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The literary journals of a key figure in both the Beat and San Francisco Renaissance movements of the New American Poetry, and an ordained Zen Buddhist priest

Philip Whalen (1923–2002) authored twenty collections of verse, more than twenty broadsides, two novels, a huge assemblage of autobiographical literary journals, nine or ten experimental prose works, and dozens of critical essays, lectures, commentaries, introductions, prefaces, and interviews. But he came to regard his literary journals as his most important prose legacy.

Whalen’s literary work represents a significant turn in American letters, as he and his closest colleagues immersed themselves in East Asian literature and religion, reinvigorating strikingly new linguistic and aesthetic paths for North American writers and artists. However, until now Whalen’s forty-plus years of journals—sixty small eight-by-six-inch notebooks—have been largely inaccessible, archived in the rare book and manuscript library at the University of California, Berkeley, undigitized and unavailable online. Thus, the publication of a critical scholarly edition of Whalen’s journals and notebooks constitutes an important literary event and an invaluable resource for scholars, teachers, poets, and lay readers who follow twentieth-century North American poetry.
 

Drawing on numerous interviews with Bradbury and privileged access to personal papers and private collections, Jonathan R. Eller examines the often-overlooked second half of Bradbury's working life. As Bradbury's dreams took him into a wider range of nonfiction writing and public lectures, the diminishing time that remained for creative pursuits went toward Hollywood productions like the award-winning series Ray Bradbury Theater. Bradbury developed the Spaceship Earth narration at Disney's EPCOT Center; appeared everywhere from public television to NASA events to comic conventions; published poetry; and mined past triumphs for stage productions that enjoyed mixed success. Distracted from storytelling as he became more famous, Bradbury nonetheless published innovative experiments in autobiography masked as detective novels, the well-received fantasy The Halloween Tree and the masterful time travel story "The Toynbee Convector." Yet his embrace of celebrity was often at odds with his passion for writing, and the resulting tension continuously pulled at his sense of self.

The revelatory conclusion to the acclaimed three-part biography, Bradbury Beyond Apollo tells the story of an inexhaustible creative force seeking new frontiers.

Takes the singular eco-catastrophic “Age of Man” and redefines this epoch 

We live in a new world: the Anthropocene. The Age of Man is defined in many ways, and most dramatically through climate change, mass extinction, and human marks in the geological record. Ideas of the Anthropocene spill out from the geophysical sciences into the humanities, social sciences, the arts, and mainstream debates—but it’s hard to know what the new coinage really means. Break Up the Anthropocene argues that this age should subvert imperial masculinity and industrial conquest by opening up the plural possibilities of Anthropocene debates of resilience, adaptation, and the struggle for environmental justice. 

Forerunners: Ideas First
Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead

A CHOICE Outstanding Academic Title, 2019

Comics studies has reached a crossroads. Graphic novels have never received more attention and legitimation from scholars, but new canons and new critical discourses have created tensions within a field built on the populist rhetoric of cultural studies. As a result, comics studies has begun to cleave into distinct camps—based primarily in cultural or literary studies—that attempt to dictate the boundaries of the discipline or else resist disciplinarity itself. The consequence is a growing disconnect in the ways that comics scholars talk to each other—or, more frequently, do not talk to each other or even acknowledge each other’s work.

Breaking the Frames: Populism and Prestige in Comics Studies surveys the current state of comics scholarship, interrogating its dominant schools, questioning their mutual estrangement, and challenging their propensity to champion the comics they study. Marc Singer advocates for greater disciplinary diversity and methodological rigor in comics studies, making the case for a field that can embrace more critical and oppositional perspectives. Working through extended readings of some of the most acclaimed comics creators—including Marjane Satrapi, Alan Moore, Kyle Baker, and Chris Ware—Singer demonstrates how comics studies can break out of the celebratory frameworks and restrictive canons that currently define the field to produce new scholarship that expands our understanding of comics and their critics.

Paul Kincaid explores the many contradictions that underlay the distinctive qualities of Aldiss’s writing. Wartime experiences in Asia and the alienation that arose upon his return to the cold austerity of postwar Britain inspired themes and imagery that Aldiss drew upon throughout his career. He wrote of prolific nature overwhelming humanity, believed war was madness even though it provided him with the happiest period of his life, and found parallels in the static lives of Indian peasants and hidebound English society. As Kincaid shows, contradictions created tensions that fueled the metaphorical underpinnings of Aldiss's work and shaped not only his long career but the evolution of postwar British science fiction.

Two weeks after the United States officially entered World War I, Irish American “Bricklayer Bill” Kennedy won the Boston Marathon wearing his stars-and-stripes bandana, rallying the crowd of patriotic spectators. Kennedy became an American hero and, with outrageous stories of his riding the rails and sleeping on pool tables, a racing legend whose name has since appeared in almost every book written on the Boston Marathon.

When journalist Patrick Kennedy and historian Lawrence Kennedy unearthed their uncle's unpublished memoir, they discovered a colorful character who lived a tumultuous life, beyond his multiple marathons. The bricklayer survived typhoid fever, a five-story fall, auto and train accidents, World War action, Depression-era bankruptcy, decades of back-breaking work, and his own tendency to tipple. In many ways, Bill typified the colorful, newly emerging culture and working-class ethic of competitive long-distance running before it became a professionalized sport. Bricklayer Bill takes us back to another time, when bricklayers, plumbers, and printers could take the stage as star athletes.

The inspirational writings of cultural theorist and social justice activist Gloria Anzaldúa have empowered generations of women and men throughout the world. Charting the multiplicity of Anzaldúa's impact within and beyond academic disciplines, community trenches, and international borders, Bridging presents more than thirty reflections on her work and her life, examining vibrant facets in surprising new ways and inviting readers to engage with these intimate, heartfelt contributions.

Bridging is divided into five sections: The New Mestizas: "transitions and transformations"; Exposing the Wounds: "You gave me permission to fly in the dark"; Border Crossings: Inner Struggles, Outer Change; Bridging Theories: Intellectual Activism with/in Borders; and "Todas somos nos/otras": Toward a "politics of openness." Contributors, who include Norma Elia Cantú, Elisa Facio, Shelley Fisher Fishkin, Aída Hurtado, Andrea Lunsford, Denise Segura, Gloria Steinem, and Mohammad Tamdgidi, represent a broad range of generations, professions, academic disciplines, and national backgrounds. Critically engaging with Anzaldúa's theories and building on her work, they use virtual diaries, transformational theory, poetry, empirical research, autobiographical narrative, and other genres to creatively explore and boldly enact future directions for Anzaldúan studies.

A book whose form and content reflect Anzaldúa's diverse audience, Bridging perpetuates Anzaldúa's spirit through groundbreaking praxis and visionary insights into culture, gender, sexuality, religion, aesthetics, and politics. This is a collection whose span is as broad and dazzling as Anzaldúa herself.

Enlightenment-era writers had not yet come to take technology for granted, but nonetheless were—as we are today—both attracted to and repelled by its potential. This volume registers the deep history of such ambivalence, examining technology’s influence on Enlightenment British literature, as well as the impact of literature on conceptions of, attitudes toward, and implementations of technology. Offering a counterbalance to the abundance of studies on literature and science in seventeenth- and eighteenth-century Britain, this volume’s focus encompasses approaches to literary history that help us understand technologies like the steam engine and the telegraph along with representations of technology in literature such as the “political machine.” Contributors ultimately show how literature across genres provided important sites for Enlightenment readers to recognize themselves as “chimeras”—“hybrids of machine and organism”—and to explore the modern self as “a creature of social reality as well as a creature of fiction.”

In eighteenth-century Britain, criminals were routinely whipped, branded, hanged, or transported to America. Only in the last quarter of the century—with the War of American Independence and legal and sociopolitical challenges to capital punishment—did the criminal justice system change, resulting in the reformed prison, or penitentiary, meant to educate, rehabilitate, and spiritualize even hardened felons. This volume is the first to explore the relationship between historical penal reform and Romantic-era literary texts by luminaries such as Godwin, Keats, Byron, and Austen. The works examined here treat incarceration as ambiguous: prison walls oppress and reinforce the arbitrary power of legal structures but can also heighten meditation, intensify the imagination, and awaken the conscience. Jonas Cope skillfully traces the important ideological work these texts attempt: to reconcile a culture devoted to freedom with the birth of the modern prison system that presents punishment as a form of rehabilitation.

Broken Masculinities portrays the post-dictatorial novel of the 1970s in all its complexity, and introduces the reader to a 1968-era Turkey, a period which challenges Turkey’s now reinforced Islamic image by portraying the quest for sexual liberation and critical student uprisings. Günay-Erkol argues that the literature written after the 1971 coup in Turkey constitutes a coherent sub-genre and needs to be considered together. These novels share a common ground which is rich in images of men and women craving for power: general isolation, sexual-emotional frustration, and a traumatic sense of solitude and alienation.

This book is an original and significant contribution to two major fields of study: (1) gender and sexuality with respect to formation of subjectivity through literature, and (2) modern literature and history through the study of Turkish literature. The chief concern in this book is not only literature’s response to a particular period in Turkey, but also the role of literature in bearing witness to trauma and drastic political acts of violence—and coming to terms with them.B

Winner, Modern Language Association Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies, 2006

Popular fiction, with its capacity for diversion, can mask important cultural observations within a framework that is often overlooked in the academic world. Works thought to be merely "escapist" can often be more seriously mined for revelations regarding the worlds they portray, especially those of the disenfranchised. As detective fiction has slowly earned critical respect, more authors from minority groups have chosen it as their medium. Chicana/o authors, previously reluctant to write in an underestimated genre that might further marginalize them, have only entered the world of detective fiction in the past two decades.

In this book, the first comprehensive study of Chicano/a detective fiction, Ralph E. Rodriguez examines the recent contributions to the genre by writers such as Rudolfo Anaya, Lucha Corpi, Rolando Hinojosa, Michael Nava, and Manuel Ramos. Their works reveal the struggles of Chicanas/os with feminism, homosexuality, familia, masculinity, mysticism, the nationalist subject, and U.S.-Mexico border relations. He maintains that their novels register crucial new discourses of identity, politics, and cultural citizenship that cannot be understood apart from the historical instability following the demise of the nationalist politics of the Chicana/o movement of the 1960s and 1970s. In contrast to that time, when Chicanas/os sought a unified Chicano identity in order to effect social change, the 1980s, 1990s, and 2000s have seen a disengagement from these nationalist politics and a new trend toward a heterogeneous sense of self. The detective novel and its traditional focus on questions of knowledge and identity turned out to be the perfect medium in which to examine this new self.

Common conceptions permeating U.S. ethnic queer theory tend to confuse aesthetics with real-world acts and politics. Often Chicano/a representations of gay and lesbian experiences in literature and film are analyzed simply as propaganda. The cognitive, emotional, and narrational ingredients (that is, the subject matter and the formal traits) of those representations are frequently reduced to a priori agendas that emphasize a politics of difference.

In this book, Frederick Luis Aldama follows an entirely different approach. He investigates the ways in which race and gay/lesbian sexuality intersect and operate in Chicano/a literature and film while taking into full account their imaginative nature and therefore the specific kind of work invested in them. Also, Aldama frames his analyses within today's larger (globalized) context of postcolonial literary and filmic canons that seek to normalize heterosexual identity and experience. Throughout the book, Aldama applies his innovative approach to throw new light on the work of authors Arturo Islas, Richard Rodriguez, John Rechy, Ana Castillo, and Sheila Ortiz Taylor, as well as that of film director Edward James Olmos. In doing so, Aldama aims to integrate and deepen Chicano literary and filmic studies within a comparative perspective. Aldama's unusual juxtapositions of narrative materials and cultural personae, and his premise that literature and film produce fictional examples of a social and historical reality concerned with ethnic and sexual issues largely unresolved, make this book relevant to a wide range of readers.

Building Domestic Liberty offers a critical and admiring analysis of feminist philosopher Charlotte Perkins Gilman (1860–1935). Polly Allen examines Gilman's approach to architecture, landscape, and neighborhood design and discusses Gilman's case against prevailing household design and looks at her philosophy of world improvement.

The stories colonizers tell about Diné people represent them as adaptors, uncontrollable, and unruly. These wounding narratives justify the displacement and dispossession of Diné people, masking the ongoing violence of settler colonialism. 

Bundle: Life, Stories, and Hope Across Diné Worlds challenges and dismantles these harmful depictions. By shifting the paradigm away from anthropological lenses, this book offers an exploration of bundling: the active, physical, spiritual, and ideological practice through which Diné people assemble stories, tools, and knowledge. From world shifts detailed in oral narratives to the present deadly structures of colonization, Diné people have long relied on their bundled knowledge systems to sustain their presence across worlds and time. 

Bundle is a must-read for anyone seeking to understand Diné resistance, hope, and worlding. Rather than studying Diné life from the outside, it prioritizes Diné ways of knowing and being to develop bundling as a theory of continuance. For readers invested in decolonization, place-making, and storytelling, Bundle provides an indispensable roadmap for how Diné people continue even in the face of domination.

Beginning in the 1830s and continuing for more than a century, blackface minstrelsy—stage performances that claimed to represent the culture of black Americans—remained arguably the most popular entertainment in North America. A renewed scholarly interest in this contentious form of entertainment has produced studies treating a range of issues: its contradictory depictions of class, race, and gender; its role in the development of racial stereotyping; and its legacy in humor, dance, and music, and in live performance, film, and television. The style and substance of minstrelsy persist in popular music, tap and hip-hop dance, the language of the standup comic, and everyday rituals of contemporary culture. The blackface makeup all but disappeared for a time, though its influence never diminished—and recently, even the makeup has been making a comeback. 

This collection of original essays brings together a group of prominent scholars of blackface performance to reflect on this complex and troublesome tradition. Essays consider the early relationship of the blackface performer with American politics and the antislavery movement; the relationship of minstrels to the commonplace compromises of the touring “show” business and to the mechanization of the industrial revolution; the exploration and exploitation of blackface in the mass media, by D. W. Griffith and Spike Lee, in early sound animation, and in reality television; and the recent reappropriation of the form at home and abroad.

In addition to the editor, contributors include Dale Cockrell, Catherine Cole, Louis Chude-Sokei, W. T. Lhamon, Alice Maurice, Nicholas Sammond, and Linda Williams.