Research & Innovation

Devoted to Tolkien, the teller of tales and cocreator of the myths they brush against, these essays focus on his lifelong interest in and engagement with fairy stories, the special world that he called faërie, a world they both create and inhabit, and with the elements that make that world the special place it is. They cover a range of subjects, from The Hobbit to The Lord of the Rings and their place within the legendarium he called the Silmarillion to shorter works like “The Story of Kullervo” and “Smith of Wootton Major.”

From the pen of eminent Tolkien scholar Verlyn Flieger, the individual essays in this collection were written over a span of twenty years, each written to fit the parameters of a conference, an anthology, or both. They are revised slightly from their original versions to eliminate repetition and bring them up to date. Grouped loosely by theme, they present an unpatterned mosaic, depicting topics from myth to truth, from social manners to moral behavior, from textual history to the microparticles of Middle-earth.

Together these essays present a complete picture of a man as complicated as the books that bear his name—an independent and unorthodox thinker who was both a believer and a doubter able to maintain conflicting ideas in tension, a teller of tales both romantic and bitter, hopeful and pessimistic, in equal parts tragic and comedic. A man whose work does not seek for right or wrong answers so much as a way to accommodate both; a man of antitheses.

Scholars of fantasy literature generally and of Tolkien particularly will find much of value in this insightful collection by a seasoned explorer of Tolkien’s world of faërie.

In raw, poignant alternating first-person narratives, interspersed with e-mails, gay chat-room exchanges, and other fragments of a youth laid bare in the age of social media, The Lost Prayers of Ricky Graves (Little A, Dec. 2017) unravels the mystery of a life in all its glory: despair and regret, humor and wonder, courage and connection.

A heartbroken and humiliated Ricky Graves took the life of a classmate and himself. Five months later, the sleepy community is still in shock and mourning. Ricky’s sister, Alyssa, returns to confront her shattered, withdrawn mother and her guilt over the brother she left adrift. Mark McVitry, the lone survivor of the deadly outburst sparked by his own cruelty, is tormented by visions of Ricky’s vengeful spirit. Ricky’s surrogate older brother, Corky Meeks, grapples with doubts about the fragile boy he tried to protect but may have doomed instead. And Jeremy Little, who inadvertently became Ricky’s long-distance Internet crush despite never having met, seeks to atone for failing to hear his friend’s cries for help. For those closest to the tormented killer, shock and grief have given way to soul searching, as they’re forced to confront their broken dreams, buried desires, and missed opportunities. And in their shared search for meaning and redemption, Ricky’s loved ones find a common purpose: learning to trust their feelings, fighting for real intimacy in a world grown selfish and insincere, and fearlessly embracing all that matters most…before it’s gone from their lives.

Moving from suburban spaces to the chaos of New York City and back again, the speaker of A Forest Almost delights and despairs in a feeling of instability and flux. Memories are stirred up and confronted by a weird and equivocal world of metaphor as the poems move among different angles of sight and moments in time. By turns wry and ecstatic, epistolary and in search of a missing listener, these poems impart the threat and excitement of breaching one’s own isolation.

Imagined Homelands chronicles the emerging cultures of nineteenth-century British settler colonialism, focusing on poetry as a genre especially equipped to reflect colonial experience. Jason Rudy argues that the poetry of Victorian-era Australia, New Zealand, South Africa, and Canada—often disparaged as derivative and uncouth—should instead be seen as vitally engaged in the social and political work of settlement. The book illuminates cultural pressures that accompanied the unprecedented growth of British emigration across the nineteenth century. It also explores the role of poetry as a mediator between familiar British ideals and new colonial paradigms within emerging literary markets from Sydney and Melbourne to Cape Town and Halifax.

Rudy focuses on the work of poets both canonical—including Tennyson, Browning, Longfellow, and Hemans—and relatively obscure, from Adam Lindsay Gordon, Susanna Moodie, and Thomas Pringle to Henry Kendall and Alexander McLachlan. He examines in particular the nostalgic relations between home and abroad, core and periphery, whereby British emigrants used both original compositions and canonical British works to imagine connections between their colonial experiences and the lives they left behind in Europe.

Drawing on archival work from four continents, Imagined Homelands insists on a wider geographic frame for nineteenth-century British literature. From lyrics printed in newspapers aboard emigrant ships heading to Australia and South Africa, to ballads circulating in New Zealand and Canadian colonial journals, poetry was a vibrant component of emigrant life. In tracing the histories of these poems and the poets who wrote them, this book provides an alternate account of nineteenth-century British poetry and, more broadly, of settler colonial culture.

An ode to Put the Damn Guns Down, this is National Book Award finalist and New York Times bestseller Jason Reynolds’s fiercely stunning novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother.

Edited by Asa Simon Mittman and Thea Tomani, tiny collections, an imprint of punctum books, 2017, pp 1-8.