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There are countless theoretical arguments that attempt to define “major” and “minor” literatures, but this lively and deeply felt work is one of the first to speak from the authority of the experience of being minor—of being the “minor writer” who, according to the definition of “author” given by Michel Foucault, does not possess a “name.” This book, then, is an impassioned critical and ethical defense of the act of writing for purposes other than critical acclaim.

In the tradition of Horace's

Ars Poetica,

Gilliland uses comments by a broad range of writers, as well as her own experience as a minor woman writer, to consider the basic Horatian questions of purpose, choice of subject matter and genre, diction, characterization, setting, and style. She points out that in the absence of major recognition, the minor writer is continually confronted by the existential question, why do I (still) write? This book offers not only a challenge to existing critical theories but an argument in favor of being—for

still

being, for continuing

anyway

with one's life and art

Named one of CHOICE Magazine's Outstanding Academic Title

Does biology help explain why women, on average, earn less money than men? Is there any evolutionary basis for the scarcity of female CEOs in Fortune 500 companies? According to Kingsley Browne, the answer may be yes.

Biology at Work brings an evolutionary perspective to bear on issues of women in the workplace: the "glass ceiling," the "gender gap" in pay, sexual harassment, and occupational segregation. While acknowledging the role of discrimination and sexist socialization, Browne suggests that until we factor real biological differences between men and women into the equation, the explanation remains incomplete.

Browne looks at behavioral differences between men and women as products of different evolutionary pressures facing them throughout human history. Womens biological investment in their offspring has led them to be on average more nurturing and risk averse, and to value relationships over competition. Men have been biologically rewarded, over human history, for displays of strength and skill, risk taking, and status acquisition. These behavioral differences have numerous workplace consequences. Not surprisingly, sex differences in the drive for status lead to sex differences in the achievement of status.

Browne argues that decision makers should recognize that policies based on the assumption of a single androgynous human nature are unlikely to be successful. Simply removing barriers to inequality will not achieve equality, as women and men typically value different things in the workplace and will make different workplace choices based on their different preferences.

Rather than simply putting forward the "nature" side of the debate, Browne suggests that dichotomies such as nature/nurture have impeded our understanding of the origins of human behavior. Through evolutionary biology we can understand not only how natural selection has created predispositions toward certain types of behavior but also how the social environment interacts with these predispositions to produce observed behavioral patterns.

What is the role of the senses in how we understand the world? Cognitive sociology has long addressed the way we perceive or imagine boundaries in our ordinary lives, but Asia Friedman pushes this question further still. How, she asks, did we come to blind ourselves to sex sameness?

 

In her now-classic The Pink Guitar, Rachel Blau DuPlessis examined a number of modern and contemporary poets and artists to explore the possibility of finding a language that would question deeply held assumptions about gender. In the 12 essays and introduction that constitute Blue Studios, DuPlessis continues that task, examining the work of experimental poets and the innovative forms they have fashioned to challenge commonplace assumptions about gender and cultural authority.

 

The essays in “Attitudes and Practices” deal with two questions: what a feminist reading of cultural texts involves, and the nature of the essay itself as a mode of knowing: how poetry can be discursive and how the essay can be poetic. The goal of “Marble Paper,” with its studies of William Wordsworth, Ezra Pound, and Charles Olson is to suggest terms for a “feminist history of poetry.”

 

“Perspectives must be fashioned that displace and estrange the world,” Theodore Adorno wrote, and in the section "Urrealism" DuPlessis examines the work of poets from several schools (the Objectivists, the New York School, the surrealists) whose work embodies that displacement, among them George Oppen, Lorine Niedecker, H.D., and Barbara Guest. These writers’ radical deployment of line, sound, and structure, DuPlessis argues, demonstrate poetry’s power not as a purely literary, artistic, or aesthetic force but as a rhetorical form intricately tied to issues of power and ethics. And in "Migrated Into,” the author probes the ways these issues have informed her, as a poet and a critic; how the political has “migrated into” and suffused her own work; and how the practice of poetry can be an arousal to a deeper understanding of what we stand for.