Results by title

Lady Mary Wroth’s private manuscript, printed here for the first time, shows her to be a great poet, more psychologically insightful, verbally sophisticated, and boldly original than scholars had realized. Her carefully curated and re-conceptualized printed collection also reveals her to be a remarkably self-reflexive and critically astute writer. When the manuscript and printed sequences are read together, as this edition encourages readers to do, Wroth’s poetry is seen clearly as innovative, erotic, and shrewdly multivalent.

Walt Whitman wrote three distinct editions of Leaves of Grass before the Civil War. During those years he was passionately committed to party anti-slavery, and his unpublished tract The Eighteenth Presidency shows that he was fully attuned to the kind of rhetoric coming out of the new Republican party. This study explores how the prophecies of the pre–war Leaves of Grass relate to the prophecy of this new party. It seeks not only to ground Whitman’s work in this context but also to bring out features of party discourse that make it relevant to literary and cultural studies.

Anti-slavery party discourse set itself the task of curing an ailing people who had grown compliant, inert, and numb; it fashioned a complete fictional world where the people could be reactivated into assuming their true role in the republic. Both as a cause and a result of this rejuvenation, they would come into their own and spread their energies over the land and over the body politic, thereby rescuing their country at the last minute from what would otherwise be the permanent dominion of slavery. Party discourse had long hinged its success on such magical transformations of the people individually and collectively, and Whitman’s celebrations of his nation’s potential need to be seen in this context: like his party, Whitman calls on the people to reject their own subordination and take command of the future, and redeem themselves as they also redeem the nation.

Available to readers for the first time, Aimé Césaire’s three-act drama . . . . . . And the Dogs Were Silent—written during the Vichy regime in Martinique in 1943 and lost until 2008—dramatizes the Haitian Revolution and the rise and fall of Toussaint Louverture as its heroic leader. This bilingual English and French edition stands apart from Césaire’s more widely known 1946 closet drama. Following the slave revolts that sparked the revolution, Louverture arrives as both prophet and poet, general and visionary. With striking dramatic technique, Césaire retells the revolution in poignant encounters between rebels and colonial forces, guided by a prophetic chorus and Louverture’s steady ethical and political vision. In the last act, we reach the hero’s betrayal, his imprisonment, and his last stand against the lures of compromise. Césaire’s masterwork is a strikingly beautiful and brutal indictment of colonial cruelty and an unabashed celebration of Black rebellion and victory.