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In celebration of its landmark sixtieth anniversary, the Massachusetts Review presents a collection of the best contemporary and emerging international writers and writers in translation, from MR's last decade. At a time when English-only readers too often know little about the rest of the world, this volume is a classroom in itself. This timely and essential anthology features fiction, essays, and poetry by Mia Couto, Tabish Khair, Menekşe Toprak, and  Kim Tae-Young, among others.

This first collection of fiction by Anjana Appachana provides stories that are beautifully written, the characters in them carefully and respectfully drawn. All the stories are set in India, but the people in them seem somehow displaced within their own society—a society in transition but a transition that does not come fast enough to help them. Appachana manages to capture the pervasive humor, poignancy, and self-delusion of the lives of the people she observes, but she does so without seeming to pass judgments on them. She focuses on unexpected moments, as if catching her characters off guard, lovingly exposing the fragile surfaces of respectability and convention that are so much a part of every society, but particularly strong in India, with its caste system, gender privileges, and omnipresent bureaucracies.

All life seems to be prescribed; these characters bravely or cautiously confront the rules and regulations or finally give in to them resignedly—any small triumphs they achieve are never clear-cut. One of the most unusual aspects of many of the stories is the way in which they are informed by but never ruled by the author's feminism. She never lectures her readers but lets us see for ourselves: a bride caught in a hopeless marriage where she has given up all rights to any life of her own, a hapless college student who is confined to campus for minor infractions just at the time when she had an appointment for an abortion, a young girl who keeps the dark secret of her sister's rape, a woman executive and a digruntled male clerk both trapped in the intricate bureaucracy of their business firm and the roles they must play to survive there. By turns warm, gullible, arrogant and bigoted, all of these characters live their lives amid contradictions and double standards, superstitions and impossible dreams. Appachana's vision is unique, her writing superb. Readers will thank her for allowing them to enter territory that is at once distant and exotic but also familiar and recognizable.

Newell Lyon learned the oral tradition from his elders in Maine's Penobscot Nation and was widely considered to be a "raconteur among the Indians." The thirteen stories in this new volume were among those that Lyon recounted to anthropologist Frank Speck, who published them in 1918 as Penobscot Transformer Tales. Transcribed for the first time into current Penobscot orthography and with a new English translation, this instructive and entertaining story cycle focuses on the childhood and coming-of-age of Gluskabe, the tribe's culture hero. Learning from his grandmother Woodchuck, Gluskabe applies lessons that help shape the Wabanaki landscape and bring into balance all the forces affecting human life. These tales offer a window into the language and culture of the Penobscot people in the early twentieth century.

In "Still They Remember Me," stories are presented in the Penobscot language and English side-by-side, coupled with illustrations from members of the tribal community. For the first time, these stories are accessible to a young generation of Penobscot language learners and scholars of Native American literatures at all levels, from grade school to graduate school.

This casebook includes an introduction by the editor, a chronology of Olsen’s life, an authoritative text of “Tell Me a Riddle,” relevant essays by Olsen, seven critical essays, and a bibliography.

The contributors are: Joanne Trautmann Banks, Constance Coiner, Rachel Blau Duplessis, Mara Faulkner, Elaine Orr, Linda Ray Pratt, and Deborah Silverton Rosenfelt.

A widely held vision of nineteenth-century American women is of lives lived in naive, domestic peace—the girls of Little Women making do until father comes home from the war. Nothing could be less true of Harriet Prescott Spofford's stories. In fact, her editor at the Atlantic Monthly at first refused to believe that an unworldly woman from New England had written them. Her style, though ornate by our 20th century standards, adds to its atmosphere, like heavy, Baroque furniture in a large and creepy house.

The title story presents a self-centered and captivating woman who ruthlessly steals her orphan cousin's lover. In "Circumstance," a pioneer woman returning home through the woods at night is caught by a panther; her husband, who has come to save her, can only watch from the ground as she sings for her life, pinned in a tree. A train engineer hallucinates again and again that he is running over his wife. And Mrs. Craven, who's a bit "weak" in the head, mindlessly repeats "Three men went down cellar and only two came up." These stories combine elements of the best ghost stories—timing, detail, and character —with just enough chill to make you think twice about turning out your lights at night. 

 

 The loft of Grandpa’s barn in Salt Lake City was “off limits,” the trap door padlocked. For boys like Zack Lund, Grandpa might as well have hung out a large “welcome” sign inviting them to break in and see what was hidden there. In Parowan, young Nevada Driggs decided to discover for himself whether Captain Fremont had really slept in his grandma’s bed. Fae Decker Dix tells of how her father refused to accept the church’s newly censored version of a nineteenth-century hymn. To her embarrassment, he sang the original hellfire lyrics to O Ye Mountains High as loudly as he could above the rest of the congregation. All told, this new anthology features sixteen priceless stories: quirky and fun, informative and serious, but all engaging—nostalgic for when Utah was little more than a wide spot in the road, or as Robert Mikkelsen remembers, when both sides of the tracks were the “wrong side.”

This book reprints for the first time since the 1850s three short works by George Thompson (1823–c. 1873), one of antebellum America's most successful and prolific authors of sensational fiction. Beginning in the 1840s, he wrote stories for sporting papers like Life in Boston and New York, edited the humorous New York weekly The Broadway Belle, and contributed regularly to the sexually explicit Venus' Miscellany. He also published dozens of novels, most of which were set in Northeastern cities. His writing blends entertainment and social protest, combining commentary on such issues as urbanization, poverty, race, and class with some of the era's most shocking depictions of sex and violence.

The three works in this volume offer a rich representative sample of Thompson's writing. The two novels—Venus in Boston and City Crimes—depict the American city as a place of dark mystery, bawdy humor, and near-universal corruption peopled with con artists and criminals of all kinds. In each novel, a complex narrative structure interweaves multiple stories of exploited labor, abuse of power, seduction, intrigue, and crime. Thompson's autobiography, My Life, presents the author's life in terms nearly as lively as his fiction.

Thompson's zestful, unconventional writings fly in the face of the stereotypical view of Victorian America as straitlaced and sentimental. Ideal for use as a classroom text, this new edition includes a scholarly introduction and an extensive bibliography.

Set in the frontier of Michigan int he 1830s, A New Home is the first realistic portrayal of western village life in the United States. Based on Caroline Kirkland's own experiences - and written from a woman's perspective - it narrates with a keen eye and wit the absorbing story of the establishment of the village of Montacute, Michigan.

A New Home is a vivid contribution to a new kind of narrative developed during the antebellum period, ethnographic fiction. Kirkland highlights the importance and the drama of local practices and everyday life in Montacute. She traces the way two groups of settlers slowly adjust to each other - the old hands and the newcomers from the East;. Dramatizing differences of class and culture, she also shows how the groups finally form a genuine community and a new, diverse culture. Kirkland also gives ethnographic fiction an original twist: she satirizes the provincialism and the rigidity of both groups of settlers.

After writing A New Home, Kirkland became a professional literary woman, working as an editor as well as a writer. In her introduction, Sandra Zagarell explores the implications of Kirkland's writing and professional career for our understanding of women, writing, and the world of literature in antebellum America.

Hisaye Yamamoto's often reprinted tale of a naive American daughter and her Japanese mother captures the essence the cultural and generational conflicts so common among immigrants and their American-born children. On the surface, "Seventeen Syllables" is the story of Rosie and her preoccupation with adolescent life. Between the lines, however, lurks the tragedy of her mother, who is trapped in a marriage of desperation. Tome's deep absorption in writing haiku causes a rift with her husband, which escalates to a tragic event that changes Rosie's life forever.

Yamamoto's disarming style matches the verbal economy of haiku, in which all meaning is contained within seventeen syllables. Her deft characterizations and her delineations of sexuality create a haunting story of a young girl's transformation from innocence to adulthood.

This casebook includes an introduction and an essay by the editor, an interview with the author, a chronology, authoritative texts of "Seventeen Syllables" (1949) and "Yoneko's Earthquake" (1951), critical essays, and a bibliography. The contributors are Charles L. Crow, Donald C. Goellnicht, Elaine H. Kim, Dorothy Ritsuko McDonald, Zenobia Baxter Mistri, Katharine Newman, Robert M. Payne, Robert T. Rolf, and Stan Yogi.

The Lamplighter was the first novel by twenty-seven-year-old Maria Susanna Cummins. It propelled her into a prominence that continued until her early death at the age of thirty-nine. A novel of female development, The Lamplighter is a woman's version of the quest story. Its heroine, Gerty, comes on the scene as a child abandoned in the slums of Boston. Rescued by the kindly lamplighter Trueman Flint, she learns to meet life with courage and honesty. The novel touched the hearts, validated the ideals, and assuaged the anxieties of a huge readership, and it remained continuously in print until the 1920s.

On a freezing winter’s night, a few hours before dawn on May 12, 1969, South African security police stormed the Soweto home of Winnie Madikizela-Mandela, activist and wife of the imprisoned Nelson Mandela, and arrested her in the presence of her two young daughters, then aged nine and ten.

Rounded up in a group of other antiapartheid activists under Section 6 of the Terrorism Act, designed for the security police to hold and interrogate people for as long as they wanted, she was taken away. She had no idea where they were taking her or what would happen to her children. For Winnie Mandela, this was the start of 491 days of detention and two trials.

Forty-one years after Winnie Mandela’s release on September 14, 1970, Greta Soggot, the widow of one of the defense attorneys from the 1969–70 trials, handed her a stack of papers that included a journal and notes she had written while in detention, most of the time in solitary confinement. Their reappearance brought back to Winnie vivid and horrifying memories and uncovered for the rest of us a unique and personal slice of South Africa’s history.

491 Days: Prisoner Number 1323/69 shares with the world Winnie Mandela’s moving and compelling journal along with some of the letters written between several affected parties at the time, including Winnie and Nelson Mandela, himself then a prisoner on Robben Island for nearly seven years.

Readers will gain insight into the brutality she experienced and her depths of despair, as well as her resilience and defiance under extreme pressure. This young wife and mother emerged after 491 days in detention unbowed and determined to continue the struggle for freedom.

In 1999, Michigan State University Press launched Fourth Genre: Explorations in Creative Nonfiction, a journal that began with and has maintained a devotion to publishing notable, innovative work in nonfiction. The title reflects an intent to give nonfiction its due as a literary genre—to give writers of the 'fourth genre' a showcase for their work and to give readers a place to find the liveliest and most creative works in the form.
Given the genre's flexibility and expansiveness, journal editors Michael Steinberg and David Cooper have welcomed a variety of works— ranging from personal essays and memoirs to literary journalism and personal criticism. The essays are lyrical, self-interrogative, meditative, and reflective, as well as expository, analytical, exploratory, or whimsical. In short, Fourth Genre encourages a writer- to-reader conversation, one that explores the markers and boundaries of literary/creative nonfiction.
Since its inaugural issue, contributors have earned many literary awards: 5 Notable Essays of the Year (Best American Essay); the Lowell Thomas Travel Journalism Award; Notable Essay of the Year (Best American Travel Writing); and 4 Pushcart Prizes. Five Years of 4th Genre is a celebration of this significant literary journal. Culling a selection of some of the most creative of Fourth Genre’s first five years—the Pushcart winners are here, as well as those essays that are unique, those that tell us something new, those that startle us, and those that touch our hearts —this volume presents a representative sampling.