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How did Shakespeare and his contemporaries, whose works mark the last quarter century of Elizabeth I's reign as one of the richest moments in all of English literature, regard and represent old age? Was late life seen primarily as a time of withdrawal and preparation for death, as scholars and historians have traditionally maintained? In this book, Christopher Martin examines how, contrary to received impressions, writers and thinkers of the era—working in the shadow of the kinetic, long-lived queen herself—contested such prejudicial and dismissive social attitudes. 

In late Tudor England, Martin argues, competing definitions of and regard for old age established a deeply conflicted frontier between external, socially “constituted” beliefs and a developing sense of an individual's “constitution” or physical makeup, a usage that entered the language in the mid-1500s. This space was further complicated by internal divisions within the opposing camps. On one side, reverence for the elder's authority, rooted in religious and social convention, was persistently challenged by the discontents of an ambitious younger underclass. Simultaneously, the aging subject grounded an enduring social presence and dignity on a bodily integrity that time inevitably threatened. In a historical setting that saw both the extended reign of an aging monarch and a resulting climate of acute generational strife, this network of competition and accommodation uniquely shaped late Elizabethan literary imagination. Through fresh readings of signature works, genres, and figures, Martin redirects critical attention to this neglected aspect of early modern studies.

A collection of essays and stories written in Spanish by students for students.

Contar Historias: Escritura creativa en el aula es una colección de ensayos e historias de no ficción escritas por estudiantes de grado y pregrado que tomaron cursos y/o asistieron a talleres de escritura impartidos el Departamento de Español y Portugués en la Universidad de Texas en Austin. El libro es una muestra del trabajo creativo de estudiantes que hablan español en casa pero que nunca escribieron un texto creativo en esta lengua; estudiantes para quienes el español es su segunda, tercera e incluso cuarta lengua, y estudiantes para quienes es su lengua materna. La diversidad de voces y la amplia raigambre cultural, lingüística y geográfica de la que emergen se juntan en este volumen que refleja la multiplicidad de maneras en que el español apela a las nuevas generaciones de estudiantes, no solo en UT sino en todo el país.

Contar historias: Escritura creativa en el aula (Telling Stories: Creative Writing in the Classroom) is a remarkable collection of topical essays and poignant stories written by undergraduate and graduate students who took courses and/or writing workshops offered by the Spanish Creative Writing Initiative in the Department of Spanish and Portuguese at the University of Texas at Austin. The book showcases an abundance of amazingly creative work and includes heritage speakers who have never before written a creative work in Spanish; students for whom Spanish is a second, third, and even fourth language; and native speakers. The diversity of voices from an array of cultural, linguistic, and geographical backgrounds collected in this volume reflects the multiplicity of ways in which Spanish appeals to students, not just at UT, but everywhere.

The stories include—but are not limited to—intimate tales of attending college; personal testimonials on the effects of climate change, experiences navigating the US health system, and accounts of many beautiful memories from childhood. They reveal the moving and diverse ways of communicating in Spanish and are themselves potent arguments for the importance of using creativity, working collaboratively, and telling stories in the classroom.

Grief transformed into legacy—how loss shaped the soul of American literature.

Harold K. Bush's Continuing Bonds with the Dead examines the profound transfiguration that the death of a child wrought on the literary work of nineteenth-century American writers. Taking as his subjects Harriet Beecher Stowe, Abraham Lincoln, William Dean Howells, Mark Twain, and W. E. B. Du Bois, Bush demonstrates how the death of a child became the defining "before-and-after moment" in their lives as adults and as artists. In narrating their struggles, Bush maps the intense field of creative energy induced by reverberating waves of parental grief and the larger nineteenth-century culture of mortality and grieving.

Bush explores in detail how each of these five writers grappled with and were altered by the loss of a child. He writes, for example, with moving insights about how the famed author of Adventures of Huckleberry Finn found himself adrift on a river of grief when meningitis struck down his daughter, Susy. In his deeply learned exploration of Twain's subsequent work, Bush illuminates how Twain wrote to cope with Susy's death, to make sense of her persistent presence in his life, and possibly to redeem her loss. Passionate and personal, Bush's insightful prose traces the paths of personal transformation each of these emblematic American writers took in order to survive the spiritual trauma of loss.

The savage Civil War was America's shared "before and after moment," the pivot upon which the nation's future swung. Bush's account of these five writers' grief amplifies our understanding of America's evolving, national relationship to mourning from then to the present.

Just remembering the crispy fried chicken and luscious peach cobblers a grandmother or aunt used to make can set your mouth watering. And since remembering is no substitute for eating, cooks across the country have turned to Cooking Texas Style to find recipes for the comfort foods we love best. Thirty years after its first publication, popular acclaim has made this collection of favorite family recipes the standard source for traditional Texas cooking.

Here are over three hundred tasty recipes from the kitchens of Candy Wagner and Sandra Marquez. You’ll find classic Texas dishes such as chicken-fried steak, barbecue, chili, guacamole, and cornbread hot with jalapeños, as well as novel, exciting ways to prepare old favorites such as Tortilla Soup, Fajitas, and Chicken and Dumplings. Organized for easy reference, all the recipes are clearly explained, simple to prepare, and simply delicious. Cooking Texas Style is an invaluable addition to the kitchen bookshelf of anyone interested in cooking—and eating—Texas style.

Whether you're hungry for down-home barbecue and Tex-Mex, or you want to try more exotic dishes such as Paella Valenciana and Thai Pesto, Texas Highways has long been a trusted source for delicious recipes that reflect wide-ranging Lone Star tastes. The state's official travel magazine published its first Texas Highways Cookbook, which has sold 20,000 copies, in 1986. Responding to the public's demand for a new collection of the magazine's recipes, the editors are pleased to bring you Cooking with Texas Highways, a compilation of more than 250 recipes that are as richly diverse and flavorful as Texas itself.

Cooking with Texas Highways samples all the major ethnic cuisines of the state with recipes from home cooks, well-known chefs, and popular restaurants. It offers a varied and intriguing selection of snacks and beverages, breads, soups and salads, main dishes, vegetables and sides, sauces and spreads, desserts, and more. A special feature of this cookbook is a chapter on Dutch-oven cooking, which covers all the basics for cooking outdoors with live coals, including seventeen mouth-watering recipes. In addition, you'll find dozens of the lovely color photographs that have long made Texas Highways such a feast for the eyes, along with tips on cooking techniques and sources for ingredients and stories about some of the folks who created the recipes. If you want to sample all the tastes of Texas, there's no better place to start than Cooking with Texas Highways.

Cormac McCarthy is renowned as the author of popular and acclaimed novels such as Blood Meridian, All the Pretty Horses, and The Road. Throughout his career, however, McCarthy has also invested deeply in writing for film and theater, an engagement with other forms of storytelling that is often overlooked. He is the author of five screenplays and two plays, and he has been significantly involved with three of the seven film adaptations of his work. In this book, Stacey Peebles offers the first extensive overview of this relatively unknown aspect of McCarthy’s writing life, including the ways in which other artists have interpreted his work for the stage and screen.

Drawing on many primary sources in McCarthy’s recently opened archive, as well as interviews, Peebles covers the 1977 televised film The Gardener’s Son; McCarthy’s unpublished screenplays from the 1980s that became the foundation for his Border Trilogy novels and No Country for Old Men; various successful and unsuccessful productions of his two plays; and all seven film adaptations of his work, including John Hillcoat’s The Road (2009) and the Coen brothers’ Oscar-winning No Country for Old Men (2007). Emerging from this narrative is the central importance of tragedy—the rich and varied portrayals of violence and suffering and the human responses to them—in all of McCarthy’s work, but especially his writing for theater and film.

Novelist Cormac McCarthy’s brilliant and challenging work demands deep engagement from his readers. In Cormac McCarthy’s House, author, painter, photographer, and actor-director Peter Josyph draws on a wide range of experience to pose provocative, unexpected questions about McCarthy’s work, how it is achieved, and how it is interpreted.

As a visual artist, Josyph wrestles with the challenge of rendering McCarthy’s former home in El Paso as a symbol of a great writer’s workshop. As an actor and filmmaker, he analyzes the high art of Tommy Lee Jones in The Sunset Limited and No Country for Old Men. Invoking the recent suicide of a troubled friend, he grapples with the issue of “our brother’s keeper” in The Crossing and The Sunset Limited. But for Josyph, reading the finest prose-poet of our day is a project into which he invites many voices, and his investigations include a talk with Mark Morrow about photographing McCarthy while he was writing Blood Meridian; an in-depth conversation with director Tom Cornford on the challenges of staging The Sunset Limited and The Stonemason; a walk through the streets, waterfronts, and hidden haunts of Suttree with McCarthy scholar and Knoxville resident Wesley Morgan; insights from the cast of The Gardener’s Son about a controversial scene in that film; actress Miriam Colon’s perspective on portraying the Dueña Alfonsa opposite Matt Damon in All the Pretty Horses; and a harsh critique of Josyph’s views on The Crossing by McCarthy scholar Marty Priola, which leads to a sometimes heated debate. Illustrated with thirty-one photographs, Josyph’s unconventional journeys into the genius of Cormac McCarthy form a new, highly personal way of appreciating literary greatness.

A debut full-length poetry collection from Sarah Lyn Rogers rewriting girlhood and summoning mischief

Sarah Lyn Rogers’s debut full-length collection is a tragicomic exploration of codependent and transactional relationships: economies of shame, gifts as debts, businesses run like families, and families run like businesses. What transgressions and abuses do we believe are acceptable fees for safety or love, and who upholds these myths? The poems in Cosmic Tantrum examine how our most intimate relationships shape the way we move through the wider world—and what happens when we reject the stories we’ve inherited about our worth.

During World War II and the early Cold War period, factors such as race, gender, sexual orientation, or class made a number of American writers feel marginalized in U.S. society. Cosmopolitan Minds focuses on a core of transnational writers—Kay Boyle, Pearl S. Buck, William Gardner Smith, Richard Wright, and Paul Bowles—who found themselves prompted to seek experiences outside of their home country, experiences that profoundly changed their self-understanding and creative imagination as they encountered alternative points of views and cultural practices in Europe, Asia, and Africa.

Alexa Weik von Mossner offers a new perspective on the affective underpinnings of critical and reflexive cosmopolitanism by drawing on theories of emotion and literary imagination from cognitive psychology, philosophy, and cognitive literary studies. She analyzes how physical dislocation, and the sometimes violent shifts in understanding that result from our affective encounters with others, led Boyle, Buck, Smith, Wright, and Bowles to develop new, cosmopolitan solidarities across national, ethnic, and religious boundaries. She also shows how, in their literary texts, these writers employed strategic empathy to provoke strong emotions such as love, sympathy, compassion, fear, anger, guilt, shame, and disgust in their readers in order to challenge their parochial worldviews and practices. Reading these texts as emotionally powerful indictments of institutionalized racism and national violence inside and outside of the United States, Weik von Mossner demonstrates that our emotional engagements with others—real and imagined—are crucially important for the development of transnational and cosmopolitan imaginations.

The poems in Rebecca Black's first volume, Cottonlandia, move through myth and landscape, beginning in the deep South's “shimmer and tar” and ending in the “soot and orange dolor” of the California desert. Cottonlandia conjures a proto-continent where fashionable golems pose for antique photographs and nineteenth-century naturalists wander into the melee of the civil rights struggle in the South. 

By turns haunting and comic, Black's poems describe the archaeology of the apocalypse. Countesses leave behind poisonous snapshots, lovers examine their shapes in the mirror, and Seminoles return for skeletons arranged illegally in exhibits, even as floods force antebellum coffins to rise. 

In the title poem, reproduced on this page, the lines of a spiritual splinter and circle through a loose narrative, evoking the delirium of class and race in the author's Georgia hometown. Throughout the volume, poems quarrel with primal forces, threading the needle of historical oblivion with a dark, intelligent, and incantatory voice.

“Shumway has written a penetrating and provocative account of the making of American civilization as an academic field.”

It is rare to find a collection so grounded in the manifold meanings of motherhood—in all its anxiety, ambivalence, and joy. From the aches and fears of pregnancy, through the pain and relief of childbirth, to the perplexing questions and worries of parenting, Rebekah Denison Hewitt grapples with what it is to make a human (and to sometimes lose one), “the baby a creature / in bloom / the mother / a lotus eater.”

Closing with the counsel “Do not be afraid. / Rinse your heart out. Proceed,” these poems give readers many reasons to fear—health issues, genetic deformities, postpartum depression, gun violence, and car accidents. Yet always lurking underneath are light, optimism, and a stubborn willingness to soldier on. Exploring the stories, myths, and personal histories that shape the experience of modern motherhood, Creature in Bloom expands the conversation around what it means to be a mother.