“No man living has revealed so many important facts about the Negro race as has Rogers,” wrote W. E. B. DuBois. Indeed, as Henry Louis Gates Jr. contends, J. A. Rogers was often the only source for an ordinary Black person to learn of their history from the 1920s through the 1970s. Now Louis J. Parascandola makes available an accessible collection of Rogers’s writings for a new generation.

Joel Augustus Rogers was born in Negril, Jamaica, in the late nineteenth century, where—although his father was a teacher—he received only basic education. Rogers emigrated to the United States and studied at the Art Institute of Chicago while working as a Pullman porter. He later took up journalism and moved to New York for better opportunities, writing for papers and journals published by the likes of Marcus Garvey, W. E. B. DuBois, and H. L. Mencken. While working with the Pittsburgh Courier, he was assigned to cover the Italo-Ethiopian War (1935–1937), becoming the first American Black foreign war correspondent. His column for the Courier became vital to the Black middle class, conveying stories of Black achievements and relating a distinguished history that imparted knowledge and pride. He continued this work with his books 100 Amazing Facts about the Negro with Complete Proof, the two-volume The World’s Great People of Color 3000 B.C. to 1946 A.D., and the novel From Superman to Man.

This engaging collection represents the wide range of Rogers’s work across time and demonstrates his intellectual philosophy. J. A. Rogers: Selected Writings is required reading for anyone interested in Black nationalism, Black journalism, Black literature, and Pan-African culture and identity.

It’s difficult to overestimate the impact of the many new works by James Agee uncovered and published in the last twenty years. These previously unknown primary works have, in turn, encouraged a parallel explosion of critical evaluation and reevaluation by scholars, to which James Agee in Context is the latest contribution.

This superb collection from well-known James Agee scholars features myriad approaches and contexts for understanding the author’s fiction, poetry, journalism, and screenwriting. The essays bring the reader from the streets of James Agee’s New York to travel with the author from Alabama to Hollywood to Havana. Contributors explore overlapping and sometimes unique subjects, themes, and accomplishments (or lack thereof) in Agee’s uncovered works and highlight the diversity of interest that Agee’s complete body of work inspires. The insightful scholarship on influence examines connections between Agee and Wright Morris, Helen Levitt, John Dos Passos, Ernest Hemingway, and Stephen Crane. Such juxtapositions serve to illustrate how Agee drew on literary influences as a young man, how he used his work as a journalist to craft fiction as he was about to turn thirty, and his influence upon others. The volume concludes with three poems and a short story by Agee, all previously unknown.

It seems astonishing that so much remains to be discovered about this protean author, his materials, and his circle. Yet, the recovery and analysis of neglected texts and information mined from newspapers and magazines proves the extent to which Agee kept his mind and his work, as he himself put it, “patiently concentrated upon the essential quietudes of the human soul.”

The essayists in this volume argue that far more recognition is due to James Agee than is usually granted. Although the significance of his accomplishments is often overshadowed by his short, turbulent, life, any reevaluation of his work must still begin with the man himself. Agee's complex and driven life seems to crystallize the debate over the relationship between art and reality in the modern age.

Continually exploring new fields, Agee achieved success as a poet, journalist, and essayist, as well as a writer of screenplays and fiction. Agee's sense of place, ingrained in him during his boyhood in Knoxville, Tennessee, provided the ground upon which he tested the temper of his creative process and his beliefs and attempted to reconcile the Romantic and Modern viewpoints into what he termed a "whole of consciousness."

But the price of attempting transcendence was high. At times Agee ravaged his own life in a quest to dissolve the barrier between reality and art; at other times, his gusto and vitality were converted into unique and innovative works like the audacious and uncategorizable Let Us Now Praise Famous Men and the highly charged autobiographical novel A Death in the Family. The essays in this volume, drawn in part from the 1989 "Agee Legacy" symposium, focus upon these two major works and upon Agee's explorations of narrative technique. The authors demonstrate that the measure of Agee's success is in large part the direct result of his supposed flaws: his variety of subject and form, and his life of often reckless abandon.

In James Baldwin, Toni Morrison, and the Rhetorics of Black Male Subjectivity, Aaron Ngozi Oforlea explores the rhetorical strategies that Baldwin’s and Morrison’s black male characters employ as they negotiate discourses of race, class, gender, and sexuality. According to Oforlea, these characters navigate a discursive divide that separates limiting representations of black males in dominant discourses from a decolonized and empowered subjectivity. Specifically, the discursive divide creates an invisible boundary between how black subjects are seen, imagined, and experienced in dominant culture on the one hand, and how they understand themselves on the other.
 
Oforlea’s book offers new analyses of the character dynamics in Baldwin’s Go Tell It on the Mountain, Tell Me How Long the Train’s Been Gone, and If Beale Street Could Talkand Morrison’s Beloved, Song of Solomon, and Tar Baby. The black male characters in these novels encounter the discursive divide, or a cultural dissonance, when they encounter dominant representations of black male identities. They use these opportunities to construct a counter-discourse about black male subjectivity. Ultimately, Oforlea argues, these characters are strategic about when and how they want to appropriate and subvert dominant ideologies. Their awareness that post-racial discourses perpetuate racial inequality serves as a gateway toward participation in collective struggles for racial justice.
 

“I never could keep the world properly divided into gods and demons for very long,” wrote John Dos Passos, whose predilection toward nuance and tolerance brought him to see himself as a “chronicler”: a writer who might portray political situations and characters but would not deliberately lead the reader to a predetermined conclusion. Privileging the tangible over the ideological, Dos Passos’s writing between the two World Wars reveals the enormous human costs of modern warfare and ensuing political upheavals.

This wide-ranging and engaging collection of essays explores the work of Dos Passos during a time that challenged writers to find new ways to understand and render the unfolding of history. Taking their foci from a variety of disciplines, including fashion, theater, and travel writing, the contributors extend the scholarship on Dos Passos beyond his best-known U.S.A. trilogy. Including scholars from both sides of the Atlantic, the volume takes on such topics as how writers should position their labor in relation to that of blue-collar workers and how Dos Passos’s views of Europe changed from fascination to disillusionment. Examinations of the Modernist’s Adventures of a Young Man, Manhattan Transfer, and “The Republic of Honest Men” increase our understanding of the work of a complicated figure in American literature, set against a backdrop of rapidly evolving technology, growing religious skepticism, and political turmoil in the wake of World War I.

John Reed (1887-1920) is best known as the author of Ten Days That Shook the World and as champion of the communist movement in the United States. Still, Reed remains a writer almost systematically ignored by the literary critical establishment, even if alternately vilified and lionized by historians and by films like Warren Beatty’s Reds.

John Reed and the Writing of Revolution examines Reed’s writing from a different critical perspective—one informed by a theoretical and practical understanding of literary nonfiction. In both politics and writing, John Reed defied fashion. In his short career, Reed transcended the traditional creative arts of fiction, poetry, and drama in favor of deeply researched histories composed with the cadence of fiction and the power of fact. Reed thereby alienated literary critics who had idealized timeless artistry against the rough-and-tumble world of historical details and political implications.

Working from a close investigation of rare articles, manuscripts, and the Reed papers at Harvard as well as from Reed’s published work, Daniel W. Lehman offers the first detailed literary study of the man who followed Pancho Villa into battle; wrote literary profiles of such characters as Henry Ford, William Jennings Bryan, and Billy Sunday; explicated the Byzantine factionalism of Eastern Europe; and witnessed the storming of the Winter Palace and the birth of Soviet Russia.

Considerable attention has been given to Cuban poet, essayist, and activist José Martí’s 1891 essay “Nuestra América,” but relatively little has been paid to the rest of the journalistic work that Martí produced during his fourteen-year exile in the United States. In José Martí’s Our America, Jeffrey Belnap and Raúl Fernández present essays from Latin American, Caribbean, and U.S.-based scholars who consider Martí’s rich and underexplored body of work and position Martí as an emblem of New American studies.
A Cuban exile from 1881 to 1895, Martí was a correspondent writing in New York for various Latin American newspapers. Grasping the significance of rising U.S. imperial power, he came to understand the Americas as a complex system of kindred—but not equal—national formations whose cultural and political integrity was threatened by the overbearing aggressiveness of the United States. This collection explores how in his journalistic work Martí critiques U.S. racism, imperialism, and capitalism; warns Latin America of impending U.S. geographical, cultural, and economic annexation; and calls for recognition of the diversity of America’s cultural voices. Reinforcing Martí’s hemispheric vision with essays by a wide range of scholars who investigate his analysis of the United States, his significance as a Latino outsider, and his analyses of Latin American cultural politics, this volume explores the affinities between Martí’s thought and current reexaminations of what it means to study America.
José Martí’s Our America offers a new understanding of Martí’s ambiguous and problematic relation with the United States and will engage scholars and students in American, Latin American, and Latino studies as well as those interested in cultural, postcolonial, gender, and ethnic studies.

Contributors. Jeffrey Belnap, Raúl Fernández, Ada Ferrer, Susan Gillman, George Lipsitz, Oscar Martí, David Noble, Donald E. Pease, Beatrice Pita, Brenda Gayle Plummer, Susana Rotker, José David Saldívar, Rosaura Sánchez, Enrico Mario Santí, Doris Sommer, Brook Thomas

"The only way out," writes Howard Nemerov, "is the way through, just as you cannot escape death except by dying. Being unable to write, you must examine in writing this being unable, which becomes for the present—henceforth?—the subject to which you are condemned." This is the record of the struggle to compose a novel; a struggle transformed by Nemerov into a far-reaching exploration of the creative process itself.

"He often shows bravery and shrewdness; the book is full of fine criticism and psychological insight. As always, his prose has that ease and transparency that make one forget one is reading; one seems simply to hear a voice speaking. Nemerov's improvised self-analysis has weaknesses, but few that he himself doesn't eventually recognize."—New York Times Book Review

"In an age of explicitness, Nemerov's Journal of the Fictive Life is explicitly without vulgarity; in an age of revelation, it reveals only what counts. More then a book about creativity, it is a beautiful creation."—Richard G. Stern

For nearly four decades, Maryse Condé, best known for her novels Segu and Windward Heights, has been at the forefront of French Caribbean literature. In this collection of essays and lectures, written over many years and in response to the challenges posed by a changing world, she reflects on the ideas and histories that have moved her. From the use of French as her literary language—despite its colonial history—to the agonies of the Middle Passage, at the horrors of African dictatorship, and the politically induced poverty of the Caribbean to migration under globalization, Condé casts her unflinching eye over the world which is her inheritance, her burden, and her future.

Even while paying homage to her intellectual and literary influences—including Frantz Fanon, Leopold Sedar Senghor, and Aimé Césaire—Condé establishes in these pages the singularity of her vision and the reason for the enormous admiration that her writing has garnered from readers and critics alike.

Journey of Five Capuchin Nuns contains all the elements of a riveting adventure story. Through the eyes of the Mother Abbess, María Rosa, the reader is taken along on this journey through wars, pirates, disease, travel on the high seas, and treacherous mountain passes in the Andes. Five nuns set out in the early 1700s from their cloistered convent in Madrid, Spain, to travel halfway around the world to Lima, Peru. The journey lasted three years—an odyssey not all of them would complete. Yet, this unique historical document is so much more than a typical travel narrative. It illuminates the eighteenth-century way of life of religious women on both sides of the Atlantic basin. María Rosa’s lively prose attests to the literary connection among women religious writers of Spain and Latin America. This annotated edition and first-ever English translation of the manuscript will be of interest to scholars, students and anyone who wants to learn more about women’s history.

Renowned poet Richard Tillinghast’s wanderlust and restless spirit are nearly as well known as his verses. This book of essays captures that penchant to wander, yet Journeys into the Mind of the World is not merely a compilation of travel stories—it is a book of places. It explores these chosen locations—Ireland, England, India, the Middle East, Tennessee, Hawaii—in a deeper way than would be typical of travel literature, attempting to enter not just the world, but “the mind of the world”—the roots and history of places, their political and cultural history, spiritual, artistic, architectural, and ethnic dimensions.

Behind each essay is the presence, curiosity, and intelligence of the author himself, who uses his experience of the places he visits as a way of bringing the reader into the equation. Tillinghast illuminates his travels with a brilliant eye, a friendly soul, and eclectic knowledge of a variety of disparate areas—Civil War history, Venetian architecture, Asian cultures, Irish music, and the ways of out-of-the-way people. This attention to history and cultural embeddedness lends unique perspectives to each essay.

At the heart of his journeys are his deep roots in the South, tracing back to his hometown in Tennessee. The book explores not only Tillinghast’s childhood home in Memphis, but even the time before his birth when his mother lived in Paris. Readers will feel a sense of being everywhere at once, in a strange simultaneity, a time and place beyond any map or guidebook.

This edition, which offers a bilingual selection of poetry and selected prose translated into English by the nun-author Cecilia del Nacimiento (1570–1646), increases contemporary scholars’ access to, and therefore understanding of, the Spanish early modern religious and intellectual milieu. A significant, rarely-studied mystic and poet, and member of the Discalced Carmelite Order in the years after St. Teresa of Avila’s death, Cecilia del Nacimiento exemplifies the range of possibilities used by women writers who worked within the conventions of hegemonic discourses, while creating a unique literary voice.
—Stacey Schlau
Professor, Department of Languages and Culture and the Women’s Studies Program
West Chester University, Pennsylvania

Joy (Or Something Darker, but Like It), the first book of nonfiction by poet Nathaniel Perry, is a group of essays that considers poetry in the context of parenting—what poems and poets might teach us about parenting, what parenting might teach us about poetry, and also, what either of those things might have to teach us about simply being a relatively successful human being. While other poets have written about parenthood, few books consider how parenthood and poetry themselves intersect. The essays are affable and never technical, but take seriously the idea that thinking about poems might help us all think about our other roles in life, as parents, lovers, citizens, and friends. The book, in the end, imagines that this kind of insight is maybe one of the things most useful about poetry. It isn't, or at least doesn't have to be, always about itself; it can instead, surprisingly and wonderfully, be about us.

Each of the twelve essays considers a different poet—Edward Thomas, Henry W. Longfellow, George Scarbrough, Elizabeth Bishop, Geoffrey Hill, Primus St. John, Robert Hayden, Elizabeth Coatsworth, Gwendolyn Brooks, Robert Frost, E.A. Robinson, and Belle Randall—and, alongside them, different concerns of parenting and living. Organized in chronological order, they track the growth of Nathaniel Perry’s own children who pop up from time to time in a believable way. Essays consider the idea of devotion and belief, the idea of imperfection, the small details we can focus on as parents, and the conceptions of the world we pass along to our children. Together these essays not only represent the author's personal canon of poets who have been important to him in his life and work, but also present a diverse slice of American poetry, in voice, form, identity, origin, and time period.

Before they were both internationally renowned philosophers, Eugen Rosenstock-Huessy and Franz Rosenzweig were young German soldiers fighting in World War I corresponding by letter and forming the foundation of their deep intellectual friendship. Collected here, this correspondence provides an intimate portrait of their views on history, philosophy, rhetoric, and religion as well as on their writings and professors. Most centrally, Rosenstock-Huessy and Rosenzweig discuss, frankly but respectfully, the differences between Judaism and Chiristianity and the reasons they have chosen their respective faiths.

 

This edition includes a new foreword by Paul Mendes-Flohr, a new preface by Harold Stahmer along with his original introduction, and essays by Dorothy Emmet and Alexander Altmann, who calls this correspondence “one of the most important religious documents of our age” and “the most perfect example of a human approach to the Jewish-Christian problem.”

When H. L. Mencken wrote about "the miasmatic jungles of Arkansas," he was referring to the relative obscurity and uncertain image that Arkansas has enjoyed—or suffered from—throughout its history. In these entertaining and sometimes quirky essays, Lancaster sheds light on that image by analyzing the stereotypes that have characterized the state since its very beginning.

Winner, 2021 Housatonic Book Award
Finalist for the Publishing Triangle's Judy Grahn Award for Lesbian Nonfiction

You have a history, and a body. You are a history, and a body. Your body has (is) a history, too. As a girl, Julie Marie Wade was uninterested in makeup, boy-watching, and other trappings of conventional girlhood, much to her mother’s disappointment. Grace Kelly and Marilyn Monroe—movie stars immortalized as feminine ideals, even as they both died tragically and young—were lodestars that threw Wade’s own definition of beauty into relief as she stumbled into adulthood.

Now, in Just an Ordinary Woman Breathing, Wade traces the intimate story of coming of age in one particular body (as a lesbian, an only child, a Protestant attending Catholic school). She uses the language and tenets of music, math, religion, fairy tales, poetry, and art to reckon with the many facets of embodiment, sexuality, and love in our contemporary world. The diet industry, popular culture, and her own family all provide rich material for what is ultimately a lyrical and unflinching investigation into the questions that prickle deep within the human heart.