Driven by the pressures of poverty and civil strife at home, large numbers of Central Americans came to the Los Angeles area during the 1980's. Neither purely economic migrants, though they were in search of stable work, nor official refugees, although they carried the scars of war and persecution, Guatemalans and Salvadorans were even denied the aid given to refugees such as Cubans and Vietnamese. In addition, these immigrants sought refuge in a city undergoing massive economic and demographic shifts of its own. The result was -- and is -- a complex interaction that will help to reconceptualize the migration experience.

Based on twenty years of work with the Los Angeles Central American community and  filled with facts, figures, and personal narratives, Seeking Community in a Global City presents this saga from many perspectives. The authors examine the forces in Central America that sent thousands of people streaming across international borders. They discuss economic, political, and demographic changes in the Los Angeles region and the difficulties the new immigrants faced in negotiating a new, urban environment. They look at family roles, networking, work strategies, and inter-ethnic relations. But they also consider policy issues and alliances, changing expectations, shifting priorities, and the reciprocal effect of the migrants and the city on each other.

Seeming Human: Artificial Intelligence and Victorian Realist Character offers a new theory of realist character through character’s unexpected afterlife: the intelligent machine. The book contends that mid-twentieth-century versions of artificial intelligence (AI) offer a theory of verisimilitude omitted by traditional histories of character, which often focus on the development of interiority and the shift from “flat” to “round” characters in the Victorian era. Instead, by reading character through AI, Megan Ward’s Seeming Human argues that routinization, predictability, automation, and even flatness are all features of realist characters.
 
Early artificial intelligence movements such as cybernetics, information theory, and the Turing test define ways of seeming—rather than being—human. Using these theories of verisimilitude to read Victorian novelists such as Elizabeth Gaskell, Margaret Oliphant, Anthony Trollope, Thomas Hardy, and Henry James, Seeming Human argues that mechanicity has been perceived as anti-realist because it is the element that we least want to identify as human. Because AI produces human-like intelligence, it makes clear that we must actually turn to machines in order to understand what makes realist characters seem so human.
 

Winner of the 2004 C. Hugh Holman Award from the Society for the Study of Southern Literature.

Seems Like Murder Here offers a revealing new account of the blues tradition. Far from mere laments about lost loves and hard times, the blues emerge in this provocative study as vital responses to spectacle lynchings and the violent realities of African American life in the Jim Crow South. With brilliant interpretations of both classic songs and literary works, from the autobiographies of W. C. Handy, David Honeyboy Edwards, and B. B. King to the poetry of Langston Hughes and the novels of Zora Neale Hurston, Seems Like Murder Here will transform our understanding of the blues and its enduring power.

There has never been an edition of the selected letters of Walt Whitman, a remarkable fact considering how accustomed we are to becoming acquainted with major writers through their letters. Now Edwin Haviland Miller, editor of the six-volume collected writings of Whitman, has used his intimate knowledge of the "good gray poet's" correspondence to produce this revealing selection of 250 letters, introduced and annotated concisely and evocatively. Whitman in these letters is simple, direct, colloquial, adding a counterpoint to his artistic voice and persona as a poet.

Edited and with an Afterword by David St. John

When Larry Levis died suddenly in 1996, Philip Levine wrote that he had years earlier recognized Levis as “the most gifted and determined young poet I have ever had the good fortune to have in one of my classes. . . . His early death is a staggering loss for our poetry, but what he left is a major achievement that will enrich our lives.”  Each of his books was published to wide critical acclaim, and David St. John has collected together the best of his work from his first five books: Wrecking Crew (1972), Afterlife (1976), The Dollmaker’s Ghost (1981), Winter Stars (1985) and The Widening Spell of the Leaves (1991).

“It is not an exaggeration to say that the death of Larry Levis in 1996—of a heart attack at 49—sent a shock wave through the ranks of American poetry. Not only was Levis a good friend to many poets (not simply of his own generation but of many poets older and younger as well), his poetry had become a kind of touchstone for many of us, a source of special inspiration and awe. With Larry Levis’ death came the sense that an American original had been lost. . . . It is not at all paradoxical that he saw both the most intimate expressions of poetry and the grandest gestures of art, of language, as constituting individual acts of courage. One can only hope that, like such courage, Larry Levis’s remarkable poems will continue to live far into our literature.”—from the Afterword, by David St. John

These 250 transcribed and annotated letters reveal the personal and literary life of one of the most highly regarded African American writers and intellectuals
 
Paul Laurence Dunbar (1873–1906) was arguably the most famous African American poet, novelist, and dramatist at the turn of the twentieth century and one of the earliest African American writers to receive national recognition and appreciation. Scholars have taken a renewed interest in Dunbar but much is still unknown about this once-famous African American author’s life and literary efforts. Dunbar’s letters to various editors, friends, benefactors, scholars, and family members are crucial to any critical or theoretical understanding of his journey as a writer. His literary correspondence, in particular, records the development of an extraordinary figure whose work reached a broad readership in his lifetime, but not without considerable cost.
 
The Selected Literary Letters of Paul Laurence Dunbar is a collection of 250 letters, transcribed and annotated, that reveal the personal and literary life of one of the most highly regarded African American writers and intellectuals. Editors Cynthia C. Murillo and Jennifer M. Nader highlight Dunbar not just as a determined author and master of rhetoric, but also as a young, sensitive, thoughtful, keenly intelligent, and talented writer who battled depression, alcoholism, and tuberculosis as well as rejection and racism. Despite Dunbar’s personal struggles, his literary letters disclose that he was full of hopes and dreams coupled with the resolve to flourish as a writer—at almost any cost, even when it caused controversy.
 
Taken together, Dunbar’s letters depict his concerted effort to succeed as an author within an overtly racist literary culture, among sharp divides within the African American intellectual community, and in opposition to the demands of popular public tastes—often dictated by the demands of publishers. This wide-ranging selection of Dunbar’s most relevant literary letters will serve to correct many matters of conjecture about Dunbar’s life, writing, and choices by supplying factual evidence to counter speculation, assumption, and incomplete information.
 

James Applewhite has produced nine extraordinary books of poetry. This volume is the first anthology of his remarkable oeuvre. It brings together chronologically arranged selections from all of his previous books, from the first, published in 1975, through the most recent, published in 2002. Applewhite’s poetry is deeply rooted in the history and rhythms of rural North Carolina, where he was born and raised, and these poems mark stages in an artistic and personal journey he has undertaken over the past thirty years.

In impeccable and surprising language, Applewhite depicts the social conventions, changes, frictions, and continuities of small southern towns. He celebrates that which he values as decent and life-enhancing, and his veneration is perhaps most apparent in his response to the natural world, to the rivers and trees and flowers. Yet Applewhite’s love for his native land is not straightforward. His verse chronicles his conflicted feelings for the region that gave him the initial, evocative language of place and immersed him in a blazing sensory world while it also bequeathed the distortions, denials, and prejudices that make it so painful a labyrinth. Rendering troubled legacies as well as profound decency, Applewhite reveals the universally human in a distinctively local voice, within dramatic and mundane moments of hope and sorrow and faith.

Selected Poems represents the best of John Frederick Nims's widely aclaimed work over the past thirty years. Selections are from Five Young American Poets, Third Series (1944), The Iron Pastoral (1947), A Fountain in Kentucky (1950), Knowledge of the Evening (1960), and Of Flesh and Bone (1967) and emcompasses the full range of one of contemporary America's foremost poets.

Shelton assembles the best of his previous work together with a selection of new poems.

Howard Nemerov—poet laureate of the United States, winner of the Pulitzer Prize and National Book Award, and chancellor of the Academy of American Poets—was one of the most prolific and significant American poets of the twentieth century. By the time of his death in 1991, he had published fourteen collections of poetry.

Judiciously selected and introduced by poet Daniel Anderson, The Selected Poems of Howard Nemerov represents the broad spectrum of Nemerov’s virtues as a poet—his intelligence, his wit, his compassion, and his irreverence. It stands as the retrospective collection of the best of what Nemerov left behind, which is some of the finest poetry that the twentieth century produced.

“To keep his errors down to a minimum,” W. H. Auden wrote, “the internal Censor to whom a poet submits his work in progress should be a Censorate. It should include, for instance, a sensitive only child, a practical housewife, a logician, a monk, an irreverent buffoon a nd even, perhaps, hated by all others and returning their dislike, a brutal, foul-mouthed drill sergeant who considers all poetry rubbish.”

Such are the readers to whom the poetry of Howard Nemerov might appeal. He distinguished himself on the landscape of American letters as a writer of great versatility. More than a decade after his death, that claim still holds true.

In this, the only edition of Nemerov’s work that surveys his entire poetic output, first-time readers of these poems will find an introduction to a truly remarkable creative mind. Longtime admirers of Nemerov will be reminded once again of his significance as a craftsman and philosopher, and as a poetic steward of the many ways in which we experience the world.

Since the appearance in print of her early poems over seventy-five years ago, the poetry of Janet Lewis has grown in quiet acclaim and popularity. Although she is better known as a novelist of historical fiction, her first and last writings were poems. With the publication of her selected poems, Swallow Press celebrates the distinguished career of one of its most cherished authors.

Critics as disparate as Kenneth Rexroth, Timothy Steele, Theodore Roethke, Larry McMurtry, N. Scott Momaday, and Dana Gioia have sung the praises of her work over the decades. Her career as a poet was remarkable not only for its longevity but also for the fact that even well into her tenth decade she wrote poems that stand with her very best work.

Characterized by the vigor and sharpness of her images and the understated lyricism that permeates her rhythmic lines, The Selected Poems of Janet Lewis is a survey of modern poetry unto itself.

A Pulitzer Prize winner best known as an imagist, John Gould Fletcher experimented with every facet of Modernist poetry and influenced poets in both England and the United States. this is the first collection to span his entire career, and brings again to the public eye work that has been unavailable for thirty-five years.

Fletcher is responsible for introducing Ezra Pound to French symbolism, and Amy Lowell to “polyphonic prose,” and his connection with the Southern Fugitive Agrarian movement adds to his significance as the first modern Southern poet. The editors have chosen representative works for his many stages of development and discuss in the introduction Fletcher’s influence on the better-known modernists.

Selected Poems of John Gould Fletcher is the first n a series of books by or about Fletcher to fill an important space in home and public libraries with American literature collections.

An outpouring of memorial tributes and public expressions of grief followed the death of the Tejana recording artist Selena Quintanilla Pérez in 1995. The Latina superstar was remembered and mourned in documentaries, magazines, websites, monuments, biographies, murals, look-alike contests, musicals, drag shows, and more. Deborah Paredez explores the significance and broader meanings of this posthumous celebration of Selena, which she labels “Selenidad.” She considers the performer’s career and emergence as an icon within the political and cultural transformations in the United States during the 1990s, a decade that witnessed a “Latin explosion” in culture and commerce alongside a resurgence of anti-immigrant discourse and policy.

Paredez argues that Selena’s death galvanized Latina/o efforts to publicly mourn collective tragedies (such as the murders of young women along the U.S.-Mexico border) and to envision a brighter future. At the same time, reactions to the star’s death catalyzed political jockeying for the Latino vote and corporate attempts to corner the Latino market. Foregrounding the role of performance in the politics of remembering, Paredez unravels the cultural, political, and economic dynamics at work in specific commemorations of Selena. She analyzes Selena’s final concert, the controversy surrounding the memorial erected in the star’s hometown of Corpus Christi, and the political climate that served as the backdrop to the touring musicals Selena Forever and Selena: A Musical Celebration of Life. Paredez considers what “becoming” Selena meant to the young Latinas who auditioned for the biopic Selena, released in 1997, and she surveys a range of Latina/o queer engagements with Selena, including Latina lesbian readings of the star’s death scene and queer Selena drag. Selenidad is a provocative exploration of how commemorations of Selena reflected and changed Latinidad.

Winner of the 2017 Miller Williams Poetry Prize, edited by Billy Collins

“Shows this exceptional poet at his rhyming best.”

—Billy Collins

Self-Portrait in a Door-Length Mirror presents the mirror that reflects not always what is, but what is desired, or not desired. In the opening poem, the speaker, Diane Arbus, looks at her very early pregnant self and asks, “Why would I bring you into this world?” This book answers that question, or tries to: the world is what it is as we try to live as our best selves in that world. But that knowledge of the world is hard and has consequences, and not in the abstract, as Gibson’s poetry dynamically shows.

Employing new formalism, Self-Portrait in a Door-Length Mirror examines historical, familial, and personal pasts as those pasts continue into the present, reminding us, as Faulkner wrote, “The past is never dead. It’s not even past.”

In his third book of poems, Mark Halliday grapples with the endless struggle between self-concern and awareness of the rights of others. Through humor, ironic twists, and refreshing candor, these poems confront a variety of situations—death, divorce, artistic egotism and envy, personal relationships—where the very idea of self is under siege.

"If Selfwolf were a pop music CD, it would be hailed as Mark Halliday's breakthrough album. . . . This third collection of poems teems with unsparing confessions of misdirected lust, lost faith, regret and a winningly goofy cheerfulness in the face of all that bad stuff. . . . The informal, conversational quality of Halliday's work almost hides its artfulness, which seems to be precisely his intention."—Ken Tucker, New York Times Book Review

"With unflinching, often comic honesty about how 'ego-fetid, hostile, grasping' we are, Halliday exposes the self's wolfish hungers and weaknesses."—Andrew Epstein, Boston Review

"Mark Halliday's new book offers more of his trademark riffs on self-consciousness. His subversive, surprising, hugely enjoyable poems will make you laugh out loud, squirm in uncomfortable recognition, and appreciate anew the comedy of our daily battles for self-preservation. . . reading Halliday is pure delight. . . . I love the daring and intelligence with which Halliday skates along the shifting boundary between self within and world outside. Selfwolf slows down our habitual negotiations between 'in here' and 'out there,' exposing the edgy comedy of how we survive."—Damaris Moore, Express Books

In the summer of 1930, Lorenzo Johnston Greene, a graduate of Howard University and a doctoral candidate at Columbia University, became a book agent for the man with the undisputed title of "Father of Negro History," Carter G. Woodson. With little more than determination, Greene, along with four Howard University students, traveled throughout the South and Southeast selling books published by Woodson's Associated Publishers. Their dual purpose was to provide needed funds for the Association for the Study of Negro Life and History and to promote the study of African American history. Greene returned east by way of Chicago, and, for a time, he settled in Philadelphia, selling books there and in the nearby cities of Delaware and New Jersey. He left Philadelphia in 1931 to conduct a survey in Washington, D.C., of firms employing and not employing black workers.

From 1930 until 1933, when Greene began teaching at Lincoln University in Jefferson City, Missouri, Selling Black History for Carter G. Woodson provides a unique firsthand account of conditions in African American communities during the Great Depression. Greene describes in the diary, often in lyrical terms, the places and people he visited. He provides poignant descriptions of what was happening to black professional and business people, plus working-class people, along with details of high school facilities, churches, black business enterprises, housing, and general conditions in communities. Greene also gives revealing accounts of how the black colleges were faring in 1930.

Selling Black History for Carter G. Woodson offers important glimpses into the private thoughts of a young man of the 1930s, a developing intellectual and scholar. Greene's diary also provides invaluable insights into the personality of Carter Woodson that are not otherwise available. This fascinating and comprehensive view of black America during the early thirties will be a welcome addition to African American studies.

In May 1906, the Atlantic Monthly commented that Americans live not merely in an age of things, but under the tyranny of them, and that in our relentless effort to sell, purchase, and accumulate things, we do not possess them as much as they possess us. For Bill Brown, the tale of that possession is something stranger than the history of a culture of consumption. It is the story of Americans using things to think about themselves.

Brown's captivating new study explores the roots of modern America's fascination with things and the problem that objects posed for American literature at the turn of the century. This was an era when the invention, production, distribution, and consumption of things suddenly came to define a national culture. Brown shows how crucial novels of the time made things not a solution to problems, but problems in their own right. Writers such as Mark Twain, Frank Norris, Sarah Orne Jewett, and Henry James ask why and how we use objects to make meaning, to make or remake ourselves, to organize our anxieties and affections, to sublimate our fears, and to shape our wildest dreams. Offering a remarkably new way to think about materialism, A Sense of Things will be essential reading for anyone interested in American literature and culture.

In an age of interpretation, style eludes criticism. Yet it does so much tacit work: telling time, telling us apart, telling us who we are. What does style have to do with form, history, meaning, our moment’s favored categories? What do we miss when we look right through it? Senses of Style essays an answer. An experiment in criticism, crossing four hundred years and composed of nearly four hundred brief, aphoristic remarks, it is a book of theory steeped in examples, drawn from the works and lives of two men: Sir Thomas Wyatt, poet and diplomat in the court of Henry VIII, and his admirer Frank O’Hara, the midcentury American poet, curator, and boulevardier. Starting with puzzle of why Wyatt’s work spoke so powerfully to O’Hara across the centuries, Jeff Dolven ultimately explains what we talk about when we talk about style, whether in the sixteenth century, the twentieth, or the twenty-first.

Stanley Cavell, one of America's most distinguished philosophers, has written an invaluable companion volume to Walden, a seminal book in our cultural heritage. This expanded edition includes two essays on Emerson.

In Sentences, contemporary poet Howard Nemerov adds to his distinguished work a collection of gnomic verses, declarative poems, sonnets after other poets, and sustained lyrics.

"In [Sentences], not only has Nemerov continued to accommodate himself to the literary tradition without falling back on parody; he has also . . . extended the resources of blank verse beyond what any modern practitioner, himself included, has managed to. This extension comprises more than a mere prosodic advance; it is a rhetorical and imaginative advance. 'By Al Lebowitz's Pool,' 'The Makers,' 'Monet,' and 'A Christmas Storm,' for example, are dazzling in their very naturalness. . . . No one since Frost has done as much to move blank verse from where Wordsworth and Coleridge had left it."—Mary Kinzie, Poetry

During the 1992 Democratic Convention and again while delivering Harvard University’s commencement address two years later, Vice President Al Gore shared with his audience a story that showed the effect of sentiment in his life. In telling how an accident involving his son had provided him with a revelation concerning the compassion of others, Gore effectively reconstructed himself as a typical, middle-class American for whom sympathy can lead to salvation. This contemporary reiteration of mid-nineteenth-century American sentimental discourse proves to be a fruitful point of departure for Mary Louise Kete’s argument that sentimentality has been an important and recurring form of cultural narrative that has helped to shape middle-class American life.
Many scholars have written about the sentimental novel as a primarily female genre and have stressed its negative ideological aspects. Kete finds that in fact many men—from writers to politicians—participated in nineteenth-century sentimental culture. Importantly, she also recovers the utopian dimension of the phenomenon, arguing that literary sentimentality, specifically in the form of poetry, is the written trace of a broad cultural discourse that Kete calls “sentimental collaboration”—an exchange of sympathy in the form of gifts that establishes common cultural or intellectual ground. Kete reads the work of Ralph Waldo Emerson, Henry Wadsworth Longfellow, Mark Twain, Harriet Beecher Stowe, and Lydia Huntley Sigourney with an eye toward the deployment of sentimentality for the creation of Americanism, as well as for political and abolitionist ends. Finally, she locates the origins of sentimental collaboration in the activities of ordinary people who participated in mourning rituals—writing poetry, condolence letters, or epitaphs—to ease their personal grief.
Sentimental Collaborations significantly advances prevailing scholarship on Romanticism, antebellum culture, and the formation of the American middle class. It will be of interest to scholars of American studies, American literature, cultural studies, and women’s studies.

In Sentimental Materialism Lori Merish considers the intricate relationship between consumption and womanhood in the late eighteenth and nineteenth centuries. Taking as her starting point a diversity of cultural artifacts—from domestic fiction and philosophical treatises to advice literature and cigars—Merish explores the symbolic functions they served and finds that consumption evolved into a form of personal expressiveness that indicated not only a woman’s wealth and taste but also her race, class, morality, and civic values. The discursive production of this new subjectivity—the feminine consumer—was remarkably influential, helping to shape American capitalism, culture, and nation building.

The phenomenon of female consumption was capitalism’s complement to male production: It created what Merish calls the “Other Protestant Ethic,”a feminine and sentimental counterpart to Max Weber’s ethic of hard work, economic rationality, and self-control. In addition, driven by the culture’s effort to civilize the “cannibalistic” practices of ethnic, class, and national otherness, appropriate female consumerism, marked by taste and refinement, identified certain women and their families as proper citizens of the United States. The public nature of consumption, however, had curiously conflicting effects: While the achievement of cultured material circumstances facilitated women’s civic agency, it also reinforced stereotypes of domestic womanhood.

Sentimental Materialism’s inquiry into middle-class consumption and accompanying ideals of womanhood will appeal to readers in a variety of disciplines, including American studies, cultural studies, feminist theory, and cultural history.

Winner of the 2017 NASSH Book Award for best edited collection.

The hardening of racial lines during the first half of the twentieth century eliminated almost all African Americans from white organized sports, forcing black athletes to form their own teams, organizations, and events. This separate sporting culture, explored in the twelve essays included here, comprised much more than athletic competition; these “separate games” provided examples of black enterprise and black self-help and showed the importance of agency and the quest for racial uplift in a country fraught with racialist thinking and discrimination.

The significance of this sporting culture is vividly showcased in the stories of the Cuban Giants baseball team, basketball’s New York Renaissance Five, the Tennessee State Tigerbelles track-and-field team, black college football’s Turkey Bowl Classic, car racing’s Gold and Glory Sweepstakes, Negro League Baseball’s East-West All-Star game, and many more. These teams, organizations, and events made up a vibrant national sporting complex that remained in existence until the integration of sports beginning in the late 1940s. Separate Games explores the fascinating ways sports helped bind the black community and illuminate race pride, business acumen, and organizational abilities.

The evil mastermind—and master of disguise—Fu Manchu has long threatened to take over the world. In the past century, his dastardly plans have driven serialized novels, comic books, films, and TV. Yet this sinister Oriental character represents more than an invincible criminal in pop culture; Fu Manchu became the embodiment of the Yellow Peril.

 

Serial Fu Manchu provides a savvy cultural, historical, and media-based analysis that shows how Fu Manchu’s irrepressibility gives shape to—and reinforces—the persistent Yellow Peril myth. Ruth Mayer argues that seriality is not merely a commercial strategy but essential to the spread of European and American fears of Asian expansion. 

 

Tracing Fu Manchu through transnational serials in varied media from 1913 to the 1970s, Mayer shows how the icon evolved. She pays particular attention to the figure’s literary foundations, the impact of media changes on his dissemination, and his legacy.

In the series Asian American History and Culture, edited by Sucheng Chan, David Palumbo-Liu, Michael Omi, K. Scott Wong, and Linda Trinh Võ

Serious Daring is the story of the complementary journeys of two American women artists, celebrated fiction writer Eudora Welty and internationally acclaimed photographer Rosamond Purcell, each of whom initially practiced, but then turned from, the art form ultimately pursued by the other.

For both Welty and Purcell, the art realized is full of the art seemingly abandoned. Welty’s short stories and novels use images of photographs, photographers, and photography. Purcell photographed books, texts, and writing.

Both women make compelling art out of the seeming tension between literary and visual cultures. Purcell wrote a memoir in which photographs became endnotes. Welty re-emerged as a photographer through the publication of four volumes of what she called her “snapshots,” magnificent black-and-white photographs of small-town Mississippi and New York City life.

Serious Daring is a fascinating look at how the road not taken can stubbornly accompany the chosen path, how what is seemingly left behind can become a haunting and vital presence in life and art.

As children, Shirley Ann Higuchi and her brothers knew Heart Mountain only as the place their parents met, imagining it as a great Stardust Ballroom in rural Wyoming. As they grew older, they would come to recognize the name as a source of great sadness and shame for their older family members, part of the generation of Japanese Americans forced into the hastily built concentration camp in the aftermath of Executive Order 9066.
Only after a serious cancer diagnosis did Shirley's mother, Setsuko, share her vision for a museum at the site of the former camp, where she had been donating funds and volunteering in secret for many years. After Setsuko's death, Shirley skeptically accepted an invitation to visit the site, a journey that would forever change her life and introduce her to a part of her mother she never knew.
Navigating the complicated terrain of the Japanese American experience, Shirley patched together Setsuko's story and came to understand the forces and generational trauma that shaped her own life. Moving seamlessly between family and communal history, Setsuko's Secret offers a clear window into the "camp life" that was rarely revealed to the children of the incarcerated. This volume powerfully insists that we reckon with the pain in our collective American past.

Only a fraction of what is known about Madison’s earliest African American settlers and the vibrant and cohesive communities they formed has been preserved in traditional sources. The rest is contained in the hearts and minds of their descendants. Seeing a pressing need to preserve these experiences, lifelong Madison resident Muriel Simms collected the stories of twenty-five African Americans whose families arrived, survived, and thrived here in the late nineteenth and early twentieth centuries. While some struggled to find work, housing, and acceptance, they describe a supportive and enterprising community that formed churches, businesses, and social clubs—and frequently came together in the face of adversity and conflict. A brief history of African American settlement in Madison begins the book to set the stage for the oral histories.

Showcasing the dynamism of contemporary Korean diasporic theater, this anthology features seven plays by second-generation Korean diasporic writers from the United States, Canada, and Chile. By bringing the plays together in this collection, Esther Kim Lee highlights the themes and styles that have enlivened Korean diasporic theater in the Americas since the 1990s. Some of the plays are set in urban Koreatowns. One takes place in the middle of Texas, while another unfolds entirely in a character's mind. Ethnic identity is not as central as it was in the work of previous generations of Asian diasporic playwrights. In these plays, experiences of diaspora and displacement are likely to be part of broader stories, such as the difficulties faced by a young mother trying to balance family and career. Running through these stories are themes of assimilation, authenticity, family, memory, trauma, and gender-related expectations of success. Lee's introduction includes a brief history of the Korean Peninsula in the twentieth century and of South Korean immigration to the Americas, along with an overview of Asian American theater and the place of Korean American theater within it. Each play is preceded by a brief biography of the playwright and a summary of the play's production history.

Seventeen Syllables and Other Stories brings together fifteen stories that span Hisaye Yamamoto's forty-year career. It was her first book to be published in the United States. Yamamoto's themes include the cultural conflicts between the first generation, the Issei and their children, the Nisei; coping with prejudice; and the World War II internment of Japanese Americans.

During the early twentieth century, a diverse group of African American women carved out unique niches for themselves within New York City's expansive informal economy. LaShawn Harris illuminates the labor patterns and economic activity of three perennials within this kaleidoscope of underground industry: sex work, numbers running for gambling enterprises, and the supernatural consulting business. Mining police and prison records, newspaper accounts, and period literature, Harris teases out answers to essential questions about these women and their working lives. She also offers a surprising revelation, arguing that the burgeoning underground economy served as a catalyst in working-class black women ™s creation of the employment opportunities, occupational identities, and survival strategies that provided them with financial stability and a sense of labor autonomy and mobility. At the same time, urban black women, all striving for economic and social prospects and pleasures, experienced the conspicuous and hidden dangers associated with newfound labor opportunities.

African American men who have sex with men while maintaining a heterosexual lifestyle in public are attracting increasing interest from both the general media and scholars. Commonly referred to as “down-low” or “DL” men, many continue to have relationships with girlfriends and wives who remain unaware of their same-sex desires, and in much of the media, DL men have been portrayed as carriers of HIV who spread the virus to black women. Sexual Discretion explores the DL phenomenon, offering refreshingly innovative analysis of the significance of media, space, and ideals of black masculinity in understanding down low communities.

In Sexual Discretion, Jeffrey Q. McCune Jr. provides the first in-depth examination of how the social expectations of black masculinity intersect and complicate expressions of same-sex affection and desire. Within these underground DL communities, men aren’t as highly policed—and thus are able to maintain their public roles as “properly masculine.” McCune draws from sources that range from R&B singer R. Kelly’s epic hip-hopera series Trapped in the Closet to Oprah's high-profile exposé on DL subculture; and from E. Lynn Harris’s contemporary sexual passing novels to McCune’s own interviews and ethnography in nightclubs and online chat rooms. Sexual Discretion details the causes, pressures, and negotiations driving men who rarely disclose their intimate secrets.

Boldly going where no one has gone before, Robin Roberts forges intriguing links between feminist politics and theory and the second Star Trek series, Star Trek: The Next Generation.   This lively discussion shows how science fiction's ability to make the familiar strange allows Star Trek to expose and comment on entrenched attitudes toward gender roles and feminist issues. By having aliens or sexually neutral beings enact female dominance or passivity, experience pregnancy or maternity, or suffer rape or abortion, Star Trek provides viewers with a new perspective on these experiences and an antidote to explicit and implicit cultural biases.   Roberts maintains that the relevance of Star Trek: The Next Generation to feminist issues accounts as no other factor can for the program's huge following of female fans.
The incisive and innovative readings in Sexual Generations provide food for thought about how the final frontier can clarify pressing questions of our own space and time.
     
 

An accessible new and selected collection of poems for poetry insiders and general readers. Powerful, passionate, humorous, and often complex, yet fun to read. They go down easy, but pack a whallop.

Shadow of a Cloud but No Cloud, the latest collection from enigmatic prose poet Killarney Clary, is a book-length sequence of unnumbered, untitled poems, each evoking a clear moment in time. The details on which Clary chooses to focus suggest a narrative that will not resolve. The unnamed people with whom she interacts offer exchanges she is desperate to prolong, and in attempts to understand her place, she reaches beneath the fragile armor of those loved, especially those who can no longer answer her. This quietly haunting book, remarkable for its subtlety and delicacy, is Clary’s strongest, most engaging work to date and amply shows her to be a master of this lyric genre.

Whether peonage in the South grew out of slavery, a natural and perhaps unavoidable interlude between bondage and freedom, or whether employers distorted laws and customs to create debt servitude, most Southerners quietly accepted peonage. To the employer it was a way to control laborers; to the peon it was a bewildering system that could not be escaped without risk of imprisonment, beating, or death.
 
Pete Daniel's book is about this largely ignored form of twentieth-century slavery. It is in part "the record of an American failure, the inability of federal, state, and local law-enforcement officers to end peonage." In a series of case studies and histories, Daniel re-creates the neglected and frightening world of peonage, demanding, "If a form of slavery yet exists in the United States, as so much evidence suggests, then the relevant questions are why, and by whose irresponsibility?"
 
Peonage grew out of labor settlements following emancipation, when employers forbade croppers to leave plantations because of debt (often less than $30). At the turn of the century the federal government acknowledged that the "labyrinth of local customs and laws" binding men in debt was peonage. They outlawed debt servitude and slowly moved against it, but with no large success. Disappearing witnesses and acquitted employers characterized the cases that did go to court.
 
Daniel holds that peonage persists for many reasons: the corruption and apathy of law-enforcement, racist traditions in the South, and the impotence of the Justice Department in prosecuting this violation of federal law. He draws extensively on complaints and trial transcripts from the peonage records of the Justice Department.
 

The American war in Vietnam was one of the most morally contentious events of the twentieth century, and it produced an extraordinary outpouring of poetry. Yet the complex ethical terrain of the conflict is remarkably underexplored, and the prodigious poetic voice of its American participants remains largely unheard. In A Shadow on Our Hearts, Adam Gilbert rectifies these oversights by utilizing the vast body of soldier-poetry to examine the war's core moral issues.

The soldier-poets provide important insights into the ethical dimensions of their physical and psychological surroundings before, during, and after the war. They also offer profound perspectives on the relationships between American soldiers and the Vietnamese people. From firsthand experiences, they reflect on what it meant to be witnesses, victims, and perpetrators of the war's violence. And they advance an uncompromising vision of moral responsibility that indicts a range of culprits for the harms caused by the conflict. Gilbert explores the powerful and perceptive work of these soldier-poets through the lens of morality and presents a radically alternative, deeply personal, and ethically penetrating account of the American war in Vietnam.

One of the most important voices of the Harlem Renaissance, Claude McKay is largely recognized for his work during the 1920s, which includes a major collection of poems, Harlem Shadows, as well as a critically acclaimed novel, Home to Harlem. But McKay was never completely comfortable with his literary reputation during this period. Throughout his world travels, he saw himself as an English lyricist.

In this compelling examination of the life and works of this complex poet, novelist, journalist, and short story writer, Josh Gosciak sheds light on McKay’s literary contributions beyond his interactions with Harlem Renaissance artists and writers. Working within English literary traditions, McKay crafted a verse out of hybridity and diaspora. Gosciak shows how he reinvigorated a modern pastoral through his encounters with some of the major aesthetic and political movements of the late Victorian and early modern periods.

Exploring new archival material as well as many of McKay’s lesser known poetic works, TheShadowed Country provides a unique interpretation of the writings of this major author.

Shadows Burning is a poetry book that wrestles with its angels—domestic love, fruition and desiccation, the passion for words that will suffice at bringing to light and shadow ground between the inner and outer life. 

Novelist and essayist Hilary Masters recreates a moment in 1940s Pittsburgh when circumstances, ideology, and a passion for the arts collided to produce a masterpiece in another part of the world.

E. J. Kaufmann, the so-called "merchant prince" who commissioned Frank Lloyd Wright's Fallingwater, was a man whose hunger for beauty included women as well as architecture.

He had transformed his family's department store into an art deco showcase with murals by Boardman Robinson and now sought to beautify the walls of the YM&WHA of which he was the president. Through his son E. J. Kaufmann, jr (the son preferred the lowercase usage), he met Juan O'Gorman, a rising star in the Mexican pantheon of muralists dominated by Diego Rivera, O'Gorman's friend and mentor.

O'Gorman and his American wife spent nearly six months in Pittsburgh at Kaufmann's invitation while the artist researched the city's history and made elaborate cartoons for the dozen panels of the proposed mural. Like Rivera, O'Gorman was an ardent Marxist whose views of society were radically different from those of his host, not to mention the giants of Pittsburgh's industrial empire-Carnegie, Frick, and Mellon. The murals were never painted, but why did Kaufmann commission O'Gorman in the first place? Was it only a misunderstanding?

In the discursive manner for which his fiction and essays are noted, Masters pulls together the skeins of world events, the politics of art patronage, and the eccentric personalities and cruel histories of the period into a pattern that also includes the figures of O'Gorman and his wife Helen, and Kaufmann, his wife Liliane, and their son. Masters traces the story through its many twists and turns to its surprising ending: E. J. Kaufmann's failure to put beautiful pictures on the walls of the Y in Pittsburgh resulted in Juan O'Gorman's creation of a twentieth-century masterpiece on a wall in the town of Pátzcuaro, Mexico.

The Shakers are known for self-denial and austerity in everyday living and their material world, as embodied by the heavenly simplicity and purity of their chairs and blanket chests. Yet the believers also enjoyed a diversity of visual pleasures, from flowers, sunsets, rainbows, and the northern lights as seen at home to waterfalls, ocean waves, and dramatic cliffs viewed while traveling across America.

In Shaker Vision, Joseph Manca explores original texts, especially diaries and travel journals, and material culture to demonstrate that Shakers enjoyed a remarkably deep experience of the visual world. Shakers shared tastes with mainstream Americans and often employed a similar aesthetic vocabulary, but all within a belief system that made them distinct. In addition to their well-known ascetic architecture, furniture, and handicraft styles, they expressed themselves through ornate and detailed spiritual art and in vivid, visionary experiences. Based on firsthand accounts of the believers themselves, this richly illustrated volume will dramatically change how we assess the visual world of this uniquely American religious sect.

James L. Calderwood offers a lively exploration of the ways in which Shakespeare dramatizes the strategies people employ to deal with and transcend the inevitability of death. In keeping with the views of Ernest Becker, Norman O. Brown, and others, Calderwood argues that the denial of death is fundamental to both individuals and their cultures. By drawing on a fascinating range of examples, he suggests how often and how variously Shakespeare dramatizes this desire for symbolic immortality.

Winner of the 2019 MLA Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies

In Shaming into Brown: Somatic Transactions of Race in Latina/o Literature, Stephanie Fetta asserts that our bodies are fundamental to how we live and how we make meaning. Anchored by two psychoanalytic theories, bioenergetic analysis developed by Alexander Lowen and affect theory put forth by Silvan Tomkins, Fetta examines Latinx fiction to draw attention to the cultural role of the intelligent, emotional, and communicative body—the soma—in relation to shame. She argues that we bring the soma—the physical, emotive, and social register of our subjectivity—to the text as we do to our lives,proposing that the power of racialization operates at the level of somatic expression and reception through habituated, socially cued behaviors that are not readily subject to intentional control.

Fetta examines shame beyond individual experiences, looking at literary renderings of the cultural practice of racial shaming that are deeply embedded into our laws, hiring practices, marketing strategies, and more. Grounding her analysis in the works of Gloria Anzaldúa and Cherríe Moraga, Shaming into Brown focuses on exposing the underpinnings of racialized shame and does so through analyzing “scenes of racialization” in prominent works by authors such as Junot Díaz, Sandra Cisneros, and Oscar Zeta Acosta.

Nine noted literary critics examine the spiritual and religious elements in the fiction of such diverse writers as James Baldwin, J. F. Powers, Graham Greene, Par Lagerkvist, and Flannery O’Connor.

Contributors:  Robert Boyle, S.J.; Robert McAfee Brown; A. A. Devitis; Herbert Howarth; Maralee Frampton; Nathan A. Scott, Jr.; Albert Sonnenfeld; Winston Weathers; and the editors

In Shapeshifters Aimee Meredith Cox explores how young Black women in a Detroit homeless shelter contest stereotypes, critique their status as partial citizens, and negotiate poverty, racism, and gender violence to create and imagine lives for themselves. Based on eight years of fieldwork at the Fresh Start shelter, Cox shows how the shelter's residents—who range in age from fifteen to twenty-two—employ strategic methods she characterizes as choreography to disrupt the social hierarchies and prescriptive narratives that work to marginalize them. Among these are dance and poetry, which residents learn in shelter workshops. These outlets for performance and self-expression, Cox shows, are key to the residents exercising their agency, while their creation of alternative family structures demands a rethinking of notions of care, protection, and love. Cox also uses these young women's experiences to tell larger stories: of Detroit's history, the Great Migration, deindustrialization, the politics of respectability, and the construction of Black girls and women as social problems. With Shapeshifters Cox gives a voice to young Black women who find creative and non-normative solutions to the problems that come with being young, Black, and female in America.

There is a controlled, unpretentious constancy to Katherine Soniat's passionate, wise poetry that reminds one of the language of Elizabeth Bishop. Yet her voice is singular; there is an elegance of line, a centered quality that makes the poems more courtly than visceral. One tends to trust what is given in these beautifully rendered images and this gentle music.

The poems are particularly crafted, partly meditative, yet the poet handles larger themes easily and with grace, without the shrillness that sometimes seems common in our time. Her gift for metaphoric language is evident. She has an even-tempered, deeply intelligent mode which carries from poem to poem.

Memoir typically places selfhood at the center. Interestingly, the genre's recent surge in popularity coincides with breakthroughs in scholarship focused on selfhood in a new way: as an always renewing, always emerging entity. Suzanne Bost draws on feminist and posthumanist ideas to explore how three contemporary memoirists decenter the self. Latinx writers John Rechy, Aurora Levins Morales, and Gloria E. Anzaldúa work in places where personal history intertwines with communities, environments, animals, plants, and spirits. This dedication to interconnectedness resonates with ideas in posthumanist theory while calling on indigenous worldviews. As Bost argues, our view of life itself expands if we look at how such frameworks interact with queer theory, disability studies, ecological thinking, and other fields. These webs of relation in turn mediate experience, agency, and lift itself.A transformative application of posthumanist ideas to Latinx, feminist, and literary studies, Shared Selves shows how memoir can encourage readers to think more broadly and deeply about what counts as human life.

The latest collection from award-winning poet Vievee Francis, The Shared World imagines the ideas and ideals and spaces of the Black woman. The book delves into inherited memories and restrictions between families, lovers, and strangers and the perception and inconvenient truth of Black woman as mother—with or without child. Francis challenges the ways in which Black women are often dismissed while expected to be nurturing. This raw assemblage of poetic narratives stares down the oppressors from within and writes a new language in the art of taking back the body and the memory. These poetic narratives are brutal in their lyrical blows but tender with the bruised history left behind. “You can’t stop this / song,” she writes. “More hands than yours have closed / around my throat.”

Francis’s lyric gifts are on full display as she probes self-discovery, history, intimacy, and violence. Her voice encompasses humor and gravity, enigma and revelation. What emerges is a realm of intertwined experiences. “The secret to knowing the secret is to speak,” she concludes, “but we too often tell / the stories of no matter and avoid the one story that does matter. / In truth, we are bound by one story, so you’d think by now / we’d tell it, at least to each other.”

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With unrelenting yet tender honesty, She Has a Name tells the story of a young woman with autism from multiple points of view. The speakers in these poems—sisters, mother, father, teacher—seek to answer questions science can’t yet answer, seek to protect the young woman, and seek to understand what autism means to their own lives as well.

Suzette Marie Bishop teaches writing at Texas A&M International University. This will be her first full-length book, though she's published a chapbook and many individual poems in national poetry journals. Nominated twice for the Pushcart Prize, Ms. Bishop's credits include publications in Antioch Review, 13th Moon, Eratica, Aries, The Little Magazine, and many other literary journals. As a poet and writing teacher on the faculty of Texas A&M International, she gives many readings, as well as workshops for gifted children, seniors, and other writers on the US-Mexico border; she has worked with at-risk youth and with the rural Hispanic community.

Patricia Clark's poems explore not only refuge but also wonder and appreciation, as well as astonishment.
     A number of the 56 poems collected here show her grappling with loss, especially the loss of her mother, though she isn't one to indulge in misery. Instead, she goes walking. It is the harp tree in "The Poplar Adrift" that Clark imagines giving voice to sorrow, thus sparing those who stroll by—"all the grief that passes" becoming, in the tree’s very fibers, sound on the air, a wind through branches and leaves.
     Clark also finds opportunities for learning, for meditation, and for contemplation. Octavio Paz has written, "Nature speaks as though it were a lover." In many of the poems collected here, Clark listens to nature speaking and revels in this lover, aiming to capture some of the qualities of Michigan's trees, birds, and landscapes in lyric poems.
     It is Clark's particular gift to give us "tasted" as she draws her readers into the world, inhabiting the worlds of nature, head, and heart.