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.

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 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.

Bartolomeo Fonzio (1447–1513) was a leading literary figure in Florence during the time of Lorenzo de’ Medici and Machiavelli. A professor of poetry and rhetoric at the University of Florence, he included among his friends and colleagues leading figures such as Marsilio Ficino, Angelo Poliziano, John Argyropoulos, Cristoforo Landino, and Pietro Soderini. He was one of the principal collaborators in creating the famous humanist library of King Mattyas Corvinus of Hungary. As a scholar and teacher, he devoted himself to the study of classical authors, particularly Valerius Flaccus, Livy, Persius and Juvenal; his studies of Juvenal led to bitter polemics with Poliziano.

Fonzio’s letters, translated here for the first time into English, are a window into the world of Renaissance humanism and classical scholarship, and include the famous letter about the discovery in 1485 on the Via Appia of the perfectly preserved body of a Roman girl.

Li Mengyang (1473–1530) was a scholar-official and man of letters who initiated the literary archaist movement that sought to restore ancient styles of prose and poetry in sixteenth-century China. In this first book-length study of Li in English, Chang Woei Ong comprehensively examines his intellectual scheme and situates Li’s quest to redefine literati learning as a way to build a perfect social order in the context of intellectual transitions since the Song dynasty.

Ong examines Li’s emergence at the distinctive historical juncture of the mid-Ming dynasty, when differences in literati cultures and visions were articulated as a north-south divide (both real and perceived) among Chinese thinkers. Ong argues that this divide, and the ways in which Ming literati compartmentalized learning, is key to understanding Li’s thought and its legacy. Though a northerner, Li became a powerful voice in prose and poetry, in both a positive and negative sense, as he was championed or castigated by the southern literati communities. The southern literati’s indifference toward Li’s other intellectual endeavors—including cosmology, ethics, political philosophy, and historiography—furthered his utter marginalization in those fields.

Liberal arts colleges represent a tiny portion of the higher education market—no more than 2 percent of enrollees. Yet they produce a stunningly large percentage of America’s leaders in virtually every field of endeavor. The educational experience they offer—small classes led by professors devoted to teaching and mentoring, in a community dedicated to learning—has been a uniquely American higher education ideal.

Liberal Arts at the Brink is a wake-up call for everyone who values liberal arts education. A former college president trained in law and economics, Ferrall shows how a spiraling demand for career-related education has pressured liberal arts colleges to become vocational, distorting their mission and core values. The relentless competition among them to attract the “best” students has driven down tuition revenues while driving up operating expenses to levels the colleges cannot cover. The weakest are being forced to sell out to vocational for-profit universities or close their doors. The handful of wealthy elite colleges risk becoming mere dispensers of employment and professional school credentials. The rest face the prospect of moving away from liberal arts and toward vocational education in order to survive.

Writing in a personable, witty style, Ferrall tackles the host of threats and challenges liberal arts colleges now confront. Despite these daunting realities, he makes a spirited case for the unique benefits of the education they offer—to students and the nation. He urges liberal arts colleges to stop going it alone and instead band together to promote their mission and ensure their future.

Like dye cast into water, liberal assumptions color everything American, from ideas about human nature to fears about big government. Not the dreaded “L” word of the 1988 presidential campaign, liberalism in its historical context emerged from the modern faith in free inquiry, natural rights, economic liberty, and democratic government. Expressed in the nation-building acts of revolution and constitution-writing, liberalism both structured and limited Americans’ sense of reality for two centuries.

The nation’s scholars were unable to break away from liberalism’s pervasive hold on the American mind until the last generation—when they recovered the lost world of classical republicanism. Ornate, aristocratic, prescriptive, and concerned with the common good, this form of republicanism held sway among the founding fathers before the triumph of liberal thought, with its simple, egalitarian, rational, and individualistic emphasis. The two concepts, as Joyce Appleby shows, posed choices for eighteenth-century thinkers much as they have divided twentieth-century scholars.

Entering one of the liveliest debates in the scholarly world about our ideological roots, Appleby follows the labyrinthine controversies that these two perspectives have generated in their day and in ours. In doing so, she addresses the tensions that remain to be resolved in the democratic societies of the late twentieth century—the complex relations between individual and community, personal liberty and the common good, aspiration and practical wisdom.

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.

The Limits of Change disputes the impression that the conservative ideas and styles of China's Republican period were neither strong nor persuasive enough to counter the ideas or the revolution of Mao. As the contributors to the book point out, these conservative movements reflected a modern outlook and shared a framework of common concepts with the radical movements they opposed.

In these essays we see the broad range of responses that conservatism in the Republican period took--from a new nativist historical consciousness, to quasi-Fascist theories of political mobilization, to efforts at a revival of Confucianism as a moral faith. Individual writers analyze the early Republican National Essence movement, the new Confucian humanism of the 1920s and afterwards, political ideology under Republican military dictatorships, and the ideas of modern literary conservatives. Two major interpretive essays placeChinese trends in the context of worldwide conservative responses to industrialization, political modernism, and the challenge of secularism.Through its far-reaching, detailed, and sympathetic assessment of the role of conservative ideology in China's modern intellectual experience, Limits of Change makes a distinguished contribution to Chinese studies.

Winner of the Ralph J. Gleason Music Book Award, Rock & Roll Hall of Fame
Winner of the American Book Award, Before Columbus Foundation
Winner of the PEN Oakland–Josephine Miles Award
Winner of the MAAH Stone Book Award
A Pitchfork Best Music Book of the Year
A Rolling Stone Best Music Book of the Year

“Brooks traces all kinds of lines, finding unexpected points of connection…inviting voices to talk to one another, seeing what different perspectives can offer, opening up new ways of looking and listening by tracing lineages and calling for more space.”
—New York Times

An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyoncé.

Daphne A. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of Black women on stage and in the recording studio. How is it possible, she asks, that iconic artists such as Aretha Franklin and Beyoncé exist simultaneously at the center and on the fringe of the culture industry?

Liner Notes for the Revolution offers a startling new perspective on these acclaimed figures—a perspective informed by the overlooked contributions of other Black women concerned with the work of their musical peers. Zora Neale Hurston appears as a sound archivist and a performer, Lorraine Hansberry as a queer Black feminist critic of modern culture, and Pauline Hopkins as America’s first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism. She makes lyrical forays into the blues pioneers Bessie Smith and Mamie Smith, as well as fans who became critics, like the record-label entrepreneur and writer Rosetta Reitz. In the twenty-first century, pop superstar Janelle Monae’s liner notes are recognized for their innovations, while celebrated singers Cécile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as cultural historians.

With an innovative perspective on the story of Black women in popular music—and who should rightly tell it—Liner Notes for the Revolution pioneers a long overdue recognition and celebration of Black women musicians as radical intellectuals.

In the early decades of this century, the wave of immigration that brought nearly two million Jews from the Pale of Settlement to the United States included an extraordinary group of gifted Yiddish poets and writers, who came to be called Di Yunge (The Young). A Little Love in Big Manhattan tells the story of two of the Young’s most prominent figures—Mani Leib, a lyric poet intent on refining the hard facts of his life into works of enduring beauty, and Moishe Leib Halpern, for whom poetry had to be the expression of coarse and shattering reality.

Through a dual biography of these opposing personalities, Ruth Wisse describes the rich and vital cultural movement that embraced them both. She tells of the burst of creative energy exhibited by the young poets and intellectuals who, after a long day of manual labor, would congregate in the cafes of the Lower East Side for badinage, debate, and literary talk. They started literary journals and compiled anthologies of their writings, which found their way overseas and had a rejuvenating influence on Yiddish poetry abroad. Ironically, their achievement coincided with the decline of the language in which they wrote, so that Yiddish poetry came into its own in America at a time when the next generation could scarcely read it; there were no literary heirs.

Ruth Wisse presents modern Jews with a part of their lost inheritance, and also claims for the Yiddish poets a place in the American canon. The first book to present these poets as part of the history of immigrant Jews in America, A Little Love in Big Manhattan (the title is from a poem of Halpern’s) will appeal to readers of poetry and to people interested in facets of the intellectual and artistic atmosphere of the interwar period.

As the first intellectual history of Song, Yuan, and Ming China written from a local perspective, Localizing Learning shows how literati learning in Wuzhou came to encompass examination studies, Neo-Confucian moral philosophy, historical and Classical scholarship, encyclopedic learnedness, and literary writing, and traces how debates over the relative value of moral cultivation, cultural accomplishment, and political service unfolded locally.

The book is set in one locality, Wuzhou (later Jinhua), a prefecture in China’s Zhejiang province, from the twelfth through the sixteenth century. Its main actors are literati of the Song, Yuan, and Ming, who created a local tradition of learning as a means of cementing their common identity and their claim to moral, political, and cultural leadership. Close readings of philosophical and literary texts with quantitative analysis of social and kinship networks consider why and how the local literati enterprise was built.

By treating learning as the subject, it broadens our perspective, going beyond a history of ideas to investigate the social practices and networks of kinship and collegiality with which literati defined themselves in local, regional, and national contexts.

A case for literary critics and other humanists to stop wallowing in their aestheticized helplessness and instead turn to poetry, comedy, and love.

Literary criticism is an agent of despair, and its poster child is Walter Benjamin. Critics have spent decades stewing in his melancholy. What if, instead, we dared to love poetry, to choose comedy over Hamlet’s tragedy, or to pursue romance over Benjamin’s suicide on the edge of France, of Europe, and of civilization itself?

Paul A. Bové challenges young lit critters to throw away their shades and let the sun shine in. Love’s Shadow is his three-step manifesto for a new literary criticism that risks sentimentality and melodrama and eschews self-consciousness. The first step is to choose poetry. There has been since the time of Plato a battle between philosophy and poetry. Philosophy has championed misogyny, while poetry has championed women, like Shakespeare’s Rosalind. Philosophy is ever so stringent; try instead the sober cheerfulness of Wallace Stevens. Bové’s second step is to choose the essay. He praises Benjamin’s great friend and sometime antagonist Theodor Adorno, who gloried in writing essays, not dissertations and treatises. The third step is to choose love. If you want a Baroque hero, make that hero Rembrandt, who brought lovers to life in his paintings.

Putting aside passivity and cynicism would amount to a revolution in literary studies. Bové seeks nothing less, and he has a program for achieving it.

Widely recognized as modern China’s preeminent man of letters, Lu Xun (1881–1936) is revered as the voice of a nation’s conscience, a writer comparable to Shakespeare and Tolstoy in stature and influence. Gloria Davies’s portrait now gives readers a better sense of this influential author by situating the man Mao Zedong hailed as “the sage of modern China” in his turbulent time and place.

In Davies’s vivid rendering, we encounter a writer passionately engaged with the heady arguments and intrigues of a country on the eve of revolution. She traces political tensions in Lu Xun’s works which reflect the larger conflict in modern Chinese thought between egalitarian and authoritarian impulses. During the last phase of Lu Xun’s career, the so-called “years on the left,” we see how fiercely he defended a literature in which the people would speak for themselves, and we come to understand why Lu Xun continues to inspire the debates shaping China today.

Although Lu Xun was never a Communist, his legacy was fully enlisted to support the Party in the decades following his death. Far from the apologist of political violence portrayed by Maoist interpreters, however, Lu Xun emerges here as an energetic opponent of despotism, a humanist for whom empathy, not ideological zeal, was the key to achieving revolutionary ends. Limned with precision and insight, Lu Xun’s Revolution is a major contribution to the ongoing reappraisal of this foundational figure.