A SCHOLARLY BOOK REPOSITORY
Marjorie Agosín’s intensely personal long poem The Light of Desire is both a secular and sacred meditation on love and its meanings in the land of Israel. Following the tradition of the Song of Songs and the secular poetry of Sepharad, the beloved in The Light of Desire is both physical and metaphorical. The lovers’ bodies are the paths, the geography, leading not only from desire to sensual pleasure, but to memory and illumination. The light on the pink stones of Jerusalem, the sunlight of Galilee, from hills to the sea, the fragrant air and “mantle of stars,” all become one in this tender, rhapsodic expression of longing and desire. This is not unrequited love, but rather a reciprocal passion that brings exquisite pleasure, pain, a sense of fragility, and the hope and belief in that which is eternal.
The poem was written over a four-year span in Jerusalem’s Mishkenot Sha’ananim neighborhood, overlooking the wall of the Second Temple, and these hallowed surroundings imbued Agosín’s poetic voice. Lori Marie Carlson’s sensitive translation maintains the spirit of the original Spanish in this bilingual edition.
Lotería: Nocturnal Sweepstakes is a collection of deeply evocative coming-of-age poems that take the reader on a voyage through the intimate experiences of displacement. Conjuring dreamlike visions of extravagant fruits and rivers animated by the power of divination, these poems follow the speaker from the lash of war’s arrival through an urgent escape and reinvention in a land that saves with maternal instinct but also smothers its children.
In this bilingual collection, Colombian American poet Elizabeth Torres threads together the stories of family dynamics and the realities of migration with the archetypes of tarot and the traditional Lotería game, used for centuries as an object of divination and entertainment. Through these themes and images, the poems in Lotería narrate intimate moments in the lives and journeys of migrants, refugees, and all who have been forced into metamorphosis in order to reach the other side of the river.
2021 — Honorable Mention, Best Fiction Book Translation – International Latino Book Awards, Latino Literacy Now
Winner of the Tusquets Prize in 2015 and previously translated into French, German, Dutch, Polish, and Portuguese, Alberto Barrera Tyszka’s Patria o muerte is now available in English.
President Hugo Chávez’s cancer looms large over Venezuela in 2012, casting a shadow of uncertainty and creating an atmosphere of secrets, lies, and upheaval across the country. This literary thriller follows the connected lives of several Caracas neighbors consumed by the turmoil surrounding the Venezuelan president’s impending death.
Retired oncologist Miguel Sanabria, seeing the increasingly combustible world around him, feels on constant edge. He finds himself at odds with his wife, an extreme anti-Chavista, and his radical Chavista brother. These feelings grow when his nephew asks him to undertake the perilous task of hiding cell-phone footage of Chávez in Cuba. Fredy Lecuna, an unemployed journalist, takes a job writing a book about Chávez’s condition, which requires him to leave for Cuba while his landlord attempts to kick his wife and son out of their apartment. Nine-year-old María, long confined to an apartment with a neurotic mother intensely fearful of the city’s violence, finds her only contact with the outside world through a boy she messages online.
The first book to examine these essential issues in a Lusophone context.
Some of the most compelling theoretical debates in the humanities today center on representations of sexuality. This volume is the first to focus on the topic-in particular, the connections between nationhood, sex, and gender-in the lusophone, or Portuguese-speaking, world. Written by prominent scholars in Brazilian, Portuguese, and Lusophone African literary and cultural studies, the essays range across multiple discourses and cultural expressions, historical periods and theoretical approaches to offer a uniquely comprehensive perspective on the issues of sex and sexuality in the literature and culture of the Portuguese-speaking world that extends from Portugal to Brazil to Angola, Cape Verde, and Mozambique.
Through the critical lenses of gay and lesbian studies, queer theory, postcolonial studies, feminist theory, and postmodern theory, the authors consider the work of such influential literary figures as Clarice Lispector and Silviano Santiago. An important aspect of the volume is the publication of a newly discovered-and explicitly homoerotic-poem by Fernando Pessoa, published here for the first time in the original Portuguese and in English translation. Chapters take up questions of queer performativity and activism, female subjectivity and erotic desire, the sexual customs of indigenous versus European Brazilians, and the impact of popular music (as represented by Caetano Veloso and others) on interpretations of gender and sexuality. Challenging static notions of sexualities within the Portuguese-speaking world, these essays expand our understanding of the multiplicity of differences and marginalized subjectivities that fall under the intersections of sexuality, gender, and race.Contributors: Severino João Albuquerque, U of Wisconsin; Jossianna Arroyo, U of Michigan; César Braga-Pinto, Rutgers; Ana Paula Ferreira, U of California, Irvine; John Gledson, U of Liverpool; Russell G. Hamilton, Vanderbilt; André Torres Lepecki; Mário César Lugarinho, Universidade Federal Fluminense, Brazil; Phyllis Peres, U of Maryland; Ronald W. Sousa, U of Illinois; João Silvério Trevisan; Richard Zenith.
In a series of intriguing routes through the English countryside, Professor Robert Cooper notes those attractions that the casual tourist might unknowingly pass by, such as the house where Dickens wrote A Tale of Two Cities, or the windswept quay where John Fowles’s French Lieutenant’s woman walked. Maps and information about restaurants and accommodations give the traveler the opportunity of having pints of “half and half” where Jane Austen dined or visiting the pub where Blake’s scuffle led to his trial for treason.
This newly revised and updated edition of Robert Cooper’s acclaimed handbook combines the utility of current travel information with the appeal of literary history, biography, and anecdote in a leisurely and flavorful guide to the broad sweep of southern England outside of London. A rich and reliable guide to the landscape that fostered one of our most cherished cultures, The Literary Guide and Companion to Southern England is an indispensable resource for those who wish to experience literature firsthand.
That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have played a vital role in the formation of private life—that the love of literature, in other words, is deeply embedded in the history of literature. Yet at the same time, our love is neither self-evident nor ahistorical: our views of books as objects of affection have clear roots in eighteenth- and nineteenth-century publishing, reading habits, and domestic history.
While never denying the very real feelings that warm our relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase “the love of literature” as if its meaning were transparent. Lynch writes, “It is as if those on the side of love of literature had forgotten what literary texts themselves say about love’s edginess and complexities.” With this masterly volume, Lynch restores those edges and allows us to revel in those complexities.
This innovative collection challenges the traditional focus on solitary genius by examining the rich diversity of literary couplings and collaborations from the early modern to the postmodern period. Literary Couplings explores some of the best-known literary partnerships—from the Sidneys to Boswell and Johnson to Sylvia Plath and Ted Hughes—and also includes lesser-known collaborators such as Daphne Marlatt and Betsy Warland. The essays place famous authors such as Samuel Coleridge, Oscar Wilde, and William Butler Yeats in new contexts; reassess overlooked members of writing partnerships; and throw new light on texts that have been marginalized due to their collaborative nature. By integrating historical studies with authorship theory, Literary Couplings goes beyond static notions of the writing "couple" to explore literary couplings created by readers, critics, historians, and publishers as well as by writers themselves, thus expanding our understanding of authorship.
Examining British and American essays, poems, novels, and stories from the seventeenth through the nineteenth centuries, O’Brien pursues the idea of incorporation as a trope discernible in a wide range of texts. Key authors include John Locke, Eliza Haywood, Harriet Martineau, and Edgar Allan Poe, and each chapter is oriented around a type of corporation reflected in their works, such as insurance companies or banks. In exploring issues such as whether sentimental interest is the same as economic interest, these works bear witness to capitalism’s effect on history and human labor, desire, and memory. This period’s imaginative writing, O’Brien argues, is where the unconscious of that process left its mark. By revealing the intricate ties between literary models and economic concepts, Literature Incorporated shows us how the business corporation has shaped our understanding of our social world and ourselves.
Lost Property traces the representation of women writers from Margery Kempe and Christine de Pizan to Elizabeth I and Mary Queen of Scots, exploring how the woman writer became a focal point for emerging theories of literature and authorship in English precisely because of her perceived alienation from tradition. Through original archival research and readings of key literary texts, Summit writes a new history of the woman writer that reflects the impact of such developments as the introduction of printing, the Reformation, and the rise of the English court as a literary center.
A major rethinking of the place of women writers in the histories of books, authorship, and canon-formation, Lost Property demonstrates that, rather than being an unimaginable anomaly, the idea of the woman writer played a key role in the invention of English literature.
Hicks explores the limitations of the sentimental tradition in war representation and asks how the work of artists and writers can help us to move beyond the constraints of that tradition. Ranging from Walt Whitman's writings on the Civil War to the U.S. wars in Iraq and Afghanistan, and focusing on the innovative and creative artistic expressions arising out of the wars of the former Yugoslavia, Hicks examines how war has been perceived, described, and interpreted. He analyzes the limitations on knowledge caused by perspective and narrative position and looks closely at the distinct yet overlapping roles of victims, observers, and aggressors. In the end, he concludes, war stories today should be valued according to the extent they make it impossible for us to see these positions as assigned in advance, and immutable.
Love's Quarrels charts charity's complex history from the 1520s to the 1640s and details the ways in which it can be best understood in biblical translations of the early sixteenth century, in Elizabethan polemic and satire, and in the political and religious controversies arriving at the outset of civil war. As key works from Edmund Spenser, Ben Jonson, and John Milton reveal, "reading charity" was fraught with difficulty as early modern England reconsidered its deepest held convictions in the face of mounting social disruption and spiritual pressure.
Although the literary circle is widely recognized as a significant feature of Renaissance literary culture, it has received remarkably little examination. In this collection of essays, the authors attempt to explain literary circles and cultural communities in Renaissance England by exploring both actual and imaginary ways in which they were conceived and the various needs they fulfilled. The book also pays considerable attention to larger theoretical issues relating to literary circles.
The essayists raise important questions about the extent to which literary circles were actual constructs or fictional creations. Whether illuminating or limiting, the circle metaphor itself can be extended or reformulated. Some of the authors discuss how particular circles actually operated, and some question the very concept of the literary circle. Literary Circles and Cultural Communities in Renaissance England will be an important addition to seventeenth-century studies.
In seventeenth-century England, intellectuals of all kinds discovered their idealized self-image in the Adam who investigated, named, and commanded the creatures. Reinvented as the agent of innocent curiosity, Adam was central to the project of redefining contemplation as a productive and public labor. It was by identifying with creation’s original sovereign, Joanna Picciotto argues, that early modern scientists, poets, and pamphleteers claimed authority as both workers and “public persons.”
Tracking an ethos of imitatio Adami across a wide range of disciplines and devotions, Picciotto reveals how practical efforts to restore paradise generated the modern concept of objectivity and a novel understanding of the author as an agent of estranged perception. Finally, she shows how the effort to restore Adam as a working collective transformed the corpus mysticum into a public. Offering new readings of key texts by writers such as Robert Hooke, John Locke, Andrew Marvell, Joseph Addison, and most of all John Milton, Labors of Innocence in Early Modern England advances a new account of the relationship between Protestantism, experimental science, the public sphere, and intellectual labor itself.
With over twenty essays on such diverse topics as the aesthetic and pedagogical purposes of art exhibits in London, the materiality of late Romantic salon culture, the extracanonical status of Jane Austen and Fanny Burney, and Romantic imagery in Beethoven’s music and letters, Lessons of Romanticism reveals the practices that were at the heart of European Romantic life. Focusing on the six decades from 1780 to 1832, this collection is arranged thematically around gender and genre, literacy, marginalization, canonmaking, and nationalist ideology. As Americanists join with specialists in German culture, as Austen is explored beside Beethoven, and as discussions on newly recovered women’s writings follow fresh discoveries in long-canonized texts, these interdisciplinary essays not only reflect the broad reach of contemporary scholarship but also point to the long-neglected intertextual and intercultural dynamics in the various and changing faces of Romanticism itself.
Contributors. Steven Bruhm, Miranda J. Burgess, Joel Faflak, David S. Ferris, William Galperin, Regina Hewitt, Jill Heydt-Stevenson, H. J. Jackson, Theresa M. Kelley, Greg Kucich, C. S. Matheson, Adela Pinch, Marc Redfield, Nancy L. Rosenblum, Marlon B. Ross, Maynard Solomon, Richard G. Swartz, Nanora Sweet, Joseph Viscomi, Karen A. Weisman, Susan I. Wolfson
What if we didn’t always historicize when we read Victorian fiction?
Lost Causes shows that Victorian writers frequently appear to have a more supple and interesting understanding of the relationship between history, causality, and narrative than the one typically offered by readers who are burdened by the new historicism. As a return to these writers emphasizes, the press of modern historicism deforms Victorian novels, encouraging us to read deviations from strict historical accuracy as ideological bad faith. By contrast, Jason B. Jones argues through readings of works ranging from The French Revolution to Middlemarch that literature’s engagement with history has to be read otherwise.Perhaps perversely, Lost Causes suggests simultaneously that psychoanalysis speaks pressingly to the vexed relationship between history and narrative, and that the theory is neither a- nor anti-historical. Through his readings of Victorian fiction addressing the recent past, Jones finds in psychoanalysis not a set of truths, but rather a method for rhetorical reading, ultimately revealing how its troubled account of psychic causality can help us follow literary language’s representation of the real. Victorian narratives of the recent past and psychoanalytic interpretation share a fascination with effects that persist despite baffling, inexplicable, or absent causes.
In chapters focusing on Thomas Carlyle, Charles Dickens, Charlotte Brontë, and George Eliot, Lost Causes demonstrates that history can carry an ontological, as well as an epistemological, charge—one that suggests a condition of being in the world as well as a way of knowing the world as it really is. From this point of view, Victorian fiction that addresses the recent past is not a failed realism, as it is so frequently claimed, but rather an exploration of possibility in history.
This book examines how a heterogeneous group of authors in Britain responded to the Commune. In doing so, it provides the first full-length critical study of the reception and representation of the Commune in Britain during the closing decades of the nineteenth century, showing how discussions of the Commune functioned as a screen to project hope and fear, serving as a warning for some and an example to others. Writers considered in the book include John Ruskin, Edward Bulwer-Lytton, Eliza Lynn Linton, Mary Elizabeth Braddon, Anne Thackeray Ritchie, Margaret Oliphant, George Gissing, Henry James, William Morris, Alfred Austin and H.G. Wells. As the book shows, many, but not all, of these writers responded to the Commune with literary strategies that sought to stabilize bourgeois subjectivity in the wake of the traumatic shock of a revolutionary event. The book extends critical understanding of the Commune’s cultural afterlives and explores the relationship between literature and revolution.
"The Lives of Machines is intelligent, closely argued, and persuasive, and puts forth a contention that will unsettle the current consensus about Victorian attitudes toward the machine."
---Jay Clayton, Vanderbilt University
Today we commonly describe ourselves as machines that "let off steam" or feel "under pressure." The Lives of Machines investigates how Victorian technoculture came to shape this language of human emotion so pervasively and irrevocably and argues that nothing is more intensely human and affecting than the nonhuman. Tamara Ketabgian explores the emergence of a modern and more mechanical view of human nature in Victorian literature and culture.
Treating British literature from the 1830s to the 1870s, this study examines forms of feeling and community that combine the vital and the mechanical, the human and the nonhuman, in surprisingly hybrid and productive alliances. Challenging accounts of industrial alienation that still persist, the author defines mechanical character and feeling not as erasures or negations of self, but as robust and nuanced entities in their own right. The Lives of Machines thus offers an alternate cultural history that traces sympathies between humans, animals, and machines in novels and nonfiction about factory work as well as in other unexpected literary sites and genres, whether domestic, scientific, musical, or philosophical. Ketabgian historicizes a model of affect and community that continues to inform recent theories of technology, psychology, and the posthuman.
The Lives of Machines will be of interest to students of British literature and history, history of science and of technology, novel studies, psychoanalysis, and postmodern cultural studies.
Cover image: "Power Loom Factory of Thomas Robinson," from Andrew Ure, The Philosophy of Manufactures (London: Charles Knight, 1835), frontispiece.
DIGITALCULTUREBOOKS: a collaborative imprint of the University of Michigan Press and the University of Michigan Library
The period between the World Wars was one of the richest and most inventive in the long history of British literature. Interwar literature, David Trotter argues, stood apart by virtue of the sheer intelligence of the enquiries it undertook into the technological mediation of experience. After around 1925, literary works began to portray communication by telephone, television, radio, and sound cinema—and to examine the sorts of behavior made possible for the first time by virtual interaction. And they filled up, too, with the look, sound, smell, taste, and feel of the new synthetic and semi-synthetic materials that were reshaping everyday modern life.
New media and new materials gave writers a fresh opportunity to reimagine both how lives might be lived and how literature might be written. Today, Trotter observes, such material and immaterial mediations have become even more decisive. Communications technology is an attitude before it is a machine or a set of codes. It is an idea about the prosthetic enhancement of our capacity to communicate. The writers who first woke up to this fact were not postwar, postmodern, or post-anything else: some of the best of them lived and wrote in the British Isles in the period between the World Wars. In defining what they achieved, this book creates a new literary canon of works distinguished formally and thematically by their alertness to the implications of new media and new materials.
Through close readings of the Rime sparse and the works of Wyatt, Donne, and Marvell, Estrin uncovers three Lauras: Laura-Daphne, who denies sexuality; Laura-Eve, who returns the poet’s love; and Laura-Mercury, who reinvents her own life. Estrin claims that in these three guises Laura subverts both genre and gender, thereby introducing multiple desires into the many layers of the poems. Drawing upon genre and gender theories advanced by Jean-François Lyotard and Judith Butler to situate female desire in the poem’s framework, Estrin shows how genre and gender in the Petrarchan tradition work together to undermine the stability of these very concepts.
Estrin’s Laura constitutes a fundamental reconceptualization of the Petrarchan tradition and contributes greatly to the postmodern reassessment of the Renaissance period. In its descriptions of how early modern poets formulate questions about sexuality, society and poetry, Laura will appeal to scholars of the English and Italian Renaissance, of gender studies, and of literary criticism and theory generally.
A Midsummer Night's Dream, in its "perfection," is Tave's point of departure. Its characters fall neatly into the three groups of Tave's title and fulfill to perfection their functions of desire, foolishness, and power. From the magical concord of Shakespeare's resolution, Tave moves to works whose character face ever greater difficulties in reaching a happy conclusion. From Jonson and Austen to Chekhov and Beckett, he meets comedies on their own terms, illuminating the complex and individual genius of each. A masterpiece of practical criticism, Lovers, Clowns, and Fairies rediscovers the pleasure of reading comedies.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Wachman places at the center of this tradition Sylvia Townsend Warner's achievement in undermining the inhibitions that faced women writing about forbidden love. She discusses Warner's use of crosswriting to transpose the otherwise unrepresentable lives of invisible lesbians into narratives about gay men, destabilizing the borders of race, class, and gender and challenging the codes of expression on which imperialist patriarchy and capitalism depended.
Called “the flour of Cities all,” London has long been understood through the poetry it has inspired. Now poet Mark Ford has assembled the most capacious and wide-ranging anthology of poems about London to date, from Chaucer to Wordsworth to the present day, providing a chronological tour of urban life and of English literature.
Nearly all of the major poets of British literature have left some poetic record of London: Chaucer, Spenser, Shakespeare, Donne, Milton, Dryden, Pope, Johnson, Wordsworth, Keats, Byron, and T. S. Eliot. Ford goes well beyond these figures, however, to gather significant verse of all kinds, from Jacobean city comedies to nursery rhymes, from topical satire to anonymous ballads. The result is a cultural history of the city in verse, one that represents all classes of London’s population over some seven centuries, mingling the high and low, the elegant and the salacious, the courtly and the street smart. Many of the poems respond to large events in the city’s history—the beheading of Charles I, the Great Fire, the Blitz—but the majority reflect the quieter routines and anxieties of everyday life through the centuries.
Ford’s selections are arranged chronologically, thus preserving a sense of the strata of the capital’s history. An introductory essay by the poet explores in detail the cultural, political, and aesthetic significance of the verse inspired by this great city. The result is a volume as rich and vibrant and diverse as London itself.
Not a book about what Beowulf means but how it means, and how the reader participates in the process of meaning construction.
Overing’s primary aim is to address the poem on its own terms, to trace and develop an interpretive strategy consonant with the extent of its difference. Beowulf’s arcane structure describes cyclical repetitions and patterned intersections of themes which baffle a linear perspective, and suggest instead the irresolution and dynamism of the deconstructionist free play of textual elements.
Chapter 1 posits the self/reader as a function of the text/language, examining the ways in which the text "speaks" the reader. Chapter 2 develops an interactive semiotic strategy in an attempt to describe an isomorphic relation between poem and reader, between text and self. Chapter 3 addresses the notions of text and self as more complex functions or formulations of desire, and thus complicates and expands the arguments of the two preceding chapters. The final chapter examines the issue of desire in the poem, and, to a lesser extent, desire in the reader (insofar as these may legitimately be viewed as distinct from each other).
Chaucer uses two extant national ideals, sovereignty and domesticity, to introduce the concept of an English nation into the contemporary popular imagination and reinvent an idealized England as a hallowed homeland. For nationalist thinkers, sovereignty governs communities with linguistic, historical, cultural, and religious affinities. Chaucerian sovereignty appears primarily in romantic and household contexts that function as microcosms of the nation, reflecting a pseudo-familial love between sovereign and subjects and relying on a sense of shared ownership and judgment. This notion also has deep affinities with popular and political theories flourishing throughout Europe. Chaucer’s internationalism, matched with his artistic use of the vernacular and skillful distortions of both time and space, frames a discrete sovereign English nation within its diverse interconnected world.
As it opens up significant new points of resonance between postcolonial theories and medieval ideas of nationhood, Living in the Future marks an important contribution to medieval literary studies. It will be essential for scholars of Middle English literature, literary history, literary political and postcolonial theory, and literary transnationalism.
Intended for both specialists and non-specialists, Love and Ethics addresses many of the specific concerns of current Gower criticism, provides complete translations of all foreign quotation, and guides the novice reader through Gower's Middle English.
Love’s Labour’s Lost is a wacky comedy of disguise and mischief, following the King of Navarre and his companions as they attempt to swear off the company of women. Focusing on bringing new life into the musicality of Shakespeare’s language, Josh Wilder’s translation of Love’s Labour’s Lost brings out the play’s romp and sass for a contemporary audience.
This translation of Love’s Labour’s Lost was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of “The Bard” in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.
Why did Puritan Christianity repeatedly turn to allegorical forms of representation in spite of its own intolerance of "Allegorical fancies?" Luxon demonstrates that Protestant doctrine itself was a kind of allegory in hiding, one that enabled Puritans to forge a figural view of reality while championing the "literal" and the "historical". He argues that for Puritanism to survive its own literalistic, anti-symbolic, and millenarian challenges, a "fall" back into allegory was inevitable. Representative of this "fall," The Pilgrim's Progress marks the culminating moment at which the Reformation's war against allegory turns upon itself. An essential work for understanding both the history and theory of representation and the work of John Bunyan, Literal Figures skillfully blends historical and critical methods to describe the most important features of early modern Protestant and Puritan culture.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Loving Dr. Johnson uses the enormous popularity of Johnson to understand a singular case of author love and to reflect upon what the love of authors has to do with the love of literature. Helen Deutsch's work is driven by several impulses, among them her affection for both Johnson's work and Boswell's biography of him, and her own distance from the largely male tradition of Johnsonian criticism—a tradition to which she remains indebted and to which Loving Dr. Johnson is ultimately an homage. Limning sharply Johnson's capacious oeuvre, Deutsch's study is also the first of its kind to examine the practices and rituals of Johnsonian societies around the world, wherein Johnson's literary work is now dwarfed by the figure of the writer himself.
An absorbing look at one iconic author and his afterlives, Loving Dr. Johnson will be of enormous value to students of English literature and literary scholars keenly interested in canon formation.
Alison A. Chapman argues that Milton’s Paradise Lost sits at the apex of the early modern period’s long fascination with law and judicial processes. Milton’s world saw law and religion as linked disciplines and thought therefore that in different ways, both law and religion should reflect the will of God. Throughout Paradise Lost, Milton invites his readers to judge actions using not only reason and conscience but also core principles of early modern jurisprudence. Law thus informs Milton’s attempt to “justify the ways of God to men” and points readers toward the types of legal justice that should prevail on earth.
Adding to the growing interest in the cultural history of law, The Legal Epic shows that England’s preeminent epic poem is also a sustained reflection on the role law plays in human society.
Scholars who have come to view Blake as a visionary whose work followed nonlinear processes have advanced the notion that his artistic achievement defies conventional interpretation. Love and Logic challenges the tendency in postmodern criticism to see authors and readers as confined by history, language, and logic, denied the ability discover truth or to communicate it in determinate form. Love and Logic emphasizes Blake's ambitious quest for truth, his desire to keep telling the story of human and divine love until he got it right, using all the strategies of logic available to him.
Cain has been ranked as one of the two best dramatic poems written in England in the nineteenth century. Because of its religious heterodoxy, which veiled a political iconoclasm, and also because of Byron’s notoriety, Cain stirred up a storm among Tories and clergymen “from Kentish town to Pisa.” From 1821 to 1830 more was printed about its eighteen hundred alarming lines than about the twenty thousand of Don Juan. One solemn Frenchman even translated the work in order to supply his countrymen with a text that he could then rewrite and confute.
After the initial controversy, readers began to regard Cain not merely as revolutionary propaganda but as a fictional portrait of common youthful experience: a sequence of aspiration, discontent, uncertainty, confusion, misunderstood isolation, fear, frustration, anger, and finally a rash, inevitable, but futile revolt that led to a future of hopeless regret.
Truman Guy Steffan here presents a text, arrived at by collation of the first and several later editions with the original manuscript (presently in the Stark Collection of the Miriam Lutcher Stark Library at the Harry Ransom Center, the University of Texas at Austin).
The first eight essays, which comprise Part I, cover a number of literary topics: Byron’s defense of his purposes in Cain and the relevance of his dramatic theory to the poem; the characterization that is an ideological confrontation, a revelation of personal conflict, as well as a rendering of individuals who have an existence independent of the author; the principles that controlled Byron’s absorption and expansion of biblical materials; the integration of the imagery with the dramatic substance; the incongruities of the language; the metrical heterodoxy; and a description of the manuscript and of Byron’s insertions.
Part II contains the text of Cain, accompanied by notes on the variants, the manuscript cancellations and additions, certain linguistic details, and the scansion of some unusual verses. Then follow annotations on allusions, sources, and analogues, and on a few passages of the play that have elicited unusual conflict over interpretation.
Part III provides a history of Cain criticism, from the opinions of Byron’s social and literary circle and of the major periodicals and pamphlets to the more complicated contribution of the twentieth century.
This important work stands not only as a valuable addition to Byron scholarship but also as an illuminating record of the changing critical and cultural attitudes from the early nineteenth century to the 1960s. Steffan has done a remarkable job in bringing together and synthesizing an enormous body of material.
When John Millington Synge and Molly Allgood fell in love, he was thirty-five, she nineteen. Neither knew that he had Hodgkin’s disease, of which he was to die in three years. Synge had already achieved recognition as a playwright—translations of two of his plays had been performed in Berlin and Prague—and he was codirector, with Yeats and Lady Gregory, of the Irish National Theatre Society. Allgood had started her acting career the year before, in the newly opened Abbey Theatre, with a walk-on part in Synge’s Well of the Saints. She had been promoted from crowd scenes to bit parts to lead roles in Riders to the Sea and The Shadow of the Glen. She was still only a member of the company, however, while Synge was a director, whose codirectors disapproved of fraternization. Synge and Allgood also faced the disapproval of two widowed mothers. Barring an occasional holiday trip or company road tour, they could seldom be alone together, except on secret afternoon meetings for long walks in the country. Hence their hundreds of letters.
Molly Allgood’s letters do not survive; they apparently were destroyed when Synge died. But his letters convey her mercurial charm, her openness, her love of life, her impulsiveness, and her temper—as violent as his own. What they convey of him (when he is not reproving her or remonstrating with her, as he does in the early months of their relationship) is the love of nature, the poetic language, the bittersweet irony, the elemental quality of emotion, that we know from the plays. His concern for his craft is seen as he struggles with The Playboy. (“Parts of it are not structurally strong or good. I have been all this time trying to get over weak situations by strong writing, but now I find it won’t do, and I am at my wit’s end.”) Synge was quite unperturbed by the violent outrage and near-riots the play provoked. (“Now we’ll be talked about. We’re an event in the history of the Irish stage,” he wrote cheerily.)
As his illness progresses, following operations in 1907 and 1908, there is great poignancy in the gradual abating of references to marriage plans and in the shift of salutation from “Dearest Changeling” to “My dearest child.” After Synge’s death his friends and biographers discreetly avoided mention of Allgood, who under her stage name of Maire O’Neill became one of the leading actresses of the Irish theater and lived until 1952. His letters to her have not been published before, except for the few quoted in Greene and Stephens’s 1959 biography. A primary source for the study of Synge and the Irish theater movement, the letters include poems inspired by Allgood and extensive information about Abbey Theatre business.
In addition to a biographical introduction, Ann Saddlemyer has included a map of the Wicklow and Dublin areas and numerous photographs of both Synge and Allgood.
Many years in preparation, this first volume of Lang and Shannon's edition of Tennyson's correspondence lives up to all expectations. In a comprehensive introduction the editors present not only the biographical background, with vivid portrayals of the dramatis personae, but also the story of the manuscripts, the ones that were destroyed and the many that luckily survived.
The Tennyson who emerges in this volume is not a serene or Olympian figure. He is moody, impulsive, often reckless, now full of camaraderie, now plagued by anxiety or resentment, deeply attached to close friends and family and uninterested in the social scene. His early life is unenviable: we see glimpses of the embittered, drunken father, the distraught mother, the swarm of siblings in the rectory at Somersby in Lincolnshire. The happiest period is the three years at Cambridge, terminated when his father dies, and the two years thereafter, with Arthur Hallam engaged to his sister and a frequent visitor at their house. The shock of Hallam's death in 1833, coupled with the savage attack on Tennyson's poems in the Quarterly Review, is followed by depression, bouts of alcoholism, financial problems, and gradually, in the 1840s, increasing recognition of his work. The year 1850 sees the publication of In Memoriam, his long-deferred marriage at age forty to Emily Seliwood, and his acceptance, not without misgivings, of the post of Poet Laureate.
The editors have garnered and selected a large number of letters to and about Tennyson which supplement his own letters, fill in lacunae in the narrative, and reveal him to us as his friends and contemporaries saw him.
The Thackeray Edition proudly announces two additions to its collection: Catherine and The Luck of Barry Lyndon. The Thackeray Edition is the first full-scale scholarly edition of William Makepeace Thackeray's works to appear in over seventy years, and the only one ever to be based on an examination of manuscripts and relevant printed texts. It is also a concrete attempt to put into practice a theory of scholarly editing that gives new insight into Thackeray's own compositional process.
The Luck of Barry Lyndon, serialized in Fraser's Magazine in 1844, is a wonderfully hard-edged advance upon Thackeray's previous writing: a tour de force dramatization at novelistic length of the moral vacuity of its first person narrator. The inner workings of this narrator are far more complicated than in earlier Thackeray writings, and are presented in a far more subtle, yet not humorless, manner. The mock-Bildungsroman aspect of the novel is brought about by the non-enlightenment of the title-figure, his failure to find a meaningful love-relationship, and his inability to discover a calling that identifies both a significant direction for his individual existence and, at the same time, an appropriate accommodation to his duties to society. Achieved in brilliant, accomplished style, Barry Lyndon is a significant and progressive experiment in narration for Thackeray.
Sheldon F. Goldfarb is an independent scholar who received his Ph.D. from the University of British Columbia.
Edgar F. Harden is Professor of English, Simon Fraser University.
Peter L. Shillingsburg is Dean of Graduate Studies and Research, Lamar University.
In The Life of Kingsley Amis, Leader, the acclaimed editor of The Letters of Kingsley Amis, draws not only on published and unpublished works and correspondence, but also on interviews with a wide range of Amis’s friends, relatives, fellow writers, students, and colleagues, many of whom have never spoken publicly before. The result is a compulsively readable account of Amis’s childhood, school days, and life as a student at Oxford, teacher, critic, political and cultural commentator, professional author, husband, father, and lover. Neither evading nor sensationalizing the more salacious aspects of Amis’s life, Leader explores the writer’s phobias, self-doubts, and ambitions; the controversies in which he was embroiled; and the role that drink played in a life bedeviled by erotic entanglements, domestic turbulence, and personal disaster.
Here is the biography that its subject deserves. Like Amis himself, it is incisive and unsentimental, deeply appreciative of aesthetic achievement, and a great source of amusing anecdotes. Dazzling for its thoroughness, psychological acuity, and elegant style, The Life of Kingsley Amis is exemplary: literary biography at its very best.
Margaret Storm Jameson (1891–1986) is primarily known as a compelling essayist; her stature as a novelist and champion of the dispossessed is largely forgotten. In Life in the Writings of Storm Jameson, Elizabeth Maslen reveals a figure who held her own beside fellow British women writers, including Virginia Woolf; anticipated the Angry Young Women, such as Doris Lessing; and was an early champion of such European writers as Arthur Koestler and Czesław Miłosz. Jameson was a complex character whose politics were grounded in social justice; she was passionately antifascist—her novel In the Second Year (1936) raised the alarm about Nazism—but always wary of communism. An eloquent polemicist, Jameson was, as president of the British P.E.N. during the 1930s and 1940s, of invaluable assistance to refugee writers. Elizabeth Maslen’s biography introduces a true twentieth century hedgehog, whose essays and subtly experimental fiction were admired in Europe and the States.
Living at the Edge follows the separate lives of Lawrence and Frieda up to their first meeting in 1912. Tracing their new life together, it depicts their grateful escape from the English Midlands; their discovery of exotic places where they made temporary homes—Italy, Cornwall, Australia, New Mexico, and Mexico; Lawrence’s courageous battle against illness; and, after his death in 1930, Frieda’s success in recreating the simple life on ranches near Taos, New Mexico, where she died in 1956.
At the center of their story is Lawrence’s literary career. Biographers Squires and Talbot see Lawrence’s major novels—The Rainbow, Women in Love, Lady Chatterley’s Lover—as a fresh way to understand his turbulent and conflicted life. They reveal the extreme care with which he rewrote his personal experience to satisfy his deepest needs, and they introduce the many influential people who entered the Lawrences’ lives and work. The rich materials from Frieda’s letters reveal a different Lawrence—more difficult as a man but more interesting as an artist; they also reveal a different Frieda—more vibrant as a woman, more substantial as a companion. This superb biography gives both Lawrence and Frieda striking new dimensions.
Love and Fatigue in America records an Englishman’s decade-long journey through his newly adopted country in the company of a mystifying illness and a charismatic dog.
When he receives an unexpected invitation from an unfamiliar American university, he embraces it as a triumphant new beginning. Instead, on arrival, he is stricken with a persistent inability to stand up or think straight, and things quickly go wrong. Diagnosed with ME disease—chronic fatigue syndrome—he moves restlessly from state to state, woman to woman, and eccentric doctor to eccentric doctor, in a search for a love and a life suited to his new condition. The journey is simultaneously brave, absurd, and instructive.
Finding himself prostrate on beds and couches from Los Alamos to Albany, he hears the intimate stories offered by those he encounters—their histories, hurts, and hopes—and from these fragments an unsentimental map emerges of the inner life of a nation. Disability has shifted his interest in America from measuring its opportunities to taking the measure of its humanity. Forced to consider for himself the meaning of a healthy life and how best to nurture it, he incidentally delivers a report on the health of a country.
By turns insightful, comic, affecting, and profound, Roger King’s Love and Fatigue in America briskly compresses an illness, a nation, and an era through masterly blending of literary forms. In a work that defies categorization, and never loses its pace or poise, the debilitated narrator is, ironically, the most lively and fully awake figure in the book.
“As the disease drives the narrator city to city, woman to woman, and doctor to doctor, it brings into relief many of America’s follies and excesses, most notably our health-care system, which King portrayed as antiquated, bureaucratic, and inhumane. After more than fifteen years, America brings the narrator ‘not aspiration realized, nor a largeness of life fitting to its open spaces, but the nascent ability to be satisfied with less.’”—The New Yorker
The twenty-six stories begin with Paddy and Agatha, an English couple last seen in Litt’s Ghost Story. Following the stillbirth of their second child, their marriage has gently begun to collapse. Paddy and Agatha both meet someone else. First, Paddy meets Kavita, and Agatha meets John. Then each of these four engages with a different new person—and so on, through a doubling and redoubling of intimately interconnected stories. The remaining short stories exemplify Litt’s impressive, unflinching prose.
The poems in this collection center on the word “dub,” which accrues a subtle lyrical connotation throughout its various forms and meanings—to bestow, vest, crown, and also to suspend, reverb, echo, and sever. Dub poetry plays with revealing and concealing, while also pointing the way to the conditions that produce black poetic music. In D.S. Marriott’s poetry, tragic catastrophes of current black existence—London knife crime, the Windrush scandal, Grenfell, and deadly race violence—are portrayed as questions of language. To speak this language, as Marriott’s poem show, is to take on the forces that cause rupture. Throughout these poems of loss, exile, and obliteration, the poet foresees his downfall and metamorphosis, ultimately realizing too late that he cannot transcend the reverberations and echoes laden with black social death.
"One of the most satisfyingly devious of the Judge Dee novels, with unusual historical richness in its portrayal of the China of the T'ang dynasty."-—New York Times Book Review
"Even Judge Dee is baffled by Robert van Gulik's new mysteries in The Lacquer Screen. Disguised as a petty crook, he spends a couple of precarious days in the headquarters of the underworld, hobnobbing with the robber king. Dee's lively thieving friends furnish some vital clues to this strange and fascinating jigsaw."-—The Spectator
"So scrupulously in the classic Chinese manner yet so nicely equipped with everything to satisfy the modern reader."-—New York Times
Robert Van Gulik (1910-67) was a Dutch diplomat and an authority on Chinese history and culture. He drew his plots from the whole body of Chinese literature, especially from the popular detective novels that first appeared in the seventeenth century.
Eaton attempted to disguise her Chinese heritage by writing under a hypothetically Japanese pen name. In legal documents, she usually claimed a "white" racial identity. In her fiction, Eaton portrayed Japanese, Chinese, Irish, and American characters, relying on the accepted stereotypes of the day. Jean Lee Cole shows that the many voices Eaton adopted show her deep preoccupations with "American" identity as a whole. The author attempts to reconcile all of these "voices," examining how Eaton survived in a climate hostile to minority writers in the early twentieth century, and how her seemingly anomalous works conjoin Asian American and American literary history.
The whiteness of mainstream environmentalism often fails to account for the richness and variety of Latinx environmental thought. Building on insights of environmental justice scholarship as well as critical race and ethnic studies, the editors and contributors to Latinx Environmentalisms map the ways Latinx cultural texts integrate environmental concerns with questions of social and political justice.
Original interviews with creative writers, including Cherríe Moraga, Helena María Viramontes, and Héctor Tobar, as well as new essays by noted scholars of Latinx literature and culture, show how Latinx authors and cultural producers express environmental concerns in their work. These chapters, which focus on film, visual art, and literature—and engage in fields such as disability studies, animal studies, and queer studies—emphasize the role of racial capitalism in shaping human relationships to the more-than-human world and reveal a vibrant tradition of Latinx decolonial environmentalism.
Latinx Environmentalisms accounts for the ways Latinx cultures are environmental, but often do not assume the mantle of “environmentalism.”
Thananopavarn creates a new “LatinAsian” view of the United States that emphasizes previously suppressed aspects of national history, including imperialism, domestic racism during World War II, Cold War operations in Latin America and Asia, and the politics of borders in an age of globalization. LatinAsian Cartographies ultimately reimagines national narratives in a way that transforms dominant ideas of what it means to be American.
Ellis explores the curandera in relationship to decoloniality, bioethics, and the topic of healing while recognizing the limitations and spiritual shortcomings of Western medicine. Ellis argues that our contemporary western health-care system does not know how to fully grapple with illnesses that patients face. Ellis reads the curandera’s perennial representation as an ongoing example of decolonial love useful for deconstructing narrow definitions of health and personhood, and for grappling with the effects of neoliberalism and colonialism on the health-care industry.
Letras y Limpias draws from Chicana feminist theory to assert the importance of the mindbodyspirit connection. Ellis conveys theoretical insights about the continual reimagining of the figure of the curandera as a watermark across Mexican American literary texts. This literary figure points to the oppressive forces that create susto and reminds us that healing work requires specific attention to colonialism, its legacy, and an intentional choice to carry forward the traditional practices rooted in curanderismo passed on from prior generations. By turning toward the figure of the curandera, readers are better poised to challenge prevailing ideas about health, and imagine ways to confront the ongoing problems that coloniality creates. Letras y Limpias shows how the figure of the curandera offers us ways to heal that have nothing to do with copays or medical professionals refusing care, and everything to do with honoring the beauty and complexity of any, every, and all humans.
Latino Los Angeles in Film and Fiction sets out to reconfigure the scope of Latino literary and cultural studies. Integrating histories of different regions and nations, the book sets the interplay of unresolved contradictions in this particular metropolitan area. The novelists studied here stem from multiple areas, including the U.S. Southwest, Guatemala, and Chile. The study also incorporates non-Latino writers who have contributed to the Latino culture of the city.
The first chapter examines Latino cultural production from an ecocritical perspective on urban interethnic relations. Chapter 2 concentrates on the representation of daily life in the barrio and the marginalization of Latino urban youth. The third chapter explores the space of women and how female characters expand their area of operations from the domestic space to the public space of both the barrio and the city.
A much-needed contribution to the fields of urban theory, race critical theory, Chicana/o–Latina/o studies, and Los Angeles writing and film, López-Calvo offers multiple theoretical perspectives—including urban theory, ecocriticism, ethnic studies, gender studies, and cultural studies— contextualized with notions of transnationalism and post-nationalism.
The powerful novelist here turns penetrating critic, giving us—in lively style—both trenchant literary analysis and fresh insight on the art of writing.
“When African American writers began to trust the literary possibilities of their own verbal and musical creations,” writes Gayl Jones, they began to transform the European and European American models, and to gain greater artistic sovereignty.” The vitality of African American literature derives from its incorporation of traditional oral forms: folktales, riddles, idiom, jazz rhythms, spirituals, and blues. Jones traces the development of this literature as African American writers, celebrating their oral heritage, developed distinctive literary forms.
The twentieth century saw a new confidence and deliberateness in African American work: the move from surface use of dialect to articulation of a genuine black voice; the move from blacks portrayed for a white audience to characterization relieved of the need to justify. Innovative writing—such as Charles Waddell Chesnutt’s depiction of black folk culture, Langston Hughes’s poetic use of blues, and Amiri Baraka’s recreation of the short story as a jazz piece—redefined Western literary tradition.
For Jones, literary technique is never far removed from its social and political implications. She documents how literary form is inherently and intensely national, and shows how the European monopoly on acceptable forms for literary art stifled American writers both black and white. Jones is especially eloquent in describing the dilemma of the African American writers: to write from their roots yet retain a universal voice; to merge the power and fluidity of oral tradition with the structure needed for written presentation. With this work Gayl Jones has added a new dimension to African American literary history.
In Literary Afrofuturism in the Twenty-First Century, eminent contributors pay tribute to Afrofuturism as a powerful and evolving aesthetic practice that communicates the experience of science, technology, and race across centuries, continents, and cultures. While Ryan Coogler and Janelle Monáe may have helped bring the genre into contemporary pop consciousness, it in fact extends back to the writing of eighteenth-century poet Phyllis Wheatley and has continued in the work of Samuel R. Delany, Octavia E. Butler, N. K. Jemisin, and many others. In examining this heritage, contributors in this volume question generic boundaries, recover lost artists and introduce new ones, and explore how the meteoric rise of a new, pan-African speculative literary tradition may or may not connect with Afrofuturism.
Additionally, the editors have marshaled some of today’s most exciting writers for a roundtable discussion of the genre: Bill Campbell, Minister Faust, Nalo Hopkinson, N. K. Jemisin, Chinelo Onwualu, Nisi Shawl, and Nick Wood. Pioneering author and editor Sheree R. Thomas limns how black women have led new developments in contemporary Afrofuturism, and artist Stacey Robinson’s illustrations orient readers to the spirited themes of this enduring and consequential literary tradition.
Harlem Renaissance writer Dorothy West led a charmed life in many respects. Born into a distinguished Boston family, she appeared in Gershwin’s Porgy and Bess, then lived in the Soviet Union with a group that included Langston Hughes, to whom she proposed marriage. She later became friends with Jacqueline Kennedy Onassis, who encouraged her to finish her second novel, The Wedding, which became the octogenarian author’s first bestseller.
Literary Sisters reveals a different side of West’s personal and professional lives—her struggles for recognition outside of the traditional literary establishment, and her collaborations with talented African American women writers, artists, and performers who faced these same problems. West and her “literary sisters”—women like Zora Neale Hurston and West’s cousin, poet Helene Johnson—created an emotional support network that also aided in promoting, publishing, and performing their respective works. Integrating rare photos, letters, and archival materials from West’s life, Literary Sisters is not only a groundbreaking biography of an increasingly important author but also a vivid portrait of a pivotal moment for African American women in the arts.
Loving God’s Wildness rediscovers the environmental roots of America’s Puritan heritage. In tracing this history, Jeffrey Bilbro demonstrates how the dualistic Christianity that the Puritans brought to America led them to see the land as an empty wilderness that God would turn into a productive source of marketable commodities. Bilbro carefully explores the effect of this dichotomy in the nature writings of Henry David Thoreau, John Muir, Willa Cather, and Wendell Berry.
Thoreau, Muir, Cather, and Berry imaginatively developed the Puritan theological tradition to propose practical, physical means by which humans should live and worship within the natural temple of God’s creation. They reshaped Puritan dualism, each according to the particular needs of his or her own ecological and cultural contexts, into a theology that demands care for the entire created community. While differing in their approaches and respective ecological ethics, the four authors Bilbro examines all share the conviction that God remains active in creation and that humans ought to relinquish their selfish ends to participate in his wild ecology.
Loving God’s Wildness fills a critical gap in literary criticism and environmental studies by offering a sustained, detailed argument regarding how Christian theology has had a profound and enduring legacy in shaping the contours of the American ecological imagination. Literary critics, scholars of religion and environmental studies, and thoughtful Christians who are concerned about environmental issues will profit from this engaging new book.
Reising suggests that these "non-endings" entirely refocus the narrative structures they appear to conclude, accentuate the narrative stresses and ideological fissures that the texts seem to suppress, and reveal "shadow narratives" that trail alongside the dominant story line. He argues that unless the reader notices the ruptures in the closing moments of these works, the social and historical moments in which the narrative and the reader are embedded will be missed. This reading not only offers new interpretive possibilities, but also uncovers startling affinities between the poetry of Phillis Wheatley and the fiction of Henry James, between Charles Brockden Brown’s Wieland and Melville’s least-studied novel, and between Emily Dickinson’s poem "I Started Early—Took My Dog" and Disney’s animated classic.
Pursuing the implications of these failed moments of closure, Reising elaborates on topics ranging from the roots of domestic violence and mass murder in early American religious texts to the pornographic imperative of mid-century nature writing, and from James’s "descent" into naturalist and feminist fiction to Dumbo’s explosive projection of commercial, racial, and political agendas for postwar U. S. culture.
Cover attribution: Allan Sekula, Shipwreck and worker, Istanbul, from TITANIC’s wake, 1998/2000. Courtesy of the Allan Sekula Studio.
The literary archive of the U.S.-Mexican War (1846–1848) opens to view the conflicts and relationships across one of the most contested borders in the Americas. Most studies of this literature focus on the war's nineteenth-century moment of national expansion. In The Literatures of the U.S.-Mexican War, Jaime Javier Rodríguez brings the discussion forward to our own moment by charting a new path into the legacies of a military conflict embedded in the cultural cores of both nations.
Rodríguez's groundbreaking study moves beyond the terms of Manifest Destiny to ask a fundamental question: How do the war's literary expressions shape contemporary tensions and exchanges among Anglo Americans, Mexicans, and Mexican Americans. By probing the war's traumas, anxieties, and consequences with a fresh attention to narrative, Rodríguez shows us the relevance of the U.S.-Mexican War to our own era of demographic and cultural change. Reading across dime novels, frontline battle accounts, Mexican American writings and a wide range of other popular discourse about the war, Rodríguez reveals how historical awareness itself lies at the center of contemporary cultural fears of a Mexican "invasion," and how the displacements caused by the war set key terms for the ways Mexican Americans in subsequent generations would come to understand their own identities. Further, this is also the first major comparative study that analyzes key Mexican war texts and their impact on Mexico's national identity.
The role of religion in early American literature has been endlessly studied; the role of the law has been virtually ignored. Robert A. Ferguson’s book seeks to correct this imbalance.
With the Revolution, Ferguson demonstrates, the lawyer replaced the clergyman as the dominant intellectual force in the new nation. Lawyers wrote the first important plays, novels, and poems; as gentlemen of letters they controlled many of the journals and literary societies; and their education in the law led to a controlling aesthetic that shaped both the civic and the imaginative literature of the early republic. An awareness of this aesthetic enables us to see works as diverse as Jefferson’s Notes on the State of Virginia and Irving’s burlesque History of New York as unified texts, products of the legal mind of the time.
The Declaration of Independence, the Constitution, and the great political orations were written by lawyers, and so too were the literary works of Trumbull, Tyler, Brackenridge, Charles Brockden Brown, William Cullen Bryant, Richard Henry Dana, Jr., and a dozen other important writers. To recover the original meaning and context of these writings is to gain new understanding of a whole era of American culture.
The nexus of law and letters persisted for more than a half-century. Ferguson explores a range of factors that contributed to its gradual dissolution: the yielding of neoclassicism to romanticism; the changing role of the writer; the shift in the lawyer’s stance from generalist to specialist and from ideological spokesman to tactician of compromise; the onslaught of Jacksonian democracy and the problems of a country torn by sectional strife. At the same time, he demonstrates continuities with the American Renaissance. And in Abraham Lincoln he sees a memorable late flowering of the earlier tradition.
Drawing on an eclectic range of sources including newspaper arrest reports, prison reform periodicals, popular literary magazines, transatlantic travel narratives, popular crime novels, anthologies of prison poetry, and the memoirs of prison chaplains, Ostrowski analyzes how authors as canonical as Nathaniel Hawthorne and as obscure as counterfeiter/poet/prison inmate Christian Meadows adapted, manipulated, or rejected prevailing narratives about criminality to serve their artistic and rhetorical ends. These narratives led to the creation of new literary subgenres while also ushering in psychological interiority as an important criterion by which serious fiction was judged. Ostrowski joins and extends recent scholarly conversations on subjects including African American civic agency, literary sentimentalism, outsider authorship, and the racial politics of antebellum prison reform.
Loyal Subjects considers how the Civil War complicated the cultural value of emotion, especially the ideal of sympathy. Through an analysis of literary works written during and after the conflict-from Nathaniel Hawthorne's "Chiefly About War Matters" through Henry James's The Bostonians and Charles Chestnutt's "The Wife of His Youth," to the Pledge of Allegiance and W.E.B. Du Bois's John Brown, among many others-Duquette reveals that although American literary criticism has tended to dismiss the Civil War's impact, postwar literature was profoundly shaped by loyalty.
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This collection captures the sense—at times the ordeal—of the 1930s literary experience in America. Fourteen essayists deal with the experience of being a writer in a time of overwhelming economic depression and political ferment, and thereby illuminate the social, political, intellectual, and aesthetic problems and pressures that characterized the experience of American writers and influenced their works.
The essays, as a group, constitute a reevaluation of the American literature of the 1930s. At the same time they support and reinforce certain assumptions about the decade of the Great Depression—that it was grim, desperate, a time when dreams died and poverty became something other than genteel—they challenge other assumptions, chief among them in the notion that 1930s literature was uniform in content, drab in style, anti-formalist, and always political or sociological in nature. They leave us with an impression that there was variety in American writing of the 1930s and a convincing argument that the decade was not a retreat from the modernism of the 1920s. Rather it was a transitional period in which literary modernism was very much an issue and a force that bore imaginative fruit.
In the first section, "Inventing the Lesbian," Sherrie A. Inness explores depictions of lesbians in popular texts aimed primarily at heterosexual consumers. She moves from novels of the 1920s to books about life at women's colleges and boarding schools, to such contemporary women's magazines as Cosmopolitan, Glamour, and Vogue.
In the next section, "Forms of Resistance," Inness probes the ways in which lesbians have refashioned texts intended for a heterosexual audience or created their own narratives. One chapter shows how lesbian readers have reinterpreted the Nancy Drew mysteries, looking at them from a distinctly "queer" perspective. Another chapter addresses the changing portrayal of lesbians in children's books over the past two decades.
The last section, "Writing in the Margins," scrutinizes the extent to which lesbians, themselves a marginalized group, have created a society that relegates some of its own members to the outskirts. Topics include the geographic politics of lesbianism, the complex issue of "passing," and the meaning of butch identity in twentieth-century lesbian culture.
Can reading social protest novels actually produce a more just world? Literature and Social Justice offers a scientifically informed, evidence-based affirmative answer to that crucial question, arguing that literature has the potential—albeit largely unrealized—to produce lasting, socially transformative psychological changes in readers. Moving beyond traditional social criticism in its various forms, including feminist, gender, queer, and postcolonialist approaches, Mark Bracher uses new knowledge concerning the cognitive structures and processes that constitute the psychological roots of social injustice to develop a detailed, systematic critical strategy that he calls “schema criticism,” which can be applied to literature and other discourses to maximize and extend their potential for promoting social justice.
Bracher draws on studies in social cognition, social neuroscience, evolutionary psychology, political psychology, and psychoanalysis to uncover the root cognitive structures that cause misunderstandings among people and give rise to social injustice. Using the novels The Jungle, The Grapes of Wrath, and Native Son, he then demonstrates how schema criticism can correct these faulty cognitive structures and enable readers to develop more accurate and empathetic views of those they deem “Other,” as well as become more aware of their own cognitive processes. Calling the book “insightful, erudite, and humane,” Cognitive Approaches to Literature and Culture Series coeditor Patrick Colm Hogan says, “This inspiring book should be welcomed by literary critics, political activists, and anyone who cares about social justice.”
The Language of War examines the relationship between language and violence, focusing on American literature from the Civil War, World War I, and World War II. James Dawes proceeds by developing two primary questions: How does the strategic violence of war affect literary, legal, and philosophical representations? And, in turn, how do such representations affect the reception and initiation of violence itself? Authors and texts of central importance in this far-reaching study range from Louisa May Alcott and William James to William Faulkner, the Geneva Conventions, and contemporary American organizational sociology and language theory.
The consensus approach in literary studies over the past twenty years has been to treat language as an extension of violence. The idea that there might be an inverse relation between language and violence, says Dawes, has all too rarely influenced the dominant voices in literary studies today. This is an ambitious project that not only makes a serious contribution to American literary history, but also challenges some of the leading theoretical assumptions of our day.
This is a study of New England figurative language from 1600 to 1850, from the English and Continental origins of Puritanism to the symbolic writings of Thoreau. It enriches our understanding of Puritan thought and expression and traces the influence of Puritanism on later American writing.
A common link among the writers of this period was a system of prophetic symbolism derived from Scripture. The Bible was the source of figures and types used to illustrate divine guidance in human affairs, and its prophetic language provided the Puritans with a method for explaining and projecting the course of history. Mason Lowance explores these modes of prophetic and metaphorical expression and the millennial impulse in American thinking. In the process he provides a cohesive approach to such diverse writers as Bradford, Cotton, Taylor, Increase and Cotton Mather, Edwards, Freneau, Barlow, Dwight, and Emerson. His book will be welcomed by all students of early American thought and literature.
The history of Cincinnati runs much deeper than the stories of hogs that once roamed downtown streets. In addition to hosting the nation’s first professional baseball team, the Tall Stacks riverboat celebration, and the May Festival, there’s another side to the city—one that includes some of the most famous names and organizations in American letters.
Literary Cincinnati fills in this missing chapter, taking the reader on a joyous ride with some of the great literary personalities who have shaped life in the Queen City. Meet the young Samuel Clemens working in a local print shop, Fanny Trollope struggling to open her bizarre bazaar, Sinclair Lewis researching Babbitt, hairdresser Eliza Potter telling the secrets of her rich clientele, and many more who defined the nineteenth- and early twentieth-century Queen City.
For lovers of literature everywhere—but especially in Cincinnati—this is a literary tour that will entertain, inform, and amuse.
From the early 19th century to the present, a remarkably complex and varied body of literary and cultural production has emerged out of progressive social movements. While the literary left in the West shared many interests with other regional expressions—labor, class, anti-fascism, and anti-imperialism, the influence of Manifest Destiny—the distinct history of settler colonialism in western territories caused western leftists to develop concerns unique to the region.
Chapters in the volume provide an impressive range of analysis, covering artists and movements from suffragist writers to bohemian Californian photographers, from civil rights activists to popular folk musicians, from Latinx memoirists to Native American experimental writers, to name just a few.
The unique consideration of the West as a socio-political region establishes a framework for political critique that moves beyond class consequences, anti-fascism, and civil liberties, and into distinct Western concerns such as Native American sovereignty, environmental exploitation, and the legacies of settler colonialism. What emerges is a deeper understanding of the region and its unique people, places, and concerns.
Is American vision implicitly possessive, as a generation of critics contends? By viewing the American poetic tradition through the prism of pragmatism, Elisa New contests this claim. A new reading of how poetry "sees," her work is a passionate defense of the power of the poem, the ethics of perception, and the broader possibilities of American sight.
American poems see more fully, and less invasively, than accounts of American literature as an inscription of imperial national ideology would allow. Moreover, New argues, their ways of seeing draw on, and develop, a vigorous mode of national representation alternative to the appropriative sort found in the quintessential American genre of encounter, the romance. Grounding her readings of Dickinson, Frost, Moore, and Williams in foundational texts by Edwards, Jefferson, Audubon, and Thoreau, New shows how varieties of attentiveness and solicitude cultivated in the early literature are realized in later poetry. She then discloses how these ideas infuse the philosophical notions about pragmatic experience codified by Emerson, James, and Dewey. As these philosophers insisted, and as New's readings prove, art is where the experience of experience can be had: to read, as to write, a poem is to let the line guide one's way.
Exploration of our inner life—perception, thought, memory, feeling—once seemed a privileged domain of lyric poetry. Scientific discoveries, however, have recently supplied physiological explanations for what was once believed to be transcendental; the past sixty years have brought wide recognition that the euphoria of love is both a felt condition and a chemical phenomenon, that memories are both representations of lived experience and dynamic networks of activation in the brain. Caught between a powerful but reductive scientific view of the mind and traditional literary metaphors for consciousness that have come to seem ever more naive, American poets since the sixties have struggled to articulate a vision of human consciousness that is both scientifically informed and poetically truthful.
The Lyric in the Age of the Brain examines several contemporary poets—Robert Lowell, A. R. Ammons, Robert Creeley, James Merrill, John Ashbery, Jorie Graham, and experimentalists such as Harryette Mullen and Tan Lin—to discern what new language, poetic forms, and depictions of selfhood this perplexity forces into being. Nikki Skillman shows that under the sway of physiological conceptions of mind, poets ascribe ever less agency to the self, ever less transformative potential to the imagination. But in readings that unravel factional oppositions in contemporary American poetry, Skillman argues that the lyric—a genre accustomed to revealing expansive aesthetic possibilities within narrow formal limits—proves uniquely positioned to register and redeem the dispersals of human mystery that loom in the age of the brain.
Lyric Interventions explores linguistically innovative poetry by contemporary women in North America and Britain whose experiments give rise to fresh feminist readings of the lyric subject. The works discussed by Linda Kinnahan explore the lyric subject in relation to the social: an “I” as a product of social discourse and as a conduit for change.
Contributing to discussions of language-oriented poetries through its focus on women writers and feminist perspectives, this study of lyric experimentation brings attention to the cultural contexts of nation, gender, and race as they significantly shift the terms by which the “experimental” is produced, defined, and understood.
This study focuses upon lyric intervention in distinct but related spheres as they link public and ideological norms of identity. Firstly, lyric innovations with visual and spatial realms of cultural practice and meaning, particularly as they naturalize ideologies of gender and race in North America and the post-colonial legacies of the Caribbean, are investigated in the works of Barbara Guest, Kathleen Fraser, Erica Hunt, and M. Nourbese Philip. Secondly, experimental engagements with nationalist rhetorics of identity, marking the works of Carol Ann Duffy, Denise Riley, Wendy Mulford, and Geraldine Monk, are explored in relation to contemporary evocations of “self” in Britain. And thirdly, in discussions of all of the poets, but particularly accenuated in regard to Guest, Fraser, Riley, Mulford, and Monk, formal experimentation with the lyric “I” is considered through gendered encounters with critical and avant-garde discourses of poetics.
This fresh, energetic study will be of great interest to literary critics and womens studies scholars, as well as poets on both sides of the Atlantic.
In poet and critic James Longenbach’s title, the word “now” does double duty, evoking both a lyric sense of the present and twentieth-century writers’ assertion of “nowness” as they crafted their poetry in the wake of Modernism. Longenbach examines the fruitfulness of poetic repetition and indecision, of naming and renaming, and of the evolving search for newness in the construction, history, and life of lyrics. Looking to the work of thirteen poets, from Marianne Moore and T. S. Eliot through George Oppen and Jorie Graham to Carl Phillips and Sally Keith, and several musicians, including Virgil Thomson and Patti Smith, he shows how immediacy is constructed through language. Longenbach also considers the life and times of these poets, taking a close look at the syntax and diction of poetry, and offers an original look at the nowness of lyrics.
Bringing a provocative perspective to the poetry wars that have divided practitioners and critics for decades, Gillian White argues that the sharp disagreements surrounding contemporary poetics have been shaped by “lyric shame”—an unspoken but pervasive embarrassment over what poetry is, should be, and fails to be.
Favored particularly by modern American poets, lyric poetry has long been considered an expression of the writer’s innermost thoughts and feelings. But by the 1970s the “lyric I” had become persona non grata in literary circles. Poets and critics accused one another of “identifying” with lyric, which increasingly bore the stigma of egotism and political backwardness. In close readings of Elizabeth Bishop, Anne Sexton, Bernadette Mayer, James Tate, and others, White examines the social and critical dynamics by which certain poems become identified as “lyric,” arguing that the term refers less to a specific literary genre than to an abstract way of projecting subjectivity onto poems. Arguments about whether lyric poetry is deserving of praise or censure circle around what White calls “the missing lyric object”: an idealized poem that is nowhere and yet everywhere, and which is the product of reading practices that both the advocates and detractors of lyric impose on poems. Drawing on current trends in both affect and lyric theory, Lyric Shame unsettles the assumptions that inform much contemporary poetry criticism and explains why the emotional, confessional expressivity attributed to American lyric has become so controversial.
In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens.
The Left of Black interview with author Koritha Mitchell begins at 14:00.
An interview with Koritha Mitchell at The Ohio Channel.
Lives in Play explores the centrality of life narratives to women's drama and performance from the 1970s to the present moment. In the early days of second-wave feminism, the slogan was "The personal is the political." These autobiographical and biographical "true stories" have the political impact of the real and have also helped a range of feminists tease out the more complicated aspects of gender, sex, and sexuality in a Western culture that now imagines itself to be "postfeminist."
The book covers a broad range of texts and performances, from performance artists like Karen Finley, Holly Hughes, and Bobby Baker to playwrights like Suzan-Lori Parks, Maria Irene Fornes, and Sarah Kane. The book examines biography and autobiography together to link their narrative tactics and theatrical approaches and show the persistent and important uses of life writing strategies for theater artists committed to advancing women's rights and remaking women's representations.
Lives in Play argues that these writers and artists have not only responded to the vibrant conversations in feminist theory but also have anticipated and advanced these ideas, theorizing gender onstage for specific ends. Ryan Claycomb demonstrates how these performances work through tensions between performative identity and the essentialized body, between the truth value of life stories and the constructed nature of gender and narrative alike, and between writing and performing as modes of feminist representation.
The book will appeal to scholars in performance studies, women's studies, and literature, including those in the growing field of auto/biography studies.
This wide-ranging collection of critical essays on literary journalism addresses the shifting border between fiction and non-fiction, literature and journalism.
Literary Journalism in the Twentieth Century addresses general and historical issues, explores questions of authorial intent and the status of the territory between literature and journalism, and offers a case study of Mary McCarthy’s 1953 piece, "Artists in Uniform," a classic of literary journalism.
Sims offers a thought-provoking study of the nature of perception and the truth, as well as issues facing journalism today.
Love and Good Reasons combines postliberal narrative theology—especially Stanley Hauerwas’s Christian ethics and Alasdair MacIntyre’s idea of traditional inquiry—with recent scholarship in literature and ethics including the work of Martha Nussbaum, J. Hillis Miller, Wayne Booth, Jeffrey Stout, and Richard Rorty. Oehlschlaeger offers detailed readings of literature by five major authors—Herman Melville, Jane Austen, Anthony Trollope, Henry James, and Stephen Crane. He examines their works in light of biblical scripture and the grand narratives of Israel, Jesus, and the Church. Discussing the role of religion in contemporary higher education, Oehlschlaeger shares his own experiences of teaching literature from a religious perspective at a state university.
Watch a video of the author speaking about this topic: https://goo.gl/Xr9RFD
And also: https://www.dropbox.com/s/mkqw3mplruf7jje/Detective%20Talk%20Full.mp4?dl=0 (https://www.dropbox.com/s/mkqw3mplruf7jje/Detective%20Talk%20Full.mp4?dl=0)
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