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I Would Lie to You if I Could
Interviews with Ten American Poets
Chard deNiord
University of Pittsburgh Press, 2018
I Would Lie To You If I Could contains interviews with nine eminent contemporary American poets (Natasha Trethewey, Jane Hirshfield, Martín Espada, Stephen Kuusisto, Stephen Sandy, Ed Ochester, Carolyn Forche, Peter Everwine, and Galway Kinnell) and James Wright’s widow Anne. It presents conversations with a vital cross section of poets representing a variety of ages, ethnicities, and social backgrounds.

The poets testify to the demotic nature of poetry as a charged language that speaks uniquely in original voices, yet appeals universally. As individuals with their own transpersonal stories, the poets have emerged onto the national stage from very local places with news that witnesses memorably in social, personal, and political ways. They talk about their poems and development as poets self-effacingly, honestly, and insightfully, describing just how and when they were "hurt into poetry," as well as why they have pursued writing poetry as a career in which, as Robert Frost noted in his poem "Two Tramps in Mud Time," their object has become "to unite [their] avocation and [their] vocation / As [their] two eyes make one in sight."
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Idolizing Authorship
Literary Celebrity and the Construction of Identity, 1800 to the Present
Edited by Gaston Franssen and Rick Honings
Amsterdam University Press, 2017
Though these days, our celebrity culture tends to revolve around movie stars and pop musicians, there have been plenty of celebrity authors over the years and around the world. This volume brings together a number of contributors to look at how and why certain writers have attained celebrity throughout history. How were their images as celebrities constructed by themselves and in complicity with their fans? And how did that process and its effects differ from country to country and era to era?
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Illness as Narrative
Ann Jurecic
University of Pittsburgh Press, 2012

For most of literary history, personal confessions about illness were considered too intimate to share publicly. By the mid-twentieth century, however, a series of events set the stage for the emergence of the illness narrative. The increase of chronic disease, the transformation of medicine into big business, the women’s health movement, the AIDS/HIV pandemic, the advent of inexpensive paperbacks, and the rise of self-publishing all contributed to the proliferation of narratives about encounters with medicine and mortality.
      While the illness narrative is now a staple of the publishing industry, the genre itself has posed a problem for literary studies. What is the role of criticism in relation to personal accounts of suffering? Can these narratives be judged on aesthetic grounds? Are they a collective expression of the lost intimacy of the patient-doctor relationship? Is their function thus instrumental—to elicit the reader’s empathy?
      To answer these questions, Ann Jurecic turns to major works on pain and suffering by Susan Sontag, Elaine Scarry, and Eve Sedgwick and reads these alongside illness narratives by Jean-Dominique Bauby, Reynolds Price, and Anne Fadiman, among others. In the process, she defines the subgenres of risk and pain narratives and explores a range of critical responses guided, alternately, by narrative empathy, the hermeneutics of suspicion, and the practice of reparative reading.
       Illness as Narrative seeks to draw wider attention to this form of life writing and to argue for new approaches to both literary criticism and teaching narrative. Jurecic calls for a practice that’s both compassionate and critical. She asks that we consider why writers compose stories of illness, how readers receive them, and how both use these narratives to make meaning of human fragility and mortality.

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Immersion
A Writer's Guide to Going Deep
Ted Conover
University of Chicago Press, 2016
Over three and a half decades, Ted Conover has ridden the rails with hoboes, crossed the border with Mexican immigrants, guarded prisoners in Sing Sing, and inspected meat for the USDA. His books and articles chronicling these experiences, including the award-winning Newjack: Guarding Sing Sing, have made him one of the premier practitioners of immersion reporting.

In immersion reporting—a literary cousin to ethnography, travel writing, and memoir—the writer fully steps into a new world or culture, participating in its trials, rites, and rituals as a member of the group. The end results of these firsthand experiences are familiar to us from bestsellers such as Nickel and Dimed and Behind the Beautiful Forevers. But in a world of wary strangers, where does one begin?

Conover distills decades of knowledge into an accessible resource aimed at writers of all levels. He covers how to “get into” a community, how to conduct oneself once inside, and how to shape and structure the stories that emerge. Conover is also forthright about the ethics and consequences of immersion reporting, preparing writers for the surprises that often surface when their piece becomes public. Throughout, Conover shares anecdotes from his own experiences as well as from other well-known writers in this genre, including Alex Kotlowitz, Anne Fadiman, and Sebastian Junger. It’s a deep-in-the-trenches book that all aspiring immersion writers should have in hand as they take that first leap into another world. 
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In the Beginning
First Novels in Mystery Series
Mary Jean Demarr
University of Wisconsin Press, 1995

This volume contains fourteen essays by authoritative academics studying the field of mystery and detective fiction. The essays all concentrate on the first novels in established series, analyzing ways in which the opening books of the series do or do not create patterns followed in succeeding novels.

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Indexes
A Chapter from The Chicago Manual of Style, 16th ed.
University of Chicago Press Staff
University of Chicago Press, 2010
This volume contains all the material from The Chicago Manual of Style, 16th Edition that relates to indexes and the work of indexing. Thoroughly updated to reflect current accepted practices, it is an indispensable guide for anyone preparing an index.
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Intimate With Walt
Whitmans Conversataions With Horace Traubel
Gary Schmidgall
University of Iowa Press, 2001
In March 1888 Horace Traubel, Whitman's loyal and hardworking assistant, began to record his almost daily conversations with the most famous resident of Camden. The result: more than 1,900,000 words that were eventually published between 1906 and 1996 in nine volumes. Titled With Walt Whitman in Camden, these volumes contain much that is mundane and repetitive, but they also include many passages crucial for a full and humane understanding of America's first great national poet.

In Intimate with Walt Gary Schmidgall has condensed Traubel's nearly 5,000 pages into one manageable volume featuring the many self-revealing, humorous, nostalgic, and often curmudgeonly words of the Good Gray Poet. The book is divided into five sections, each consisting of several chapters: the first, presenting Walt on himself, his family, and his daily life and visitors at the only home he ever owned; the second, on his artistic credos, the literary life, and a large array of comments on the writing, publication of, and critical reaction to Leaves of Grass; the third, focusing on his friends, admirers, idols, and lovers; the fourth and longest, presenting his no-holds-barred views on a variety of topics, including the American scene, race, religion, music, and even alcohol; and finally, a gathering of passages revealing Whitman's struggles with his infirmities, his poignant final days, and Traubel's observations on Whitman's deathbed scene and burial rites.
Whitman was the great poet of autobiography, and with this volume we gain entry into a most remarkable life in his own words. Whimsical and highly entertaining, poignant and moving, illuminating and candid, Intimate with Walt makes accessible the most amazing oral history project in all of American letters.
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Invention and Authorship in Medieval England
Robert R. Edwards
The Ohio State University Press, 2017
From the twelfth century onwards, medieval English writers adapted the conventions of high literary culture to establish themselves as recognized authors and claim a significant place for works of imagination beside those of doctrine and instruction. Their efforts extended over three languages—Latin, French, and English—and across a discontinuous literary history. Their strategy was to approach authorship as a field of rhetorical invention rather than a fixed institution. Consequently, their work is at once revisionary and ambivalent. Writers conspicuously position themselves within tradition, exploit the resources of poetic belatedness, and negotiate complex relations to their audiences and social authority.
 
 
Authorial invention in the Middle Ages is the base of a national tradition that English writers in the Renaissance saw as stable and capable of emulating the canons of classical languages and the Italian and French vernaculars. In Invention and Authorship in Medieval England, Robert R. Edwards brings new interpretive perspectives to Walter Map, Marie de France, John Gower, Geoffrey Chaucer, Thomas Hoccleve, and John Lydgate. He offers a critical reading of key moments that define the emergence of medieval English authorship by showing how writers adapt the commonplaces of authorship to define themselves and their works externally and to construct literary meaning internally. 
 
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Invention, Copyright, and Digital Writing
Martine Courant Rife
Southern Illinois University Press, 2013

This is the first empirical, mixed-methods study of copyright issues that speaks to writing specialists and legal scholars about the complicated intersections of rhetoric, technology, copyright law, and writing for the Internet. Martine Courant Rife opens up new conversations about how invention and copyright work together in the composing process for  digital writers and how this relationship is central to contemporary issues in composition pedagogy and curriculum.

In this era of digital writing and publishing, composition and legal scholars have identified various problems with writers’ processes and the law’s construction of textual ownership, such as issues of appropriation, infringement, and fair use within academic and online contexts. Invention, Copyright, and Digital Writing unpacks digital writers’ complex perceptions of copyright, revealing how it influences what they choose to write and how it complicates their work. Rife uses quantitative and qualitative approaches and focuses on writing as a tool and a technology-mediated activity, arguing the copyright problem is about not law but invention and the attendant issues of authorship.

Looking at copyright and writing through a rhetorical lens, Rife leverages the tools and history of rhetoric to offer insights into how some of our most ancient concepts inform our understanding of the problems copyright law creates for writers. In this innovative study that will be of interest to professional and technical writers, scholars and students of writing and rhetoric, and legal professionals, Rife offers possibilities for future research, teaching, curriculum design, and public advocacy in regard to composition and changing copyright laws.

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