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3576 books match the query 'American' and 225 start with c

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Clothed in Meaning

Literature, Labor, and Cotton in Nineteenth-Century America

Sylvia Jenkins Cook

University of Michigan Press, 2020

The rise of both the empire of cotton and the empire of fashion in the nineteenth century brought new opportunities for sartorial self-expression to millions of ordinary people who could now afford to dress in style and assert their physical presence. Millions of laborers toiling in cotton fields and producing cotton cloth in industrial mills faced a brutal reality of exploitation, servitude, and regimentation—yet they also had a profound desire to express their selfhood. Another transformative force of this era—the rise of literary publication and the radical extension of literacy to the working class—opened an avenue for them to do so.

Cloth and clothing provide potent tropes not only for physical but also for intellectual forms of self-expression. Drawing on sources ranging from fugitive slave narratives, newspapers, manifestos, and mill workers’ magazines to fiction, poetry, and autobiographies, Clothed in Meaning examines the significant part played by mill workers and formerly enslaved people, many of whom still worked picking cotton, in this revolution of literary self-expression. They created a new literature from their palpable daily intimacy with cotton, cloth, and clothing, as well as from their encounters with grimly innovative modes of work. In the materials of their labor they discovered vivid tropes for formulating their ideas and an exotic and expert language for articulating them. The harsh conditions of their work helped foster in their writing a trenchant irony toward the demeaning reduction of human beings to “hands” whose minds were unworthy of interest. Ultimately, Clothed in Meaning provides an essential examination of the intimate connections between oppression and luxury as recorded in the many different voices of nineteenth-century labor.

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Cloud of Ink

L. S. Klatt

University of Iowa Press, 2011

On the surface, L. S. Klatt’s poems are airy and humorous—with their tales of chickens wandering the highways of Ohio and Winnebago trailers rolling up to heaven and whales bumping like watermelons in a bathtub—but just under the surface they turn disconcertingly serious as they celebrate the fluent word.

Under the heat of inquiry, under the pressure of metaphor, the poems in Cloud of Ink liquefy, bend, and serpentine as they seek sometimes a new and sometimes an ancient destination. They present the reader with existential questions as they side-wind into the barbaric; the pear is figured as a “wild boar” and the octopus is “gutted,” yet primal energies cut a pathway to the mystical and the transcendent. The poetic cosmos Klatt creates is loquacious and beautiful, strange and affirmative, but never transparent. Amid “a maelstrom of inklings,” the writer—and the audience—must puzzle out the meaning of the syllabary.

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Coconut Milk

Dan Taulapapa McMullin

University of Arizona Press, 2013

Coconut Milk is a fresh, new poetry collection that is a sensual homage to place, people, love, and lust. The first collection by Samoan writer and painter Dan Taulapapa McMullin, the poems evoke both intimate conversations and provocative monologues that allow him to explore the complexities of being a queer Samoan in the United States.

McMullin seamlessly flows between exposing the ironies of Tiki kitsch–inspired cultural appropriation and intimate snapshots of Samoan people and place. In doing so, he disrupts popular notions of a beautiful Polynesia available for the taking, and carves out new avenues of meaning for Pacific Islanders of Oceania. Throughout the collection, McMullin illustrates various manifestations of geopolitical, cultural, linguistic, and sexual colonialism. His work illuminates the ongoing resistance to colonialism and the remarkable resilience of Pacific Islanders and queer-identified peoples.

McMullin’s Fa’a Fafine identity—the ability to walk between and embody both the masculine and feminine—creates a grounded and dynamic voice throughout the collection. It also fosters a creative dialogue between Fa’a Fafine people and trans-Indigenous movements. Through a uniquely Samoan practice of storytelling, McMullin contributes to the growing and vibrant body of queer Indigenous literature.

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Coda

Steven Seidenberg

Omnidawn, 2025

Experimental lyric and narrative poetry that brings together philosophy, theology, and humor.

The nameless narrator of Coda attempts to trace the origins of linguistic and perceptual differentiation by experimenting with contemporary lyric and narrative forms. Moving between extravagant prosody and obsessive disquisition, Seidenberg’s poetry works to reconfigure conceptual imperatives found throughout philosophy and theology. With a focus on the structure of memory and the decadence of the body, Seidenberg describes the epistemological regress of desire, intention, knowledge, and discernment.

Seidenberg brings together the language and concerns of figures including Spinoza, Kant, Hegel, and Wittgenstein, alongside elements of raucous humor drawn from the tradition of Rabelais, Beckett, Lispector, and Sterne.

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Coffin Honey

Todd Davis

Michigan State University Press, 2022

In Coffin Honey, his seventh book of poems, celebrated poet Todd Davis explores the many forms of violence we do to each other and to the other living beings with whom we share the planet. Here racism, climate collapse, and pandemic, as well as the very real threat of extinction—both personal and across ecosystems—are dramatized in intimate portraits of Rust-Belt Appalachia: a young boy who has been sexually assaulted struggles with dreams of revenge and the possible solace that nature might provide; a girl whose boyfriend has enlisted in the military faces pregnancy alone; and a bear named Ursus navigates the fecundity of the forest after his own mother’s death, literally crashing into the encroaching human world. Each poem in Coffin Honey seeks to illuminate beauty and suffering, the harrowing precipice we find ourselves walking nearer to in the twenty-first century. As with his past prize-winning volumes, Davis, whose work Orion Magazine likens to that of Wendell Berry and Mary Oliver, names the world with love and care, demonstrating what one reviewer describes as his knowledge of “Latin names, common names, habitats, and habits . . . steeped in the exactness of the earth and the science that unfolds in wildness.”

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Cognitive Fictions

Joseph Tabbi

University of Minnesota Press, 2002

The first comprehensive look at the effect of new technologies on contemporary American fiction

Bringing together cognitive science and literary analysis to map a new "media ecology," Cognitive Fictions limns an evolutionary process in which literature must find its place in an artificial environment partly produced and thoroughly mediated by technological means. Joseph Tabbi provides a penetrating account of a developing consciousness emerging from the struggle between print and electronic systems of communication.

Central to Tabbi’s work is the relation between the arrangement of communicating "modules" that cognitive science uses to describe the human mind and the arrangement of visual, verbal, and aural media in our technological culture. He looks at particular literary works by Thomas Pynchon, Richard Powers, David Markson, Lynne Tillman, Paul Auster, and others as both inscriptions of thought consistent with distributed cognitive models, and as self-creations out of the media environment. The first close reading of contemporary American writing in the light of systems theory and cognitive science, Cognitive Fictions makes needed sense of how the moment-by-moment operations of human thought find narrative form in a world increasingly defined by competing and often incompatible representations.

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Cold Latitudes

Rosemary McGuire

University of Alaska Press, 2021

Cold Latitudes is a memoir in essay form based on years of working in the Alaska Arctic and Antarctica. The author was privileged to see first-hand worlds that few will ever know, while participating in cutting-edge research at high latitudes. From solo voyages down the Yukon and part of the Northwest Passage, to working with humpback whales in the Southern Ocean, to chilling encounters with polar bears, Rosemary McGuire’s stories are told in spare, graceful prose. It is her friendships with local people, and with scientific researchers, that form the core of her experiences. Through these local contacts and traditional knowledge, she learns humility and a sense of wonder at the natural world, while at the same time coming to appreciate the gritty determination of the field researchers whose work she shares. Throughout, she examines human relationships with wilderness, and our growing effects on a fragile planet. And so, as she writes, “In the end, this is a love story for a threatened place.”

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Cold Spell

Deb Vanasse

University of Alaska Press, 2014

With precise and evocative prose, Cold Spell tells the story of a mother who risks everything to start over and a daughter whose longings threaten to undo them both.
From the moment Ruth Sanders rips a glossy photo of a glacier from a magazine, she believes her fate is intertwined with the ice. Her unsettling fascination bewilders her daughter, sixteen-year-old Sylvie, still shaken by her father’s leaving. When Ruth uproots Sylvie and her sister from their small Midwestern town to follow her growing obsession—and a man—to Alaska, they soon find themselves entangled with an unfamiliar wilderness, a divided community, and one another. As passions cross and braid, the bond between mother and daughter threatens to erode from the pressures of icy compulsion and exposed secrets.
Inspired by her own experience arriving by bush plane to live on the Alaska tundra, Deb Vanasse vividly captures the reality of life in Alaska and the emotional impact of loving a remote and unforgiving land.

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Cold Warriors

Manliness on Trial in the Rhetoric of the West

Suzanne Clark

Southern Illinois University Press, 2000

Cold Warriors: Manliness on Trial in the Rhetoric of the West returns to familiar cultural forces—the West, anticommunism, and manliness—to show how they combined to suppress dissent and dominate the unruliness of literature in the name of a national identity after World War II. Few realize how much the domination of a “white male” American literary canon was a product not of long history, but of the Cold War. Suzanne Clark describes here how the Cold War excluded women writers on several levels, together with others—African American, Native American, poor, men as well as women—who were ignored in the struggle over white male identity.

Clark first shows how defining national/individual/American identity in the Cold War involved a brand new configuration of cultural history. At the same time, it called upon the nostalgia for the old discourses of the West (the national manliness asserted by Theodore Roosevelt) to claim that there was and always had been only one real American identity.

By subverting the claims of a national identity, Clark finds, many male writers risked falling outside the boundaries not only of public rhetoric but also of the literary world: men as different from one another as the determinedly masculine Ernest Hemingway and the antiheroic storyteller of the everyday, Bernard Malamud. Equally vocal and contentious, Cold War women writers were unwilling to be silenced, as Clark demonstrates in her discussion of the work of Mari Sandoz and Ursula Le Guin.

The book concludes with a discussion of how the silencing of gender, race, and class in Cold War writing maintained its discipline until the eruptions of the sixties. By questioning the identity politics of manliness in the Cold War context of persecution and trial, Clark finds that the involvement of men in identity politics set the stage for our subsequent cultural history.

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Collages

Anaïs Nin

Ohio University Press, 1964

“Collages began with an image which had haunted me. A friend, Renate, had told me about her trip to Vienna where she was born, and of her childhood relationships to statues. She told me stories of her childhood, her relationship to her father, her first love.

I begin the novel with:

Vienna was the city of statues. They were as numerous as the people who walked the streets. They stood on the top of the highest towers, law down on stone tombs, sat on horseback, kneeled, prayed, fought animals and wars, danced, drank wine and read books made of stone. They adorned cornices like the figureheads of old ships. They stood in the heart of fountains glistening with water as if they had just been born. They sat under the trees in the parks summer and winter. Some wore costumes of other periods, and some no clothes at all. Men, women, children, kings, dwarfs, gargoyles, unicorns, lions, clowns, heroes, wise men, prophets, angels, saints, and soldiers preserved for Vienna a vision of eternity.

As a child Renate could see them from her bedroom window. At night, when the white muslin curtains fluttered out like ballooning wedding dresses, she heard them whispering like figures which had been petrified by a spell during the day and came alive only at night. Their silence by day taught her to read their frozen lips as one reads the messages of deaf mutes. On rainy days their granite eye sockets shed tears mixed with soot.

Renate would never allow anyone to tell her the history of the statues, or to identify them. This would have situated them in the past. She was convinced that people did not die, they became statues. They were people under a spell and if she were watchful enough they would tell her who they were and how they lived now.

If I had been asked then what was going to follow the description of the statues, I could not have answered. I was fascinated by the image of these many statues and of the child Renate inventing stories about them and dialoguing with them. It may have been that this image expressed the feeling I often had that people appear to us as a one-dimensional statue until we go deeper into their life story. People are like mute statues under a spell of appearance, and static, until we let them whisper their secrets. And this only happens at night. That is, when we are able to dream, imagine, and explore the unconscious. We see the external self. Because Collages took its images from painting and sculpture, I liked the idea that sculpture and painting could become animated, speaking, confessing, and then in daylight returning to their previous forms as statues or paintings. They spoke only to the artist. To me it meant dramatizing our relation to art, one feeding the other, the interrelation between human beings and the artist’s conception of them. In daylight (consciousness) we catch them all only in one attitude, one form. At night, we discover their lives.”

—Anaïs Nin, “The Novel of the Future,” (Athens: Ohio University Press, 1986), 128

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Collages

Anaïs Nin

Ohio University Press, 2019

A transplant from Vienna to Malibu who is driven by her urge to observe and depict those around her, Renate is, as one of her friends describes her, “the freest woman I know.” Living in Malibu, working at the Paradise Inn restaurant, she encounters a series of people whose stories make up a larger collage: Henri the chef; Count Laundromat; Varda the artist and his teenage daughter, Nobuko the actress; the French Consul in the Hollywood Hills; an aged lifeguard with a spiritual longing for the sea; and Bruce, the intimate with an unnerving secret. First published in 1964 and now reissued with a new introduction by Anita Jarczok, Collages showcases Anaïs Nin’s dreamlike and introspective style and psychological acuity. Seen by some as linked vignettes and by others as a novel, the book is a mood piece that resists categorization. Based on a close friend of Nin’s, Renate is the glue that holds the pieces, by turn fragmentary and full, together. One character absorbs a lesson from the Koran: “Nothing is ever finished.” With each of Renate’s successive encounters, we take that message to be true.

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Collards

A Southern Tradition from Seed to Table

Edward H. Davis and John T. Morgan

University of Alabama Press, 2015

The definitive survey of collards, an iconic southern food.

Food is essential to southern culture, and collard greens play a central role in the South’s culinary traditions. A feast to the famished, a reward to the strong, and a comfort to the weary, collards have long been held dear in the food-loving southern heart. In Collards: A Southern Tradition from Seed to Table, Edward H. Davis and John T. Morgan provide this emblematic and beloved vegetable the full-length survey its fascinating and complex history merits.

The book begins with collards’ obscure origins. Like a good detective story, the search for collards’ home country leads the authors both to Europe and West Africa, where they unravel a tale as surprising and complex as that of southern people themselves. Crossing back over the Atlantic, the authors traverse miles of American back roads, from Arkansas to Florida and from Virginia to Louisiana. They vividly recount visits to homes, gardens, grocers, farms, and restaurants where the many varieties of collards are honored, from the familiar green collards to the yellow cabbage collard and rare purple cultivars.

In uncovering the secrets of growing collards, the authors locate prize-winning patches of the plant, interview “seed savers,” and provide useful tips for kitchen gardeners. They also describe how collards made the leap from kitchen garden staple to highly valued commercial crop.

Collards captures the tastes, smells, and prize-winning recipes from the South’s premier collards festivals. They find collards at the homes of farmers, jazz musicians, governors, and steel workers. Kin to cabbage and broccoli but superior to both in nutritional value, collard greens transcend human divisions of black and white, rich and poor, sophisticated and rustic, and urban and rural.

Food trends may come and go, but collards are a tradition that southerners return to again and again. Richly illustrated in color, Collards demonstrates the abiding centrality of this green leafy vegetable to the foodways of the American South. In it, readers will rediscover an old friend.

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Collected Poems 1953-1983

Lucien Stryk

Ohio University Press, 1985

Lucien Stryk’s poetry is made of simple things — frost on a windowpane at morning, ducks moving across a pond, a neighbor’s fuss over his lawn — set into language that is at once direct and powerful.

Years of translating Zen poems and religious texts have helped give Stryk a special sense of the particular, a feel for those details which, because they are so much a part of our lives, seem to define us. Stryk’s poetry is neither an attempt to surpass these details nor an attempt to give them significance. It is an activity that exists among them, as ordinary — yet as important — as breath. Stryk’s poetic power rests in the sureness of plain speech and his insistence on a direct, sympathetic attention to the world we actually inhabit.

Collected Poems, a gathering of three decades of work, contains nearly all Stryk’s poems, including the best of his Zen translations and a book–length section of new poetry. This book is a revelation of the wonderful amid the familiar by a poet whose language and vision have found their maturity.

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Collected Poems of Hazel Hall, The

Hazel Hall

Oregon State University Press, 2020

On the 100th anniversary of her debut poetry collection, Curtains, first published in 1920, Hazel Hall’s reputation as a major Oregon poet endures. During her short career, she became one of the West’s outstanding literary figures, a poet whose fierce, crystalline verse was frequently compared with that of Emily Dickinson. Her three books, published to critical acclaim in the 1920s, are reissued here in paperback for the first time. Together, they reintroduce an immediate and intensely honest voice, one that speaks to us with an edgy modernity.

Confined to a wheelchair since childhood, Hall viewed life from the window of an upper room in her family’s house in Portland, Oregon. To better observe passersby on the sidewalk, she positioned a small mirror on her windowsill. Hall was an accomplished seamstress; her fine needlework helped to support the family and provided a vivid body of imagery for her precisely crafted, often gorgeously embellished poems.

Hall’s writings convey the dark undertones of the lives of working women in the early twentieth century, while bringing into focus her own private, reclusive life—her limited mobility, her isolation and loneliness, her gifts with needlework and words. In his updated introduction to this volume, John Witte examines Hall’s brief and brilliant career and highlights her remarkably modern sensibilities. In a new afterword, Anita Helle considers Hall’s work in an era when modes of literary historical recovery have been widened and expanded—and what that means in the afterlife of Hazel Hall.

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Collected Poems of Howard Nemerov

Howard Nemerov

University of Chicago Press, 1981

The former Poet Laureate of the United States, Nemerov gives us a lucid and precise twist on the commonplaces of everyday life.

The Collected Poems of Howard Nemerov won both the National Book Award and the Pulitzer Prize in 1978.

"Howard Nemerov is a witty, urbane, thoughtful poet, grounded in the classics, a master of the craft. It is refreshing to read his work. . . . "—Minneapolis Tribune

"The world causes in Nemerov a mingled revulsion and love, and a hopeless hope is the most attractive quality in his poems, which slowly turn obverse to reverse, seeing the permanence of change, the vices of virtue, the evanescence of solidities and the errors of truth."—Helen Vendler, New York Times Book Review

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Collected Poems, 1936-1976

Robert Francis

University of Massachusetts Press, 1976

Gathered here in their entirety are the seven previous volumes of Robert Francis poetry—Stand with Me Here, Valhalla and Other Poems, The Sound I Listened For, The Face against the Glass, The Orb Weaver, Come Out into the Sun, and Like Ghosts of Eagles—together with a group of recent poems, many not previously published but “saved” to end this volume on a note of newness.

Because the original seven volumes are kept in chronological order, the reader can follow the author's journey from his quiet early work to poetry of greater color, warmth, vitality, vivacity, and sportiveness; and can note just when and where Francis' style becomes more and more diversified, with word-count, fragmented surface, and the celebration of words themselves.

The book is graced with eight wood engravings by Wang Hui-Ming.

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Collected Poems, 1945-1990

Barbara Howes

University of Arkansas Press, 1995

Finalist, 1995 National Book Award

This collection fills in a missing chapter in the history of American women’s poetry by bringing a significant voice back into print. Barbara Howes has perfected a personal style that had little to do with the fashionable currents of her time. Dana Gioia has said of her “[O]ne sees Howes very clearly as a woman writing in one of the oddest but most important traditions of American poetry. She stands with Marianne Moore, Elizabeth Bishop, and ultimately Emily Dickinson in a lineage of women writers passionately committed to the independence and singularity of the poetic imagination. Collected poems 1945-1990 contains the lifework of one of America’s irreplaceable poets.”

Forty years ago in The New Yorker Louise Bogan wrote: “Barbara Howes is the most accomplished women poet of the younger writing generation—one who has found her own voice, chosen her own material, and worked out her own form. Miss Howes is daring with language, but she is also accurate. Her originality stands in constant close reference to the material in hand, and although much of that material is fantastic or exotic, it is never so simply for its own sake.”

Drawing from seven previous books, this collection confirms and consolidates the reputation of Barbara Howes as a timeless poet whose fine voice and surprising insights will continue to delight all lovers of language.

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Collected Prose

James Wright

University of Michigan Press, 1983

A collection of Wright's essays on the language of poetry

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Collected Prose

Robert Hayden

University of Michigan Press, 1984

"A collection of essays on poetry and the experiences that influenced poet Robert Hayden. Contents include "The History of Punchinello: A Baroque Play in One Act," Hayden's introductory remarks to volumes like Kaleidoscope: Poems by American Negro Poet and The New Negro, and interviews with Hayden."

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Collected Shorter Poems

John Peck

Northwestern University Press, 2004

A selection of poems by a contemporary master

John Peck's poems draw on both modernist and traditional resources, quarrying in the large gaps among contemporary readers of poetry. This definitive collection makes available difficult-to-find works by a remarkable, thoroughly original American poet. Peck's poems continue to attract a discerning, loyal audience of readers up to the challenge of confronting his astonishing range and ambitions.

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Collecting Lives

Critical Data Narrative as Modernist Aesthetic in Early Twentieth-Century U.S. Literatures

Elizabeth Rodrigues

University of Michigan Press, 2022

On a near-daily basis, data is being used to narrate our lives. Categorizing algorithms draw from amassed personal data to assign narrative destinies to individuals at crucial junctures, simultaneously predicting and shaping the paths of our lives. Data is commonly assumed to bring us closer to objectivity, but the narrative paths these algorithms assign seem, more often than not, to replicate biases about who an individual is and could become.

While the social effects of such algorithmic logics seem new and newly urgent to consider, Collecting Lives looks to the late nineteenth and early twentieth century US to provide an instructive prehistory to the underlying question of the relationship between data, life, and narrative. Rodrigues contextualizes the application of data collection to human selfhood in the late nineteenth and early twentieth century US in order to uncover a modernist aesthetic of data that offers an alternative to the algorithmic logic pervading our sense of data’s revelatory potential. Examining the work of W. E. B. Du Bois, Henry Adams, Gertrude Stein, and Ida B. Wells-Barnett, Rodrigues asks how each of these authors draw from their work in sociology, history, psychology, and journalism to formulate a critical data aesthetic as they attempt to answer questions of identity around race, gender, and nation both in their research and their life writing. These data-driven modernists not only tell different life stories with data, they tell life stories differently because of data.

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College Girls

A Century in Fiction

Shirley Marchalonis

Rutgers University Press, 1995

Since the opening of Vassar College in 1865, objections to higher education for women have ranged from charges that females were mentally and physically incapable of learning to the belief that educating women would destroy society. Underlying all arguments was the folk wisdom which declared that women could not live and work together. To counteract such beliefs, women’s colleges tried to create a special kind of space and new role models that would allow women to exist for a short time in idyllic (or, at least, idealized) conditions. The debate over women’s education, for the good or ill of society, generated a great deal of "print," including short stories and novels. Shirley Marchalonis guides us through the history of this fiction, its depiction of the complexities of the college experience, and the conflicting attitudes that teetered between fascination and fear, celebration and regret.

Using novels, short stories, and some juvenile fiction from 1865 to 1940--all of it specifically about college “girls”--she examines these ideas, the way they developed over time, and their significance in understanding women’s education and women’s history. The debate over separate colleges for women continues to this day and can be better understood in the context of this informative and entertaining look at the past.

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Columbarium

Susan Stewart

University of Chicago Press, 2003

Winner of the 2003 National Book Critics Circle Award in the category of poetry.

In her long-awaited fourth book of poetry, Susan Stewart gives us a series of splendid, numinous poems about truths learned with the mind but set free through the senses. Modeled on the seventeenth-century practice of century forms, or books of one hundred pages, Columbarium expresses the bond between the living and the dead in voices of parent to child, lover to beloved, and mortal to the gods. The book arrives as a meditative gift from one of our most respected poet-critics.

Stewart frames her Columbarium with four poems paying homage to the elements-to their destructive and creative aspects and to their roles in the human and more than human worlds. Both nest and crypt, the book's center holds an alphabet of "shadow georgics," poems of instruction and doubt that link knowledge and the unconscious. Questions of mortality, of goodness and suffering, and of the fragility and power of memory animate these poems. In one poem an apple calls the narrator back from the dead to savor the echoes of its varieties in myth and literature. In another, the seeds of a pear tree reveal the essential unity that makes the diversity of existence possible.

Stewart's Columbarium is both a memorial to the dead and a testament to life.

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Come Again?

Alyssa N. Moore

University of Chicago Press, 2026

In this formally inventive debut collection, a speaker continuously shapeshifts through roles, forms, and characters.

Alyssa N. Moore’s Come Again? conjures a series of otherworldly scenarios in which reinvention becomes a form of resistance and a method to escape the snares of a modern existence to which we contribute but cannot control. Throughout these surreal and absurdist poems, an untethered consciousness is continuously reincarnated and dragged through various personae—including the Volunteer, the Eternal Counselor, the Streetcleaner, and the Architect—to find “what exactly to do with a willing body.” For example, in “The Volunteer,” a visual sequence, the book’s shapeshifting narrator is dropped into a formless expanse and expected to perform. As we move through the collection, the speaker’s perception morphs rapidly. From wage worker to computer programmer to sexbot to God, they collide over and over with the boundaries of the world. With each shift, the speaker guides us through a series of darkly comic set pieces that are, in turns, cinematic and slapstick as they seek a solid home base from which to “reject the emptiness that’s inherited.”

Moore’s facility with poetic form, use of image and text, and play between irony and sincerity make Come Again? a bold collection that defies the customary and conventional, instead forging new worlds of continual remaking.

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Come Clean

Joshua Nguyen

University of Wisconsin Press, 2021

Joshua Nguyen's sharp, songlike, and often experimental collection compartmentalizes past trauma—sexual and generational—through the quotidian. Poems aim to confront the speaker's past by physically, and mentally, cleaning up. Here, the Asian-American masculine interrogates the domestic space through the sensual and finds healing through family and in everyday rhythms: rinsing rice until the water runs clear, folding clean shirts, and attempts at re-creating an unwritten family recipe. Yet past wounds remain present like permanent marker under layers of paint or spilled fish sauce set into car upholstery. Infused with the Shinto-inspired organizing practices of KonMari and the catchy nihilism of Mitski's songs, the poems in Come Clean unpack, organize, and tidy up life's messy joys and hurtful chaos with intimacy, grace, and vulnerability.

No matter how smattered my insides,

I am relieved that I left my room tidy—
One less ugly sight.

I always wanted to die clean & pretty
while my dreams made music in the night.

—Excerpt from "Last Words"

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Coming After

Essays on Poetry

Alice Notley

University of Michigan Press, 2005

Coming After gathers critical pieces by acclaimed poet Alice Notley, author of Mysteries of Small Houses and Disobedience.

Notley explores the work of second-generation New York School poets and their allies: Ted Berrigan, Anne Waldman, Joanne Kyger, Ron Padgett, Lorenzo Thomas, and others. These essays and reviews are among the first to deal with a generation of poets notorious for their refusal to criticize and theorize, assuming the stance that "only the poems matter." The essays are characterized by Notley's strong, compelling voice, which transfixes the reader even in the midst of professional detail. Coming After revives the possibility of the readable book of criticism.

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Coming Close

Forty Essays on Philip Levine

Mari L'Esperance and Tomas Morin

University of Iowa Press, 2013

This collection of essays pays tribute to Philip Levine as teacher and mentor. Throughout his fifty-year teaching career, the Pulitzer Prize–winning Levine taught scores of younger poets, many of whom went on to become famous in their own right. These forty essays honor and celebrate one of our most vivid and gifted poets.

Whether in Fresno, New York, Boston, Detroit, or any of the other cities where Levine taught, his students benefited from his sharp, humorous honesty in the classroom. In these personal essays, poets spanning a number of generations reveal how their lives and work were forever altered by studying with Levine. The heartfelt tributes illuminate how one dedicated teacher’s intangible gifts can make a vast difference in the life of a developing poet, as well as providing insight into the changing tenor of the poetry workshop in the American university setting.

Here, poets as diverse as Nick Flynn and David St. John, Sharon Olds and Larry Levis, Ada Limon and Mark Levine, Malena Morling and Lawson Fusao Inada are united in their deep regard for Philip Levine. The voices echo and reverberate as each strikes its own honoring tone.

Contributors: Aaron Belz, Ciaran Berry, Paula Bohince, Shane Book, B. H. Boston, Xochiquetzal Candelaria, Colin Cheney, Michael Clifton, Michael Collier, Nicole Cooley, Kate Daniels, Blas Manuel De Luna, Kathy Fagan, Andrew Feld, Nick Flynn, Edward Hirsch, Sandra Hoben, Ishion Hutchinson, Lawson Fusao Inada, Dorianne Laux, Joseph O. Legaspi, Mark Levine, Larry Levis, Ada Limón, Elline Lipkin, Jane Mead, Dante Micheaux, Malena Mörling, John Murillo, Daniel Nester, Sharon Olds, January Gill O’Neil, Greg Pape, Kathleen Peirce, Sam Pereira, Jeffrey Skinner, Tom Sleigh, David St. John, Brian Turner, Robert Wrigley

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Coming of Age in New Jersey

College and American Culture

Moffatt, Michael

Rutgers University Press, 1989

"With Kinseyesque diligence [Moffatt] catalogues the sexual habits and fantasies of his students. . . . His book vibrates with quirky authenticity." --New York Times Book Review "Useful for understanding the student experience . . . throughout the United States. . . . Beautifully written, carefully researched . . . a classic."--John Thelin, Educational Studies "Michael Moffatt is a multitalented, multidisciplinary scholar . . . who writes without a trace of gobbledygook. He deserves a wide following." --Rupert Wilkinson, Journal of American Studies "One of the most thoughtfully crafted case studies of undergraduate culture . . . ever written . . . a book every professor should read." --Paul J. Baker, Academe Coming of Age is about college as students really know it and--often--love it. To write this remarkable account, Michael Moffatt did what anthropologists usually do in more distant cultures: he lived among the natives. His findings are sometimes disturbing, potentially controversial, but somehow very believable. Coming of Age is a vivid slice of life of what Moffatt saw and heard in the dorms of a typical state university, Rutgers, in the 1980s. It is full of student voices: naive and worldy-wise, vulgar and polite, cynical, humorous, and sometimes even idealistic. But it is also about American culture more generally: individualism, friendship, community, bureaucracy, diversity, race, sex, gender, intellect, work, and play. As an example of an ethnography written about an anthropologist's own culture, this book is an uncommon one. As a new and revealing perspective on the much-studied American college student, it is unique.

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Coming of Industrial Order

Town and Factory Life in Rural Massachusetts, 1810-1860

Jonathan Prude

University of Massachusetts Press, 1999

This is a study of industrialization in the antebellum New England countryside. More specifically, it is an investigation of pre-Civil War industrialization in two contiguous south-central Massachusetts townships, Dudley and Oxford, and in a third community, Webster, which was carved from them in 1832.

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Coming to Light

American Women Poets in the Twentieth Century

Diane Wood Middlebrook and Marilyn Yalom, Editors

University of Michigan Press, 1985

This collection of 16 essays discusses the broad relationship of women poets to the American literary tradition

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Commercializing Childhood

Children's Magazines, Urban Gentility, and the Ideal of the Child Consumer in the United States, 1823-1918

Paul B. Ringel

University of Massachusetts Press, 2015

Long before activists raised concerns about the dangers of commercials airing during Saturday morning cartoons, America's young people emerged as a group that businesses should target with goods for sale. As print culture grew rapidly in the nineteenth century, enterprising publishers raced to meet the widespread demand for magazines aimed at middle- and upper-class children, especially those whose families had leisure time and cultural aspirations to gentility. Advertisers realized that these children represented a growing market for more than magazines, and the editors chose stories to help model good consumer behavior for this important new demographic.

In this deeply researched and engaging book, Paul B. Ringel combines an analysis of the stories in nineteenth-century American children's magazines with the backstories of their authors, editors, and publishers to explain how this hugely successful industry trained generations of American children to become genteel consumers. Ringel demonstrates how these publications, which were read in hundreds of thousands of homes, played to two conflicting impulses within American families: to shield children from commercial influences by offering earnest and moral entertainment and to help children learn how to prosper in an increasingly market-driven society.

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Commonwealth of Toil

Chapters in the History of Massachusetts Workers and Their Unions

Thomas Juravich

University of Massachusetts Press, 1996

Over the past two centuries, Massachusetts workers have fought for many important advances that would later be enjoyed by other Americans. The right to organize, restrictions on work hours and child labor, and workers' compensation were all pioneered in the Commonwealth. From the 1825 strike of Boston carpenters for a ten-hour day to recent victories in hospitals and universities, Massachusetts workers and their unions have been in the forefront of the battle for dignity and justice.

This book tells their story. In eighteen chapters, beginning with the first industrial workers in the nation—the Lowell “mill girls”—the authors describe the struggles of working men and women to improve their lives. In the process, the book provides a valuable perspective on the development of the American labor movement.

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Communities of Death

Whitman, Poe, and the American Culture of Mourning

Adam C. Bradford

University of Missouri Press, 2014

To 21st century readers, 19th century depictions of death look macabre if not maudlin—the mourning portraits and quilts, the postmortem daguerreotypes, and the memorial jewelry now hopelessly, if not morbidly, distressing. Yet this sentimental culture of mourning and memorializing provided opportunities to the bereaved to assert deeply held beliefs, forge social connections, and advocate for social and political change. This culture also permeated the literature of the day, especially the works of Edgar Allan Poe and Walt Whitman. In Communities of Death, Adam C. Bradford explores the ways in which the ideas, rituals, and practices of mourning were central to the work of both authors.

While both Poe and Whitman were heavily influenced by the mourning culture of their time, their use of it differed. Poe focused on the tendency of mourners to cling to anything that could remind them of their lost loved ones; Whitman focused not on the mourner but on the soul’s immortality, positing an inevitable reunion. Yet Whitman repeatedly testified that Poe’s Gothic and macabre literature played a central role in spurring him to produce the transcendent Leaves of Grass.

By unveiling a heretofore marginalized literary relationship between Poe and Whitman, Bradford rewrites our understanding of these authors and suggests a more intimate relationship among sentimentalism, romanticism, and transcendentalism than has previously been recognized. Bradford’s insights into the culture and lives of Poe and Whitman will change readers’ understanding of both literary icons.

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Community across Time

Robert Morgan’s Words for Home

Rebecca Godwin

West Virginia University Press, 2023

One of the first book-length considerations of the Appalachian writer Robert Morgan.

One of the first book-length studies of Robert Morgan, Community across Time considers the Appalachian writer’s explorations of memory, family history, and landscape. It provides a study of all of Morgan’s fiction to date, as well as a chapter on his poetry and some reference, where appropriate, to his nonfiction. Rebecca Godwin examines the family history that informs much of this body of work, offering an extended biographical essay that ties characters and plot details to Morgan’s ancestors’ lives and to his own experiences growing up in the Blue Ridge Mountains.

Religious rifts, economic hardships, class conflicts, the place of women and Indigenous peoples, and the failure of humans to recognize the divinity of the natural world are among the motifs centering Morgan’s writing. Community across Time explores those themes as it looks to Morgan’s relationship to the Appalachian South.

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Companion Grasses

Brian Teare

Omnidawn, 2013

What does it mean to dwell in a place? These adventurous poems go on foot in search of answers. Walking the cities, coasts, forests and mountains of Northern California and New England, they immerse themselves in the specifics of bioregion and microclimate, and take special note of the cycle of death and rebirth that plays out dramatically in California’s chaparral and grasslands. Inspired by Transcendentalism, Companion Grasses sees the sacred in the workings of the material world, but its indebtedness to the ecological tradition of California poets like Gary Snyder and Brenda Hillman means that it also unearths such evidence in the sensual materiality of words themselves. Both ecologically rich landscapes and highly rhythmic inscapes, these poems set seasonal and human dramas side-by-side, wresting an original, signature music from the meeting of site and sight. In pursuing an aesthetics situated in place, they compose an ethics of what it means to be a human companion to the natural world: “What we love, how we care for it,/is where we live.”

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Companionship in Grief

Love and Loss in the Memoirs of C. S. Lewis, John Bayley, Donald Hall, Joan Didion, and Calvin Trillin

Jeffrey Berman

University of Massachusetts Press, 2010

In Companionship in Grief, Jeffrey Berman focuses on the most life-changing event for many people—the death of a spouse. Some of the most acclaimed memoirs of the past fifty years offer insights into this profound loss: C. S. Lewis's A Grief Observed; John Bayley's three memoirs about Iris Murdoch, including Elegy for Iris; Donald Hall's The Best Day the Worst Day; Joan Didion's best-selling The Year of Magical Thinking; and Calvin Trillin's About Alice. These books explore the nature of spousal bereavement, the importance of caregiving, the role of writing in recovery, and the possibility of falling in love again after a devastating loss.

Throughout his study, Berman traces the theme of love and loss in all five memoirists' fictional and nonfictional writings as well as in those of their spouses, who were also accomplished writers. Combining literary studies, grief and bereavement theory, attachment theory, composition studies, and trauma theory, Companionship in Grief will appeal to anyone who has experienced love and loss. Berman's research casts light on five remarkable marriages, showing how autobiographical stories of love and loss can memorialize deceased spouses and offer wisdom and comfort to readers.

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Company

Sam Ross

Four Way Books, 2019

Ross’s poems are at once earthy and delicate and view their subjects through a perceptive, picaresque lens.

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Compass of the Dying

Poems

Laurence Lieberman

University of Arkansas Press, 1998

When Laurence Lieberman writes of Guyana or islands in the Dutch West Indies, he excavates, explores, even exhumes the essence of the place. In the flora and fauna, in the rural cafes and ruins of churches and crypts, in the taste of iguana soup and the look of light through stained glass, Lieberman unfolds an exquisite atlas of the senses.

The awe of encounter, the raw impact, beauty, and sometimes the brutality of both the surroundings and the people fuel this poetry. Whether he meets an iguana hunter, a bricklayer, a witness to the United States–led Grenada invasion, or a classical composer, Lieberman gives the reader a vivid combination of his own wit and surprising observations mingled with the speech of each character.

Folk tales, legends, and island myths play a great role in his newest work. In the eddies of a river in Guyana, Lieberman dares river demons. On the island of Aruba, he hears the chants and work songs of long-dead miners in an abandoned gold mine. He briefly loses himself when he stares into the mirror of a well once frequented by slaves on Bonaire.

Coupled with natural forces—floods, volcanic eruptions, constant rains—these folk tales and the stories of the islanders’ lives create a “wedding of sun and rain,” and a map to the troves of the Caribbean hidden beneath a rich and often violent history.

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Complete Poems

Claude Mckay. Edited and with an Introduction by William J. Maxwell.

University of Illinois Press, 2003

Containing more than three hundred poems, including nearly a hundred previously unpublished works, this unique collection showcases the intellectual range of Claude McKay (1889-1948), the Jamaican-born poet and novelist whose life and work were marked by restless travel and steadfast social protest. McKay's first poems were composed in rural Jamaican creole and launched his lifelong commitment to representing everyday black culture from the bottom up. Migrating to New York, he reinvigorated the English sonnet and helped spark the Harlem Renaissance with poems such as "If We Must Die." After coming under scrutiny for his communism, he traveled throughout Europe and North Africa for twelve years and returned to Harlem in 1934, having denounced Stalin's Soviet Union. By then, McKay's pristine "violent sonnets" were giving way to confessional lyrics informed by his newfound Catholicism.

McKay's verse eludes easy definition, yet this complete anthology, vividly introduced and carefully annotated by William J. Maxwell, acquaints readers with the full transnational evolution of a major voice in twentieth-century poetry.

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Complete Poems

Edgar Allan Poe

University of Illinois Press, 1969

Although best known for his tales, Edgar Allan Poe himself thirsted for fame primarily as a poet. This volume, assembled by the eminent Poe scholar Thomas Ollive Mabbott, is the single most authoritative edition of Poe's poems ever published: 101 poems and their variants, including such gems as "The Raven," "The Bells," and "Annabel Lee," as well as previously uncollected poems, fragments, verses he published in reviews he wrote, and poems attributed to him.
In this exhaustive collection, Mabbott takes a fresh look at these texts, aiming "to present what [Poe] wrote, to explain why he wrote it, to tell what he meant when he wrote it (if that be in any way obscure), and to give a history of its publication." Containing the definitive poems as well as pertinent biographical background, full annotations, and a meticulous enumeration of successive texts and variants, Mabbott's edition stands as a firm foundation for Poe scholarship as well as for more general appreciation.

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Complex Sleep

Tony Tost

University of Iowa Press, 2007

Complex Sleep, Tony Tost’s ambitious second book of poems, leaps upward with an astounding multiplicity of voices, utterances, and bursts. Each leap marks a sure and precise entry into a world of images, ideas, and sensations that is brand new—the true accomplishment of any poetic work.

The octet of poems that compose Complex Sleep comprises a complex organism, audacious in scope, swiping at meaning via language as fragmented music. Tost takes on the problem of physical shape, reorchestrates phrases according to the alphabet, and writes himself into the hypnagogic state between waking and dreaming. Informed by their own procedural constraints, these poems invent forms that tap the unconscious poetic, the very complexity embodied in sleep. All the while, Tost reforms utterance beyond the mere epistemology of much contemporary poetry.

Devising an innovative formalism rather than concerning itself with discovering the what, Complex Sleep is about discovering how to say what needs to be said. Skip the opera, this book performs.

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