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William Langland's Piers Plowman provides a highly charged picture of England near the end of the fourteenth century, a time of political, religious, and moral crises. The period in which Langland wrote was volatile and full of colorful and contentious people: Edward III, Richard II, Chaucer, Wyclif--and Langland. In "Songes of Rechelesnesse," Lawrence M. Clopper presents the voice of this powerful disputant who lived in a period marked by dissent and discontent.
In the late Middle Ages, Franciscan friars had a significant impact on all levels of society.
But because of the apparent discrepancy between the poverty the Franciscans claimed and the life they lived, a large body of antifraternal literature arose, including, supposedly, Piers Plowman. Since the sixteenth century, when it was first put into print, Piers Plowman has been understood to be a proto-Protestant work that revealed the failures of the medieval clergy, but especially of the mendicant orders. In "Songes of Rechelesnesse," Clopper establishes the presence of a Franciscan reformist position in Piers Plowman.
Clopper maintains that the poem articulates a reformist agenda, presenting the internal Franciscan debate, in a bid to return the order to its initial foundation. Clopper believes that Langland is deeply imbued with a Franciscan mentality that reaches deep into the structure of the poem. It manifests itself at the level of the alliterative long line in his exemplarist poetics and is the source of his imagery and politics. In short Clopper identifies Franciscanism as holding the poem together.
"Songes of Rechelesnesse" is a historical, political, and religious history of late fourteenth-century England. It will be of interest to literary scholars, historians of the late Middle Ages, and scholars in religious studies.
Lawrence M. Clopper is Director, Medieval Studies Institute, and Professor of English, Indiana University.

This is the first book exclusively devoted to the Civil War writings of Walt Whitman and Herman Melville, arguably the most important poets of the war. The essays brought together in this volume add significantly to recent critical appreciation of the skill and sophistication of these poets; growing recognition of the complexity of their views of the war; and heightened appreciation for the anxieties they harbored about its aftermath. Both in the ways they come together and seem mutually influenced, and in the ways they disagree, Whitman and Melville grapple with the casualties, complications, and anxieties of the war while highlighting its irresolution. This collection makes clear that rather than simply and straightforwardly memorializing the events of the war, the poetry of Whitman and Melville weighs carefully all sorts of vexing questions and considerations, even as it engages a cultural politics that is never pat.

Contributors: Kyle Barton, Peter Bellis, Adam Bradford, Jonathan A. Cook, Ian Faith, Ed Folsom, Timothy Marr, Cody Marrs, Christopher Ohge, Vanessa Steinroetter, Sarah L. Thwaites, Brian Yothers

A long-overdue analysis of how Black lesbians have asserted their lived experience through creative practice, pushing back against heteropatriarchal systems that deny them visibility.

“We Must Document Ourselves Now” examines the essential but oft-ignored importance of Black lesbian literature and film in queer literary and film histories, arguing that Black lesbian cultural texts reflect creators’ lived experiences and resist the heteropatriarchal systems that deny Black lesbians visibility in popular culture. Stephanie Andrea Allen contends that these texts have three goals: to lay bare the experiences of Black lesbians in a raced, gendered, classed, and homophobic society; to challenge the notion that claiming Black lesbian identity is marginal or forbidden; and to take care of Black lesbians by bearing witness to their experiences through creative practice.

Insisting that Black feminist creative practice is an integral form of self and community care, Allen weaves analysis of cultural output spanning key sociocultural moments from 1974 to 2020 with interviews with Black lesbian cultural workers. “We Must Document Ourselves Now” examines the Black Arts / Black Power movement, the “boom” in lesbian and gay publishing, the so-called golden era of Black film, and twenty-first-century visual media to demonstrate how representations of Black lesbians, or lack thereof, were vital to constructing a cultural canon that focused on illuminating Black lesbian experiences in the United States.