Since 2002, at least 775 men have been held in the U.S. detention center at Guantánamo Bay, Cuba. According to Department of Defense data, fewer than half of them are accused of committing any hostile act against the United States or its allies. In hundreds of cases, even the circumstances of their initial detainment are questionable.

This collection gives voice to the men held at Guantánamo. Available only because of the tireless efforts of pro bono attorneys who submitted each line to Pentagon scrutiny, Poems from Guantánamo brings together twenty-two poems by seventeen detainees, most still at Guantánamo, in legal limbo.

If, in the words of Audre Lorde, poetry “forms the quality of light within which we predicate our hopes and dreams toward survival and change,” these verses—some originally written in toothpaste, others scratched onto foam drinking cups with pebbles and furtively handed to attorneys—are the most basic form of the art.

Making use of invaluable archival material, Feinberg's biographical account is followed by a study of Tabori's experimental theatre work. As did prominent avant-gardists such as Grotowski or Chaikin, Tabori sought to open up new vistas in an otherwise mainstream theatre system. Feinberg pays special attention to Tabori's theatrical innovations, most movingly found in his Holocaust plays. There Feinberg shows the ways in which Tabori's theatre becomes a locus of remembrance (Gedächtnisort) and of unique, engaging memory-work (Erinnerungsarbeit).

The stories in Merrill Feitell’s award-winning collection, Here Beneath Low-Flying Planes, examine the fleeting and unexpected moments of human connection, reminding us of the indelible impact we have on one another no matter how insignificant or anonymous we might feel under our huge, collective sky.

Feitell’s characters deal with shifting dynamics in relationships—whether they be best friends, lovers, family, or even strangers—that consistently leave them torn between two places or commitments. In the title story, Janie has undergone a painful childbirth experience and her group of friends must pioneer new dynamics while she wonders how to bring her old self back. In “Bike New York!” amid thirty thousand cyclists, a man on the brink of marriage meets a young girl who, in a tiny Brooklyn bakery, affirms both who he has been and who he is going to be. On this short detour from normal life he comes to understand “the funny thing about finding your way in the world. There was a place laid out for you . . . and even as you stepped into it, happy for the chance to rest, you wondered how you ever ended up there.”

Funny, big-hearted, and deft, Here Beneath Low-Flying Planes navigates the reader through the life that happens when you’re planning other things. It is a collection of experiences, roads not taken, and the intense and unforeseen sparks of connection we hope for.

In 1937 thirty-six nervous young men dressed in ill-fitting blue suits, wearing berets, and carrying identical black valises, were given tickets for an American Export Lines ship. They were told to conduct themselves as ordinary tourists, to be "inconspicuous." They were volunteers for the Abraham Lincoln Brigade, traveling the French underground to join in the fight against Franco. Among them was Milt Felsen, a young New Yorker and radical antiwar activist on the University of Iowa campus who had decided that fascism had to be opposed. Some of these young men never made it to their destination. But Milt Felsen did, beginning a march across the Pyrenees which was only the first of his many battles and adventures.

Told with uncommon wit and verve, this memoir of war and resistance is a stirring account of Felsen's involvement in two decades of battle. Surprisingly, this is a spirited and even funny book, infused with Felsen's unbeatable personality. After the Spanish Civil War, Felsen helped form the O.S.S. in World War II. Taken prisoner of war, he escaped in his inimitable style during a 1,200-mile prisoner-of-war march and drove out of Nazi Germany in a Mercedes-Benz. He returned to the United States more convinced than ever of war's insanity and its extreme human cost.

Most of us are only spectators of the world's larger events. Milt Felsen knew the excitement and despair of being a participant. While most war books abound in details of what happened, this one also delves into why. Felsen's straightforward account is refreshingly frank and doesn't pretend to be more than it is—his own lived version of war and common truths.

The Lightning Jar is about lonely children. It may be more about lonely children than any other book. These children are good at making imaginary friends but have trouble keeping them. For instance, there’s the Morra, who plunges the world into eternal winter. But she also teaches Mons the meaning of love and helps him burn down his house after some Gypsies turn it into a middle school. 

Then there’s the Gorbel. Amanda invented it to scare the Guest, but it ended up liking him best. A bit like a cat but more like a spider, it turned out a lot cuter than she’d intended. 

And the Wisps—they’re pretty unhappy about being dead. Karl accidentally turned his smallest cousin into a Wisp. They were trying to catch some lightning in a jar, but they caught the smallest cousin’s ghost instead. Karl had to drown it for its own good. Something similar happened with his grandma Astrid and a rock named Melisande. 

But the loneliest character is probably Christian. He insists on being from Jämtland, where Karl and Amanda live. When his cousin Eskild got married, Christian rewrote their past so it’s like The Little Mermaid, except Eskild drowns and Christian doesn’t earn a soul. 

In the spirit of Tove Jansson, William Blake, and Calvin & Hobbes, The Lightning Jar contains a volatile mix of innocence and experience, faith and doubt, nostalgia and a sense of all there is to gain by accepting reality on fresh terms. 

The collection of nine stories which won the 1980 Iowa Short Fiction Award is woven in a pattern so subtle that reading it is like writing your own nine-part novel. The author allows brief glimpses into the tormented journals of Joseph Quaile, a man of acute compassions and consuming hungers, then juxtaposes them with the fiction Quaile writes to scourge his demons and come to terms with himself and the people he loves. This is a dispassionate intelligence in passionate pursuit of freedom and reconciliation.

Plumbing what the poet Michael Palmer calls “the dimension of the Spirit, with that troublesome, rebarbative capital letter,” Norman Finkelstein’s On Mount Vision asks how and why the sacred has remained a basic concern of contemporary experimental poets in our secular age. By charting the wandering, together and apart, of poetry and belief, Finkelstein illustrates the rich tapestry formed by the warp and woof of poetry, and the play of Gnosticism, antinomianism, spiritualism, and shamanism, which have commonly been regarded as heretical and sometimes been outright suppressed.

 This beautifully written work begins with an overview of the spiritual problematics found in nineteenth- and early twentieth-century American poetry. Traveling slightly outside of the realm of the contemporary, Finkelstein’s discussions of Emerson, Whitman, and Eliot yield to close readings of the works of Robert Duncan, Jack Spicer, Ronald Johnson, Michael Palmer, Susan Howe, Nathaniel Mackey, and Armand Schwerner. In restoring verse to its place alongside scripture, Finkelstein reminds us why the sacred remains crucial to our understanding of postmodern American poetry.

Theatre, in some respects, resembles a market. Stories, rituals, ideas, perceptive modes, conversations, rules, techniques, behavior patterns, actions, language, and objects constantly circulate back and forth between theatre and the other cultural institutions that make up everyday life in the twentieth century. These exchanges, which challenge the established concept of theatre in a way that demands to be understood, form the core of Erika Fischer-Lichte's dynamic book.

Each eclectic essay investigates the boundaries that separate theatre from other cultural domains. Every encounter between theatre and other art forms and institutions renegotiates and redefines these boundaries as part of an ongoing process. Drawing on a wealth of fascinating examples, both historical and contemporary, Fischer-Lichte reveals new perspectives in theatre research from quite a number of different approaches. Energetically and excitingly, she theorizes history, theorizes and historicizes performance analysis, and historicizes theory.

An image of Edgar Allan Poe (1809–1849) as a man of gloom and mystery continues to hold great popular appeal. Long recognized as one of the greats of American literature, he elicited either highly commendatory or absolutely hostile reactions from many who knew him, from others who claimed to comprehend him as person or as writer, and from still others who circulated as fact opinions intuited from his writings. Whether promoting him as angel or demon, “a man of great and original genius” or “extraordinarily wicked,” the viewpoints in this dramatic collection of primary materials provide vigorous testimony to support the contradictory images of the man and the writer that have prevailed for a century and a half.
     Noted Poe scholar Benjamin Fisher includes a comprehensive introduction and a detailed chronology of Poe’s sadly short life; each entry is introduced by a short headnote that places the selection in historical and cultural context, and explanatory notes provide information about people and places. From John Allan’s letter to Secretary of War John Eaton about Poe’s West Point life to John Frankenstein’s hostile verse casting him as an alcoholic, from Rufus Griswold’s first and second posthumous vilifications to James Russell Lowell’s more sensible outline of his life and career, from scornful to commendable reviews to scathing attacks on his morals to recognition of his comic achievements, Fisher has gathered a lively array of materials that read like the most far-fetched of gothic tales.
     Poe himself was creative when he supplied information to others about his life and literary career, and the speculative content of many of the portrayals presented in this collection read as if their authors had set out to be equally creative. The sixty-nine recollections gathered in Poe in His Own Time form a dramatic, real-time biographical narrative designed to provide a multitude of perspectives on the famous author, sometimes in conflict with each other and sometimes in agreement but always arresting.

The concept of "American" literature is not the exclusive province of any one nation. Thanks to the historical circumstances that governed the European conquest and settlement of the Americas, we can and should approach the writings of English and French Canada, the United States, Spanish America, and Brazil as a cohesive group of American literature, worthy of study without constant reference to European texts. Now, Rediscovering the New World makes a timely addition to this expanding field on Inter-American scholarship that should help lead tothe formation of a new canon.

This adventurous and ambitious work begins with an examination of Pre-Columbian literature (and shows that his powerful tradition remains alive and well in the twentieth century), then confronts the narratives of discovery and conquest, the New World epic, identity as the Ur-theme of American literature, miscegenation as another integral theme, and regionalism as a shaping force. Other striking these and juxtapositions include a comparison of Henry James and Machado de Assis as the first two great New World novelists, modernism as both a distinct literary movement and an amorphous body of aesthetic principles, and the conflict between "civilization" and "barbarism."

More in the exploratory spirit of the French Canadian voyageur than in the spirit of the conquistador, Rediscovering the New World is the first scholarly work in English to integrate an international set of American literary cultures. It should inspire other explorers as the field of Inter-American literary relations continues to evolve.

When the John Hugh Williams family immigrated to Homer, Iowa, in the 1850s, they had six children, ranging in age from five to twenty. Suddenly land poor, in debt, and caught in the Panic of '57, they sent their eldest son, James, to Georgia to work and add to the family income.

The seventy-five letters collected here represent the family's correspondence to their absent son and brother. From 1858 to 1861, James' sisters, brothers, mother, and father wrote to him frequently, each with distinct views on their daily life and struggles. While Mr. Williams wrote most often about money, farming, and moral advice (he was minister in the Church of New Jerusalem, as well as a merchant and farmer), Mrs. Williams commented on her daily chores, the family's health, the ever-important weather, and her leisure activities, including the contemporary journals and books she read, such as David Copperfield and Jane Eyre. James' sisters and brothers wrote about many concerns, from schoolwork and housework to games and family celebrations in nearby Webster City.

As the letters continue, the affection for the absent James becomes more pronounced. And, as the years go by, the letters touch on more current national trends, including the Pikes Peak Gold Rush and the growing North/South crisis, on which James and his family strongly disagree. James was never to return to Iowa but married and remained in the South, becoming a lieutenant colonel in the Confederate army.

Complete with voices both young and old, male and female, This State of Wonders offers a wealth of information about the daily life of an ordinary family on the Iowa prairie. It is a book to be treasured by all Iowans interested in the early life of their state and by all historians looking for a complete portrait of family life on the midwestern frontier.

In Whitman East and West, fifteen prominent scholars track the surprising ways in which Whitman's poetry and prose continue to be meaningful at the beginning of the twenty-first century. Covering a broad range of issues—from ecology to children's literature, gay identity to China's May 4th Movement, nineteenth-century New York politics to the emerging field of normality studies, Mao Zedong to American film—each original essay opens a previously unexplored field of study, and each yields new insights by demonstrating how emerging methodologies and approaches intersect with and illuminate Whitman's ideas about democracy, sexuality, America, and the importance of literature.

Confirming the growing international spirit of American studies, the essays in Whitman East and West developed out of a landmark conference in Beijing, the first major conference in China to focus on an American poet. Scholars from Asia, Europe, and North America set out to track the ways in which Whitman's poetry has become part of China's cultural landscape as well as the literary landscapes of other countries. By describing his assimilation into other cultures and his resulting transformation into a hybrid poet, these essayists celebrate Whitman's multiple manifestations in other languages and contexts.

In 1992, the year of the hundredth anniversary of Walt Whitman's death, a major gathering of international scholars took place at the University of Iowa. Over 150 participants heard papers by 20 of the world's most eminent critics of Whitman. Three generations of scholars offered new essays that brilliantly tracked the course of past and present Whitman scholarship. So significant was this historic celebration of the great American poet that the opening session was covered by CBS “Sunday Morning,” National Public Radio's “Morning Edition,” the New York Times, and other newspapers across the country. Musical and theatrical performances, art exhibitions, slide shows, readings, songs, and even a recently discovered recording of Whitman's voice were presented during the three days of the conference.

But the heart of the conference was this series of original essays by some of the most innovative scholars working in the field of American literature. There has ever been a more important collection of Whitman criticism. In these essays, readers will find the most suggestive recent approaches to Whitman alongside the most reliable traditional approaches. Walt Whitman: The Centennial Essays captures Whitman's energy and vitality, which have only increased in the century after his death.

On the East Coast, so the story goes, newcomers are asked where they come from; on the West Coast they are asked what they do for a living; in Iowa people ask them, “How's your garden doing?” Maybe this is not a true story, but it does epitomize the importance of gardening for Iowans, blessed as they are with the rich glacial soil so hospitable to corn and soybeans. Rural and urban Iowans alike start planning next summer's garden in midwinter, when their plots are still snow-covered and deep-frozen; by state fair time their trees, shrubs, vegetables—including the ubiquitous zucchini—and flowers are thriving. Veronica Fowler's month-by-month guide to gardening in Iowa is a concise, valuable resource for all novice and experienced gardeners.

Beginning in January, Fowler presents a monthly checklist to allow gardeners to prioritize seasonal tasks. Her winter chapters focus on garden design, cold-weather gardening, and starting plants from seeds; in spring she moves into soil preparation, shopping for plants, wildflower and rose cultivation, and lawn care basics; summer brings landscaping, flowers for cutting, and organic gardening; and fall involves cold frames, winter-harvest vegetables, forcing bulbs and perennials, trees and shrubs, and ground covers and vines best suited for Iowa's climate as well as information on mail-order suppliers, gardens to visit, where to go for help, and garden club memberships. Tips from some of the more than two thousand members of the Federated Garden Clubs of Iowa round out this plentiful harvest of useful advice.

On a day in February when the wind chill is, well, chilling and the forecast calls for more of the same, the arrival of the first garden catalog of the season brings warmth to any gardener. Veronica Fowler's accessible, information-packed book will become part of every gardener's life both indoors and out.

"Reefer Charlie" Fox rode the rails from 1928 to 1939; from 1939 to 1965 he hitched rides in automobiles and traveled by foot. From Indiana to British Columbia, from Arkansas to Texas, from Utah to Mexico, he was part of the grand hobo tradition that has all but passed away from American life.

He camped in hobo jungles, slept under bridges and in sand houses at railroad yards, ate rattlesnake meat, fresh California grapes, and fish speared by the Indians of the Northwest. He quickly learned both the beauty and the dangers of his chosen way of life. One lesson learned early on was that there are distinct differences among hoboes, tramps, and bums. As the all-time king of hoboes, Jeff Davis, used to say, "Hoboes will work, tramps won't, and bums can't."

Tales of an American Hobo is a lasting legacy to conventional society, teaching about a bygone era of American history and a rare breed of humanity who chose to live by the rails and on the road.

Ticket to Minto, Sohrab Homi Fracis's premier fiction collection, offers readers a passage to an unfamiliar destination-a world suspended between East and West, India and America, home and away.

With piercing insight, Fracis expertly reveals the underlying differences between immersion in India's culture-Hindu, Muslim, or Parsi-and life as an Indian in America. Alternating between East and West, the stories in Ticket to Minto serve as companion pieces, interrelated across continents in both theme and content. A middle-aged man's search for love in Bombay is contrasted with an Indian American family's hopes for the marriage of their westernized daughter. A university student rushes to save the life of a servant in his homeland only to find his own life threatened while attending graduate school in America.

Poignant and daring, Ticket to Minto underlines the harsh realization that the immigrant never truly arrives but is in constant limbo between two worlds. As one character relates, "There's a part of me that's American and a part that's Indian. I'm clear about that and comfortable with it, except that sometimes people want me to be just the one or the other."

Working with the premise that there are much meaning and value in the "repelling beauty" of mining landscapes, Richard Francaviglia identifies the visual clues that indicate an area has been mined and tells us how to read them, showing the interconnections among all of America's major mining districts. With a style as bold as the landscape he reads and with photographs to match, he interprets the major forces that have shaped the architecture, design, and topography of mining areas. Covering many different types of mining and mining locations, he concludes that mining landscapes have come to symbolize the turmoil between what our society elects to view as two opposing forces: culture and nature.

As an archetype for an entire class of places, Main Street has become one of America's most popular and idealized images. In Main Street Revisited, the first book to place the design of small downtowns in spatial and chronological context, Richard Francaviglia finds the sources of romanticized images of this archetype, including Walt Disney's Main Street USA, in towns as diverse as Marceline, Missouri, and Fort Collins, Colorado.

Francaviglia interprets Main Street both as a real place and as an expression of collective assumptions, designs, and myths; his Main Streets are treasure troves of historic patterns. Using many historical and contemporary photographs and maps for his extensive fieldwork and research, he reveals a rich regional pattern of small-town development that serves as the basis for American community design. He underscores the significance of time in the development of Main Street's distinctive personality, focuses on the importance of space in the creation of place, and concentrates on popular images that have enshrined Main Street in the collective American consciousness.

What connections can be drawn between oral history and the shopping mall? Gospel music and the Diablo Canyon nuclear power plant? William Carlos Williams's Patterson and the Manhattan Project's secret cities? The answers lie in this insightful collection of essays that read and illuminate the American landscape. Through literature and folklore, music and oral history, autobiography, architecture, and photography, eleven leading writers and thinkers explore the dialectic between space and place in modern American life. The result is an eloquent and provocative reminder of the environmental context of events—the deceptively simple fact that events “take place.”

Sometime late in 1868, New York farmer and carpenter James C. Holmes bought a new pocket diary for 1869. Now, over a hundred years later, this rare document of craft activity becomes the center for an intensive study of rural carpentry in Holmes' place and time that unlocks an entire realm of significances.

Holmes' day-by-day record places his actual craft, not just its visible artifacts, in the context of nineteenth-century culture, society, and economics. Wayne Franklin's impeccable, wide-ranging research reconstructs Holmes' networks at a time when the coming industrialization of the building trades had yet to have much effect outside American cities. His meticulous identification of more than one hundred individuals referred to in the diary and his group biography of over sixty carpenters who practiced in the area until 1900 create portraits of real lives, demonstrating the complexities of the social landscape after the Civil War.

A Rural Carpenter's World makes carpentry a prism through which James Holmes and his work and his world shine. This graceful, living record has immediate and lasting value for social historians, students of vernacular architecture and the built environment, and all those interested in westward migration and rural America.

By any measure—international reputation, influence upon fellow writers and later generations, number of books published, scholarly and critical attention—Robert Creeley (1926–2005) is a literary giant, an outstanding, irreplaceable poet. For many decades readers have remarked upon the almost harrowing emotional nakedness of Creeley’s writing. In the years since his death, it may be that the disappearance of the writer allows that nakedness to be observed more readily and without embarrassment.

       Written by the foremost critics of his poetry, Form, Power, and Person in Robert Creeley’s Life and Work is the first book to treat Creeley’s career as a whole. Masterfully edited by Stephen Fredman and Steve McCaffery, the essays in this collection have been gathered into three parts. Those in “Form” consider a variety of characteristic formal qualities that differentiate Creeley from his contemporaries. In “Power,” writers reflect on the pressure exerted by emotions, gender issues, and politics in Creeley’s life and work. In “Person,” Creeley’s unique artistic and psychological project of constructing a person—reflected in his correspondence, teaching, interviews, collaborations, and meditations on the concept of experience—is excavated. While engaging these three major topics, the authors remain, as Creeley does, intent upon the ways such issues appear in language, for Creeley’s nakedness is most conspicuously displayed in his intimate relationship with words.

Contributors

Charles Altieri

Rachel Blau DuPlessis

Stephen Fredman

Benjamin Friedlander

Alan Golding

Michael Davidson

Steve McCaffery

Peter Middleton

Marjorie Perloff

Peter Quartermain

Libbie Rifkin

In 1996 James Freedman published Idealism and Liberal Education, which discussed the ideals that shaped his life as an intellectual, a law professor, and a college and university president. In this new collection of essays, he convincingly explores his firm belief that a liberal education is the “surest instrument yet devised for developing those civilizing qualities of mind and character that enable men and women to lead satisfying lives and to make significant contributions to a democratic society.”

Freedman concentrates directly upon the problems facing university presidents and all university administrators. A passionate and beautifully written argument for the benefits of a liberal education, this book

Driven by grit and determination during the Depression, John Ruan parlayed a one-truck business into Ruan Transportation Management Systems, one of the nation’s leading trucking, leasing, and logistics companies. The trucking business made John Ruan one of the wealthiest and most influential people in Iowa and was the foundation for his vast fortune which included interests in insurance, banking, financial services, international trade, and real estate.

In the 1970s and 80s, Ruan led Des Moines’s renaissance with the construction of the 36-story original Ruan Center, the Marriott Hotel tower, and the Two Ruan Center office complex. But his contributions reached far beyond the confines of Iowa. As a philanthropist, Ruan was a long-time sponsor of the World Food Prize, which recognizes the importance of a nutritious and sustainable food supply for all people.

Based on extensive interviews with Ruan, family members, business associates, friends, and colleagues, as well as privately held papers and archives, In for the Long Haul presents a discerning portrait of this hard-charging yet compassionate businessman.

The Feminist Avant-Garde in American Poetry offers a historical and theoretical account of avant-garde women poets in America from the 1910s through the 1990s and asserts an alternative tradition to the predominantly male-dominated avant-garde movements. Elisabeth Frost argues that this alternative lineage distinguishes itself by its feminism and its ambivalence toward existing avant-garde projects; she also thoroughly explores feminist avant-garde poets' debts and contributions to their male counterparts.

This fine debut of twelve stories explores a topography of the interior, probing the thoughts, motivations, and little-understood impulses behind moments of aggression, jealousy, and loneliness. Turning her eye on the academic landscape as well as the workaday world, Frucht keenly observes people forging friendships, groping for greater self-understanding, and attempting to find meaning in their lives and loves.

Whether writing about a couple trying to conceive a much-wanted child or a lonely husband mourning the changing political attitudes of his wife, Frucht brings her characters and their lives into memorable focus. She builds a fictional world that resonates with the immediate and the familiar.

Although many books of contemporary fiction document the ways people often fail to communicate, the essential quality of Abby Frucht's characters is that they do communicate—connect—and gain part of what they want from life as a result. These stories are never about despair without also being about hope. They speak to each other as playfully and accidentally as memories do.

But who was Donna Reed? Perhaps no celebrity of her symbolic importance is so little known. Moving from the backroads of Iowa to the mansions of Bel Air, Jay Fultz goes in search of the woman behind the image.

In Search of Donna Reed reveals a woman whose intelligence and force of character often put her at odds with the roles she portrayed both on and off screen. Reed, always angered by the treatment of women in Hollywood, turned political activist in middle age, confronting for the first time the arrogance of power. She was, said writer Barbara Avedon, a feminist before there was a feminist vocabulary. But she eludes any label.

This first biography of Donna Reed also contains the first extended discussion of her television show. The personal richness that Reed brought to her television role has been filtered out in the caricature perpetuated by pop critics. In the media "Donna Reed" is Donna Stone distorted as a female-manqué who wears pearls and high heels around the house. But Donna Reed's long hold on viewers depends on irreducible qualities that have nothing to do with this fixed image, as Fultz suggests.

He follows her development from Iowa farm girl to apprentice in Hollywood to mature juggler of the demands of family and career to antiwar activist. Drawing on Reed's letters and on interviews, Fultz looks for what was real in a very private person without discarding what is romantic in any pursuit of a public one. He shows why the rich and principled life of Donna Reed matters in this more cynical time.

We live in a world of talk. Yet Race Sounds argues that we need to listen more—not just hear things, but actively listen—particularly in relation to how we engage race, gender, and class differences. Forging new ideas about the relationship between race and sound, Furlonge explores how black artists—including well-known figures such as writers Ralph Ellison and Zora Neale Hurston, and singers Bettye LaVette and Aretha Franklin, among others—imagine listening. Drawing from a multimedia archive, Furlonge examines how many of the texts call on readers to “listen in print.” In the process, she gives us a new way to read and interpret these canonical, aurally inflected texts, and demonstrates how listening allows us to engage with the sonic lives of difference as readers, thinkers, and citizens. 

Intervening in discourses of African American and black feminist literatures, where sound and voice dominate, Furlonge shifts our attention to listening as an aural strategy of cultural, social, and civic engagement that not only enlivens how we read, write, and critique texts, but also informs how we might be more effective audiences for each other and against injustice in our midst. The result is a fascinating examination that brings new insights to African American literature and art, American literature, democratic philosophy, and sound studies.