front cover of Local Knowledges, Local Practices
Local Knowledges, Local Practices
Writing in the Disciplines at Cornell
Jonathan Monroe
University of Pittsburgh Press

Cornell University has stood at the forefront of writing instruction, at least since the publication of William Strunk and E. B. White’s classic, The Elements of Style, in 1918.  For the past thirty years Cornell has been the site of a remarkably sustained and successful interdisciplinary approach to writing across the curriculum -  a program that now coordinates nearly two hundred courses each semester sponsored by over thirty different departments.

Local Knowledges, Local Practices provides an overview of Cornell’s rich history and distinguished achievements in training students to write well.  Including the views of professors representing a variety of disciplines - from animal science to political science, anthropology to philosophy, romance studies to neurobiology - this collection will serve as a resource for anyone interested in broadly conceived, discipline-specific writing instruction.

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front cover of We Who Love to Be Astonished
We Who Love to Be Astonished
Experimental Women's Writing and Performance Poetics
Laura Hinton
University of Alabama Press, 2001

The first critical volume devoted to the full range of women's postmodern works

We Who Love to Be Astonished collects a powerful group of previously unpublished essays to fill a gap in the critical evaluation of women's contributions to postmodern experimental writing. Contributors include Alan Golding, Aldon Nielsen, and Rachel Blau DuPlessis; discussions include analyses of the work of Kathleen Fraser, Harryette Mullen, and Kathy Acker, among others. The editors take as their title a line from the work of Lyn Hejinian, one of the most respected of innovative women poets writing today.

The volume is organized into four sections: the first two seek to identify, from two different angles, the ways women of different sociocultural backgrounds are exploring their relationships to their cultures' inherited traditions; the third section investigates the issue of visuality and the problems and challenges it creates; and the fourth section expands on the role of the body as material and performance.

The collection will breach a once irreconcilable divide between those who theorize about women's writing and those who focus on formalist practice. By embracing "astonishment" as the site of formalist-feminist investigation, the editors seek to show how form configures feminist thought, and, likewise, how feminist thought informs words and letters on a page. Students and scholars of avant-garde poetry, women's writing, and late-20th-century American literature will welcome this lively discussion.

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