The act of inventing relates to the process of inquiry, to creativity, to poetic and aesthetic invention.

Building on the work of rhetoricians, philosophers, linguists, and theorists in other dis­ciplines, Karen Burke LeFevre challenges a widely-held view of rhetorical invention as the act of an atomistic individual. She proposes that invention be viewed as a social act, in which individuals in­teract dialectically with society and culture in dis­tinctive ways.

Even when the primary agent of invention is an individual, invention is pervasively affected by rela­tionships of that individual to others through lan­guage and other socially shared symbol systems. LeFevre draws implications of a view of invention as a social act for writers, researchers, and teachers of writing.

The Idea of a Writing Laboratory is a book about possibilities, about teaching and learning to write in ways that can transform both teachers and students.

            Author Neal Lerner explores higher education’s rich history of writing instruction in classrooms, writing centers and science laboratories. By tracing the roots of writing and science educators’ recognition that the method of the lab––hands-on student activity—is essential to learning, Lerner offers the hope that the idea of a writing laboratory will be fully realized more than a century after both fields began the experiment.    

            Beginning in the late nineteenth century, writing instructors and science teachers recognized that mass instruction was inadequate for a burgeoning, “non-traditional” student population, and that experimental or laboratory methods could prove to be more effective. Lerner traces the history of writing instruction via laboratory methods and examines its successes and failures through case studies of individual programs and larger reform initatives. Contrasting the University of Minnesota General College Writing Laboratory with the Dartmouth College Writing Clinic, for example, Lerner offers a cautionary tale of the fine line between experimenting with teaching students to write and “curing” the students of the disease of bad writing. 

            The history of writing within science education also wends its way through Lerner’s engaging work, presenting the pedagogical origins of laboratory methods to offer educators in science in addition to those in writing studies possibilities for long-sought after reform. The Idea of a Writing Laboratory compels readers and writers to “don those white coats and safety glasses and discover what works” and asserts that “teaching writing as an experiment in what is possible, as a way of offering meaning-making opportunities for students no matter the subject matter, is an endeavor worth the struggle.”

Vaudeville Humor: The Collected Jokes, Routines, and Skits of Ed Lowry contains vaudeville jokes, skits, and routines from the first three decades of the twentieth century originally compiled by comedian Ed Lowry (1896–1983). Although occasionally found in bits and pieces in anthologies and in some period dramatic comedies, vaudeville humor has never before been available in one collection—performers rarely if ever kept a record of their jokes and routines. Fortunately, Ed Lowry was an inveterate collector. He kept copious notebooks of jokes and routines that he not only commissioned but also stole from other comics, clipped from newspapers, and copied from now defunct popular magazines of the day.

Editor Paul M. Levitt has reorganized the material into categories that preserve some of the flavor of Lowry’s scrapbooks yet provide for finer distinctions. Part one, “Jokes,” is organized by subject matter and cataloged by genre, dialects, and wordplay. From “Accidents” to “Work,” this exhaustive catalog of humor features over one thousand jokes with topics that range from city slickers and country hicks through midgets and old maids to Swedes and tattoos. Part two, “MC Material: Biz, Jokes, Routines, and Skits” is germane to the job of master of ceremonies, routines, and skits. It features topics from fractured fairy tales to stuttering. Part three, an appendix, “Ed Lowry Laffter,”reproduces a privately published collection that is now a rare collector’s item.

“Although some of the jokes can undoubtedly be found in other places,” explains Levitt in his introduction, “I know of no source as rich as this one for the twenties and thirties, a period so abundant in humor that for years afterward it fueled radio, cinema, and television.”

With a legacy that spans two fiercely loyal baseball towns a half-nation apart, the Baltimore Orioles—originally the St. Louis Browns—rank among baseball’s most storied teams. One of the fifteen celebrated team histories commissioned by G. P. Putnam’s Sons in the 1940s and 1950s, The Baltimore Orioles: The History of a Colorful Team in Baltimore and St. Louis chronicles the club’s early history and is reissued on the fiftieth anniversary of their first season in Baltimore.

Hall of Fame sportswriter Frederick G. Lieb begins with the history of baseball in Baltimore from its pre-Civil War beginnings and its major-league debut as the Lord Baltimores in 1872 to the championship seasons of the National League Orioles in 1894, ’95, and ’96 when the roster included Willie Keeler, Joe Kelley, Kid Gleason, Roger Bresnahan, Joe McGinnity, and John McGraw. After the turn of the century, Baltimore was briefly home to the Orioles of the American League in 1901-02, then, after losing its franchise to New York, had to settle for the AAA International League Orioles until 1954. Under the leadership of Jack Dunn, the minor-league Orioles, while developing the talents of Babe Ruth, Lefty Grove, and other future major-league stars, won seven straight International League pennants from 1919 to 1926.

Here, too, is the colorful history of the precursors to the current Orioles, the lovable and luckless St. Louis Browns, augmented for this edition with a new foreword from St. Louis sportswriter Bob Broeg on the escapades of the Brownies. Though they lost more than a thousand games and captured only a single pennant in fifty-three seasons, the Browns remain a legendary part of national lore. Taking their lead in different eras from larger-than-life figures such as Branch Rickey, Rogers Hornsby, Urban Shocker, and the Barnum of Baseball, Bill Veeck, the Browns “boasted a one-armed outfielder, a hired hypnotist, the mighty midget [Eddie Gaedel] and—even the best ballplayer in the land—George Sisler,” as Broeg recalls in his foreword. In 1944, the Browns also played in the only all-St. Louis World Series, losing to the Cardinals.

Originally published in 1955 and featuring twenty-two photographs, The Baltimore Orioles history concludes with the new American League team’s first season in Baltimore, finishing seventh in the league but garnering the lasting adoration of their new hometown.

This illustrated collection of annotated newspaper articles and memorials by Dorothea Dix provides a forum for the great mid-nineteenth-century humanitarian and reformer to speak for herself.

Dorothea Lynde Dix (1802­–87) was perhaps the most famous and admired woman in America for much of the nineteenth century. Beginning in the early 1840s, she launched a personal crusade to persuade the various states to provide humane care and effective treatment for the mentally ill by funding specialized hospitals for that purpose. The appalling conditions endured by most mentally ill inmates in prisons, jails, and poorhouses led her to take an active interest also in prison reform and in efforts to ameliorate poverty.

In 1846–­47 Dix brought her crusade to Illinois. She presented two lengthy memorials to the legislature, the first describing conditions at the state penitentiary at Alton and the second discussing the sufferings of the insane and urging the establishment of a state hospital for their care. She also wrote a series of newspaper articles detailing conditions in the jails and poorhouses of many Illinois communities.

These long-forgotten documents, which appear in unabridged form in this book, contain a wealth of information on the living conditions of some of the most unfortunate inhabitants of Illinois. In his preface, David L. Lightner describes some of the vivid images that emerge from Dorothea Dix's descriptions of social conditions in Illinois a century and a half ago: "A helpless maniac confined throughout the bitter cold of winter to a dark and filthy pit. Prison inmates chained in hallways and cellars because no more men can be squeezed into the dank and airless cells. Aged paupers auctioned off by county officers to whoever will maintain them at the lowest cost."

Lightner provides an introduction to every document, placing each memorial and newspaper article in its proper social and historical context. He also furnishes detailed notes, making these documents readily accessible to readers a century and a half later. In his final chapter, Lightner assesses both the immediate and the continuing impact of Dix's work.

Crooked politicians, gangsters, madams, and cops on the take: To Serve and Collect tells the story of Chicago during its formative years through the history of its legendary police department.

Running the gamut from traditional to radical forms, Timothy Liu’s sixth collection of poems, For Dust Thou Art, continues the trajectory of his previous books but extends his lyrical range. The centerpiece of the volume’s tripartite structure is a meditation on the events surrounding 9/11 and its aftermath. In his poems, Liu explores what a twenty-first century American “poetry of witness” might look like and protests the charge that the poetic generation to which Liu belongs is stymied by a kind of jaded amorality. Whether taking on public spectacle or contemplating the fallout of a private life, these meditations move forward and backward through time, seeking spiritual consolation within a material world.

"America fever" gripped Sweden in the middle of the nineteenth century, seethed to a peak in 1910, when one-fifth of the world’s Swedes lived in America, cooled during World War I, and chilled to dead ash with the advent of the Great Depression in 1930.

Swedish Exodus, the first English translation and revision of Lars Ljungmark’s Den Stora Utvandringen, recounts more than a century of Swedish emigration, concentrating on such questions as who came to America, how the character of the emigrants changed with each new wave of emigration, what these people did when they reached their adopted country, and how they gradually became Americanized.

Ljungmark’s essential challenge was to capture in a factual account the broad sweep of emigration history. But often he narrows his focus to look closely at those who took part in this mass migration. Through historical records and personal letters, Ljungmark brings many of these people back to life. One young woman, for example, loved her parents, but loved America more: "I never expect to speak to you in this life. . . . Your loving daughter unto death." Like most immigrants, she never expected to return. Another immigrant wrote back seeking a wife: "I wonder how you have it and if you are living. . . . Are you married or unmarried? If you are unmarried, you can have a good home with me."

Ljungmark also focuses closely on some of the leaders: Peter Cassel, a liberal temperance supporter and free-church leader whose community in America prospered; Hans Mattson, a colonel in the Civil War and founder of a colony in Minnesota; Erik Jansson, a book burner, self-proclaimed messiah, and founder of the Bishop Hill Colony; Gustaf Unonius, a student idealist and founder of a Wisconsin colony that faltered.

The story of Swedish immigrants in the United States is the story in miniature of the greatest mass migration in human history, that of thirty-five million Europeans who left their homes to come to America. It is a human story of interest not only to Swedes but to everyone.

"To tell my own story is to tell that of my famous husband, General John A. Logan," explains Mary S. Logan in the preface to her autobiography.

Married to John A. Logan for thirty-one years, Mary Logan shared in her distinguished husband’s career as a prosecutor in southern Illinois, as a Civil War general, and as a senator from Illinois. She observed firsthand the extraordinary events before, during, and after the Civil War, and she knew personally those world leaders who held the power to shape history. After the death of her husband, she maintained her influence in Washington, D.C. "Under the brightest and darkest skies," she explains, "I have passed than a half-century at the national capital."

Born in 1838, Logan writes of her early days growing up in southern Illinois through 1913, when this book was first published. A skillful observer, she recounts events that are personal, regional, and national in scope. In charming detail, she shares her courtship and subsequent marriage to a young prosecutor from Jackson County and the births of their children. She writes proudly of the Lincoln-Douglas debates in 1858 and her husband’s election to the Thirty-seventh Congress that same year. Logan tells of the coming of the Civil War and of her husband—formerly a Democrat and an enemy of Lincoln—casting his fate with the Union and raising a regiment in southern Illinois. She poignantly describes her brother’s defection to the Confederate Army, her life in war-torn Cairo, Illinois, and her horror at her husband’s severe war wounds. She recounts the battles, the political campaigns, and Lincoln’s reelection and subsequent assassination from her point of view—and, as the wife of a politician and general, hers is a decidedly privileged perspective.

In a position to observe and to participate in events ranging from momentous to minute throughout the latter half of the nineteenth and early twentieth centuries, she reports the essential episodes of history with the flair of journalism, a career she in fact embraced after the death of her husband. She writes movingly of a wounded captain on the road to recovery who suddenly died when the minié shifted next to his lung, amusingly of the excuses soldiers invented to wrangle a pass to town, and elegantly of her trips to Europe and of the pomp and circumstance of the parties attended by the great men and women of the time. Drawing on events grand and small, she re-creates history as only a skillful writer who was in the right place at the right time could.

Shirley Wilson Logan analyzes the distinctive rhetorical features in the persuasive discourse of nineteenth-century black women, concentrating on the public discourse of club and church women from 1880 until 1900.

Logan develops each chapter in this illustrated study around a feature of public address as best exemplified in the oratory of a particular woman speaker of the era. She analyzes not only speeches but also editorials, essays, and letters.

Logan first focuses on the prophetic oratory of Maria Stewart, the first American-born black woman to speak publicly. Turning to Frances Harper, she considers speeches that argue for common interests between divergent communities. And she demonstrates that central to the antilynching rhetoric of Ida Wells is the concept of "presence," or the tactic of enhancing certain selected elements of the presentation.

In her discussion of Fannie Barrier Williams and Anna Cooper, Logan shows that when speaking to white club women and black clergymen, both Williams and Cooper employ what Kenneth Burke called identification. To analyze the rhetoric of Victoria Matthews, she applies Carolyn Miller's modification of Lloyd Bitzer's concept of the rhetorical situation.

Logan also examines the discourse of women associated with the black Baptist women's movement and those participating in college-affiliated conferences.

The book includes an appendix with little-known speeches and essays by Anna Julia Cooper, Selena Sloan Butler, Lucy Wilmot Smith, Mary V. Cook, Adella Hunt Logan, Victoria Earle Matthews, Lucy C. Laney, and Georgia Swift King.

Liberating Language identifies experiences of nineteenth-century African Americans—categorized as sites of rhetorical education—that provided opportunities to develop effective communication and critical text-interpretation skills. Author Shirley Wilson Logan considers how nontraditional sites, which seldom involved formal training in rhetorical instruction, proved to be effective resources for African American advancement.

Logan traces the ways that African Americans learned lessons in rhetoric through language-based activities associated with black survival in nineteenth-century America, such as working in political organizations, reading and publishing newspapers, maintaining diaries, and participating in literary societies. According to Logan, rhetorical training was manifested through places of worship and military camps, self-education in oratory and elocution, literary societies, and the black press. She draws on the experiences of various black rhetors of the era, such as

Frederick Douglass, Frances Harper, Fanny Coppin, Charles Chesnutt, Ida B. Wells, and the lesser-known Oberlin-educated Mary Virginia Montgomery, Virginia slave preacher "Uncle Jack," and former slave "Mrs. Lee."

Liberating Language addresses free-floating literacy, a term coined by scholar and writer Ralph Ellison, which captures the many settings where literacy and rhetorical skills were acquired and developed, including slave missions, religious gatherings, war camps, and even cigar factories. In Civil War camp- sites, for instance, black soldiers learned to read and write, corresponded with the editors of black newspapers, edited their own camp-based papers, and formed literary associations.

Liberating Language outlines nontraditional means of acquiring rhetorical skills and demonstrates how African Americans, faced with the lingering consequences of enslavement and continuing oppression, acquired rhetorical competence during the late eighteenth century and throughout the nineteenth century.

"Owoman, woman! upon you I call; for upon your exertions almost entirely depends whether the rising generation shall be any thing more than we have been or not. Owoman, woman! your example is powerful, your influence great."—Maria W. Stewart, "An Address Delivered Before the Afric-American Female Intelligence Society of Boston" (1832)

Here—in the only collection of speeches by nineteenth-century African-American women—is the battle of words these brave women waged to address the social ills of their century. While there have been some scattered references to the unique roles these early "race women" played in effecting social change, until now few scholars have considered the rhetorical strategies they adopted to develop their powerful arguments.

In this chronological anthology, Shirley Wilson Logan highlights the public addresses of these women, beginning with Maria W. Stewart’s speech at Franklin Hall in 1832, believed to be the first delivered to an audience of men and women by an American-born woman. In her speech, she focused on the plight of the Northern free black. Sojourner Truth spoke in 1851 at the Akron, Ohio, Women’s Rights Convention not only for the rights of black women but also for the rights of all oppressed nineteenth-century women. Frances Ellen Watkins Harper struggled with the conflict between universal suffrage and suffrage for black men. Anna Julia Cooper chastised her unique audience of black Episcopalian clergy for their failure to continue the tradition of the elevation of womanhood initiated by Christianity and especially for their failure to support the struggling Southern black woman. Ida B. Wells’s rhetoric targeted mob violence directed at Southern black men. Her speech was delivered less than a year after her inaugural lecture on this issue—following a personal encounter with mob violence in Memphis. Fannie Barrier Williams and Victoria Earle Matthews advocated social and educational reforms to improve the plight of Southern black women. These speeches—all delivered between 1832 and 1895—are stirring proof that, despite obstacles of race and gender, these women still had the courage to mount the platform in defense of the oppressed.

Introductory essays focus on each speaker’s life and rhetoric, considering the ways in which these women selected evidence and adapted language to particular occasions, purposes, and audiences in order to persuade. This analysis of the rhetorical contexts and major rhetorical tactics in the speeches aids understanding of both the speeches and the skill of the speakers. A rhetorical timeline serves as a point of reference.

Historically grounded, this book provides a black feminist perspective on significant events of the nineteenth century and reveals how black women of that era influenced and were influenced by the social problems they addressed.

"A government which can protect and defend its citizens from wrong and outrage and does not is vicious. A government which would do itand cannot is weak; and where human life is insecure through either weakness or viciousness in the administration of law, there must be a lack of justice, and where this is wanting nothing can make up the deficiency."—Frances Ellen Watkins Harper, "Duty to Dependent Races," National Council of Women of the United States, Washington, D.C. (1891)

In this encompassing and accessible introduction to dramaturgy, Felicia Hardison Londré promotes the dramaturgical essay as both an art form and as a method for improving creative writing skills. Words at Play: Creative Writing and Dramaturgy includes Londré’s essays on plays produced at several regional professional theatre companies interspersed with instructive examples for writing more clearly, economically, and compellingly.

Beginning with an introduction that outlines the purpose of the dramaturgical essay as well as its usefulness as a tool for teaching how to write for the theatre, Londré provides numerous examples of this specialized literary genre culled from program essays she has written for Missouri Repertory Theatre, Nebraska Shakespeare Festival, Heart of America Shakespeare Festival, American Heartland Theatre, and Cincinnati Playhouse in the Park. Words at Play: Creative Writing and Dramaturgy contains more than sixty complete essays and pertinent selections from twenty others.

Drawing on personal and professional experiences as a teacher and dramaturg, Londré considers plays from timeless classics, including those of Shakespeare and Chekhov, to contemporary favorites and a few unusual and largely unknown pieces. Words at Play: Creative Writing and Dramaturgy furthermore incorporates introductory paragraphs that are informal and personal yet cogent and critical, providing readers with object lessons in both writing style and analysis. Taking the reader into her confidence, Londré also shows how a dramaturg develops a print relationship with other theatre artists and the community. A foreword by Royal Shakespeare Company associate artist Barry Kyle addresses the evolving role of the dramaturg in Britain and America. Dakin Williams, brother of playwright Tennessee Williams, provides a letter.

A. Loudermilk utilizes confessional, persona, and third-person poems throughout this intimate yet socially conscious first collection. Strange Valentine is an indictment of love, fixating on the paranoid relationship between body and state, on the dangerous relationship between family history and sexual history, and on the elusive relationship between gender and sexuality—specifically as experienced in the working-class towns of the southernmost Midwest. Riding highly crafted rhythms in sound, line, and invented form, Loudermilk’s multivoiced storytelling resounds with the characters and heartbreaks of the heartland.

In Performing Identities on the Restoration Stage, Cynthia Lowenthal explores identity—especially masculinity and femininity, English and “foreign,” middle-class and aristocratic—as it is enacted, idealized, deployed, and redefined on the late-seventeenth-century British stage. Particular emphasis is placed on the ways the theatre contributed to new and often shifting early modern definitions of the boundaries of nation, status, and gender.

The first portion of the book focuses on the playwrights’ presentations of idealized men and the comic ridicule of male bodies and behaviors that fall short of the ideal. Of special interest are those moments when playwrights use stereotypes of national character, particularly the Spaniards and Turks, as examples of the worst in male behavior, judgments that are always inflected with elements of class or status inconsistency.

The second portion of Lowenthal’s discussion focuses on playwrights’ attempts to redefine the idealized woman. Lowenthal investigates the ways that an extratheatrical discourse surrounding the actresses, one that essentialized them as sexual bodies demanding scrutiny and requiring containment, also serves to secure for them an equally essential aristocratic status. Anchored by Manley’s Royal Mischief, Lowenthal’s reading reveals that even a woman playwright’s attempts to represent female subjectivity or interiority at odds with the surfaces of the body are doomed to return to those same surfaces.

By focusing on a new, early modern lability of identity and by reading less canonical women playwrights, such as Manley and Pix, alongside established male playwrights such as Dryden and Wycherley, Performing Identities on the Restoration Stage yields both a more accurate and a more compelling picture of the cultural dynamics at work on the early modern stage.