Winner of the 2017 National Jewish Book Award, poetry category

What is it like living today in the chaos of a city that is at once brutal and beautiful, heir to immigrant ancestors "who supposed their children's children would be rich and free?" What is it to live in the chaos of a world driven by "intolerable, unquenchable human desire?" How do we cope with all the wars? In the midst of the dark matter and dark energy of the universe, do we know what train we're on? In this cornucopia of a book, Ostriker finds herself immersed in phenomena ranging from a first snowfall in New York City to the Tibetan diaspora, asking questions that have no reply, writing poems in which "the arrow may be blown off course by storm and returned by miracle."

Selected as ForeWord Magazine’s  1999 Gay/Lesbian Book of the Year

In Pratt's fourth volume of poems, Walking Back Up Depot Street, we are led by powerful images into what is both a story of the segregated rural South and the story of a white woman named Beatrice who is leaving that home for the postindustrial North. Beatrice searches for the truth behind the public story-the official history-of the land of her childhood. She struggles to free herself from the lies she was taught while growing up-and she finds the other people who are also on this journey.   

In these dramatically multivocal narrative poems, we hear the words and rhythms of Bible Belt preachers, African-American blues and hillbilly gospel singers, and sharecropper country women and urban lesbians. We hear the testimony of freed slaves and white abolitionists speaking against Klan violence, fragments of speeches by union organizers and mill workers, and snatches of songs from those who marched on the road to Selma.  Beatrice walks back into the past and finds the history of resistance that she has never been taught; she listens to her fellow travelers as they all get ready to create the future.

The Wall is a poetic exploration—across time, space, and language, real as well as metaphorical—of the U.S.-Mexican wall dividing the two civilizations, of similar walls (Jerusalem, China, Berlin, Warsaw, etc.) in history, and of the act of separating people by ideology, class, race, and other subterfuges. It is an indictment of hateful political rhetoric. In the spirit of Virgil’s Aeneid and Spoon River Anthology by Edgar Lee Master, it gives voice in symphonic fashion to an assortment of participants (immigrants, border patrol, soldiers, activists, presidents, people dead and alive) involved in the debate on walls. It brings in elements of literature and pop culture, fashion and cuisine. Poetry becomes a tool to explore raw human emotions in all its extremes.

Because of their visibility in society and ability to shape public opinion, prominent literary figures were among the first targets of Communist repression, torture, and incarceration. Authors such as Alexsandr Solzhenitsyn famously documented the experience of internment in Soviet gulags. Little, however, has been published in the English language on the work of writers imprisoned by other countries of the Soviet bloc.

For the first time, The Walls Behind the Curtain presents a collection of works from East European novelists, poets, playwrights, and essayists who wrote during or after their captivity under communism. Harold B. Segel paints a backdrop of the political culture and prison and labor camp systems of each country, detailing the onerous conditions that writers faced. Segel then offers biographical information on each writer and presents excerpts of their writing. Notable literary figures included are Václav Havel, Eva Kanturková, Milan Šimecka, Adam Michnik, Milovan Djilas, Paul Goma, Tibor Déry, and Visar Zhiti, as well as many other writers.

This anthology recovers many of the most important yet overlooked literary voices from the era of Communist occupation. Although translated from numerous languages, and across varied cultures, there is a distinct commonality in the experiences documented by these works. The Walls Behind the Curtain serves as a testament to the perseverance of the human spirit and a quest for individual liberty that many writers forfeited their lives for.

In a dramatically original analysis, Jackie DiSalvo explores Blake’s reworking of Genesis and Paradise Lost in his prophetic poem The Four Zoas, creating a compelling new reading of both Milton and Blake. With informed argument and provocative insights, DiSalvo shows how Blake’s view of history prefigures the revaluation of our own myths of origin prompted by new political, psychological, and feminist perspectives.

Violent conflicts rooted in ethnicity have erupted all over the world. Since the Cold War ended and a new world order has failed to emerge, political leaders in countries long repressed by authoritarianism, such as Yugoslavia, have found it easy to mobilize populations with the ethnic rallying cry. Thus, the worldwide shift to democratization has often resulted in something quite different from effective pluralism.
 
This volume of essays assembles a diverse array of approaches to the problems of ethnic conflict, with researchers  and scholars using pure theory, comparative case studies, and aggregate data analysis to approach the complex questions facing today’s leaders. How do we keep communal conflicts from deteriorating into sustained violence? What models can we follow to promote peaceful secession? What effect does--or should--ethnic conflict have on foreign policy?

Wars in the Woods examines the conflicts that have developed over the preservation of forests in America, and how government agencies and advocacy groups have influenced the management of forests and their resources for more than a century. Samuel Hays provides an astute analysis of manipulations of conservation law that have touched off a battle between what he terms “ecological forestry” and “commodity forestry.” Hays also reveals the pervading influence of the wood products industry, and the training of U.S. Forest Service to value tree species marketable as wood products, as the primary forces behind forestry policy since the Forest Management Act of 1897. 

Wars in the Woods gives a comprehensive account of the many grassroots and scientific organizations that have emerged since then to combat the lumber industry and other special interest groups and work to promote legislation to protect forests, parks, and wildlife habitats. It also offers a review of current forestry practices, citing the recent Federal easing of protections as a challenge to the progress made in the last third of the twentieth century.

Hays describes an increased focus on ecological forestry in areas such as biodiversity, wildlife habitat, structural diversity, soil conservation, watershed management, native forests, and old growth. He provides a valuable framework for the critical assessment of forest management policies and the future study and protection of forest resources.

South Africa is recognized as a site of both political turmoil and natural beauty, and yet little work has been done in connecting these defining national characteristics. Washed with Sun  achieves this conjunction in its multidisciplinary study of South Africa as a space at once natural and constructed.  Weaving together practical, aesthetic, and ideological analyses, Jeremy Foster examines the role of landscape in forming the cultural iconographies and spatialities that shaped the imaginary geography of emerging nationhood.  Looking in particular at the years following the British victory in the second Boer War, from 1902 to 1930, Foster discusses the influence of painting, writing, architecture, and photography on the construction of a shared, romanticized landscape subjectivity that was perceived as inseparable from  “being South African,” and thus helped forge the imagined community of white South Africa.  

 In its innovative approach to South Africa's history, Washed with Sun breaks important new ground, combining the persuasive theory of cultural geography with the material specificity of landscape history.

1998 Agnes Lynch Starrett Prize winner.

The Water Between Us is a poetic examination of cultural fragmentation, and the exile's struggle to reconcile the disparate and often conflicting influences of the homeland and the adopted country. The book also centers on other kinds of physical and emotional distances: those between mothers and daughters, those created by being of mixed racial descent, and those between colonizers and the colonized. Despite these distances, or perhaps because of them, the poems affirm the need for a multilayered and cohesive sense of self. McCallum's language is precise and graceful. Drawing from Anancy tales, Greek myth, and biblical stories, the poems deftly alternate between American English and Jamaican patois, and between images both familiar and surreal.

Winner of the 2010 Donald Hall Prize in Poetry

In her third poetry collection, Quan Barry explores the universal image of war as evidenced in Afghanistan and Iraq as well as Vietnam, the country of her birth. In the long poem “meditations” Barry examines her own guilt in initially supporting the invasion of Iraq. Throughout the manuscript she investigates war and its aftermath by negotiating between geographically disparate landscapes—from the genocide in the Congo—to a series of pros poem “snapshots” of modern day Vietnam. Despite the gravity of war, Barry also turns her signature lyricism to other topics such as the beauty of Peru or the paintings of Ana Fernandez.

We Fish is  the  tale of a father and son's shared dialogue in poetry and in prose, memoir and reflection, as they delight in their time spent fishing while considering the universal challenge of raising good children. Their story and their lesson have the power to teach today's young African American men about friendship, family, and trust; and the potential to save a generation from the dangers of the modern world and from themselves.

As global temperatures rise under the forcing hand of humanity’s greenhouse gas emissions, new questions are being asked of how societies make sense of their weather, of the cultural values, which are afforded to climate, and of how environmental futures are imagined, feared, predicted, and remade. Weather, Climate, and Geographical Imagination contributes to this conversation by bringing together a range of voices from history of science, historical geography, and environmental history, each speaking to a set of questions about the role of space and place in the production, circulation, reception, and application of knowledges about weather and climate. The volume develops the concept of “geographical imagination” to address the intersecting forces of scientific knowledge, cultural politics, bodily experience, and spatial imaginaries, which shape the history of knowledges about climate.

As long as humans have existed, they’ve worked and competed with plants to shape their surroundings. As cities developed and expanded, their diverse spaces were covered with and colored by weeds. In Weeds, Zachary J. S. Falck presents a comprehensive history of “happenstance plants” in American urban environments. Beginning in the late nineteenth century and continuing to the present, he examines the proliferation, perception, and treatment of weeds in metropolitan centers from Boston to Los Angeles.
      In dynamic city ecosystems, population movements and economic cycles establish and transform habitats where vegetation continuously changes. Americans came to associate weeds with infectious diseases and allergies, illegal dumping, vagrants, drug dealers, and decreased property values. Local governments and citizens’ groups attempted to eliminate unwanted plants to better their urban environments and improve the health and safety of inhabitants. Over time, a growing understanding of the natural environment made “happenstance plants” more tolerable and even desirable.
      In the twenty-first century, scientists have warned that the effects of global warming and the heat-trapping properties of cities are producing more robust strains of weeds. Falck shows that nature continues to flourish where humans have struggled: in the aftermath of Hurricane Katrina, in the abandoned homes of the California housing bust, and alongside crumbling infrastructure. Weeds are here to stay.

Nicholas Rescher examines the controversial social issue of the welfare state, and offers philosophical thoughts on the limits and liabilities of government and society. Questioning some of the principal assumptions of democratic theory and classical liberalism, Rescher theorizes that the current system is not a be-all end-all, but rather a necessity with limited scope that will ultimately fail to achieve its objectives. He further purports that the welfare state must be a transitional phase to a more affluent postindustrial society-a satisfying life, rather than an adequate one.

What makes a good experiment? Although experimental evidence plays an essential role in science, as Franklin argues, there is no algorithm or simple set of criteria for ranking or evaluating good experiments, and therefore no definitive answer to the question. Experiments can, in fact, be good in any number of ways: conceptually good, methodologically good, technically good, and pedagogically important. And perfection is not a requirement: even experiments with incorrect results can be good, though they must, he argues, be methodologically good, providing good reasons for belief in their results. Franklin revisits the same important question he posed in his 1981 article in the British Journal for the Philosophy of Science, when it was generally believed that the only significant role of experiment in science was to test theories. But experiments can actually play a lot of different roles in science—they can, for example, investigate a subject for which a theory does not exist, help to articulate an existing theory, call for a new theory, or correct incorrect or misinterpreted results. This book provides details of good experiments, with examples from physics and biology, illustrating the various ways they can be good and the different roles they can play.

Charles Harper Webb is celebrated for his use of humor; yet even his funniest poems rise, as the best comedy must, out of deep human drives, sorrows, and needs. Powerful immersions in what it means to be human, these poems explore the spectrum of emotions from love to hate, tenderness to brutality. They can be withering and vulnerable in the same breath. Models of clarity and vividness, they are mysterious when they need to be, ranging from lyric to narrative, from realism to wild surreal flights, powered by a fierce, compassionate intelligence. Metaphors of startling aptness and originality, a voice at once endearing and provocative, high musicality, propulsive energy, wild imaginative leaps, as well as mastery of diction from lyricism to street-speak, create a reading experience of the first order. Uniformly fun to read, these poems go down easy, but pack a wallop. As Robert Frost said poetry should do, What Things Are Made Of "begins in delight and ends in wisdom."

The poems in What We Did While We Made More Guns investigate the place where economic failure meets a widening acculturation of violence—a kind of Great Acceleration of soul extinction set in this spectacularly uneasy moment in American history. Cutting, comic, sorrowful, at times terrified, at times resolute, the poems tilt along the high cliff’s edge of identity anxiety and American moral uncertainty, where each of us plays our part in the business of dispossession or resistance. Building themselves out of jazzed-up verbal velocities and wounded (in)sincerity, the poems counsel resilience against all forms of battery, mortal, spiritual, financial. They are pattern-makers in the dark. They talk back to God. They take into themselves what cannot be taken back: the news that forty-six million Americans have “slipped” below the poverty line; that guns discharge monstrously banal virility; that a black woman pulled over for a routine traffic violation dies by strangulation in her jail cell; that we buy and sell the myth of the American Dream as though our lives depended on it.

For more than one hundred years, until the 1920s, coal production involved blasting a seam of coal and loading it by had into a mine car.  In the late 1920s, operators introduced machines into the mines, including the coal loader. In this book, Keith Dix explores the impact of technology on miners and operators during a crucial period in industrial history. Dix reconstructs the social, political, technical and economic environment of the “hand-loading” era and then views the evolution of mechanical coal technology, including the inventions of Joseph Joy. He also examines the rise of the United Mine Workers under John L. Lewis, and the expanded role of the state under New Deal legislation and regulations.

When They Hid the Fire examines the American social perceptions of electricity as an energy technology that were adopted between the mid-nineteenth and early decades of the twentieth centuries. Arguing that both technical and cultural factors played a role, Daniel French shows how electricity became an invisible and abstract form of energy in American society. As technological advancements allowed for an increasing physical distance between power generation and power consumption, the commodity of electricity became consciously detached from the environmentally destructive fire and coal that produced it. This development, along with cultural forces, led the public to define electricity as mysterious, utopian, and an alternative to nearby fire-based energy sources. With its adoption occurring simultaneously with Progressivism and consumerism, electricity use was encouraged and seen as an integral part of improvement and modernity, leading Americans to culturally construct electricity as unlimited and environmentally inconsequential—a newfound “basic right” of life in the United States.

C.D. Wright has described Roberson’s work as “lyric poetry of meticulous design and lasting emotional significance," comparing its musical qualities to the work of saxophonist Steve Lacy, jazz pianist Thelonious Monk, and composer Johann Sebastian Bach.

Set in any era, Dick Thornburgh’s brilliant career would merit study and retelling. He was the first Republican elected to two successive terms as governor of Pennsylvania. He served in the Department of Justice under five presidents, including three years as attorney general for Presidents Reagan and Bush. As undersecretary-
general of the United Nations, he was the highest-ranking American in the organization and a strong voice for reform.

Nationally, Thornburgh is best remembered for his three years as attorney general, when he managed some of the most vexing legal matters of the modern age: the Savings and Loan and BCCI scandals; controversy over the “Iraqgate” and INSLAW investigations and the Wichita abortion clinic protests; and prosecutions of Michael Milken, Manuel Noriega, and Marion Barry, as well as those involved in the Pan Am Flight 103 bombing, the Exxon Valdez oil spill, and the Rodney King beating.

As governor of Pennsylvania, he faced the nation’s worst nuclear accident, weeks after his inauguration in 1979. Thornburgh's cool-headed response to the Three Mile Island disaster is often studied as a textbook example of emergency management. His historic 1992 battle against Harris Wofford for the late John Heinz III’s Senate seat is one of several political campaigns, vividly recalled, that reveal the inner workings of the commonwealth’s political machinery.

Thornburgh reveals painful details of his personal life, including the automobile accident that claimed the life of his first wife and permanently disabled his infant son. He presents a frank analysis of the challenges of raising a family as a public figure, and tells the moving story of his personal and political crusade that culminated in the Americans with Disabilities Act of 1990.

This revised and updated edition includes a new chapter devoted to the highlights of Thornburgh’s continuing career. He offers fascinating insights into his experiences as Bankruptcy Court Examiner for the WorldCom proceedings, leading the investigation into the CBS News report on President George W. Bush’s military service record, representing Allegheny County coroner Cyril Wecht in a trial over alleged misuse of public office, and as part of the K&L Gates team consulted by Chiquita Brands during a federal investigation over payments made to Colombian guerillas and paramilitaries to protect banana growers.

Whirlwind is one woman’s frank, witty, mordant, sexy look at the breakup of a marriage and its emotional aftermath. With her characteristic linguistic play and mixture of poetic registers and styles, Sharon Dolin takes her readers on an off-the-tracks emotional ride through the whirlwind that goes by the name of divorce. Hang on tight. Here poems are never merely confessional, but use formal aplomb to ride the white-heat rage, hurt, denial, reflection, regret, wistfulness, desire, and sexual passion as they go hurtling through the many stages of grief after the death of a relationship and the rebirth of a more vital self. Dolin tackles difficult subjects unflinchingly in her poems: such as betrayal and the shame of the one being betrayed, being a parent within a volatile breakup, as well as some startling poems on the reawakening of sexuality and an attention to the natural world and politics. In her poem that won a Pushcart Prize, she dons the mask of the Furies to confront her ex-husband and his lover. A journalist of her own heart, Sharon Dolin has written a brazen collection that seethes with the pressure of a story to tell: cathartic and thrilling in equal measure.

White Papers is a series of untitled poems that deal with issues of race from a number of personal, historical, and cultural perspectives. Expanding the territory of her 2006 book Blue Front, which focused on a lynching her father witnessed as a child, this book turns, among other things, to Martha Collins' childhood. Throughout, it explores questions about what it means to be white, not only in the poet’s life, but also in our culture and history, even our pre-history. The styles and forms are varied, as are the approaches; some of the poems address race only implicitly, and the book, like Blue Front, includes some documentary and “found” material. But the focus is always on getting at what it has meant and what it means to be white—to have a race and racial history, much of which one would prefer to forget, if one is white, but all of which is essential to remember and to acknowledge in a multi-racial society that continues to live under the influence of its deeply racist past.

Poland and Russia have a long relationship that encompasses centuries of mutual antagonism, war, and conquest. The twentieth century has been particularly intense, including world wars, revolution, massacres, national independence, and decades of communist rule—for both countries. Since the collapse of communism, historians in both countries have struggled to come to grips with this difficult legacy.
This pioneering study, prepared by the semi-official Polish-Russian Group on Difficult Matters, is a comprehensive effort to document and fully disclose the major conflicts and interrelations between the two nations from 1918 to 2008, events that have often been avoided or presented with a strong political bias. This is the English translation of this major study, which has received acclaim for its Polish and Russian editions.
The chapters offer parallel histories by prominent Polish and Russian scholars who recount each country’s version of the event in question. Among the topics discussed are the 1920 Polish-Russian war, the origins of World War II and the notorious Hitler-Stalin pact, the infamously shrouded Katyn massacre, the communization of Poland, Cold War relations, the Solidarity movement and martial law, and the renewed relations of contemporary Poland and Russia.
 

In Who Says?, scholars of rhetoric, composition, and communications seek to revise the elitist “rhetorical tradition” by analyzing diverse topics such as settlement house movements and hip-hop culture to uncover how communities use discourse to construct working-class identity. The contributors examine the language of workers at a concrete pour, depictions of long-haul truckers, a comic book series published by the CIO, the transgressive “fat” bodies of Roseanne and Anna Nicole Smith, and even reality television to provide rich insights into working-class rhetorics. The chapters identify working-class tropes and discursive strategies, and connect working-class identity to issues of race, gender, and sexuality. Using a variety of approaches including ethnography, research in historic archives, and analysis of case studies, Who Says? assembles an original and comprehensive collection that is accessible to both students and scholars of class studies and rhetoric.

Winner, 2017 Great Lakes Colleges Association New Writers Award (poetry category)
Winner, 2016 BCALA Literary Award (poetry category)
Winner of the 2014 Agnes Lynch Starrett Poetry Prize
Finalist, 2015 NAACP Image Awards (poetry category)

Wild Hundreds is a long love song to Chicago. The book celebrates the people, culture, and places often left out of the civic discourse and the travel guides. Wild Hundreds is a book that displays the beauty of black survival and mourns the tragedy of black death.

These essays trace the myth of the wild man from the Middle Ages to its disintegration into symbol in the periods following the discovery of America and encounter with real “wild men.”  This is the first book to discuss the concept of wildness in the writings of the Enlightenment period in Western Europe and the first to attempt a broad, interdisciplinary approach to the subject of primitivism, not only from a strict “history of ideas” approach, but through discussions of individual works, both literary and political, and encompassing various subject matter from racism to the origins of language.

Contributors:  Richard Ashcraft; Ehrhard Bahr; John G. Burke; Earl Miner; Gary B. Nash; Stanley Robe; Geoffrey Symcox; Peter Thoralev; Hayden V. White, and the editors.

Better known as a poet and dramatist, Johann Wolfgang von Goethe (1749–1832) was also a learned philosopher and natural scientist. Astrida Orle Tantillo offers the first comprehensive analysis of his natural philosophy, which she contends is rooted in creativity.

Tantillo analyzes Goethe’s main scientific texts, including his work on physics, botany, comparative anatomy, and metereology. She critically examines his attempts to challenge the basic tenets of Newtonian and Cartesian science and to found a new natural philosophy. In individual chapters devoted to different key principles, she reveals how this natural philosophy—which questions rationalism, the quantitative approach to scientific inquiry, strict gender categories, and the possibility of scientific objectivity—illuminates Goethe’s standing as both a precursor and critic of modernity.

Tantillo does not presuppose prior knowledge of Goethe or science, and carefully avoids an overreliance on specialized jargon. This makes The Will to Create accessible to a wide audience, including philosophers, historians of science, and literary theorists, as well as general readers.

William Whewell is considered one of the most important nineteenth-century British philosophers of science and a contributor to modern philosophical thought, particularly regarding the problem of induction and the logic of discovery.  In this volume, Robert E. Butts offers selections from Whewell's most important writings, and analysis of counter-claims to his philosophy.

Windfall  includes poems from three previous books by Maggie Anderson, along with a generous selection of new work. In this collection we can see over two decades of the growth of a poet memorable for the clarity, strength, and urgency of her voice. Anderson’s poems entangle a language, a history, and a group of belongings, and she is both at home and a foreigner in the places she invokes. Every place in these poems seems inhabitable, yet the tensions of these deceptively quiet lines develop out of the clear reluctance or inability of the poet to sit still. Maggie Anderson writes out of deep grief for the political losses of work and money, of life and limb and home in our dangerous times. She remembers and witnesses, and she also speaks eloquently for our private griefs—the loss of family, vitality and self. These poems do not shout; we listen as if following a whisper in the dark. A counterpoint to the sorrows in these poems is a complex and often joyous music, as well as a wry, sometimes self-deprecating humor which saves the work from solemnity. Her rhythms are diverse and intricate; they move deftly from fiddle whine to saxophone, from fugue to blues.

Since the appearance of his first book in 1972, Larry Levis has been one of the most original and most highly praised of contemporary American poets. In Winter Stars, a book of love poems and elegies, Levis engages in a process of relentless self-interrogation about his life, about losses and acceptances.  What emerges is not merely autobiography, but a biography of the reader, a “representative life” of our time.

On December 22, 1997, forty-five unarmed members of the indigenous organization Las Abejas (The Bees) were massacred during a prayer meeting in the village of Acteal, Mexico. The members of Las Abejas, who are pacifists, pledged their support to the Zapatista Army of National Liberation, a primarily indigenous group that has declared war on the state of Mexico. The massacre has been attributed to a paramilitary group composed of ordinary citizens acting on their own, although eyewitnesses claim the attack was planned ahead of time and that the Mexican government was complicit.

In Without History, José Rabasa contrasts indigenous accounts of the Acteal massacre and other events with state attempts to frame the past, control subaltern populations, and legitimatize its own authority. Rabasa offers new interpretations of the meaning of history from indigenous perspectives and develops the concept of a communal temporality that is not limited by time, but rather exists within the individual, community, and culture as a living knowledge that links both past and present.

Due to a disconnection between indigenous and state accounts as well as the lack of archival materials (many of which were destroyed by missionaries), the indigenous remain outside of, or without, history, according to most of Western discourse. The continued practice of redefining native history perpetuates the subalternization of that history, and maintains the specter of fabrication over reality.

Rabasa recalls the works of Marx, Lenin, and Gramsci, as well as contemporary south Asian subalternists Ranajit Guha and Dipesh Chakrabarty, among others. He incorporates their conceptions of communality, insurgency, resistance to hegemonic governments, and the creation of autonomous spaces as strategies employed by indigenous groups around the globe, but goes further in defining these strategies as millennial and deeply rooted in Mesoamerican antiquity. For Rabasa, these methods and the continuum of ancient indigenous consciousness are evidenced in present day events such as the Zapatista insurrection.

In Wit’s End, Sean Zwagerman offers an original perspective on women’s use of humor as a performative strategy as seen in works of twentieth-century American literature. He argues that women whose direct, explicit performative speech has been traditionally denied, or not taken seriously, have often turned to humor as a means of communicating with men.

The book examines both the potential and limits of women’s humor as a rhetorical strategy in the writings of James Thurber, Zora Neale Hurston, Dorothy Parker, Edward Albee, Louise Erdrich, and others. For Zwagerman, these texts “talk back” to important arguments in humor studies and speech-act theory. He deconstructs the use of humor in select passages by employing the theories of J. L. Austin, John Searle, Jacques Derrida, Shoshana Felman, J. Hillis Miller, and Eve Kosofsky Sedgwick. Zwagerman offers arguments both for and against these approaches while advancing new thinking on humor as the “end”—both the goal and limit—of performative strategy, and as a means of expressing a full range of serious purposes.

Zwagerman contends that women’s humor is not solely a subversive act, but instead it should be viewed in the total speech situation through context, motives, and intended audience. Not strictly a transgressive influence, women’s humor is seen as both a social corrective and a reinforcement of established ideologies. Humor has become an epistemology, an “attitude” or slant on one’s relation to society.

Zwagerman seeks to broaden the scope of performativity theory beyond the logical pragmatism of deconstruction and looks to the use of humor in literature as a deliberate stylization of experiences found in real-world social structures, and as a tool for change.

The Woman in the Corner keenly observes and gives voice to the ambiguities and astonishments that we often turn away from—in human relationships and in our own unruly hearts. In poems that speak fearlessly about sex and grief, mothers and daughters, and friendships and marriage, Krygowski examines the beauty and danger of inhabiting a woman’s body in the twenty-first century while negotiating how our pasts infiltrate, for better or worse, the here and now. This intimate collection delivers hard won loves and insights, surprising humor, and daring imagination. Krygowski celebrates our joys, gives witness to our pain, and never, never compromises.
 
Excerpt from “The Woman in the Corner”
 
I cut a leaf from my mother’s blooming violet,
long alive past her death, to start a plant
 
for my daughter who I never knew as a baby—
born to a different woman—
 
but for whom I explained birth
control, blood, how to relax, push in a tampon,
 
what my mother never touched, her body
a child-making mystery that pushed me
 
into mystery.  What is a woman
who doesn’t long for kids?

In Woman of the River one of the major voices in Latin American poetry confronts the political realities of contemporary Central America.  Many of the poems are political, direct, and condemnatory of the United States’ presence in Latin America, and they are rich, human documents rooted in Alegria’s knowledge of and love for her subjects. 

As Carolyn Forche has written of Alegria’s previous selection of poems, Flowers from the Volcano: “These poems are testimonies to the value of a single human memory, political in the sense that there is no life apart from our common destiny.  They are poems of passionate witness and confrontation.  Responding to those who would state that politics has no place in poetry, she would add her voice to that of Neruda’s: we do not wish to please them . . . .” She carries within her the ancient blood of the Pipiles and laces her language with mesitizo richness.”

Women and the Trades has long been regarded as a masterwork in the field of social investigation. Originally published in 1909, it was one of six volumes of the path breaking Pittsburgh Survey, the first attempt in the United States to study, systematically and comprehensively, life and labor in one industrial city. No other book documents so precisely the many technological and organizational changes that transformed women's wage work in the early 1900s.

Despite Pittsburgh's image as a male-oriented steel town, many women also worked for a living-rolling cigars, canning pickles, or clerking in stores. The combination of manufacturing, distribution, and communication services made the city of national economic developments.

What Butler found in her visits to countless workplaces did not flatter the city, its employers, or its wage earners. With few exceptions, labor unions served the interests of skilled males. Women's jobs were rigidly segregated, low paying, usually seasonal, and always insecure. Ethnic distinctions erected powerful barriers between different groups of women, as did status hierarchies based on job function.

Professor Maurine Weiner Greenwald's introduction provides biographical sketches of Butler and photographer Lewis Hine and examines the validity of Butler's assumptions and findings, especially with regard to protective legislation, women worker's “passivity,” and working-class family strategies.

Women at Work presents the field of rhetorical studies with fifteen chapters that center on gender, rhetoric, and work in the US in the nineteenth and twentieth centuries. Feminist scholars explore women’s labor evangelism in the textile industry, the rhetorical constructions of leadership within women’s trade unions, the rhetorical branding of a twentieth-century female athlete, the labor activism of an African American blues singer, and the romantic, same-sex collaborations that supported pedagogical labor. Women at Work also introduces readers to rhetorical methods and approaches possible for the study of gender and work. Contributors name and explore a specific rhetorical concern that animates their study and in so doing, readers learn about such concepts as professional proof, rhetorical failure, epideictic embodiment, rhetorics of care, and cross-racial coalition building.
 

Daisy Fried’s third book of poetry is a book of unsettling, unsettled Americans. Fried finds her Americans everywhere, watching Henry Kissinger leave the Louvre, trapped on a Tiber bridge by a crowd of neo-fascist thugs, yearning outside a car detailing garage for a car lit underneath by neon lavender, riding the train with Princeton seniors who have been rejected by recession-bound Wall Street, feeding stray cats drunk at midnight, bitching at her mother in the labor room, shopping with wide-bodied hunters for deer-dismembering band saws in the world’s largest supplier of seasonal camouflage, cursing her cell phone and husband at eighty-five miles an hour, hiding behind the mask of an advice column to proclaim Charles Bukowski “America’s greatest poetess.” There is nothing like this book, because there is nothing in it but America. No comfort, no consolation, no life-affirming pats on the back, no despair about God, no fear or acceptance of death, no irrational exuberance, no guilt or weariness, no misery even in the middle of personal and political crisis. Plenty of humor and plenty of seriousness. Joy. And a new kind of poetry: not nice, but rich and real.

After the revolutionary period of 1910-1920, Mexico developed a number of social protection programs to support workers in public and private sectors and to establish safeguards for the poor and the aged. These included pensions, healthcare, and worker's compensation. The new welfare programs were the product of a complex interrelationship of corporate, labor, and political actors. In this unique dynamic, cross-class coalitions maintained both an authoritarian regime and social protection system for some seventy years, despite the ebb and flow of political and economic tides.

By focusing on organized labor, and its powerful role in effecting institutional change, Workers and Welfare chronicles the development and evolution of Mexican social insurance institutions in the twentieth century. Beginning with the antecedents of social insurance and the adoption of pension programs for central government workers in 1925, Dion's analysis shows how the labor movement, up until the 1990s, was instrumental in expanding welfare programs, but has since become largely ineffective. Despite stepped-up efforts, labor has seen the retrenchment of many benefits. Meanwhile, Dion cites the debt crisis, neoliberal reform, and resulting changes in the labor market as all contributing to a rise in poverty. Today, Mexican welfare programs emphasize poverty alleviation, in a marked shift away from social insurance benefits for the working class.

In 1956, Hungarian workers joined students on the streets to protest years of wage and benefit cuts enacted by the Communist regime. Although quickly suppressed by Soviet forces, the uprising led to changes in party leadership and conciliatory measures that would influence labor politics for the next thirty years.

In The Workers’ State, Mark Pittaway presents a groundbreaking study of the complexities of the Hungarian working class, its relationship to the Communist Party, and its major political role during the foundational period of socialism (1944–1958). Through case studies of three industrial centers—Újpest, Tatabánya, and Zala County—Pittaway analyzes the dynamics of gender, class, generation, skill level, and rural versus urban location, to reveal the embedded hierarchies within Hungarian labor. He further demonstrates how industries themselves, from oil and mining to armaments and textiles, possessed their own unique labor subcultures.

From the outset, the socialist state won favor with many workers, as they had grown weary of the disparity and oppression of class systems under fascism. By the early 1950s, however, a gap between the aspirations of labor and the goals of the state began to widen. In the Stalinist drive toward industrialization, stepped up production measures, shortages of goods and housing, wage and benefit cuts, and suppression became widespread.

Many histories of this period have focused on Communist terror tactics and the brutal suppression of a pliant population. In contrast, Pittaway’s social chronicle sheds new light on working-class structures and the determination of labor to pursue its own interests and affect change in the face of oppression. It also offers new understandings of the role of labor and the importance of local histories in Eastern Europe under communism.

Working with Paper builds on a growing interest in the materials of science by exploring the gendered uses and meanings of paper tools and technologies, considering how notions of gender impacted paper practices and in turn how paper may have structured knowledge about gender. Through a series of dynamic investigations covering Europe and North America and spanning the early modern period to the twentieth century, this volume breaks new ground by examining material histories of paper and the gendered worlds that made them. Contributors explore diverse uses of paper—from healing to phrenological analysis to model making to data processing—which often occurred in highly gendered, yet seemingly divergent spaces, such as laboratories and kitchens, court rooms and boutiques, ladies’ chambers and artisanal workshops, foundling houses and colonial hospitals, and college gymnasiums and state office buildings. Together, they reveal how notions of masculinity and femininity became embedded in and expressed through the materials of daily life. Working with Paper uncovers the intricate negotiations of power and difference underlying epistemic practices, forging a material history of knowledge in which quotidian and scholarly practices are intimately linked.
 

This book challenges the commonly held theory that American workers had a far superior standard of living than their European counterparts in the early twentieth century. Peter R. Shergold bases his study on the cities of Pittsburgh, Pennsylvania and Birmingham, England, and compares statistical data on wage rates, labor hours, family income, retail prices, diet and budgets. He also presents information from medical investigators, travelers, charity workers, business organizations, diaries, speeches and a wide variety of other sources to breathe human life into his statistical data. Shergold reveals that skilled Americans did earn higher wages than the British, yet unskilled workers did not, while Americans worked longer hours, with a greater chance of injury, and had fewer social services.

Thomas Kuhn is viewed as one of the most influential (and controversial) philosophers of science, and this re-release of a classic examination of one of his seminal works reflects his continuing importance. In World Changes, the contributors examine the work of Kuhn from a broad philosophical perspective, comparing earlier logical empiricism and logical positivism with the new philosophy of science inspired by Kuhn in the early 1960s.  The nine chapters offer interpretations of his major work The Structure of Scientific Revolutions and subsequent writings. The introduction outlines the significant concepts of Kuhn's work that are examined and is followed by a brief appraisal of Kuhn by Carl Hempel. The chapters discuss topics that include: a systematic comparison of Kuhn and Carnap viewing similarities and differences; the disputation of absolute truth; rational theory evaluation and comparison; applying theory to observation and the relation of models in a new conceptualization of theory content; and interpreting Kuhn's plurality-of-worlds thesis. The volume also presents four historical papers that speak to Kuhn's views on lexical structures and concept-formation and their antecedents. The afterward, by Kuhn himself, reviews his own philosophical development, his thoughts on the dynamics of scientific growth, and his response to issues raised by the contributors and other interpreters of his work.

The burnings from which Coleman culls her work casts a glow and unique warmth that invites the reader to sit by her metaphorical hearth, to laugh and enjoy their “conversation.” The contemplative and philosophical have entered her voice as she continues to explore the conflicts and confusions that shape the aesthetic terrain of Southern California and beyond—as she continues to grapple with cultural bias, malignant domestic neglect, poverty, and the damages of racism, yet broadening her palette of social ills to include the privacies of grief, loss and transcendence. A nominee and finalist for Poet Laureate of California, she continues to reflect the ethnic scramble of Los Angeles, where she has been honored by proclamations from the city’s elected officials, including the mayor’s office, the city council and the Department of Cultural Affairs.

Observation and conceptual interpretation constitute the two major ways through which human beings engage the world. The World Observed/The World Conceived presents an innovative analysis of the nature and role of observation and conceptualization. While these two actions are often treated as separate, Hans Radder shows that they are inherently interconnected-that materially realized observational processes are always conceptually interpreted and that the meaning of concepts depends on the way they structure observational processes and abstract from them. He examines the role of human action and conceptualization in realizing observational processes and develops a detailed theory of the relationship between observation, abstraction, and the meaning of concepts.

The World Observed/The World Conceived will prove useful to many areas of scholarly study including ontology, epistemology, philosophy of language, philosophy of science, science studies, and cognitive science.

World Tree is in many respects, David Wojahn’s most ambitious collection to date; especially notable is a 25-poem sequence of ekphrastic poems, “Ochre,” which is accompanied by a haunting series of drawings and photographs of Neolithic Art and anonymous turn of the last century snapshots.

Wojahn continues to explore the themes and approaches which he is known for, among them the junctures between the personal and political, a giddy mixing of high and pop culture references, and a deep emotional engagement with whatever material he is writing about.

Winner of the 2012 Lenore Marshall Poetry Prize from the Academy of American Poets

The post–World War II science-based technological revolution inevitably found its way into almost all international expositions with displays on atomic energy, space exploration, transportation, communications, and computers. Major advancements in Cold War science and technology helped to shape new visions of utopian futures, the stock-in-trade of world’s fairs. From the 1940s to the 1980s, expositions in the United States and around the world, from Brussels to Osaka to Brisbane, mirrored Cold War culture in a variety of ways, and also played an active role in shaping it. This volume illustrates the cultural change and strain spurred by the Cold War, a disruptive period of scientific and technological progress that ignited growing concern over the impact of such progress on the environment and humanistic and spiritual values. Through the lens of world’s fairs, contributors across disciplines offer an integrated exploration of the US–USSR rivalry from a global perspective and in the context of broader social and cultural phenomena—faith and religion, gender and family relations, urbanization and urban planning, fashion, modernization, and national identity—all of which were fundamentally reshaped by tensions and anxieties of the Atomic Age.

Since the first world’s fair in London in 1851, at the dawn of the era of industrialization, international expositions served as ideal platforms for rival nations to showcase their advancements in design, architecture, science and technology, industry, and politics. Before the outbreak of World War II, countries competing for leadership on the world stage waged a different kind of war—with cultural achievements and propaganda—appealing to their own national strengths and versions of modernity in the struggle for power. World’s Fairs on the Eve of War examines five fairs and expositions from across the globe—including three that were staged (Paris, 1937; Dusseldorf, 1937; and New York, 1939–40), and two that were in development before the war began but never executed (Tokyo, 1940; and Rome, 1942). This coauthored work considers representations of science and technology at world’s fairs as influential cultural forces and at a critical moment in history, when tensions and ideological divisions between political regimes would soon lead to war.

The monumental American Guide Series, published by the Federal Writers’ Project, provided work to thousands of unemployed writers, editors, and researchers in the midst of the Great Depression. Featuring books on states, cities, rivers, and ethnic groups, it also opened an unprecedented view into the lives of the American people during this time. Untold numbers of projects in progress were lost when the program was abruptly shut down by a hostile Congress in 1939.

One of those, "The Negro in Pittsburgh," lay dormant in the Pennsylvania State Library until it was microfilmed in 1970. The WPA History of the Negro in Pittsburgh marks the first publication of this rich body of information. This unique historical study of the city’s black population features articles on civil rights, social class, lifestyle, culture, folklore, and institutions from colonial times through the 1930s.

Writing against Racial Injury recalls the story of Asian American student rhetoric at the site of language and literacy education in post-1960s California.  What emerged in the Asian American movement was a recurrent theme in U.S. history: conflicts over language and literacy difference masked wider racial tensions.  Bringing together language and literacy studies, Asian American history and rhetoric, and critical race theory, Hoang uses historiography and ethnography to explore the politics of Asian American language and literacy education: the growth of Asian American student organizations and self-sponsored writing; the ways language served as thinly veiled trope for race in the influential Lau v. Nichols; the inheritance of a rhetoric of injury on college campuses; and activist rhetorical strategies that rearticulate Asian American racial identity.  These fragments depict a troubling yet hopeful account of the ways language and literacy education alternately racialized Asian Americans while also enabling rearticulations of Asian American identity, culture, and history.  This project, more broadly, seeks to offer educators a new perspective on racial accountability in language and literacy education.

What do the humanities have to offer in the twenty-first century? Are there compelling reasons to go on teaching the literate arts when the schools themselves have become battlefields?  Does it make sense to go on writing when the world itself is overrun with books that no one reads? In these simultaneously personal and erudite reflections on the future of higher education, Richard E. Miller moves from the headlines to the classroom, focusing in on how teachers and students alike confront the existential challenge of making life meaningful.  In meditating on the violent events that now dominate our daily lives—school shootings, suicide bombings, terrorist attacks, contemporary warfare—Miller prompts a reconsideration of the role that institutions of higher education play in shaping our daily experiences, and asks us to reimagine the humanities as centrally important to the maintenance of a compassionate, secular society. By concentrating on those moments when individuals and institutions meet and violence results, Writing at the End of the World provides the framework that students and teachers require to engage in the work of building a better future.

In this book, Rebecca Lorimer Leonard shows how multilingual migrant women both succeed and struggle in their writing contexts. Based on a qualitative study of everyday multilingual writers in the United States, she shows how migrants’ literacies are revalued because they move with writers among their different languages and around the world. Writing on the Move builds a theory of literate valuation, in which socioeconomic values shape how multilingual migrant writers do or do not move forward in their lives. The book details the complicated reality of multilingual literacy, which is lived at the nexus of prejudice, prestige, and power.

Silver Winner, ForeWord Magazine Book of the Year, History

From September 1941 until January 1944, Leningrad suffered under one of the worst sieges in the history of warfare. At least one million civilians died, many during the terribly cold first winter. Bearing the brunt of this hardship—and keeping the city alive through their daily toil and sacrifice—were the women of Leningrad. Yet their perspective on life during the siege has been little examined.

Cynthia Simmons and Nina Perlina have searched archival holdings for letters and diaries written during the siege, conducted interviews with survivors, and collected poetry, fiction, and retrospective memoirs written by the blokadnitsy (women survivors) to present a truer picture of the city under siege. In simple, direct, even heartbreaking language, these documents tell of lost husbands, mothers, children; meager rations often supplemented with sawdust and other inedible additives; crime, cruelty, and even cannibalism. They also relate unexpected acts of kindness and generosity; attempts to maintain cultural life through musical and dramatic performances; and provide insight into a group of ordinary women reaching beyond differences in socioeconomic class, ethnicity, and profession in order to survive in extraordinary times.

2001 CCCC Outstanding Book Award

The vast majority of academic books are written from the scholar’s position, even those that primarily concern teaching. Writing/Teaching, on the other hand, is a book about teaching written from the position of the teacher. As the title suggests, Kameen’s book is split into two halves—yet both, in different ways and through different discourses, are derived from his work in the classroom, and his own struggle with issues and problems all teachers of writing must face.

The first half is a series of essays originating from a graduate seminar Kameen team-taught with professor and poet Toi Derricotte in 1994. Included are essays Kameen wrote, a selection of pieces written by other members of the group, and a reflective “postscript.” These essays combine personal narrative, reflective meditation, and critical inquiry—all used as discourse to depict and examine the process of teaching.

The second half of the book contains essays on Plato’s dialogues—primarily Phaedrus and Protagoras—as a means to interrogate the position of teacher through the lens of the most famous of Western pedagogues—Socrates. Here, Socrates is used as a tool to examine and critique both Kameen’s own teacherly identity and, in a wider sense, the set of cultural forces that pre-figure the available positions for both “teacher” and “student” in contemporary education.

What unites both halves is the way Kameen approaches each—the “personal” and the “scholarly”—from his position as teacher. The texts presented provide the occasion for a complex and nuanced meditation on the classroom as a legitimate arena for the production of knowledge and research. Sure to be timely and controversial, Writing/Teaching will enter into the debate on whether to reconfigure the relationship between research and teaching currently taking place among teachers of composition, cultural studies, and rhetoric. Compelling reading for teachers or those contemplating a career in the profession.

The poems of Reginald Shepherd’s third book move among, mix, and manufacture stories, seeking to redefine the meaning of mythology. From the ruined representatives of Greek divinity (broken statues and fragmented stories), and the dazzling extravagances of predecessors like Hart Crane and Wallace Stevens, to the fleeting promises of popular music and the laconic demigods of the contemporary gay subculture, they sketch maps of a world in which desire may find a restless home. But desire leads the maps astray and maps mislead desire. The poems poems both enact language’s powers to create a world and enforce the world’s insistence (material, social, sexual, racial, historical) that mind (and body) surrender to circumstance. The struggle between these two halves that will never make a whole produces new myths of occasion, “packing the rifts/with sleeplessness, filling the gaps with lack.” In that space between promise and deprivation, Wrong builds its song.