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Ira Mittelman, the middle-aged hero of "A Box of Ashes," one of two novellas in Little Men, is wrestling with a dilemma: should he fulfill his late father''s dying wish by taking the old man''s ashes back to Missouri, to scatter them on the grounds of Camp HaHaTonka, the Boy Scout camp where Ira spent several summers as a boy? It''s a long way to go just to dump some ashes, and if Ira makes this pilgrimage, his absence might jeopardize the fragile relationship he''s managed to maintain with his ex-wife (they''re still having sex every Friday night).In "Spivak in Babylon," Little Men''s other novella, it''s 1982, and Leo Spivak, an ambitious 30-year-old copywriter at a large Chicago advertising agency, is about to get his big break: a chance to go to Hollywood to participate for the first time in the filming of a television commercial. A week in Hollywood, on the company''s expense account! A room at the fabled Chateau Marmont (Garbo''s old suite, in fact)! The only problem is the subject of the commercial itself: a new feminine hygiene spray to be marketed to pre-adolescent girls. Hovering over all the proceedings in "Spivak in Babylon" is the genial, befuddled presence of President Ronald Reagan, the Leader of the Free World, who haunts Leo''s dreams.

Perspectives: Modes of Viewing and Knowing in Nineteenth-Century England reopens the question of classical perspective and its vicissitudes in aesthetic practice with a focus on texts of the 1830s to the end of the 1870s. Linda M. Shires demonstrates why and how artists and writers across media experimented with techniques of dissolution, combination, and multiple viewpoints much earlier in the century than intellectual historians generally assume. Arguing for a relationship between what she calls the disappearing "I" in poetry, a compromised omniscience, and the testing of a mastering eye in painting and photography, Shires argues that art forms themselves, rather than new technologies alone, reshaped the period by educating readers and viewers into new ways of knowing. In chapters on visual and verbal art and a waning theocentrism; D.G. Rossetti; Henry Peach Robinson and Lady Clementina Hawarden; and Robert Browning, Wilkie Collins, and George Eliot, Shires revitalizes the currently available scholarship on connections among nineteenth-century art forms. This interdisciplinary study offers nuanced, close readings in order to rebut assertions of delayed artistic responses to the decreasing influence of traditional perspective. It shows how vision is bound up with all the senses of a viewer and it supports current concepts of modernism as transitional, rather than radical.