A SCHOLARLY BOOK REPOSITORY425 start with B start with B
Individually, the essays advance our understanding of play reading as a practice with distinct material forms, discourses, social settings, and institutional affiliation. Part One, "Real and Imagined Communities," includes four essays on play-reading communities and the terms in which they are distinguished from the reading public at large. Cyndia Clegg surveys the construction of readers in prefaces to published plays; Lucy Munro traces three separate readings of a single play, Edward Sharpham's The Fleer; Marta Straznicky studies women as readers of printed drama; and Elizabeth Sauer describes how play reading was mobilized for political purposes in the period of the civil war.
In Part Two, "Play Reading and the Book Trade," five essays consider the impact of play reading on the public sphere through the lens of publishing practices. Zachary Lesser offers a revisionist account of black-letter typeface and the extent to which it may be understood as an index of popular culture; Alan Farmer examines how the emerging news trade of the 1620s and 1630s affected the marketing of printed drama; Peter Berek traces the use of generic terms on title pages of plays to reveal their intersection with the broader culture of reading; Lauren Shohet demonstrates that the Stuart masque had a parallel existence in the culture of print; and Douglas Brooks traces the impact print had on eclipsing performance as the medium in which the dramatist could legitimately lay claim to having authored his text.
The individual essays focus on selected communities of readers, publication histories, and ideologies and practices of reading; the collection as a whole demonstrates the importance of textual production and reception to understanding the place of drama in the early modern public sphere.
Cormac McCarthy told an interviewer for the New York Times Magazine that “books are made out of books,” but he was famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy was well aware of literary tradition and deliberately situating himself in a knowing relationship to precursors.
In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines McCarthy’s literary archive to identify over 150 writers and thinkers that McCarthy referenced in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy’s published works, the unpublished screenplay Whales and Men, and McCarthy’s correspondence. This updated edition now examines McCarthy’s final publications: the novel The Passenger and its play-like coda Stella Maris.
For each work, Crews identifies authors, artists, or other cultural figures that McCarthy referenced; gives the source of the reference in McCarthy’s papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy’s literary influences vastly expands our understanding of how one of America’s foremost authors engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.
Cormac McCarthy told an interviewer for the New York Times Magazine that “books are made out of books,” but he was famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy was well aware of literary tradition and deliberately situating himself in a knowing relationship to precursors.
In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines McCarthy’s literary archive to identify over 150 writers and thinkers that McCarthy referenced in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy’s published works, the unpublished screenplay Whales and Men, and McCarthy’s correspondence. This updated edition now examines McCarthy’s final publications: the novel The Passenger and its play-like coda Stella Maris.
For each work, Crews identifies authors, artists, or other cultural figures that McCarthy referenced; gives the source of the reference in McCarthy’s papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy’s literary influences vastly expands our understanding of how one of America’s foremost authors engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.
Cormac McCarthy told an interviewer for the New York Times Magazine that “books are made out of books,” but he has been famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy is well aware of literary tradition, respectful of the canon, and deliberately situating himself in a knowing relationship to precursors.
The Wittliff Collection at Texas State University acquired McCarthy’s literary archive in 2007. In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines the archive to identify nearly 150 writers and thinkers that McCarthy himself references in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy’s published works, the unpublished screenplay Whales and Men, and McCarthy’s correspondence. For each work, Crews identifies the authors, artists, or other cultural figures that McCarthy references; gives the source of the reference in McCarthy’s papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy’s literary influences—impossible to undertake before the opening of the archive—vastly expands our understanding of how one of America’s foremost authors has engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.
Drawing on publishing records, book reviews, readers' diaries, and popular novels of the period, Donna Harrington-Lueker explores the beginning of summer reading and the backlash against it. Countering fears about the dangers of leisurely reading—especially for young women—publishers framed summer reading not as a disreputable habit but as a respectable pastime and welcome respite. Books for Idle Hours sheds new light on an ongoing seasonal publishing tradition.
The author explores the relationship between the Library and the period's expanding print culture. He identifies the books that legislators required to be placed in the Library and establishes how these volumes were used. His analysis of the earliest printed catalogs of the Library reveals that law, politics, economics, geography, and history were the subjects most assiduously collected. These books provided government officials with practical guidance in domestic legislation and foreign affairs, including disputes with European powers over territorial boundaries.
Ostrowski also discusses a number of secondary functions of the Library, one of which was to provide reading material for the entertainment and instruction of government officials and their families. As a result, the richness of America's burgeoning literary culture from the 1830s to the 1860s was amply represented on the Library's shelves. For those with access to its Capitol rooms, the Library served an important social function, providing a space for interaction and the display and appreciation of American works of art.
Ostrowski skillfully demonstrates that the history of the Library of Congress offers a lens through which we can view changing American attitudes toward books, literature, and the relationship between the federal government and the world of arts and letters.
The most comprehensive account of the women who, as librarians, editors, and founders of the Horn Book, shaped the modern children's book industry between 1919 and 1939. The lives of Anne Carroll Moore, Alice Jordan, Louise Seaman Bechtel, May Massee, Bertha Mahony Miller, and Elinor Whitney Field open up for readers the world of female professionalization. What emerges is a vivid illustration of some of the cultural debates of the time, including concerns about "good reading" for children and about women's negotiations between domesticity and participation in the paid labor force and the costs and payoffs of professional life.
Published in collaboration among the University of Wisconsin Press, the Center for the History of Print Culture in Modern America (a joint program of the University of Wisconsin–Madison and the Wisconsin Historical Society), and the University of Wisconsin–Madison General Library System Office of Scholarly Communication.
“There they rest, inert, impertinent, in gallery space—those book forms either imitated or mutilated, replicas of reading matter or its vestiges. Strange, after its long and robust career, for the book to take early retirement in a museum, not as rare manuscript but as functionless sculpture. Readymade or constructed, such book shapes are canceled as text when deposited as gallery objects, shut off from their normal reading when not, in some yet more drastic way, dismembered or reassembled.” So begins Bookwork, which follows our passion for books to its logical extreme in artists who employ found or simulated books as a sculptural medium. Investigating the conceptual labor behind this proliferating international art practice, Garrett Stewart looks at hundreds of book-like objects, alone or as part of gallery installations, in this original account of works that force attention upon a book’s material identity and cultural resonance.
Less an inquiry into the artist’s book than an exploration of the book form’s contemporary objecthood, Stewart’s interdisciplinary approach traces the lineage of these aggressive artifacts from the 1919 Unhappy Readymade of Marcel Duchamp down to the current crisis of paper-based media in the digital era. Bookwork surveys and illustrates a stunning variety of appropriated and fabricated books alike, ranging from hacksawed discards to the giant lead folios of Anselm Kiefer. The unreadable books Stewart engages with in this timely study are found, again and again, to generate graphic metaphors for the textual experience they preclude, becoming in this sense legible after all.
The attraction of scary stories begins very early in childhood, but the fortitude to be truly scared comes later. So where are the scary stories for young children? Educators and storytellers, Ford and Norfolk deliver a silly and gently spooky collection of jumps, laughs, interactive moments, and mostly happy endings to satisfy the curious-for-creepy Pre-K through Grade 4 set. Their weirdly funny and gently scary collection of adapted folktales, original stories, and verses will delight those who enjoy being surprised more than being scared.
This book is for:
Parents, grandparents, and other mentors who work with children developmentally aged 4 to 9
Educators, librarians and others serving young listeners, who like silly and creepy stories, but may not like very scary material
Audiences ages 4-9, who like creepy but not-too-scary stories.
Twelve pen-and-ink drawings based on folktale motifs complement the fanciful tone of the book.
Villalobos focuses on representations of “border killers” in literature, film, and theater. The author develops a metaphor of “maquilization” to describe the mass-production of masculine violence as a result of neoliberalism. The author demonstrates that the killer is an interchangeable cog in a societal factory of violence whose work is to produce dead bodies. By turning to cultural narratives, Villalobos seeks to counter the sensationalistic and stereotyped media depictions of border residents as criminals. The cultural works she examines instead indict the Mexican state and the global economic system for producing agents of violence.
Focusing on both Mexico’s northern and southern borders, Border Killers uses Achille Mbembe’s concept of necropolitics and various theories of masculinity to argue that contemporary Mexico is home to a form of necropolitical masculinity that has flourished in the neoliberal era and made the exercise of death both profitable and necessary for the functioning of Mexico’s state-cartel-corporate governance matrix.
The Texas Centennial of 1936, commemorated by statewide celebrations of independence from Mexico, proved to be a powerful catalyst for the formation of a distinctly Mexican American identity. Confronted by a media frenzy that vilified "Meskins" as the antithesis of Texan liberty, Mexican Americans created literary responses that critiqued these racialized representations while forging a new bilingual, bicultural community within the United States. The development of a modern Tejana identity, controversies surrounding bicultural nationalism, and other conflictual aspects of the transformation from mexicano to Mexican American are explored in this study. Capturing this fascinating aesthetic and political rebirth, Border Renaissance presents innovative readings of important novels by María Elena Zamora O'Shea, Américo Paredes, and Jovita González. In addition, the previously overlooked literary texts by members of the League of United Latin American Citizens (LULAC) are given their first detailed consideration in this compelling work of intellectual and literary history.
Drawing on extensive archival research in the English and Spanish languages, John Morán González revisits the 1930s as a crucial decade for the vibrant Mexican American reclamation of Texas history. Border Renaissance pays tribute to this vital turning point in the Mexican American struggle for civil rights.
The first study to foreground writing by women who live at the U.S.-Mexico Border.
It is a peculiar fact that U.S.-Mexico border theory is dominated by those who write about, not from, the border. By looking at the work of women writers from both sides of the border, Debra A. Castillo and María-Socorro Tabuenca Córdoba open border studies to a truly transnational analysis while bringing questions of gender to the fore.
Border Women rethinks border theory by emphasizing women writers whose work—in Spanish, English, or a mixture of the two languages—calls into question accepted notions of border identities. These writers include those who are already well recognized internationally (Helena María Viramontes, Sheila and Sandra Ortiz Taylor, and María Novaro); those who have become part of the Chicano canon (Norma Cantú, Alicia Gaspar de Alba, and Demetria Martínez); along with some of the lesser-known, yet most exciting, women’s voices from the Mexican border (Rosario Sanmiguel, Rosina Conde, and Regina Swain).
Border Writing was first published in 1991. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Until recently, literary theory has been grounded in the histories of English, French, German, and Spanish literature. The terms and models for the production of literature and its function in culture and society were decided in Western Europe, and any deviations were immediately marginalized. This Eurocentric view has been widely attached by postmodern, feminist, and postcolonial political practices.
Drawing on a variety of critical and theoretical sources, D. Emily Hicks employs the concept of border writing to consider the complexities of contemporary Latin American writing. With its emphasis on the multiplicity of languages and the problems of translation, border writing connotes a perspective that is no longer determined by neat distinctions. Hicks combines Deleuze and Guattari's notion of "deterritorialization" (the geographic, linguistic, or cultural displacement from one's own country, language, or native culture) with a holographic metaphor in provocative readings of Latin America writers, including Gabriel Garcia Marquez, Luisa Valenzuela, and Julio Cortazar. The result is a volume that forces the reader to consider the development of literature in terms of strategies and tactics that contribute to the production of meaning in culturally complex and politically repressive societies.
D. Emily Hicks is associate professor of English and comparative literature and a member of the Latin American studies faculty at San Diego State University. Neil Larsen is associate professor of Spanish and Latin American literature at Northeastern University and the author of Modernism and Hegemony: A Materialist Critique of Aesthetic Agencies (Minnesota, 1990).
Winner of the 2014 Latina/o Studies Section - LASA Outstanding Book Award
In Borderlands Saints, Desirée A. Martín examines the rise and fall of popular saints and saint-like figures in the borderlands of the United States and Mexico. Focusing specifically on Teresa Urrea (La Santa de Cabora), Pancho Villa, César Chávez, Subcomandante Marcos, and Santa Muerte, she traces the intersections of these figures, their devotees, artistic representations, and dominant institutions with an eye for the ways in which such unofficial saints mirror traditional spiritual practices and serve specific cultural needs.
Popular spirituality of this kind engages the use and exchange of relics, faith healing, pilgrimages, and spirit possession, exemplifying the contradictions between high and popular culture, human and divine, and secular and sacred. Martín focuses upon a wide range of Mexican and Chicano/a cultural works drawn from the nineteenth century to the present, covering such diverse genres as the novel, the communiqué, drama, the essay or crónica, film, and contemporary digital media. She argues that spiritual practice is often represented as narrative, while narrative—whether literary, historical, visual, or oral—may modify or even function as devotional practice.
From reviews of the first edition:
"A compulsively readable account of the life and works of our greatest...writer of fantasy. With a keen appreciation of Borges himself and a pleasant disregard for the critical clichés, Bell-Villada tells us all we really want to know about the modern master-from pronouncing his name to understanding the stories." —New York Daily News
"Of the scores of Borges studies by now published in English, Bell-Villada's excellent book stands out as one of the freshest and most generally helpful.... Lay readers and specialists alike will find his book a valuable and highly readable companion to Ficciones and El Aleph." —Choice
Since its first publication in 1981, Borges and His Fiction has introduced the life and works of this Argentinian master-writer to an entire generation of students, high school and college teachers, and general readers. Responding to a steady demand for an updated edition, Gene H. Bell-Villada has significantly revised and expanded the book to incorporate new information that has become available since Borges' death in 1986. In particular, he offers a more complete look at Borges and Peronism and Borges' personal experiences of love and mysticism, as well as revised interpretations of some of Borges' stories. As before, the book is divided into three sections that examine Borges' life, his stories in Ficciones and El Aleph, and his place in world literature.
Boris Pasternak has generally been regarded as an artist who was indifferent to the literary and political storms of his time. Lazar Fleishman gives the great writer's life a new perspective. He shows that Pasternak's entire literary career should be regarded as a complex and passionate response to constant changes in Russian cultural and social life.
Drawing on a vast array of sources, Fleishman's chronicle encompasses both the familiar and the little-known aspects of the poet's life and work. He describes the formative role played by Pasternak's father, a prominent Russian painter, and the intellectual endeavors of the young man before his literary debut. He explores the intricate relations of Pasternak to the main movements of literary modernism, including symbolism and futurism.
Particularly informative are the chapters devoted to the postrevolutionary years. Fleishman untangles the poet's contacts with leading political figures (Stalin, Trotsky, Bukharin) and fellow writers (Gorky, Mayakovsky, Tsvetaeva, Akhmatova, Mandelshtam), and examines his changes in fortune during the purges and World War II. He shows how Pasternak was perceived by Western contemporaries and how significant their moral support was for him during the darkest years of Stalin's regime. He provides explanations for the Christian themes in Pasternak's later work, as well as the poet's peculiar view of Jewry. Finally, Fleishman recreates the vicissitudes of the publication of Doctor Zhivago and the ensuing Nobel Prize scandal in 1958. A fascinating description of the writer's career in broad context, this book will be welcomed by everyone interested in Pasternak and in twentieth-century literature.
In this wide-ranging anthology, Shaun O'Connell includes a generous sampling of those who have recorded, revised, and redefined the vision of Boston. Anne Bradstreet, Nathaniel Hawthorne, Henry James, W. E. B. Du Bois, Mary Antin, Edwin O'Connor, John Updike, and many others eloquently evoke and explain Boston in these pages.
From John Winthrop's "city upon a hill" sermon, delivered aboard the Arbella before his followers landed in 1630 in the place they would call Boston, to Robert Lowell's "For the Union Dead," a poem delivered in Boston's Public Garden in 1960, writers have continued to invoke the high purposes for which the city was founded, sometimes in praise of the city, but often in what Robert Frost named a "lover's quarrel," in works that called attention to the city's failures to fulfill its promises. In the twenty-first century some writers continue to celebrate or to castigate the city, while others look back to Boston's origins to reassess its founders and renew its covenant of high purpose.
This is an interpretive anthology—one that includes commentary as well as writings. Section introductions provide historical and biographical context, offer analysis that stresses the thematic relevance of each selection, and explore the pattern of their relations. Rather than present a random array of writers who happen to have been Greater Bostonians, O'Connell focuses on those authors who possessed a commitment to the sense of place, those who addressed Boston not only as a geographical, social, and political entity but as an image, idea, and site of symbolic values
Lorenz J. Finison explores the remarkable rise of Boston cycling through the lives of several participants, including Kittie Knox, a biracial twenty-year-old seamstress who challenged the color line; Mary Sargent Hopkins, a self-proclaimed expert on women's cycling and publisher of The Wheelwoman; and Abbot Bassett, a longtime secretary of the League of American Wheelman and a vocal cycling advocate for forty years. Finison shows how these riders and others interacted on the road and in their cycling clubhouses, often constrained by issues of race, class, religion, and gender. He reveals the challenges facing these riders, whether cycling for recreation or racing, in a time of segregation, increased immigration, and debates about the rights of women.
Examining more than sixty accounts by women captives, as well as novels ranging from Susanna Rowson's eighteenth-century classic Rueben and Rachel to today's mass-market romances, Castiglia investigates paradoxes central to the genre. In captivity, women often find freedom from stereotypical roles as helpless, dependent, sexually vulnerable, and xenophobic. In their condemnations of their non-white captors, they defy assumptions about race that undergird their own societies. Castiglia questions critical conceptions of captivity stories as primarily an appeal to racism and misogyny, and instead finds in them an appeal of a much different nature: as all-too-rare stories of imaginative challenges to rigid gender roles and racial ideologies.
Whether the women of these stories resist or escape captivity, endure until they are released, or eventually choose to live among their captors, they end up with the power to be critical of both cultures. Castiglia shows that these compelling narratives, with their boundary crossings and persistent explorations of cultural divisions and differences, have significant implications for current critical investigations into the construction of gender, race, and nation.
Challenges the commonplace narrative that the African American experience of captivity in the United States is reducible to the legal institution of slavery, a status remedied through emancipation
In Bound to Respect: Antebellum Narratives of Black Imprisonment, Servitude, and Bondage, 1816–1861, Keith Michael Green examines key texts that illuminate forms of black bondage and captivity that existed within and alongside slavery. In doing so, he restores to antebellum African American autobiographical writing the fascinating heterogeneity lost if the historical experiences of African Americans are attributed to slavery alone.
The book’s title is taken from the assertion by US Supreme Court chief justice Roger B. Taney in his 1857 Dred Scott decision that blacks had no rights that whites were “bound to respect.” This allusion highlights Green’s critical assertion that the dehumanizing absurdities to which defenders of slavery resorted to justify slavery only brought into more stark relief the humanity of African Americans.
A gifted storyteller, Green examines four forms of captivity: incarceration, enslavement to Native Americans, child indentured servitude, and maritime capture. By illuminating this dense penumbra of captivity beyond the strict definitions of slavery, he presents a fluid and holistic network of images, vocabulary, narratives, and history. By demonstrating how these additional forms of confinement flourished in the era of slavery, Green shows how they persisted beyond emancipation, in such a way that freed slaves did not in fact partake of “freedom” as white Americans understood it. This gap in understanding continues to bedevil contemporary American society, and Green deftly draws persuasive connections between past and present.
A vital and convincing offering to readers of literary criticism, African American studies, and American history, Green’s Bound to Respect brings fresh and nuanced insights to this fundamental chapter in the American story.
A Boundless Field takes its title from Walt Whitman's sanguine view of the future of American poetry as he expressed it in "Democratic Vistas," a view that seems all the more pertinent today. During the later twentieth century, poetry in the United States branched out in many directions, ranging from a formalism influenced by New Criticism and a subsequent Neo-Formalism through the New York School and Language Poetry to a postmodern maximalism too diverse to categorize. The essays and reviews collected in this volume take up the work of poets writing in these different areas and writing into the twenty-first century.
Yenser's constant criteria for worthiness of attention include an alertness to the long tradition of English and American poetry, a consistent awareness of the integrity of the poetic line, a simultaneous commitment to verbal play and verbal work, and an implicit acknowledgment of two of Wallace Stevens's declarations: first that all admirable poetry is experimental poetry, and second that at first blush all good poems put up a certain resistance to the reader. Hence the usefulness of "criticism."
Stephen Yenser is Professor of English, University of California, Los Angeles. His poetry has appeared in many publications and to wide acclaim, including the Walt Whitman Award of the American Academy of Poets for his book The Fire in All Things. He is also author of The Consuming Myth: The Work of James Merrill and Circle to Circle: The Poetry of Robert Lowell.
In The Bow and the Lyre Octavio Paz, one of the most important poets writing in Spanish, presents his sustained reflections on the poetic phenomenon and on the place of poetry in history and in our personal lives. It is written in the same prose style that distinguishes The Labyrinth of Solitude. The Bow and the Lyre will serve as an important complement to Paz's poetry.
Paz's discussions of the different aspects of the poetic phenomenon are not limited to Spanish and Spanish American literature. He is almost as apt to choose an example from Homer, Vergil, Blake, Whitman, Rimbaud as he is from Lope de Vega, Jiménez, Darío, Neruda. In writing these essays, he draws on his vast storehouse of knowledge, revealing a world outlook of ample proportions. In reading these essays, we share the observations of a searching, original, highly cultivated mind.
Philip Whalen (1923–2002) authored twenty collections of verse, more than twenty broadsides, two novels, a huge assemblage of autobiographical literary journals, nine or ten experimental prose works, and dozens of critical essays, lectures, commentaries, introductions, prefaces, and interviews. But he came to regard his literary journals as his most important prose legacy.
Whalen’s literary work represents a significant turn in American letters, as he and his closest colleagues immersed themselves in East Asian literature and religion, reinvigorating strikingly new linguistic and aesthetic paths for North American writers and artists. However, until now Whalen’s forty-plus years of journals—sixty small eight-by-six-inch notebooks—have been largely inaccessible, archived in the rare book and manuscript library at the University of California, Berkeley, undigitized and unavailable online. Thus, the publication of a critical scholarly edition of Whalen’s journals and notebooks constitutes an important literary event and an invaluable resource for scholars, teachers, poets, and lay readers who follow twentieth-century North American poetry.
John Lennon maps the rise and demise of the political hobo from the nineteenth-century introduction of the transcontinental railroad to the Federal Aid Highway Act of 1956. Intertwining literary, historical, and theoretical representations of the hobo, he explores how riders and writers imagined alternative ways that working-class people could use mobility to create powerful dissenting voices outside of fixed hierarchal political organizations. Placing portrayals of hobos in the works of Jack London, Jim Tully, John Dos Passos, and Jack Kerouac alongside the lived reality of people hopping trains (including hobos of the IWW, the Scottsboro Boys, and those found in numerous long-forgotten memoirs), Lennon investigates how these marginalized individuals exerted collective political voices through subcultural practices.
In this groundbreaking book, Ken Parille seeks to do for nineteenth-century boys what the past three decades of scholarship have done for girls: show how the complexities of the fiction and educational materials written about them reflect the lives they lived. While most studies of nineteenth-century boyhood have focused on post-Civil War male novelists, Parille explores a broader archive of writings by male and female authors, extending from 1830-1885.
Boys at Home offers a series of arguments about five pedagogical modes: play-adventure, corporal punishment, sympathy, shame, and reading. The first chapter demonstrates that, rather than encouraging boys to escape the bonds of domesticity, scenes of play in boys’ novels reproduce values associated with the home. Chapter 2 argues that debates about corporal punishment are crucial sources for the culture’s ideas about gender difference and pedagogical practice. In chapter 3, “The Medicine of Sympathy,” Parille examines the affective nature of mother-daughter and mother-son bonds, emphasizing the special difficulties that “boy-nature” posed for women. The fourth chapter uses boys’ conduct literature and Louisa May Alcott’s Little Women – the preeminent chronicle of girlhood in the century – to investigate not only Alcott’s fictional representations of shame-centered discipline but also pervasive cultural narratives about what it means to “be a man.” Focusing on works by Lydia Sigourney and Francis Forrester, the final chapter considers arguments about the effects that fictional, historical, and biographical narratives had on a boy’s sense of himself and his masculinity.
Boys at Home is an important contribution to the emerging field of masculinity studies. In addition, this provocative volume brings new insight to the study of childhood, women’s writing, and American culture.
Ken Parille is assistant professor of English at East Carolina University. His articles have appeared in Children’s Literature, Tulsa Studies in Women’s Literature, Papers on Language and Literature, and Children’s Literature Association Quarterly.
Drawing on numerous interviews with Bradbury and privileged access to personal papers and private collections, Jonathan R. Eller examines the often-overlooked second half of Bradbury's working life. As Bradbury's dreams took him into a wider range of nonfiction writing and public lectures, the diminishing time that remained for creative pursuits went toward Hollywood productions like the award-winning series Ray Bradbury Theater. Bradbury developed the Spaceship Earth narration at Disney's EPCOT Center; appeared everywhere from public television to NASA events to comic conventions; published poetry; and mined past triumphs for stage productions that enjoyed mixed success. Distracted from storytelling as he became more famous, Bradbury nonetheless published innovative experiments in autobiography masked as detective novels, the well-received fantasy The Halloween Tree and the masterful time travel story "The Toynbee Convector." Yet his embrace of celebrity was often at odds with his passion for writing, and the resulting tension continuously pulled at his sense of self.
The revelatory conclusion to the acclaimed three-part biography, Bradbury Beyond Apollo tells the story of an inexhaustible creative force seeking new frontiers.
The activist tradition in American literature has long testified to the power of words to change people and the power of people to change the world, yet in recent years many professional humanists have chosen to distract themselves with a postmodern fundamentalism of indeterminacy and instability rather than engage with social and political issues. Throughout her bold and provocative call to action, Elizabeth Ammons argues that the responsibility now facing humanists is urgent: inside and outside academic settings, they need to revive the liberal arts as a progressive cultural force that offers workable ideas and inspiration in the real-world struggle to achieve social and environmental justice.
Brave New Words challenges present and future literary scholars and teachers to look beyond mere literary critique toward the concrete issue of social change and how to achieve it. Calling for a profound realignment of thought and spirit in the service of positive social change, Ammons argues for the continued importance of multiculturalism in the twenty-first century despite attacks on the concept from both right and left. Concentrating on activist U.S. writers—from ecocritics to feminists to those dedicated to exposing race and class biases, from Jim Wallis and Cornel West to Winona LaDuke and Paula Moya and many others—she calls for all humanists to link their work to the progressive literature of the last half century, to insist on activism in the service of positive change as part of their mission, and to teach the power of hope and action to their students.
As Ammons clearly demonstrates, much of American literature was written to expose injustice and motivate readers to work for social transformation. She challenges today’s academic humanists to address the issues of hope and purpose by creating a practical activist pedagogy that gives students the knowledge to connect their theoretical learning to the outside world. By relying on the transformative power of literature and replacing nihilism and powerlessness with conviction and faith, the liberal arts can offer practical, useful inspiration to everyone seeking to create a better world.
In 1865, twenty-three-year-old William James began his studies at the Harvard Medical School. When he learned that one of his most esteemed professors, Louis Agassiz, then director of the recently established Museum of Comparative Zoology, was preparing a research expedition to Brazil, James offered his services as a voluntary collector. Over the course of a year, James kept a diary, wrote letters to his family, and sketched the plants, animals, and people he observed. During this journey, James spent time primarily in Rio de Janeiro, Belem, and Manaus, and along the rivers and tributaries of the Amazon Basin.
This volume is a critical, bilingual (English–Portuguese) edition of William James’s diaries and letters and also includes reproductions of his drawings. This original material belongs to the Houghton Archives at Harvard University and is of great interest to both William James scholars and Brazilian studies experts.
Takes the singular eco-catastrophic “Age of Man” and redefines this epoch
We live in a new world: the Anthropocene. The Age of Man is defined in many ways, and most dramatically through climate change, mass extinction, and human marks in the geological record. Ideas of the Anthropocene spill out from the geophysical sciences into the humanities, social sciences, the arts, and mainstream debates—but it’s hard to know what the new coinage really means. Break Up the Anthropocene argues that this age should subvert imperial masculinity and industrial conquest by opening up the plural possibilities of Anthropocene debates of resilience, adaptation, and the struggle for environmental justice.
Forerunners: Ideas First
Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead
Praise for Breakfast Served:
". . . the essays in this book are engaging, passionate, strange, and unified. Hall has been around a long time, and you can trace the concerns of a generation through the mind of this one man: questions about the diminished scope of poetry, the diminished ambitions of poets, how a poem 'means,' etc. . . . . Criticism . . . is an exercise in sanity, of which these essays are a splendid and useful example."
-Poetry
"A luminous and essential volume about the sensuality of language, its pleasures and sounds."
-Ploughshares
"It is in this merger of a poet's biography and a poem's body that Hall does his best work. . . . [Breakfast Served Any Time All Day] has an undeniably infectious quality to it. Finishing it, you cannot help but want to return to your bookshelf, and read-again or for the first time-the great forgotten poems of our past."
-Nathan Greenwood Thompson, Rain Taxi
These lively essays reveal the generational continuum of women's regional literature, which has always offered a voice to women and their concerns. By exploring the multiplicity of connections between women and regional writing and the subversive potential of regional writing to put forth social criticisms and correctives, Breaking Boundaries charts some of the major ways in which this literary genre is of particular importance to today's writers.
Style is the material body of lyric poetry, Helen Vendler suggests. To cast off an earlier style is to do an act of violence to the self. Why might a poet do this, adopting a sharply different form? In this exploration of three kinds of break in poetic style, Vendler clarifies the essential connection between style and substance in poetry. Opening fresh perspectives on the work of three very different poets, her masterful study of changes in style yields a new view of the interplay of moral, emotional, and intellectual forces in a poet’s work.
Gerard Manley Hopkins’ invention of sprung rhythm marks a dramatic break with his early style. Rhythm, Vendler shows us, is at the heart of Hopkins’ aesthetic, and sprung rhythm is his symbol for danger, difference, and the shock of the beautiful. In Seamus Heaney’s work, she identifies clear shifts in grammatical “atmosphere” from one poem to the next—from “nounness” to the “betweenness” of an adverbial style—shifts whose moral and political implications come under scrutiny here. And finally Vendler looks at Jorie Graham’s departure from short lines to numbered lines to squared long lines of sentences, marking a move from deliberation to cinematic “freeze-framing to coverage, each with its own meaning in this poet’s career.
Throughout, Vendler reminds us that what distinguishes successful poetry is a mastery of language at all levels—including the rhythmic, the grammatical, and the graphic. A fine study of three poets and a superb exposition of the craft of poetry, The Breaking of Style revives our lapsed sense of what style means.
A CHOICE Outstanding Academic Title, 2019
Comics studies has reached a crossroads. Graphic novels have never received more attention and legitimation from scholars, but new canons and new critical discourses have created tensions within a field built on the populist rhetoric of cultural studies. As a result, comics studies has begun to cleave into distinct camps—based primarily in cultural or literary studies—that attempt to dictate the boundaries of the discipline or else resist disciplinarity itself. The consequence is a growing disconnect in the ways that comics scholars talk to each other—or, more frequently, do not talk to each other or even acknowledge each other’s work.
Breaking the Frames: Populism and Prestige in Comics Studies surveys the current state of comics scholarship, interrogating its dominant schools, questioning their mutual estrangement, and challenging their propensity to champion the comics they study. Marc Singer advocates for greater disciplinary diversity and methodological rigor in comics studies, making the case for a field that can embrace more critical and oppositional perspectives. Working through extended readings of some of the most acclaimed comics creators—including Marjane Satrapi, Alan Moore, Kyle Baker, and Chris Ware—Singer demonstrates how comics studies can break out of the celebratory frameworks and restrictive canons that currently define the field to produce new scholarship that expands our understanding of comics and their critics.
Stanislaw Baranczak, a Polish writer in exile, turns to his colleagues and their plights, in Poland, Czechoslovakia, Hungary, and the Soviet Union, to explain why oppressive regimes could not succeed in their attempts to transform the Eastern European into Homo sovieticus.
These superb essays focus on the role that culture, and particularly literature, has played in keeping the spirit of intellectual independence alive in Eastern and Central Europe. Exploring a variety of issues from censorship to underground poetry, Baranczak shows why, in societies where people struggle to survive under totalitarian rule, art is believed to have the power to make things happen.
He brings into sharp relief the works and personalities of many legendary figures of recent Eastern European political and cultural history from Lech Walesa and Pope John Paul II to Václav Havel and Adam Michnik to Czeslaw Milosz, Witold Gombrowicz, Bruno Schulz, and Joseph Brodsky--and makes vivid the context from which they spring. Some of the essays probe the sense of inarticulateness experienced by writers in exile; many represent the literary essay at its best; all reveal that Baranczak is a sophisticated, often savagely funny writer on whom nothing is lost.
This refreshing and provocative book guides us toward a clearer understanding of what has led to the present moment, in which the nations of Eastern and Central Europe, tired of striving to "breathe under water," are finally "coming up for air." It is rewarding reading for anyone interested in art's confrontation with an intractable political reality--wherever it occurs in the world.
Paul Kincaid explores the many contradictions that underlay the distinctive qualities of Aldiss’s writing. Wartime experiences in Asia and the alienation that arose upon his return to the cold austerity of postwar Britain inspired themes and imagery that Aldiss drew upon throughout his career. He wrote of prolific nature overwhelming humanity, believed war was madness even though it provided him with the happiest period of his life, and found parallels in the static lives of Indian peasants and hidebound English society. As Kincaid shows, contradictions created tensions that fueled the metaphorical underpinnings of Aldiss's work and shaped not only his long career but the evolution of postwar British science fiction.
When journalist Patrick Kennedy and historian Lawrence Kennedy unearthed their uncle's unpublished memoir, they discovered a colorful character who lived a tumultuous life, beyond his multiple marathons. The bricklayer survived typhoid fever, a five-story fall, auto and train accidents, World War action, Depression-era bankruptcy, decades of back-breaking work, and his own tendency to tipple. In many ways, Bill typified the colorful, newly emerging culture and working-class ethic of competitive long-distance running before it became a professionalized sport. Bricklayer Bill takes us back to another time, when bricklayers, plumbers, and printers could take the stage as star athletes.
A Bridge of Longing is a compelling history of how Yiddish storytelling became the politics of rescue for successive generations of displaced Jewish artists, embodying their fervent hopes and greatest fears in the languages of tradition. Its protagonists are modern writers who returned to storytelling in the hope of harnessing the folk tradition, and who created copies that are better than the original.
When the cultural revolution failed--as it did for Rabbi Nahman of Bratslaw in the summer of 1806 and for I. L. Peretz in the winter of 1899; for Kiev novelist Sholem Aleichem in 1890 and kibbutz novelist Yosl Birstein in 1960; for Polish-Jewish refugees Isaac Bashevis Singer and Jechiel Isaiah Trunk when they cast ashore in America--there seemed but one route out of the spiritual and creative impasse, and that was storytelling. Yiddish storytelling was a lost art, relegated to obscurity among religious texts and synagogue sermons, then willfully abandoned by Jewish rebels and immigrants seeking more cosmopolitan forms of expression. Thus its recovery is a tale of loss and redemption.
Behind the joyous weddings that end the fairy tales and romances of Rabbi Nahman, I. L. Peretz, Der Nister, and Abraham Sutzkever; beneath the folksy facade of holiday stories by I. M. Dik and Sholem Aleichem, the Bible Poems of Itzik Manger, the demon-monologues of I. B. Singer, there lies, according to David G. Roskies, an aesthetic and moral sensibility totally at odds with the coarse humor and conventional piety of the folk. Taken together, these writers and their deceptively simple folk narratives weave a pattern of rebellion, loss, and retrieval that Roskies calls "creative betrayal"--a pattern he traces from the weddings of Yiddish fantasy to the reinvented traditions of contemporary Jews. His book itself is a delightful expression of the art of storytelling--it is a warm and vivid account.
This volume reassesses the field of Chicana/o literary studies in light of the rise of Latina/o studies, the recovery of a large body of early literature by Mexican Americans, and the “transnational turn” in American studies. The chapters reveal how “Chicano” defines a literary critical sensibility as well as a political one and show how this view can yield new insights about the status of Mexican Americans, the legacies of colonialism, and the ongoing prospects for social justice.
Chicana/o literary representations emerge as significant examples of the local that interrogate globalization’s attempts to erase difference. They also highlight how Chicana/o literary studies’ interests in racial justice and the minority experience have produced important intersections with new disciplines while also retaining a distinctive character. The recalibration of Chicana/o literary studies in light of these shifts raises important methodological and disciplinary questions, which these chapters address as they introduce the new tools required for the study of Chicana/o literature at this critical juncture.
Thirteen original essays written specifically for the second Eaton Conference on Science Fiction and Fantasy Literature, held February 23–24, 1980, at the University of California, Riverside.
These essays demonstrate the variety of fantasy forms and their pervasiveness throughout the ages and will stimulate further study of this complex and elusive mode. The essays—by Harold Bloom, writer and DeVane Professor of the Humanities at Yale University; Larry McCaffery, Assistant Professor of English at San Diego State University; Marta E. Sánchez, Instructor of English at the University of California, San Diego; Arlen J. Hansen, Professor of English at the University of the Pacific, Stockton; David Clayton, Instructor of Comparative Literatureat the University of California, San Diego; Robert Sale, writer and Professor of English at the University of Washington; G. Richard Thompson, Professor of English at Purdue University, West Lafayette; Robert A. Collins, Coordinator of the annual Swann Conference on the Fantastic and Instructor at Florida Atlantic University, Boca Raton; John Gerlach, Associate Professor of English at Cleveland State University; David Ketterer, writer and Professor of English at Concordia University, Montreal; George R. Guffey, Professor of English at the University of California, Los Angeles; Jack P. Rawlins, Associate Professor of English at California State University, Chico; and Gary Kern, writer and translator of early Soviet literature—examine fantasy on many levels of interest: as an element of human thought, as a constant factor in the social and intellectual environment, and as a generator of form in art and literature.
Ten new critical essays written for presentation at the first Eaton Conference on Science Fiction and Fantasy Literature held 24–25February 1979,at the University of California, Riverside.
While critical discussion of science fiction has become increasingly sophisticated during the past decade, there remains a tendency among some teachers and readers to consider science fiction as an independent phenomenon that exists unconnected to the mainstream of our cultural inheritance. These essays—by Harry Levin, Irving Babbitt Professor of Comparative Literature at Harvard University; Kent T. Kraft, Assistant Professor of Comparative Literature at the University of Georgia, Athens; Stephen Potts, writer and instructor at San Diego State University; Gregory Benford, writer and Associate Professor of Physics at the University of California, Irvine; Robert Hunt, an editor at Glencoe Publishing; Eric S. Rabkin, Professor of English at the University of Michigan; Patrick Parrinder, instructor at the University of Reading, England; Thomas Keeling, Lecturer in English at the University of California, Los Angeles; Carl D. Malmgren, instructor at the University of Oregon, Eugene; and Thomas Hanzo, Professor of English and Chairman of the department at the University of California, Davis—suggest the connections that exist between science fiction and other aspects of Western cultural tradition.
Ranging in interest from the specifically philosophical to the specifically literary, the essays relate science fiction to such topics as medieval cosmological discourse, classical empirical philosophy, fairy tale, epic, and Gothic fiction. Emerging from the volume as a whole are both a coherent view of science fiction as a genre and a heightened sense of its complex relation to our cultural heritage.
The inspirational writings of cultural theorist and social justice activist Gloria Anzaldúa have empowered generations of women and men throughout the world. Charting the multiplicity of Anzaldúa's impact within and beyond academic disciplines, community trenches, and international borders, Bridging presents more than thirty reflections on her work and her life, examining vibrant facets in surprising new ways and inviting readers to engage with these intimate, heartfelt contributions.
Bridging is divided into five sections: The New Mestizas: "transitions and transformations"; Exposing the Wounds: "You gave me permission to fly in the dark"; Border Crossings: Inner Struggles, Outer Change; Bridging Theories: Intellectual Activism with/in Borders; and "Todas somos nos/otras": Toward a "politics of openness." Contributors, who include Norma Elia Cantú, Elisa Facio, Shelley Fisher Fishkin, Aída Hurtado, Andrea Lunsford, Denise Segura, Gloria Steinem, and Mohammad Tamdgidi, represent a broad range of generations, professions, academic disciplines, and national backgrounds. Critically engaging with Anzaldúa's theories and building on her work, they use virtual diaries, transformational theory, poetry, empirical research, autobiographical narrative, and other genres to creatively explore and boldly enact future directions for Anzaldúan studies.
A book whose form and content reflect Anzaldúa's diverse audience, Bridging perpetuates Anzaldúa's spirit through groundbreaking praxis and visionary insights into culture, gender, sexuality, religion, aesthetics, and politics. This is a collection whose span is as broad and dazzling as Anzaldúa herself.
Collins explores how digital technologies and the convergence of literary, visual, and consumer cultures have changed what counts as a “literary experience” in phenomena ranging from lush film adaptations such as The English Patient and Shakespeare in Love to the customer communities at Amazon. Central to Collins’s analysis and, he argues, to contemporary literary culture, is the notion that refined taste is now easily acquired; it is just a matter of knowing where to access it and whose advice to trust. Using recent novels, he shows that the redefined literary landscape has affected not just how books are being read, but also what sort of novels are being written for these passionate readers. Collins connects literary bestsellers from The Jane Austen Book Club and Literacy and Longing in L.A. to Saturday and The Line of Beauty, highlighting their depictions of fictional worlds filled with avid readers and their equations of reading with cultivated consumer taste.
Each of the contributors is a current or former lecturer at the Warren Wilson College MFA Program for Writers, one of the most highly respected writing programs in the country. Included are essays by Charles Baxter, Robert Boswell, Karen Brennan, Judith Grossman, Ehud Havazelet, C. J. Hribal, Margot Livesey, Michael Martone, Kevin McIlvoy, Pablo Medina, Antonya Nelson, Susan Neville, Richard Russo, Steven Schwartz, Jim Shepard, Joan Silber, Debra Spark, Peter Turchi, and Chuck Wachtel.
Rich with masterful examples and personal anecdotes, these imaginative essays provide hard-earned insight into a writer's work. The book will interest not only those seeking inspiration and guidance to become stronger writers, but also readers of contemporary literary fiction, who will find a number of surprising and original approaches to the writer's work by award-winning practitioners adept at teaching others what they know.
Charles Baxter is author of several novels, including The Feast of Love, Shadow Play, and First Light. and collections of stories including Believers and A Relative Stranger. He teaches writing at the University of Michigan. Peter Turchi is author of the novel The Girls Next Door, a collection of stories, Magician, and a book of non-fiction, The Pirate Prince. He is Director of the MFA Program for Writers, Warren Wilson College.
Enlightenment-era writers had not yet come to take technology for granted, but nonetheless were—as we are today—both attracted to and repelled by its potential. This volume registers the deep history of such ambivalence, examining technology’s influence on Enlightenment British literature, as well as the impact of literature on conceptions of, attitudes toward, and implementations of technology. Offering a counterbalance to the abundance of studies on literature and science in seventeenth- and eighteenth-century Britain, this volume’s focus encompasses approaches to literary history that help us understand technologies like the steam engine and the telegraph along with representations of technology in literature such as the “political machine.” Contributors ultimately show how literature across genres provided important sites for Enlightenment readers to recognize themselves as “chimeras”—“hybrids of machine and organism”—and to explore the modern self as “a creature of social reality as well as a creature of fiction.”
In eighteenth-century Britain, criminals were routinely whipped, branded, hanged, or transported to America. Only in the last quarter of the century—with the War of American Independence and legal and sociopolitical challenges to capital punishment—did the criminal justice system change, resulting in the reformed prison, or penitentiary, meant to educate, rehabilitate, and spiritualize even hardened felons. This volumeis the first to explore the relationship between historical penal reform and Romantic-era literary texts by luminaries such as Godwin, Keats, Byron, and Jane Austen. The works examined here treat incarceration as ambiguous: prison walls oppress and reinforce the arbitrary power of legal structures but can also heighten meditation, intensify the imagination, and awaken the conscience. Jonas Cope skillfully traces the important ideological work these texts attempt: to reconcile a culture devoted to freedom with the birth of the modern prison system that presents punishment as a form of rehabilitation.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
British women in the second half of the 20th century have produced a body of work that is as diverse as it is entertaining. This book offers an informal, jargon-free introduction to the fiction of sixteen contemporary writers either brought up or now living in England, from Muriel Spark to Jeanette Winterson.
British Women Writing Fiction presents a balanced view comprising women writing since the 1950s and 1960s, those who attracted critical attention during the 1970s and 1980s, and those who have burst upon the literary scene more recently, including African-Caribbean and African women. The essays show how all of these writers treat British subjects and themes, sometimes from radically different perspectives, and how those who are daughters of immigrants see themselves as women writing on the margins of society.
Abby Werlock's introduction explores the historical and aesthetic factors that have contributed to the genre, showing how even those writers who began in a traditional vein have created experimental work. The contributors provide complete bibliographies of each writer's works and selected bibliographies of criticism. Exceptional both in its breadth of subjects covered and critical approaches taken, this book provides essential background that will enable readers to appreciate the singular merits of each writer. It offers an approach toward better understanding favorite authors and provides a way to become acquainted with new ones.
Expelled from the Soviet Union in 1972 and honored with the Nobel Prize fifteen years later, poet Joseph Brodsky in many ways fit the grand tradition of exiled writer. But Brodsky’s years of exile did not render him immobile: though he never returned to his beloved Leningrad, he was free to travel the world and write about it. In Brodsky Abroad, Sanna Turoma discusses Brodsky’s poems and essays about Mexico, Brazil, Turkey, and Venice. Challenging traditional conceptions behind Brodsky’s status as a leading émigré poet and major descendant of Russian and Euro-American modernism, she relocates the analysis of his travel texts in the diverse context of contemporary travel and its critique. Turoma views Brodsky’s travel writing as a response not only to his exile but also to the postmodern and postcolonial landscape that initially shaped the writing of these texts.
In his Latin American encounters, Brodsky exhibits disdain for third-world politics and invokes the elegiac genre to reject Mexico’s postcolonial reality and to ironically embrace the romanticism of an earlier Russian and European imperial age. In an essay on Istanbul he assumes Russia’s ambiguous position between East and West as his own to negotiate a distinct, and controversial, interpretation of Orientalism. And, Venice, the emblematic tourist city, becomes the site for a reinvention of his lyric self as more fluid, hybrid, and cosmopolitan.
Brodsky Abroad reveals the poet’s previously uncharted trajectory from alienated dissident to celebrated man of letters and offers new perspectives on the geopolitical, philosophical, and linguistic premises of his poetic imagination.
Joseph Brodsky’s translations of his own Russian-language poems into English “new originals” have been criticized for their “un-Englishness,” an appraisal based on a narrow understanding of translation itself. With this radical reassessment of the Nobel Prize winner’s self-translations, Zakhar Ishov proposes a fresh approach to poetry translation and challenges the assumption that poetic form is untranslatable.
Brodsky in English draws on previously unexamined archival materials, including drafts and correspondence with translators and publishers, to trace the arc of Brodsky’s experience with the English language. Ishov shows how Brodsky’s belief in the intellectual continuity between his former life in the Soviet Union and his new career in the United States, including as Poet Laureate, anchored his insistence on maintaining the formal architecture of his poems in translation, locating the transmission of poetic meaning in the rhythms of language itself. This book highlights Brodsky’s place within the long history of the compromises translation must make between linguistic material and poetic process.
In these 20 interviews with women writers of fiction, Jordan, who teaches at Hampton University in Virginia, attempts to plumb the relations between black and white women in fiction and in life, and to explore the creative process. Although the book suffers from lengthy discussions of somewhat obscure work, the interviewees, most of whom have portrayed female characters of a race other than their own, offer intriguing, often conflicting observations about the primacy of race, gender or class. Kaye Gibbons ( Ellen Foster ) suggests that rural locations offer commonality to black and white Southern women; Marita Golden ( Long Distance Life ) observes that white writers emphasize female beauty while black writers focus on character. This book may be a useful supplement to literature courses.
From Library Journal
The message derived from the candid and articulate women interviewed here is, as Belva Plain states, "you learn as you live together." Editor Jordan (Hampton Univ., Virginia) has opened a dialog on writing and race relations by publishing these interviews with 20 significant contemporary black and white women writers, from Alice Childress and Joyce Carol Oates to Mildred Pitts Walker. The substance of these writers' thoughts is that the commonality of women's experience informs the genuine portrayal of a character as much as does the writer's understanding of her blackness or whiteness. This special book, so different from others that examine the writing process, is likely to stimulate dialog among women and to provoke serious study of many excellent women writers working today. Recommended for all collections supporting the study of literature, women's studies, and race relations.
Dowdy argues that a transnational Latina/o imaginary has emerged in response to neoliberalism—the free-market philosophy that underpins what many in the northern hemisphere refer to as “globalization.” His work examines how poets represent the places that have been “broken” by globalization’s political, economic, and environmental upheavals. Broken Souths locates the roots of the new imaginary in 1968, when the Mexican student movement crested and the Chicano and Nuyorican movements emerged in the United States. It theorizes that Latina/o poetics negotiates tensions between the late 1960s’ oppositional, collective identities and the present day’s radical individualisms and discourses of assimilation, including the “post-colonial,” “post-national,” and “post-revolutionary.” Dowdy is particularly interested in how Latina/o poetics reframes debates in cultural studies and critical geography on the relation between place, space, and nature.
Broken Souths features discussions of Latina/o writers such as Victor Hernández Cruz, Martín Espada, Juan Felipe Herrera, Guillermo Verdecchia, Marcos McPeek Villatoro, Maurice Kilwein Guevara, Judith Ortiz Cofer, Jack Agüeros, Marjorie Agosín, Valerie Martínez, and Ariel Dorfman, alongside discussions of influential Latin American writers, including Roberto Bolaño, Ernesto Cardenal, David Huerta, José Emilio Pacheco, and Raúl Zurita.
In the arena of poetry and poetics over the past century, no idea has been more alive and contentious than the idea of form, and no aspect of form has more emphatically sponsored this marked formal concern than the line. But what, exactly, is the line? Emily Rosko and Anton Vander Zee’s anthology gives seventy original answers that lead us deeper into the world of poetry, but also far out into the world at large: its people, its politics, its ecology. The authors included here, emerging and established alike, write from a range of perspectives, in terms of both aesthetics and identity. Together, they offer a dynamic hybrid collection that captures a broad spectrum of poetic practice in the twenty-first century.
Bringing together a variety of past literary figures as well as emerging talents, this comprehensive book captures the Zeitgeist of the neighborhood through the eyes of its writers. Included are selections from the writings of Jack Kerouac, Mark Twain, James Baldwin, James Fenimore Cooper, Tom Wolfe, Herman Wouk, Theodore Dreiser, Washington Irving, Clifford Odets, Cynthia Ozick, Grace Paley, Edgar Allan Poe, Chaim Potok, Kate Simon, Leon Trotsky, and Sholem Aleichem.
Lloyd Ultan and Barbara Unger place the literature of these and other writers in historical context and reproduce one hundred vintage photographs that bring the writings to life. Filtered through the imaginations of authors of different times, ethnic groups, social classes, and literary styles, the borough of The Bronx emerges not only as a shaper of destinies and lives, but as an important literary mecca.
The Burroughs-Weston letters trace a fascinating personal and business relationship that evolved as the two men and their wives embarked on joint capital ventures, traveled frequently, and navigated the difficult waters of child-rearing, divorce, and aging. Brother Men includes never-before-published images, annotations, and a critical introduction in which Cohen explores the significance of the sustained, emotional male friendship evident in the letters. Rich with insights related to visual culture and media technologies, consumerism, the history of the family, the history of authorship and readership, and the development of the West, these letters make it clear that Tarzan was only one small part of Edgar Rice Burroughs’s broad engagement with modern culture.
The friendship of Jean Toomer and Waldo Frank was one of the most emotionally intense, racially complicated, and aesthetically significant relationships in the history of American literary modernism. Waldo Frank was an established white writer who advised and assisted the younger African American Jean Toomer as he pursued a literary career. They met in 1920, began corresponding regularly in 1922, and were estranged by the end of 1923, the same year that Toomer published his ambitiously modernist debut novel, Cane.
While individual letters between Frank and Toomer have been published separately on occasion, they have always been presented out of context. This volume presents for the first time their entire correspondence in chronological order, comprising 121 letters ranging from 200 to 800 words each. Kathleen Pfeiffer annotates and introduces the letters, framing the correspondence and explaining the literary and historical allusions in the letters themselves.
Reading like an epistolary novel, Brother Mine captures the sheer emotional force of the story that unfolds in these letters: two men discover an extraordinary friendship, and their intellectual and emotional intimacy takes shape before our eyes. This unprecedented collection preserves the raw honesty of their exchanges, together with the developing drama of their ambition, their disappointments, their assessment of their world, and ultimately, the betrayal that ended the friendship.
Brotherly Love is a graphic reconstruction of the crime, its social and economic background, and the subsequent trials. The story reveals the antagonism between native-born Yankees, who commanded great power, and the growing number of Irish Catholic immigrants, most of whom worked in the textile mills. Indeed, the economic, political, and religious dimensions of the conflict are all evident in the trials.
The authors argue persuasively that the Gordons were victims of bigotry and circumstantial evidence, serving as convenient scapegoats to appease a community outraged over the murder of its wealthiest citizen. In telling the story of this notorious case, Brotherly Love reveals the politics of prejudice in nineteenth-century New England as played out in community and courtroom.
Oliver Goldsmith arrived in England in 1756 a penniless Irishman. He toiled for years in the anonymity of Grub Street—already a synonym for impoverished hack writers—before he became one of literary London’s most celebrated authors. Norma Clarke tells the extraordinary story of this destitute scribbler turned gentleman of letters as it unfolds in the early days of commercial publishing, when writers’ livelihoods came to depend on the reading public, not aristocratic patrons. Clarke examines a network of writers radiating outward from Goldsmith: the famous and celebrated authors of Dr. Johnson’s “Club” and those far less fortunate “brothers of the quill” trapped in Grub Street.
Clarke emphasizes Goldsmith’s sense of himself as an Irishman, showing that many of his early literary acquaintances were Irish émigrés: Samuel Derrick, John Pilkington, Paul Hiffernan, and Edward Purdon. These writers tutored Goldsmith in the ways of Grub Street, and their influence on his development has not previously been explored. Also Irish was the patron he acquired after 1764, Robert Nugent, Lord Clare. Clarke places Goldsmith in the tradition of Anglo-Irish satirists beginning with Jonathan Swift. He transmuted troubling truths about the British Empire into forms of fable and nostalgia whose undertow of Irish indignation remains perceptible, if just barely, beneath an equanimous English surface.
To read Brothers of the Quill is to be taken by the hand into the darker corners of eighteenth-century Grub Street, and to laugh and cry at the absurdities of the writing life.
Winner, Modern Language Association Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies, 2006
Popular fiction, with its capacity for diversion, can mask important cultural observations within a framework that is often overlooked in the academic world. Works thought to be merely "escapist" can often be more seriously mined for revelations regarding the worlds they portray, especially those of the disenfranchised. As detective fiction has slowly earned critical respect, more authors from minority groups have chosen it as their medium. Chicana/o authors, previously reluctant to write in an underestimated genre that might further marginalize them, have only entered the world of detective fiction in the past two decades.
In this book, the first comprehensive study of Chicano/a detective fiction, Ralph E. Rodriguez examines the recent contributions to the genre by writers such as Rudolfo Anaya, Lucha Corpi, Rolando Hinojosa, Michael Nava, and Manuel Ramos. Their works reveal the struggles of Chicanas/os with feminism, homosexuality, familia, masculinity, mysticism, the nationalist subject, and U.S.-Mexico border relations. He maintains that their novels register crucial new discourses of identity, politics, and cultural citizenship that cannot be understood apart from the historical instability following the demise of the nationalist politics of the Chicana/o movement of the 1960s and 1970s. In contrast to that time, when Chicanas/os sought a unified Chicano identity in order to effect social change, the 1980s, 1990s, and 2000s have seen a disengagement from these nationalist politics and a new trend toward a heterogeneous sense of self. The detective novel and its traditional focus on questions of knowledge and identity turned out to be the perfect medium in which to examine this new self.
Common conceptions permeating U.S. ethnic queer theory tend to confuse aesthetics with real-world acts and politics. Often Chicano/a representations of gay and lesbian experiences in literature and film are analyzed simply as propaganda. The cognitive, emotional, and narrational ingredients (that is, the subject matter and the formal traits) of those representations are frequently reduced to a priori agendas that emphasize a politics of difference.
In this book, Frederick Luis Aldama follows an entirely different approach. He investigates the ways in which race and gay/lesbian sexuality intersect and operate in Chicano/a literature and film while taking into full account their imaginative nature and therefore the specific kind of work invested in them. Also, Aldama frames his analyses within today's larger (globalized) context of postcolonial literary and filmic canons that seek to normalize heterosexual identity and experience. Throughout the book, Aldama applies his innovative approach to throw new light on the work of authors Arturo Islas, Richard Rodriguez, John Rechy, Ana Castillo, and Sheila Ortiz Taylor, as well as that of film director Edward James Olmos. In doing so, Aldama aims to integrate and deepen Chicano literary and filmic studies within a comparative perspective. Aldama's unusual juxtapositions of narrative materials and cultural personae, and his premise that literature and film produce fictional examples of a social and historical reality concerned with ethnic and sexual issues largely unresolved, make this book relevant to a wide range of readers.
Browning's Beginnings was first published in 1980. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Browning's Beginnings offers a fresh approach to the poet who, among major Victorians, has proved at once the most congenial and most inscrutable to modern readers. Drawing on recent developments in literary theory and in the criticism of romantic poetry, Herbert
F. Tucker, Jr., argues that Browning's stylistic "obscurity" is the result of a principled poetics of evasion. This art of disclosure, in deferring formal and semantic finalities, constitutes an aesthetic counterpart to his open-ended moral philosophy of"incompleteness," Browning's poems, like his enormously productive career, find their motivation and sustenance in his optimistic love of the future—a love that is indistinguishable from his lifelong fear that there will be nothing left to say.The opening chapters trace the workings of Browning's art of disclosure with extensive and original interpretations of the unduly neglected early poems, Pauline, Paracelsus, and Sordello, and place special emphasis on Browning's attitudes toward poetic tradition and language. A chapter on Browning's attitudes toward poetic tradition and language. A chapter on Browning's plays identifies dynamics of representation in Pippa Passes, Strafford,and King Victor and King Charles. Tucker discusses the pervasive analogy between Browning's ideas about poetic representation and about representation in its erotic and religious aspects, and shows how the early poems and plays illustrate correlative developments in poetics and in the exploration and dramatic rendering of human psychology. The remaining chapters follow the poetic psychology of Browning to its culmination in the great poems of his middle years; exemplary readings of selected dramatic lyrics and monologues suggest that the ways of meaning in Browning's mature work variously bear out the sense of endlessness or perpetual initiation that is central to his poetic beginnings.
Tucker thus contends that the "romantic" and the "Victorian" Browning have more in common than is generally supposed, and his book should appeal to students of both periods. Its discussion of general literary issues - poetic influence, closure, representation, and meaning - in application to particular texts should further recommend Browning's Beginnings to the nonspecialist reader interested in poetry and poetic theory.
This will stand as the definitive account of Robert Browning's development to maturity as a man and poet. Drawing on all available material, including important new manuscript findings, John Maynard reconstructs the circumstances of Browning's youth—his ancestry, his attractive and eccentric family, life in the new suburban London, his early understanding of himself and the world around him, his rich cultural education at home and with his teachers and friends and gives us a warm and convincing picture of Browning's boyhood and growth. Maynard traces Browning's early efforts to define his role as a poet, providing a full critical interpretation of his relation to the Romantics, especially the peculiarly powerful influence Shelley exerted on his early work.
The development of Browning's mind is examined in his response to his early schooling and private tutoring at home, his year at the new London University, and his decision to drop out of the university and all conventional career plans. The history concludes with a survey of Browning's reading in the period of self-education that initiated his mature work as a major poet of our modern era. Maynard's intention throughout is not to provide a day-to-day account of a boy and young man's life, but to flesh out the larger epic of a gifted child's formation in his environment, and the emergence of his own direction out of the context of his family, society, and literary culture. In so doing he has achieved a model case study of the development of a young man's mind and of a young poet's sense of identity as a creative artist. And he has recaptured the social, physical, and cultural ambiance of middle-class London in the early nineteenth century. It is a story told with grace and critical good sense.
French symbolist artist Odilon Redon (1840–1916) seemed to thrive at the intersection of literature and art. Known as “the painter-writer,” he drew on the works of Poe, Baudelaire, Flaubert, and Mallarmé for his subject matter. And yet he concluded that visual art has nothing to do with literature. Examining this apparent contradiction, The Brush and the Pen transforms the way we understand Redon’s career and brings to life the interaction between writers and artists in fin-de-siècle Paris.
The statesman on the history and practice of Roman oratory.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
Bryher (born Annie Winifred Ellerman) is perhaps best known today as the lifelong partner of the poet H.D. She was, however, a central figure in modernist and avant-garde cultural experimentation in the early twentieth century; a prolific producer of poetry, novels, autobiography, and criticism; and an intimate and patron of such modernist artists as Gertrude Stein, Marianne Moore, and Dorothy Richardson. Bryher’s own path-breaking writing has remained largely neglected, long out of print, and inaccessible to those interested in her oeuvre. Now, for the first time since their original publication in the early 1920s, two of Bryher's pioneering works of fictionalized autobiography, titled Development and Two Selves, are reprinted in one volume for a new audience of readers, scholars, and critics.
Blending poetry, prose, and autobiographical details, Development and Two Selves together constitute a compelling bildungsroman that is among the first ever to follow a young woman's process of coming out. Through the fictionalized character Nancy, the novels trace Bryher’s life through her childhood and young adulthood, giving the reader an account of the development of a unique lesbian, feminist, and modernist consciousness. Development and Two Selves recover significant work by one of the first experimenters of the modernist movement and are a welcome reintroduction of the enigmatic Bryher.
The Buck, the Black, and the Existential Hero: Refiguring the Black Male Literary Canon, 1850 to Present combines philosophy, literary theory, and jazz studies with Africana studies to develop a theory of the black male literary imagination. In doing so, it seeks to answer fundamental aesthetic and existential questions: How does the experience of being black and male in the modern West affect the telling of a narrative, the shape or structure of a novel, the development of characters and plot lines, and the nature of criticism itself?
James B. Haile argues that, since black male identity is largely fluid and open to interpretation, reinterpretation, and misinterpretation, the literature of black men has developed flexibility and improvisation, termed the “jazz of life.” Our reading of this literature requires the same kind of flexibility and improvisation to understand what is being said and why, as well as what is not being said and why. Finally, the book attempts to offer this new reading experience by placing texts by well-known authors, such as Frederick Douglass, Ralph Ellison, and Colson Whitehead, in conversation with texts by those who are less well known and those who have, for the most part, been forgotten, in particular, Cecil Brown. Doing so challenges the reader to visit and revisit these novels with a new perspective about the social, political, historical, and psychic realities of black men.
By 1920 Buenos Aires was the largest and most cosmopolitan city of Latin America due to mass immigration from Europe in the previous decades. Unbridled urban expansion had drastic effects on the social and cultural topography of the Argentine capital, raising ideological and aesthetic issues that shaped the modernist landscape of the country. Artists across disciplines responded to these changes with conflicting depictions of urban space. Centering these conflicts as a cognitive map of modernity’s new realities in the city, Buenos Aires across the Arts looks at the interaction between modernity and modernism in literature, photography, film, and painting during the interwar period. This was a time of profound change and heightened cultural activity in Argentina. Eleni Kefala analyzes works by Jorge Luis Borges, Oliverio Girondo, José Ferreyra, Xul Solar, Roberto Arlt, and Horacio Coppola, with a focus on the city of Buenos Aires as a playground of modernity.
In these pages we see the panoply of LGBTQ life in Alaska today, from the quotidian urban adventures of a family—shopping, going out, working—to intimate encounters with Alaska’s breathtaking natural beauty. At a time of great change and major strides in LGBTQ civil rights, Building Fires in the Snow shows us an Alaska that shatters stereotypes and reveals a side of Alaska that’s been little seen until now.
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By the end of the nineteenth century, Ralph Waldo Emerson was well on his way to becoming the “Wisest American” and the “Sage of Concord,” a literary celebrity and a national icon. With that fame came what Robert Habich describes as a blandly sanctified version of Emerson held widely by the reading public. Building Their Own Waldos sets out to understand the dilemma faced by Emerson’s early biographers: how to represent a figure whose subversive individualism had been eclipsed by his celebrity, making him less a representative of his age than a caricature of it.Drawing on never-before-published letters, diaries, drafts, business records, and private documents, Habich Emerson’s First Biographers explores the making of a cultural hero through the stories of Emerson’s first biographers—George Willis Cooke, a minister most recently from Indianapolis who considered himself a disciple; the English reformer and newspaper mogul Alexander Ireland, a friend for half a century; Moncure D. Conway, a Southern abolitionist then residing in London, who called Emerson his “spiritual father and intellectual teacher”; the poet and medical professor Oliver Wendell Holmes, with Emerson a member of Boston’s gathering of literary elite, the Saturday Club; James Elliot Cabot, the family’s authorized biographer, an architect and amateur philosopher with unlimited access to Emerson’s unpublished papers; and Emerson’s son Edward, a physician and painter whose father had passed over him as literary executor in favor of Cabot.
Just as their biographies reveal a complex, socially engaged Emerson, so too do the biographers’ own stories illustrate the real-world perils, challenges, and motives of life-writing in the late nineteenth century, when biographers were routinely vilified as ghoulish and disreputable and biography as a genre underwent a profound redefinition. Building Their Own Waldos is at once a revealing look at Emerson’s constructed reputation, a case study in the rewards and dangers of Victorian life-writing, and the story of six authors struggling amidst personal misfortunes and shifting expectations to capture the elusive character of America’s “representative man,” as they knew him and as they needed him to be.
In Building Victorian Boston, Roger Reed focuses on representative projects by Bryant, presenting them in a chronological narrative that both illuminates the trajectory of his career and creates a portrait of the profession of architecture during a defining period of New England history. Bryant designed more major buildings in Boston from 1840 to 1880 than any other architect. He also undertook commissions throughout New
England, especially in towns linked to Boston by newly constructed railroad lines. In many ways, his practice presaged aspects of modern architectural firms. His ability to work with a variety of designers, his expertise in construction management, and his exceptional talent for self-promotion all contributed to his success. Although by the time of his death his work was no longer fashionable, newspaper accounts noted the passing of the "Famed Bostonian" and "Great Builder" whose career had had such a dramatic impact on the face of the city.
For this volume, Reed has tracked down hundreds of Bryant's drawings as well as specifications, letters, newspaper articles, published renderings, and historical photographs. These materials are amply represented in this book, the definitive study of a quintessential Victorian architect.
In 1856 and 1857, in response to a prophet’s command, the Xhosa people of southern Africa killed their cattle and ceased planting crops; the resulting famine cost tens of thousands of lives. Much like other millenarian, anticolonial movements—such as the Ghost Dance in North America and the Birsa Munda uprising in India—these actions were meant to transform the world and liberate the Xhosa from oppression. Despite the movement’s momentous failure to achieve that goal, the event has continued to exert a powerful pull on the South African imagination ever since. It is these afterlives of the prophecy that Jennifer Wenzel explores in Bulletproof.
Wenzel examines literary and historical texts to show how writers have manipulated images and ideas associated with the cattle killing—harvest, sacrifice, rebirth, devastation—to speak to their contemporary predicaments. Widening her lens, Wenzel also looks at how past failure can both inspire and constrain movements for justice in the present, and her brilliant insights into the cultural implications of prophecy will fascinate readers across a wide variety of disciplines.
Through the prism of the lives of Leon Blum, Albert Camus, and Raymond Aron, Judt examines pivotal issues in the history of contemporary French society—antisemitism and the dilemma of Jewish identity, political and moral idealism in public life, the Marxist moment in French thought, the traumas of decolonization, the disaffection of the intelligentsia, and the insidious quarrels rending Right and Left. Judt focuses particularly on Blum's leadership of the Popular Front and his stern defiance of the Vichy governments, on Camus's part in the Resistance and Algerian War, and on Aron's cultural commentary and opposition to the facile acceptance by many French intellectuals of communism's utopian promise. Severely maligned by powerful critics and rivals, each of these exemplary figures stood fast in their principles and eventually won some measure of personal and public redemption.
Judt constructs a compelling portrait of modern French intellectual life and politics. He challenges the conventional account of the role of intellectuals precisely because they mattered in France, because they could shape public opinion and influence policy. In Blum, Camus, and Aron, Judt finds three very different men who did not simply play the role, but evinced a courage and a responsibility in public life that far outshone their contemporaries.
"An eloquent and instructive study of intellectual courage in the face of what the author persuasively describes as intellectual irresponsibility."—Richard Bernstein, New York Times
The Burden of Rhyme shows how the nineteenth-century search for the origin of rhyme shaped the theory and practice of poetry. For Victorians, rhyme was not (as it was for the New Critics, and as it still is for us) a mere technique or ahistorical form. Instead, it carried vivid historical fantasies derived from early studies of world literature. Naomi Levine argues that rhyme’s association with the advent of literary modernity and with a repertoire of medievalist, Italophilic, and orientalist myths about love, loss, and poetic longing made it a sensitive historiographic instrument. Victorian poets used rhyme to theorize both literary history and the most elusive effects of aesthetic form. This Victorian formalism, which insisted on the significance of origins, was a precursor to and a challenge for twentieth-century methods. In uncovering the rich relationship between Victorian poetic forms and a forgotten style of literary-historical thought, The Burden of Rhyme reveals the unacknowledged influence of Victorian poetics—and its repudiation—on the development of modern literary criticism.
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