs Terkel called life and its uncertainties, loves exuberance and sad needs, births joy and deaths dark wounds, the comedy of communal days and the wearying tears of isolating night. Its language seeks to plummet the power of the communicated word, the fragility of understanding, and the frustrations of muteness.

Taking off from the tragic murder in January 1999 of the Pakistani artist Zahoor ul Akhlaq, the book charts the story of this elusive artist. The more the author Roger Connah researched, the more versions of a truth emerged. Known as the "painter's painter" within Pakistan, Akhlaq appears to have lived a life so public that it became secret, a critical fiction. A permanently picaresque figure, Akhlaq recalls those Sufi scholars from the ninth and tenth century in Asia. Beginning with an interest in calligraphy, Akhlaq searched for a vibrant cultural practice in contemporary Pakistan. As an artist-wayfarer in and out of cities like Karachi, Delhi, Lahore, Toronto, London, Montreal, Bangkok, Kabul, Teheran, Tokyo, Venice, this book begins to recount a life in flux, a life on the move, a life exploring the traditions of Islam and the dancing order of a Muslim mind. The necessity and urgency to negotiate the invasions and seductions of Modernity produce unusual reversals in his art and contemporary narratives about the society and culture.

Acclaimed as a modern dramatic masterpiece, Rosencrantz & Guildenstern are Dead is the fabulously inventive tale of Hamlet as told from the worm’s-eve view of the bewildered Rosencrantz and Guildenstern, two minor characters in Shakespeare’s play. In Tom Stoppard’s best-known work, this Shakespearean Laurel and Hardy finally get a chance to take the lead role, but do so in a world where echoes of Waiting for Godot resound, where reality and illusion intermix, and where fate leads our two heroes to a tragic but inevitable end. Tom Stoppard was catapulted into the front ranks of modem playwrights overnight when Rosencrantz and Guildenstern Are Dead opened in London in 1967. Its subsequent run in New York brought it the same enthusiastic acclaim, and the play has since been performed numerous times in the major theatrical centers of the world. It has won top honors for play and playwright in a poll of London Theater critics, and in its printed form it was chosen one of the “Notable Books of 1967” by the American Library Association.

The magical, stunning conclusion to the internationally acclaimed Half Bad trilogy, the inspiration for the Netflix series The Bastard Son & The Devil Himself "An enthralling fantasy in the Harry Potter tradition."—Time magazine on Half Bad The Alliance is losing. Their most critical weapon, seventeen-year-old witch Nathan Brynn, has killed fifty-two people, and yet he's no closer to ending the tyrannical, abusive rule of the Council of Witches in England. Nor is Nathan any closer to his personal goal: getting revenge on Annalise, the girl he once loved, before she committed an unthinkable crime. There is an amulet, protected by the extremely powerful witch Ledger, which could be the tool Nathan needs to save himself and the Alliance. But the amulet is not so easily acquired. And lately Nathan has started to suffer from visions: a vision of a golden moment when he dies, and of an endless line of Hunters, impossible to overcome. Gabriel, his closest companion, encourages Nathan to run away with him, to start a peaceful life together. But even Gabriel's love may not be enough to save Nathan from this war, or from the person he has become. Set in modern-day Europe, the final book in the Half Bad trilogy is more than a story about witches. It’s a heart-poundingly visceral look at survival and exploitation, the nature of good and evil, and the risks we take for love. Now streaming on Netflix as The Bastard Son & The Devil Himself. Cover may vary.

Shakesqueer puts the most exciting queer theorists in conversation with the complete works of William Shakespeare. Exploring what is odd, eccentric, and unexpected in the Bard’s plays and poems, these theorists highlight not only the many ways that Shakespeare can be queered but also the many ways that Shakespeare can enrich queer theory. This innovative anthology reveals an early modern playwright insistently returning to questions of language, identity, and temporality, themes central to contemporary queer theory. Since many of the contributors do not study early modern literature, Shakesqueer takes queer theory back and brings Shakespeare forward, challenging the chronological confinement of queer theory to the last two hundred years. The book also challenges conceptual certainties that have narrowly equated queerness with homosexuality. Chasing all manner of stray desires through every one of Shakespeare’s plays and poems, the contributors cross temporal, animal, theoretical, and sexual boundaries with abandon. Claiming adherence to no one school of thought, the essays consider The Winter’s Tale alongside network TV, Hamlet in relation to the death drive, King John as a history of queer theory, and Much Ado About Nothing in tune with a Sondheim musical. Together they expand the reach of queerness and queer critique across chronologies, methodologies, and bodies. Contributors. Matt Bell, Amanda Berry, Daniel Boyarin, Judith Brown, Steven Bruhm, Peter Coviello, Julie Crawford, Drew Daniel, Mario DiGangi, Lee Edelman, Jason Edwards, Aranye Fradenburg, Carla Freccero, Daniel Juan Gil, Jonathan Goldberg, Jody Greene, Stephen Guy-Bray, Ellis Hanson, Sharon Holland, Cary Howie, Lynne Huffer, Barbara Johnson, Hector Kollias, James Kuzner , Arthur L. Little Jr., Philip Lorenz, Heather Love, Jeffrey Masten, Robert McRuer , Madhavi Menon, Michael Moon, Paul Morrison, Andrew Nicholls, Kevin Ohi, Patrick R. O’Malley, Ann Pellegrini, Richard Rambuss, Valerie Rohy, Bethany Schneider, Kathryn Schwarz, Laurie Shannon, Ashley T. Shelden, Alan Sinfield, Bruce Smith, Karl Steel, Kathryn Bond Stockton, Amy Villarejo, Julian Yates

The fog of war surrounding D-Day and Operation Tiger provides cover for one of Billy Boyle's grisliest investigations. When an unidentified corpse washes ashore at Slapton Sands on England's southern coast, US Army Captain Billy Boyle and his partner, Lieutenant Piotr "Kaz" Kazimierz, are assigned to investigate. The Devonshire beach is the home to Operation Tiger, the top-secret rehearsal for the approaching D-Day invasion of Normandy, and the area is restricted; no one seems to know where the corpse could have come from. Luckily, Billy and Kaz have a comfortable place to lay their heads at the end of the day: Kaz's old school chum David lives close by and has agreed to host the two men during their investigation. Glad for a distraction from his duties, Billy settles into life at David's family's fancy manor, Ashcroft, and makes it his mission to get to know its intriguing cast of characters. Just when Billy and Kaz begin to wrap up their case, they find themselves with not one soggy corpse on their hands but hundreds following a terrible tragedy during the D-Day rehearsal. To complicate things, life at Ashcroft has been getting tense: secret agendas, buried histories, and family grudges abound. Then one of the men meets a sudden demise. Was it a heart attack? Or something more sinister?

As the adults sit down to gossip over a long wedding lunch and the rest of the children rush off to play, a young boy slips out of sight beneath the table. Tommy is twelve years old but his weak heart prevents him from joining his cousins' games, so he sets his MP3 player to record the voices chattering above him. But then the conversation turns to his mother's death and he overhears something he was never meant to know: that she didn't die of an illness, but took her own life. Confused and hurt, Tommy keeps what he has learned to himself and begins his own secret investigation into what really happened. At the same time, his father and stepmother have problems of their own to contend with. Juan is racked by private grief and guilt after the death of one of his patients, and Alma, his second wife, senses an increasing distance in their marriage and gradually finds herself drawn back towards an old flame. As all three withdraw into their own worlds, leaving more and more unsaid between them, their family story moves inexorably, affectingly towards its devastating conclusion.