In this collection of essays and reviews, William H. Pritchard focuses on the work of English and American writers, most of them from the twentieth century. At a time when English studies in the academy seems increasingly impelled by historical and political concerns, Pritchard's aim is to reinstate the aesthetic as the major motive for literary study. Indeed "study" may be the wrong word for it, as the poet Philip Larkin made forcefully evident when he once snapped at an interviewer, "Oh, for Christ's sake one doesn't study poets. You read them and think, that's marvelous, how is it done, could I do it?"

Pritchard is convinced that his job as a critic is to talk back to the imagination he has been engaged by. The four sections of this volume look at writers as diverse as the critic Samuel Johnson, the novelist Raymond Chandler, and the poet James Merrill, and at the abrasive epistolary behavior of Evelyn Waugh and Kingsley Amis. Perhaps the book's most original section is its final one, in which Pritchard writes about music-about playing the piano, singing hymns, listening to jazz-and about the teaching life as it appears in literature and in his own classroom. He concludes with appreciative essays on two of his own fondly remembered teachers.

Shelf Life is mannerly and elegant, but venturesome, even bold in its explorations of the artistic performance-of that passionate preference Robert Frost found to be the root of all human expression.

Sherwood Anderson, an important American novelist and short-story writer of the early twentieth century, is probably best known for his novel Winesburg, Ohio. His realistic and nonformulaic writing style would influence the next generation of authors, most notably Ernest Hemingway and William Faulkner.
    Walter Rideout’s Sherwood Anderson: A Writer in America is a seminal work that reintroduces us to this important, yet recently neglected, American writer, giving him long overdue attention. This second volume of the monumental two-volume work covers Anderson’s life after his move in the mid-1920s to “Ripshin,” his house near Marion, Virginia (where Volume 1 ended.) The second volume covers his return to business pursuits; his extensive travels in the South touring factories, which resulted in his political involvement in labor struggles and several books on the topic; and finally his unexpected death in 1941.
    No other existing Anderson biography, the most recent of which was published nearly twenty years ago, is as thoroughly researched, so extensively based on primary sources and interviews with a range of Anderson’s friends and family members, or as complete in its vision of the man and the writer. Rideout uncovers much new information about events and people in Anderson’s life and provides a new perspective on many of his works. This two-volume biography presents Anderson’s many remarkable attributes more clearly than ever before, while astutely placing his life and writings in the broader social, political, and artistic movements of his times.


Outstanding Book, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association

Outstanding Academic Title, Choice Magazine

Winner, Biography Award, Society of Midland Authors

In 1919 a middle-aged Chicago advertising writer from Ohio, a failure as a businessman, husband, and father, published a small yellow book of short stories intended to “reform” American literature. Against all expectations, Winesburg, Ohio: A Group of Tales of Ohio Small Town Life achieved what its author intended: after 1919 and after Winesburg, Ohio, American literature would be written and read freshly and differently.

Winesburg, Ohio has never been out of print, but never has Anderson’s book been published in the form and with the editorial care that the work has needed and deserved. The present text, authorized by the Sherwood Anderson Literary Estate Trust, is an expert text. The editor has relied on years of experience in editing Sherwood Anderson and has consulted all Anderson manuscripts, typescripts, letters, and diaries and all editions of the book to present the masterpiece in its intended state.

New to this expert edition of Winesburg, Ohio are historical and cultural annotations, documentation of changes in the various editions, identification of the Ohio originals for Anderson’s characters, and maps bearing the streets and buildings of the real town of Clyde, Ohio, which is the basis of Anderson’s fictional account.

Included as well are unique photographs of Anderson and Clyde, Ohio, illustrations that deepen knowledge and feeling for the author’s actual hometown and time, revealing Winesburg, Ohio to be an intensely local narrative—very much an “Ohio” book—and yet a book that has found and held worldwide attention.

Shift traces the love between two women over several years and explores the intricacies of family relationships. Jeredith Merrin's poems, moving from ecstatic love lyrics to poems of familial affection and damage, to grave, more mature love poems, are psychologically loaded and technically sophisticated. These poems convey a wonderful sense of the sexual and social complexity of human relationships.

In Jamaican dancehalls competition for the video camera's light is stiff, so much so that dancers sometimes bleach their skin to enhance their visibility. In the Bahamas, tuxedoed students roll into prom in tricked-out sedans, staging grand red-carpet entrances that are designed to ensure they are seen being photographed. Throughout the United States and Jamaica friends pose in front of hand-painted backgrounds of Tupac, flashy cars, or brand-name products popularized in hip-hop culture in countless makeshift roadside photography studios. And visual artists such as Kehinde Wiley remix the aesthetic of Western artists with hip-hop culture in their portraiture. In Shine, Krista Thompson examines these and other photographic practices in the Caribbean and United States, arguing that performing for the camera is more important than the final image itself. For the members of these African diasporic communities, seeking out the camera's light—whether from a cell phone, Polaroid, or video camera—provides a means with which to represent themselves in the public sphere. The resulting images, Thompson argues, become their own forms of memory, modernity, value, and social status that allow for cultural formation within and between African diasporic communities.
 

Inspired by the foreign policy entanglements of recent years, William V. Spanos offers a dramatic interpretation of Twain’s classic A Connecticut Yankee in King Arthur’s Court, providing a fresh assessment of American exceptionalism and the place of a global America in the American imaginary. Spanos insists that Twain identifies with his protagonist, particularly in his defining use of the spectacle, and thus with an American exceptionalism that uncannily anticipates the George W. Bush administration’s normalization of the state of exception and the imperial policy of “preemptive war,” unilateral “regime change,” and “shock and awe” tactics. Equally stimulating is Spanos’s thoroughly original ontology of American exceptionalism and imperialism and his tracing of these forces, through a chronological examination of Twain studies and criticism over the past century. As an examination of an overlooked text, and a critical history of American studies from its origins in the nation-oriented Myth and Symbol school of the Cold War era to its present globalizing or transnationalizing perspective, Shock and Awe will appeal to a broad audience of American literature scholars and beyond.

Even though we lived at the edge of a great rupture,
It was difficult to tell when the world broke.
—Excerpt from “Ravine”

The Short Fiction of Edgar Allan Poe brings together, in one convenient edition, all of the information a reader needs to understand Poe's stories. Readable, attractive, and accessible to a general reader or student, it also provides a useful resource for the scholar and specialist. Stuart Levine and Susan Levine tracked down information that is often highly specialized and hard to come by through an extensive program of literary sleuthing—an investigation that took him through the hundreds of places where scholars make their contributions to knowledge.
 

Winner, 2019 Miller Williams Poetry Prize

“We are the happy riders on the stream of Padua’s consciousness . . . a smart, sympathetic mind at work.”
—Billy Collins

Drawing on the spirit of New York City in decades past, A Short History of Monsters presents the sins and obsessions of a poet nimble in beat and slam traditions. In his first full-length collection, Jose Padua wrestles with an American dream interrupted by failure, excess, and other nightmares. Often brash and unruly, these poems range from recollections of lost, drunken days to unadorned manifestations of hope. Throughout, the speaker redefines his relationship to pop culture, praising it, skewering it, and mourning it by turns.

The poems that make up A Short History of Monsters tend toward both dark humor and epiphany, diving deeply into their own despair and rising up again with existential absurdity. This is a poetry that gets down into the grit and grime of the real world, digging out a space to experience being alive as miraculous in and of itself.

The Grapes of Wrath is generally considered Steinbeck’s masterpiece, but the short novel was the form he most frequently turned to and most consciously theorized about, and with constant experimentation he made the form his own. Much of the best—and the worst—of his writing appears in his short novels. This collection reviews what has been categorized as the “good” and the “bad,” looking beyond the careless labeling that has characterized a great deal of the commentary on Steinbeck’s writing to the true strengths and weaknesses of the works. The contributors demonstrate that even in the short novels that are most often criticized, there is more depth and sophistication than has generally been acknowledged.
The essays examine the six most popular short novels—Tortilla Flat, The Red Pony, Of Mice and Men, The Moon Is Down, Cannery Row, and The Pearl—in addition to the three usually thought of as less successful—Burning Bright, Sweet Thursday, and The Short Reign of Pippin IV. Because most of Steinbeck’s short novels were adapted and presented as plays or screenplays, many of the essays deal with dramatic or film versions of the short novels as well as with the fiction. The collection concludes with a comprehensive checklist of criticism of the short novels.

Contributors. Richard Astro, Jackson J. Benson, Carroll Britch, John Ditsky, Joseph Fontenrose, Warren French, Robert Gentry, Mimi Reisel Gladstein, William Goldhurst, Tetsumaro Hayashi, Robert S. Hughes Jr., Howard Levant, Clifford Lewis, Peter Lisca, Anne Loftis, Charles R. Metzger, Michael J. Meyer, Robert E. Morsberger, Louis Owens, Roy S. Simmonds, Mark Spilka, John Timmerman

Set in Colorado, New Mexico, and Arizona, the stories are a loosely tied string of old timer's yarns with a continuing cast of engaging characters, whom Kiskaddon avoids reducing to cowboy stereotypes. They include, as Siems describes them, "Kiskaddon himself as the character Shorty. As a common waddy with a small man's feistiness and a young man's mischief, Shorty encounters the wicked world with a succession of companions: Bill, high-headed and a bit of an outlaw; Rildy Briggs, untamable and unstoppable young cowgirl; and Ike, an old-fashioned dandy and 'a very fortunate person.' More or less in the background is the Boss-actually a series of Bosses-generally affectionately respected as long as he remains democratic in his dealings with the waddies. Buffoonery is provided by a succession of pompous characters, from townspeople who look down their noses on wild, unwashed waddies to professors from the East who have read books on how ranches should be run."

"Jim Daniels is a poet of unique commitment and ability. He makes poetry an act of deep caring and recognition."—Robert Creeley

Showdown in Desire portrays the Black Panther Party in New Orleans in 1970, a year that included a shootout with the police on Piety Street, the creation of survival programs, and the daylong standoff between the Panthers and the police in the Desire housing development. Through interviews with Malik Rahim, the Panther; Robert H. King, Panther and member of the Angola 3; Larry Preston Williams, the black policeman; Moon Landrieu, the mayor; Henry Faggen, the Desire resident; Robert Glass, the white lawyer; Jerome LeDoux, the black priest; William Barnwell, the white priest; and many others, Orissa Arend tells a nuanced story that unfolds amid guns, tear gas, desperate poverty, oppression, and inflammatory rhetoric to capture the palpable spirit of rebellion, resistance, and revolution of an incendiary summer in New Orleans.

The poems in Showtime at the Ministry of Lost Causes are survival songs, the tunes you whistle while walking through the Valley of Shadows, to keep your fears at bay and your spirit awake. The shadows here are many—cancer, poverty, a lost love, famine, suicide, war, an ever-encroaching existential angst. But so are the saving graces—a drag queen waitress whose “painted-on eyebrows arched like a bridge / toward starlight,” “strawberries / grown fat around dimpled gold seeds,” Pink Floyd’s “‘On the Turning Away’ sent through my car / radio like the ghost voice of a beloved long dead,” black phoebes rattling “winter / thistles, swollen throats percussing: / this is this is this is . . . ” Showtime at the Ministry of Lost Causes reminds us that where there is shadow there must, necessarily, also be light.

Shreds of Matter: Cormac McCarthy and the Concept of Nature offers a nuanced and innovative take on McCarthy’s ostensible localism and, along with it, the ecocentric perspective on the world that is assumed by most critics. In opposing the standard interpretations of McCarthy’s novels as critical either of persisting American ideologies—such as manifest destiny and imperialism—or of the ways in which humanity has laid waste to planet Earth, Greve instead emphasizes the author’s interest both in the history of science and in the mythographical developments of religious discourse. Greve aims to counter traditional interpretations of McCarthy’s work and at the same time acknowledge their partial truth, taking into account the work of Friedrich W. J. Schelling and Lorenz Oken, contemporary speculative realism, and Bertrand Westphal’s geocriticism. Further, newly discovered archival material sheds light on McCarthy’s immersion in the metaphysical question par excellence: What is nature?

Moving beyond the "main dishes" of traditional literary works, Side Dishes offers a provocative and delicious new understanding of Latin American women's authorship and activism. The book illuminates a wealth of creative and intellectual work by Latin American women—editors, directors, cartoonists, academics, performance artists, and comedians—and explores them in light of their treatment of women's sexuality.

Side Dishes considers feminist pornography and literary representations of masturbation, bisexuality, lesbianism, and sexual fantasies; the treatment of lust in stand-up comedy and science fiction; critical issues in leading feminist journals; and portrayals of sexuality in four contemporary Latin American films. Melissa A. Fitch concludes with a look at the rise of women's and gender studies programs in Latin America.

Moving beyond the "main dishes" of traditional literary works, Side Dishes offers a provocative and delicious new understanding of Latin American women's authorship and activism. The book illuminates a wealth of creative and intellectual work by Latin American women—editors, directors, cartoonists, academics, performance artists, and comedians—and explores them in light of their treatment of women's sexuality.

Side Dishes considers feminist pornography and literary representations of masturbation, bisexuality, lesbianism, and sexual fantasies; the treatment of lust in stand-up comedy and science fiction; critical issues in leading feminist journals; and portrayals of sexuality in four contemporary Latin American films. Melissa A. Fitch concludes with a look at the rise of women's and gender studies programs in Latin America.

With eleven full-length books and a spate of major prizes, Charles Harper Webb—once a well-kept secret in the poetry underground—has gained national recognition as a writer of poems that are complex yet reader-friendly. Sidebend World shows clearly why Webb has been called one of the most inventive, incisive, and psychologically astute poets writing in the U.S.A. today, as well as one of the most entertaining.    

Webb is celebrated for his use of humor; yet even his funniest poems rise, as the best humor must, from serious concerns. Powered by an uncompromising but compassionate intelligence and an abiding wonder at the beautiful strangeness of the world, Sidebend World explores with clarity and vividness a wide range of emotions—love to hate, tenderness to brutality; yet, above all, Webb is a poet of praise. Metaphors of startling aptness and originality, a distinctive voice at once provocative and endearing, high musicality, propulsive energy, wild imaginative leaps, as well as mastery of diction from lyricism to street-speak, create a reading experience of the first order. These poems go down easy, but pack a wallop. As Robert Frost said poetry should do, Sidebend World "begins in delight and ends in wisdom."

This engrossing study investigates the infancy of American Sign Language (ASL). Authors Ted Supalla and Patricia Clark highlight the major events in ASL history, revealing much of what has not been clearly understood until now. According to tradition, ASL evolved from French Sign Language. The authors analyze the metalinguistic assumptions of these early accounts and also examine in depth a key set of films made by the National Association of the Deaf (NAD) between 1910 and 1920. Designed by the NAD to preserve classic ASL, the films feature 15 sign masters, the model signers of that time. In viewing these films, the authors discovered that the sign masters signed differently depending on their age. These variations provide evidence about the word formation process of early ASL, further supported by data collected from dictionaries of the 19th and early 20th centuries.

     By tracing the writings of selected individuals, this study reconstructs the historical context for early ASL grammar. It describes the language used in each century and how it changed, and focuses on the rediscovery of the literary legacy of the Deaf American voice. Sign Language Archaeology reveals the contrast between folk etymology and scientific etymology and allows readers to see ASL in terms of historical linguistics.

In The Sign of the Cannibal Geoffrey Sanborn offers a major reassessment of the work of Herman Melville, a definitive history of the post-Enlightenment discourse on cannibalism, and a provocative contribution to postcolonial theory. These investigations not only explore mid–nineteenth century resistance to the colonial enterprise but argue that Melville, using the discourse on cannibalism to critique colonialism, contributed to the production of resistance.
Sanborn focuses on the representations of cannibalism in three of Melville’s key texts—Typee, Moby-Dick, and “Benito Cereno.” Drawing on accounts of Pacific voyages from two centuries and virtually the entire corpus of the post-Enlightenment discourse on cannibalism, he shows how Melville used his narratives to work through the ways in which cannibalism had been understood. In so doing, argues Sanborn, Melville sought to move his readers through stages of possible responses to the phenomenon in order to lead them to consider alternatives to established assumptions and conventions—to understand that in the savage they see primarily their own fear and fascination. Melville thus becomes a narrator of the postcolonial encounter as he uncovers the dynamic of dread and menace that marks the Western construction of the “non-savage” human.
Extending the work of Slavoj Zizek and Homi Bhabha while providing significant new insights into the work of Melville, The Sign of the Cannibal represents a breakthrough for students and scholars of postcolonial theory, American literary history, critical anthropology, race, and masculinity.

The only child of deaf Puerto Rican immigrants, Andrés Torres grew up in New York City in a large, extended family that included several deaf aunts and uncles. In Signing in Puerto Rican: A Hearing Son and His Deaf Family, he opens a window into the little known culture of Deaf Latinos chasing the immigrant American dream. Like many children of deaf adults (codas), Torres loved his parents deeply but also longed to be free from being their interpreter to the hearing world. Torres’s story is unique in that his family communicated in three languages. The gatherings of his family reverberated with “deaf talk,” in sign, Spanish, and English. What might have struck outsiders as a strange chaos of gestures and mixed spoken languages was just normal for his family.

Torres describes his early life as one of conflicting influences in his search for identity. His parents’ deep involvement in the Puerto Rican Society for the Catholic Deaf led him to study for the priesthood. He later left the seminary as his own ambitions took hold. Torres became very active in the Puerto Rico independence party against the backdrop of the Civil Rights movement and protest against the Vietnam War. Throughout these defining events, Torres’s journey never took him too far from his Deaf Puerto Rican family roots and the passion of arms, hands, and fingers filling the air with simultaneous translation and understanding.

Signs and Cities is the first book to consider what it means to speak of a postmodern moment in African-American literature. Dubey argues that for African-American studies, postmodernity best names a period, beginning in the early 1970s, marked by acute disenchantment with the promises of urban modernity and of print literacy.

Dubey shows how black novelists from the last three decades have reconsidered the modern urban legacy and thus articulated a distinctly African-American strain of postmodernism. She argues that novelists such as Octavia Butler, Samuel Delany, Toni Morrison, Gloria Naylor, Ishmael Reed, Sapphire, and John Edgar Wideman probe the disillusionment of urban modernity through repeated recourse to tropes of the book and scenes of reading and writing. Ultimately, she demonstrates that these writers view the book with profound ambivalence, construing it as an urban medium that cannot recapture the face-to-face communities assumed by oral and folk forms of expression.

Indigenous sign-systems, such as pictographs, petroglyphs, hieroglyphs, and khipu, are usually understood as relics from an inaccessible past. That is far from the truth, however, as Edgar Garcia makes clear in Signs of the Americas. Rather than being dead languages, these sign-systems have always been living, evolving signifiers, responsive to their circumstances and able to continuously redefine themselves and the nature of the world.
 
Garcia tells the story of the present life of these sign-systems, examining the contemporary impact they have had on poetry, prose, visual art, legal philosophy, political activism, and environmental thinking. In doing so, he brings together a wide range of indigenous and non-indigenous authors and artists of the Americas, from Aztec priests and Amazonian shamans to Simon Ortiz, Gerald Vizenor, Jaime de Angulo, Charles Olson, Cy Twombly, Gloria Anzaldúa, William Burroughs, Louise Erdrich, Cecilia Vicuña, and many others. From these sources, Garcia depicts the culture of a modern, interconnected hemisphere, revealing that while these “signs of the Americas” have suffered expropriation, misuse, and mistranslation, they have also created their own systems of knowing and being. These indigenous systems help us to rethink categories of race, gender, nationalism, and history. Producing a new way of thinking about our interconnected hemisphere, this ambitious, energizing book redefines what constitutes a “world” in world literature.
 

Within the visual arts of painting and photography, Martha Ronk finds an undeniable presence lurking: silence. This character slips into pauses, hides between images, and expertly evades the grasp of language. Ronk shows us that what is hidden just off screen in these images might just be the force that gives them power. The poems in Silences seek possibilities of how to form language from a phenomenon that so earnestly resists it. Rather than coax silence out of hiding, Ronk’s poems respond to its mysterious presence through questions and conjecture.

These poems endeavor to give a much-deserved voice to silence, addressing the power of what is not seen. While silence remains perpetually out of reach, Ronk invites us to follow the language that creeps up to its edges. The poems in this collection form an inquiry that moves through the presence of silence and reveals insights into the character of the visual art in which it lives.
 

Silver Screens traces the rich history of Milwaukee's movie theaters, from 1890s nickelodeons to the grand palaces of the Roaring Twenties to the shopping mall outlets of today. And the story doesn't end there: in the past two decades, the revival of interest in preservation and restoration of theaters has confirmed that there's still life in these beloved old structures. With the publication of Silver Screens, authors Larry Widen and Judi Anderson help ensure that our old theaters, those being restored and those long since vanished, will remain forever embedded in our collective memory.

In this revised edition of their book Milwaukee Movie Palaces, the authors present new findings on film innovations, drive-in theaters, projection booths, movie promotions, noted theater personalities, recent restoration efforts, and much more. Illuminated with more than a hundred photographs, including many never before published, Silver Screens is a stunning tribute to the legacy of the movie theater.

HE MADE  HISTORY. HE TELLS THE TRUTHS HE  KNOWS.
 LEAD TITLE/Our  National Conversation Series

In this collection of thoughtful essays, Jerry Apps reflects on the “simple things” that made up everyday life on the farm—an old cedar fencepost, Fanny the farm dog, the trusty tools used for farmwork, the kerosene lantern the family gathered around each morning and evening. As he holds each item up to the light for a closer look, he plumbs his memories for the deeper meanings of these objects, sharing the values instilled in him during his rural boyhood in the 1940s and 1950s. He concludes that people who had the opportunity to grow up on family farms gained useful skills, important knowledge, and lifelong values that serve them well throughout their lives. Apps captures and shares those things for people who remember them and those who never had the benefit of living on a small farm.
 

A provocative overview of avant-garde American poetry of the past 25 years that raises important questions about the practice of criticism

Simulcast offers long overdue, highly opinionated, and penetrating examinations of a flourishing movement in American letters by one of its most perceptive practitioners. The four “experiments” in literary criticism gathered in this volume vary in style and point of view. Taken together, they reassess the fundamental relationship between poetry and criticism.
 
“The Anti-Hegemony Project” is a satire, employing the rhetoric of journalism and the colloquial exchanges of online fan groups to analyze one of the earliest appearances of a poetry community on the World Wide Web: the “Poetics List” maintained at the State University of New York, Buffalo. “Poe’s Poetics and Selected Essays” is a collection of polemical essays on subjects ranging from modernism to language poetry. The third experiment, “The Literati of San Francisco,” is a detailed portrait of the figures and ideas at the heart of an important literary scene a decade after language poetry’s inception. The final essay, “A Short History of Language Poetry,” provides a less polemical, more sober and even-handed analysis of that movement from its origins to the present and its prospects for the future.
 
These critical interventions and essays are important studies of an evolving poetic field, but they also represent an evolution in criticism itself. Friedlander’s unorthodox methodology is to create a critical text by rewriting prior examples of criticism, among them Jean Wahl’s A Short History of Existentialism and Edgar Allan Poe’s "Literati of New York City." The resulting critiques are themselves a kind of poetry. They explore the issues of style versus substance, artifice versus authenticity, and plausibility versus truth, while the shifts in perspective call into question the authority of any one critical account.
 

Since ’45 details the collision of American history and modern art. Since World War II, New York has been the indisputable center of the art world, and as Katy Siegel shows, it has had a profound influence on the preoccupations that contemporary art would  come to have. Tracing art history over the past decades, she shows how anxieties over race, mass culture, the individual, suburbia, apocalypse, and nuclear destruction have supplanted the legacy of European artistic traditions. 

Siegel’s study encompasses a variety of works, including Rothko’s planes of color, Warhol’s serial silkscreens, Richard Prince’s cowboys, Robert Longo’s Men in Cities, Faith Ringgold’s Black Light, and Laurie Simmons’s dollhouses, and moves fluidly from discussions of artists’ works, art museums, and galleries to cultural influences and significant historical events. Rather than arguing on nationalist grounds or viewing American culture as representative of a now-devalued nation, Siegel explores how American culture dominated not only American artists but created conditions that now, after the full globalization of the art world, affect artists around the world. Since ’45 will interest all readers engaged in post-war and contemporary art in the United States and beyond.

What happens when the faith and community we once held close sours into an experience of tragedy? In Since Sunday, we find a poet who is rebuilding a sense of faith after fleeing religious abuse. Doubt, shame, uncertainty, and the pains of loss create the ground from which these poems grow. After severance from her religion, established values, and sense of direction, Tomaselli embarks on recovery as an active and intentional pursuit. The poems reveal a resilience that must be lived as a daily effort to cope with trauma and to root oneself in the present.   

Through wit, vulnerability, and rich lyrical language, Tomaselli invites us to walk with her through loss and on to a persistent process of discovery. The poems chronicle a cultivation of awe, unearthing a fresh faith rooted in the present realness of everyday experiences. Stripped of the orthodoxy that both grew and crushed her, she reconstructs a new core of trust for herself.  Here we learn with the poet to seek celebration in daily life and to foster a sense of beauty from the mundane.
 

Raised with twelve brothers in a part of the segregated South that provided no school for African American children through the 1940s, Sylvia Bell White went North as a teenager, dreaming of a nursing career and a freedom defined in part by wartime rhetoric about American ideals. In Milwaukee she and her brothers persevered through racial rebuffs and discrimination to find work. Barred by both her gender and color from employment in the city’s factories, Sylvia scrubbed floors, worked as a nurse’s aide, and took adult education courses.

            When a Milwaukee police officer killed her younger brother Daniel Bell in 1958, the Bell family suspected a racial murder but could do nothing to prove it—until twenty years later, when one of the two officers involved in the incident unexpectedly came forward. Daniel’s siblings filed a civil rights lawsuit against the city and ultimately won that four-year legal battle. Sylvia was the driving force behind their quest for justice.

            Telling her whole life story in these pages, Sylvia emerges as a buoyant spirit, a sparkling narrator, and, above all, a powerful witness to racial injustice. Jody LePage’s chapter introductions frame the narrative in a historical span that reaches from Sylvia’s own enslaved grandparents to the nation’s first African American president. Giving depth to that wide sweep, this oral history brings us into the presence of an extraordinary individual. Rarely does such a voice receive a hearing.

Winner, Wisconsin Historical Society Book Award of Merit

From experimental shorts and web series to Hollywood blockbusters and feminist porn, the work of African American lesbian filmmakers has made a powerful contribution to film history. But despite its importance, this work has gone largely unacknowledged by cinema historians and cultural critics. Assembling a range of interviews, essays, and conversations, Sisters in the Life tells a full story of African American lesbian media-making spanning three decades. In essays on filmmakers including Angela Robinson, Tina Mabry and Dee Rees; on the making of Cheryl Dunye's The Watermelon Woman (1996); and in interviews with Coquie Hughes, Pamela Jennings, and others, the contributors center the voices of black lesbian media makers while underscoring their artistic influence and reach as well as the communities that support them. Sisters in the Life marks a crucial first step in narrating the history and importance of these compelling yet unsung artists.

Contributors. Jennifer DeVere Brody, Jennifer DeClue, Raul Ferrera-Balanquet, Alexis Pauline Gumbs, Thomas Allen Harris, Devorah Heitner, Pamela L. Jennings, Alexandra Juhasz, Kara Keeling, Candace Moore, Marlon Moore, Michelle Parkerson, Roya Rastegar, L. H. Stallings, Yvonne Welbon, Patricia White, Karin D. Wimbley

Outstanding Academic Title, CHOICE

The first oral history to fully explore the contributions of black women intellectuals to the Black Arts Movement, Sistuhs in the Struggle reclaims a vital yet under-researched chapter in African American, women’s, and theater history. This groundbreaking study documents how black women theater artists and activists—many of whom worked behind the scenes as directors, designers, producers, stage managers, and artistic directors—disseminated the black aesthetic and emboldened their communities.

Drawing on nearly thirty original interviews with well-known artists such as Ntozake Shange and Sonia Sanchez as well as less-studied figures including distinguished lighting designer Shirley Prendergast, dancer and choreographer Halifu Osumare, and three-time Tony-nominated writer and composer Micki Grant, La Donna L. Forsgren centers black women’s cultural work as a crucial component of civil rights and black power activism. Sistuhs in the Struggle is an essential collection for theater scholars, historians, and students interested in learning how black women’s art and activism both advanced and critiqued the ethos of the Black Arts and Black Power movements.

More than forty years after the major victories of the civil rights movement, African Americans have a vexed relation to the civic myth of the United States as the land of equal opportunity and justice for all. In Sites of Slavery Salamishah Tillet examines how contemporary African American artists and intellectuals—including Annette Gordon-Reed, Barbara Chase-Riboud, Bill T. Jones, Carrie Mae Weems, and Kara Walker—turn to the subject of slavery in order to understand and challenge the ongoing exclusion of African Americans from the founding narratives of the United States. She explains how they reconstruct "sites of slavery"—contested figures, events, memories, locations, and experiences related to chattel slavery—such as the allegations of a sexual relationship between Thomas Jefferson and Sally Hemings, the characters Uncle Tom and Topsy in Harriet Beecher Stowe's novel Uncle Tom's Cabin, African American tourism to slave forts in Ghana and Senegal, and the legal challenges posed by reparations movements. By claiming and recasting these sites of slavery, contemporary artists and intellectuals provide slaves with an interiority and subjectivity denied them in American history, register the civic estrangement experienced by African Americans in the post–civil rights era, and envision a more fully realized American democracy.

The speaker in Irene McKinney’s poems is most often alone, sitting at the side of a stream, or standing at her own chosen gravesite in the Appalachian mountains, and the meditations spoken out of this essential solitude are powerfully clear, witty, and wide-ranging in content and tone. The center sequence of poems in the Emily Dickinson persona explores and magnifies that great and enigmatic figure.
The poems are firmly grounded in concern for the ways in which the elemental powers are at work in the earth and in us: on the surface of our lives, and deeper in the underworld of the coalmines. In McKinney’s poems, the human world is never seen as separate from the natural one.

“Students of modern American literature have for some years turned to Fifteen Modern American Authors (1969) as an indispensable guide to significant scholarship and criticism about twentieth-century American writers. In its new form—Sixteenth Modern American Authors—it will continue to be indispensable. If it is not a desk-book for all Americanists, it is a book to be kept in the forefront of the bibliographical compartment of their brains.”—American Studies

Praise for the earlier edition:
“Students of modern American literature have for some years turned to Fifteen Modern American Authors (1969) as an indispensable guide to significant scholarship and criticism about twentieth-century American writers. In its new form—Sixteenth Modern American Authors—it will continue to be indispensable. If it is not a desk-book for all Americanists, it is a book to be kept in the forefront of the bibliographical compartment of their brains.”—American Studies

 The loft of Grandpa’s barn in Salt Lake City was “off limits,” the trap door padlocked. For boys like Zack Lund, Grandpa might as well have hung out a large “welcome” sign inviting them to break in and see what was hidden there. In Parowan, young Nevada Driggs decided to discover for himself whether Captain Fremont had really slept in his grandma’s bed. Fae Decker Dix tells of how her father refused to accept the church’s newly censored version of a nineteenth-century hymn. To her embarrassment, he sang the original hellfire lyrics to O Ye Mountains High as loudly as he could above the rest of the congregation. All told, this new anthology features sixteen priceless stories: quirky and fun, informative and serious, but all engaging—nostalgic for when Utah was little more than a wide spot in the road, or as Robert Mikkelsen remembers, when both sides of the tracks were the “wrong side.”

 

Dean Young is one of the premier surrealist poets writing today. In Skid, his fifth book of poems, social outrage vies with comic excess. He embraces the autobiographical urge with fury and musically lush exclamations. Whether through the dark facts of mortality or the celebratory surprises of the imagination, these poems proclaim vitality and alertness, wasting nothing. From Wile E. Coyote and the Roadrunner’s "Meep! Meep!" to remembrances of lost loves and laments about the future, Young’s poems reveal his faith in the genius of calamity and the redemptive power of fun.

In Skin Acts, Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers—Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley—to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the gaze, it is in the flesh that other—intersubjective, pre-discursive, and sensuous—forms of knowing take place between artist and audience. Analyzing a wide range of visual, musical, and textual sources, Stephens shows that black subjectivity and performativity are structured by the tension between skin and flesh, sight and touch, difference and sameness.

Shattering the myth of the color-blind society, the essays in Skin Deep examine skin tone stratification in America, which affects relations not only among different races and ethnic groups but also among members of individual ethnicities.
 
Written by some of the nation's leading thinkers on race and colorism, these essays ask whether skin tone differentiation is imposed upon communities of color from the outside or is an internally-driven process aided and abetted by community members themselves. They also question whether the stratification process is the same for African Americans, Hispanics, and Asian Americans.
 
Skin Deep addresses such issues as the relationship between skin tone and self esteem, marital patterns, interracial relationships, socioeconomic attainment, and family racial identity and composition. The essays also grapple with emerging issues such as biracialism, color-blind racism, and 21st century notions of race.
 

This book describes who American skinheads are, how they have developed within larger youth group scenes, their ideas and activities, the role of music in their formation and development, how they have been perceived by the media in America, and what damage they have done in American society. Jack B. Moore focuses on the cultural history of this group in America during the 1980s and suggests that while they were originally a minor distraction on the punk scene, they have grown into a dangerous and far more politically engaged source of hate thought and crime.

2016 Choice Outstanding Academic Title

The absorbing documents collected in Slavery and Secession in Arkansas trace Arkansas’s tortuous road to secession and war. Drawn from contemporary pamphlets, broadsides, legislative debates, public addresses, newspapers, and private correspondence, these accounts show the intricate twists and turns of the political drama in Arkansas between early 1859 and the summer of 1861. From an early warning of what Republican political dominance would mean for the South, through the initial rejection of secession, to Arkansas’s final abandonment of the Union, readers, even while knowing the eventual outcome, will find the journey both suspenseful and informative.

Revealing both the unique features of the secession story in Arkansas and the issues that Arkansas shared with much of the rest of the South, this collection illustrates how Arkansans debated their place in the nation and, specifically, how the defense of slavery—as both an assurance of continued economic progress and a means of social control—remained central to the decision to leave the Union and fight alongside much of the South for four bloody years of civil war.

As a literary history of how antebellum racial images have been re-created or revised for new generations, Slavery in American Children’s Literature ultimately offers a record of the racial mythmaking of the United States from the nation’s beginning to the present day. 

Slaves and Slaveholders in Bermuda, 1616-1782, offers a fresh perspective on the complex relationship between racism and slavery in the often overlooked second-oldest English colony in the New World. As the first blacks were brought onto the islands not specifically for slave labor, but for their expertise as pearl divers and cultivators of West Indies plants, Bermuda's racial history began to unfold much differently from that of the Caribbean islands or of the North American mainland.

Bermuda's history records the arrival of the first blacks, the first English law passed to control the behavior of the "Negroes," and the creation of ninety-nine-year indentures for black and Indian servants. When the inevitable reality of slavery took hold in Bermuda, slaveholders realized that they, like their slaves, were not free. Slavery dictated and strained the relationships between whites and blacks, but in this smallest of English colonies it differed from slavery elsewhere because of the uniquely close master-slave relations created by Bermuda's size and maritime economy.

At only twenty-one square miles in area, Bermuda saw slaves and slaveholders working and living closer together than in other societies. The emphasis on maritime pursuits offered slaves a degree of autonomy and a sense of identity unequaled in other English colonies. This groundbreaking history of Bermuda's slavery reveals fewer runaways, less-violent rebellions, and relatively milder punishments for offending slaves.

Bernhard delves into the origins of Bermuda's slavery, its peculiar nature, and its effects on blacks and whites. The study is based on archival research drawn from wills and inventories, laws and court cases, governors' reports and council minutes. Intended as an introduction to both the history of the islands and the rich sources for further research, this book will prove invaluable to scholars of slavery, as well as those interested in historical archaeology, anthropology, maritime history, and colonial history.

Slaves to Fashion is a pioneering cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art worlds of London and New York. It is populated by sartorial impresarios such as Julius Soubise, a freed slave who sometimes wore diamond-buckled, red-heeled shoes as he circulated through the social scene of eighteenth-century London, and Yinka Shonibare, a prominent Afro-British artist who not only styles himself as a fop but also creates ironic commentaries on black dandyism in his work. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora.

Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.

This innovative book uses Crowe’s paintings to explore the texture of the slave trade in Richmond, Charleston, and New Orleans, the evolving iconography of abolitionist art, and the role of visual culture in the transatlantic world of abolitionism. Tracing Crowe’s trajectory from Richmond across the American South and back to London—where his paintings were exhibited just a few weeks after the start of the Civil War—Maurie D. McInnis illuminates not only how his abolitionist art was inspired and made, but also how it influenced the international public’s grasp of slavery in America. With almost 140 illustrations, Slaves Waiting for Sale brings a fresh perspective to the American slave trade and abolitionism as we enter the sesquicentennial of the Civil War.

The Sleep of Reason plunges us into a macabre world where good impulses bring on evil consequences—a world not unlike our own. In David Gewanter's alternately delightful and startling poems, allegory comes alive and stalks a bookstore's musty aisles, comedians eviscerate their families for a laugh, lovers love each other for withholding affection, and theaters collapse on audiences hungry for spectacle. Amidst such surreal subjects, Gewanter's delicate musicality and keen sense of humor sparkle; his inquisition regarding a fallen world becomes a dark comedy of errors haunted by the most unexpected characters—from JFK Jr. to Tacitus, Redd Foxx to General Motors, Mariah Carey to 100 rabbits with herpes. An offbeat satire for an off-kilter age, The Sleep of Reason offers an incisive guide to moral behavior in an immoral world.

In recent years there has been an explosion of interest in the art and culture of the Harlem Renaissance. Yet this significant collection is the first definitive edition of Harlem Renaissance stories by women. The writers include Gwendolyn Bennett, Jessie Redmon Fauset, Angelina Weld Grimké, Zora Neale Hurston, Nella Larsen, Alice Dunbar-Nelson, and Dorothy West.

Published originally in periodicals such as The Crisis, Fire!!, and Opportunity, these twenty-seven stories have until now been virtually unavailable to readers. These stories are as compelling today as they were in the 1920s and 1930s. In them, we find the themes of black and white racial tension and misunderstanding, economic deprivation, passing, love across and within racial lines, and the attempt to maintain community and uplift the race.

Marcy Knopf's introduction surveys the history of the Harlem Renaissance, the periodicals and books it generated, and describes the rise to prominence of these women writers and their later fall from fame. She also includes a brief biography of each of the writers. Nellie Y. McKay's foreword analyzes the themes and concerns of the stories.

Winner of the 1991 Agnes Lynch Starrett Poetry Prize.

The poems in this book deal with life in a Pennsylvania Mennonite community and the tensions and conflicts that exist for the speaker as she tries to be true to two worlds, the other being New York City.

PEN Oakland National Literary Award, 2008

Colleen J. McElroy's poetry shoots for the moon, and takes it in, too, in one way after another. The collection’s award-winning poems animate women’s experiences of sex, shopping, and dancing, while offering telling insight into the struggles and silver lining of lust, love, illness, and aging. Rich with vivid imagery and candid storytelling, Sleeping with the Moon takes readers on moonlit adventures under the night sky, through the barroom’s smoky haze, and under the covers.

...Beware: such delicate

sights have driven more than one woman to despair

instead she watched him breathe-- relishing

for a moment that secret space where night

grows soft and the moon’s detumescence forgives--

and where if this jeweled light holds they might

strip themselves of years if only for one night

--from “In Praise of Older Women”

Inspired by thrift store knit sleeves, punk rock record sleeves, and, of course, print book sleeves, Angela Sorby explores how the concrete world hails us in waves of color and sound. She asks implicitly, “What makes the sleeve wave? Is it the body or some force larger than the self?” As Sorby’s tough, ironic, and subtly political voice repeatedly insists, we apprehend, use, and release more energy than we can possibly control. This collection includes two main parts—one visual, one aural—flanking a central pastoral poem sung by Virgilian sheep. Meant to be read both silently and aloud, the poems in The Sleeve Waves meditate on how almost everything—like light and sound—comes to us in waves that break and vanish and yet continue.

Outstanding Achievement in Poetry Award, Wisconsin Library Association

Honorable Mention, Edna Meudt Poetry Book Award, Council of Wisconsin Writers

At the Valois "See Your Food" cafeteria on Chicago's South Side, black and white men gather over cups of coffee and steam-table food. Mitchell Duneier, a sociologist, spent four years at the Valois writing this moving profile of the black men who congregate at "Slim's Table." Praised as "a marvelous study of those who should not be forgotten" by the Wall Street Journal,Slim's Table helps demolish the narrow sociological picture of black men and simple media-reinforced stereotypes. In between is a "respectable" citizenry, too often ignored and little understood.

"Slim's Table is an astonishment. Duneier manages to fling open windows of perception into what it means to be working-class black, how a caring community can proceed from the most ordinary transactions, all the while smashing media-induced stereotypes of the races and race relations."—Citation for Chicago Sun Times Chicago Book of the Year Award

"An instant classic of ethnography that will provoke debate and provide insight for years to come."—Michael Eric Dyson, Chicago Tribune

"Mr. Duneier sees the subjects of his study as people and he sees the scale of their lives as fully human, rather than as diminished versions of grander lives lived elsewhere by people of another color. . . . A welcome antidote to trends in both journalism and sociology."—Roger Wilkins, New York Times Book Review

 For a number of years, Leslie Ullman has lived in the Southwest, on cultivated land, in the company of horses and with access to uncultivated desert. The seasons and conditions of this starkly appealing land have found their way into the poet and her work. In her poems there always seems to be someone who is making herself over from scratch. Ullman creates origins for herself in nature, in solitude, in animals, and of course through those aspects of human relationships that teach important lessons.

Since winning the prestigious Yale Younger Poets Award in 1979, Ullman has manifested her love of language as both writer and teacher. As she remembers from her youthful summers in a Wisconsin lake lodge: “Sometimes the words I read were the tap of rain on the roof or the fire snapping in its great stone bed, but mostly they bloomed as the sound of the lake, a mantra against the weathered dock.” She writes that her book may be trying to validate the “history of women”—the title of one of the poems—just as “men's history has always validated hugely and by implication the way we use language and the way history has been taught.”Hers is not a defensive or an angry intention, however, but an exciting one. Slow Work through Sand attempts simply to make visible “the dance a woman's life is, not apart from other dances, but as a valid dance among dances.”

In The Slumbering Volcano, Maggie Montesinos Sale investigates depictions of nineteenth-century slave ship revolts to explore the notion of rebellion in formulations of United States national identity. Analyzing how such revolts inspired citizens to debate whether political theory directed at free men could be extended toward blacks, Sale compares the reception of fictionalized versions of ship revolts published in the 1850s—Benito Cereno by Herman Melville and The Heroic Slave by Frederick Douglass—with the previous decade’s public accounts of actual rebellions by enslaved people on the ships Amistad and Creole.
This comparison of narrative response with written public reaction to the actual revolts allows Sale to investigate the precise manner in which public opinion regarding definitions of liberty evolved over this crucial period of time between the Revolutionary and Civil Wars. Mapping the ways in which unequally empowered groups claimed and transformed statements associated with the discourse of national identity, Sale succeeds in recovering a historically informed sense of the discursive and activist options available to people of another era.
In its demonstration of how the United States has been uniquely shaped by its dual status as both an imperial and a postcolonial power, this study on the discourse of natural rights and national identity in the pre-Civil War United States will interest students and scholars of American studies, African American studies, gender studies, and American history and literature.

Called upon for the first time to render military service outside the States, Negro soldiers (called Smoked Yankees by the Spaniards) were eager to improve their status at home by fighting for the white man in the Spanish-American War. Their story is told through countless letters sent to black U.S. newspapers that lacked resources to field their own reporters. The collection constitutes a remarkably complete and otherwise undisclosed amount of the black man’s role in—and attitude toward—America’s struggle for empire.

In first-hand reports of battles in the Philippine Islands and Cuba, Negro soldiers wrote from the perspective of dispossessed citizens struggling to obtain a larger share of the rights and privileges of Americans.

These letters provide a fuller understanding of the exploits of black troops through their reports of military activities and accounts of foreign peoples and its cultures.

No one knows how many Chinese are being smuggled into the United States, but credible estimates put the number at 50,000 arrivals each year. Astonishing as this figure is, it represents only a portion of the Chinese illegally residing in the United States. Smuggled Chinese presents a detailed account of how this traffic is conducted and what happens to the people who risk their lives to reach Gold Mountain.

When the Golden Venture ran aground off New York's coast in 1993 and ten of the 260 Chinese on board drowned, the public outcry about human smuggling became front-page news. Probing into the causes and consequences of this clandestine traffic, Ko-lin Chin has interviewed more than 300 people -- smugglers, immigrants, government officials, and  business owners -- in the United States, China, and Taiwan. Their poignant and chilling testimony describes a flourishing industry in which smugglers -- big and little snakeheads -- command fees as high as $30,000 to move desperate but hopeful men and women around the world. For many who survive the hunger, filthy and  crowded conditions, physical and sexual abuse, and other perils of the arduous journey, life in the United States, specifically in New York's Chinatown, is a disappointment if not a curse. Few will return to China, though, because their families depend on the money and status gained by having a relative in the States.

In Smuggled Chinese, Ko-lin Chin puts a human face on this intractable international problem, showing how flaws in national policies and lax law enforcement perpetuate the cycle of desperation and suffering. He strongly believes, however, that the problem of human smuggling will continue as long as China's citizens are deprived of fundamental human rights and economic security.

Smuggled Chinese will engage readers interested in human rights, Asian and Asian American studies, urban studies, and sociology.

"So Black and Blue is the best work we have on Ellison in his combined roles of writer, critic, and intellectual. By locating him in the precarious cultural transition between Jim Crow and the era of promised civil rights, Warren has produced a thoroughly engaging and compelling book, original in its treatment of Ellison and his part in shaping the history of ideas in the twentieth century."—Eric J. Sundquist, University of California, Los Angeles

What would it mean to read Invisible Man as a document of Jim Crow America? Using Ralph Ellison's classic novel and many of his essays as starting points, Kenneth W. Warren illuminates the peculiar interrelation of politics, culture, and social scientific inquiry that arose during the post-Reconstruction era and persisted through the Civil Rights movement. Warren argues that Ellison's novel expresses the problem of who or what could represent and speak for the Negro in an age of limited political representation.

So Black and Blue shows that Ellison's successful transformation of these limits into possibilities has also, paradoxically, cast a shadow on the postsegregation world. What can be the direction of African American culture once the limits that have shaped it are stricken down? Here Warren takes up the recent, ongoing, and often contradictory veneration of Ellison's artistry by black writers and intellectuals to reveal the impoverished terms often used in discussions about the political and cultural future of African Americans. Ultimately, by showing what it would mean to take seriously the idea of American novels as creatures of their moment, Warren questions whether there can be anything that deserves the label of classic American literature.

Social Functions of Language in a Mexican-American Community is an inquiry into how language functions in the life of a bilingual minority group in process of cultural change, this study investigated the acculturation and assimilation of individuals of Mexican descent living in Tucson, Arizona. Specifically, the language usage and interpersonal relations of individuals from representative families in the bilingual community of Tucson, the usage of bilingual social groups in the community, and the linguistic and cultural contacts between bilinguals and members of the larger Tucson community were examined.

Data were drawn from observational studies of individuals and families; observation of group activities; and observation of, supplemented by questionnaires on, the cultural interests of Mexican children and their families. Some conclusions of the study were that Spanish came to be identified in the Mexican community as the language of intimate and family relations, while English came to be identified as the language of formal social relations and of all relations with Anglos. It was also found that the younger American-born group reject both Spanish and English in favor of their own language, Pachuco. Tables depicting the characteristics of 20 families, the language usage of families, and the language usage in personal relationships of English and Spanish are included. Suggestions for further research are made. 

This collection of essays reflects a new, distinctively rigorous engagement with W. E. B. DuBois’s theoretical and philosophical thought. It includes the first publication of DuBois’s important critical essay on the conceptual foundations of sociology as a science, “Sociology Hesitant.” Taking its title from that 1905 essay, Sociology Hesitant draws attention to the ways in which DuBois’s thinking about the “Negro problem” was an explicit effort to think about the problem of historical agency.
Spanning a wide array of disciplines, from German studies and sociology to literary criticism, philosophy, and anthropology, with contributions from some of the most outstanding scholars in these fields, Sociology Hesitant contributes to the recognition of DuBois as an important historical figure by focusing on the complexity of his theoretical work. These essays offer an extended interaction with the ideas and projects DuBois formulated in a series of essays written between 1887 and 1910 that take up intricate questions concerning the nature of methodology and the theory of knowledge. Using DuBois’s work as a point of departure, contributors explore current thinking about diverse subjects such as geopolitics and postcolonialism. Demonstrating that engaging the question of race requires rethinking the historical nature of theoretical understanding, this collection brings to light the notion that the struggle for equality is a struggle for freedom of thought in pursuit of truth.

Contributors. Kenneth Barkin, Nahum Chandler, Ronald Judy, David Krell, Charles Lemert, Sieglinde D. Lemke, Tommy Lott, Kevin Miles, Abdulkarim Mustapha, Ken Warren

Recognizing that masculine literary tradition can include marginalized male writers as well as canonized female writers and that traditions themselves change over time, the essays in this insightful and coherent collection also explore the investment of the writers, as well as ninetieth- and twentieth-century readers, in canon creation. As it reconstructs conversations between these earlier authors and initiates new dialogues for today’s readers, Soft Canons offers provocative reconceptualizations of American literary and cultural history.