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F. Scott Fitzgerald’s The Great Gatsby occupies a preeminent place in American letters. Scholars have argued that Jay Gatsby is, in fact, the embodiment of American cultural and social aspiration. Though The Great Gatsby has been studied in detail since its publication, both readers and scholars have continued to speculate about Fitzgerald’s sources of inspiration.
 
The essays in F. Scott Fitzgerald at Work examine fresh facts that illuminate the experiences and source materials upon which Fitzgerald based this quintessentially American masterpiece. They confirm author Horst Kruse’s view that Fitzgerald’s flights of fancy, even at their most spectacular, are firmly grounded in biographical experience as well as in the social, literary, and philosophical circumstances of his era.
 
In the first essay, Kruse reconstructs the life story of the individual who allegedly inspired the character of Jay Gatsby: Max von Gerlach. Kruse recounts his journeys to various archives and libraries in the United States as well as in Germany to unearth new facts about the genesis of the Gatsby characters. In another journey, readers travel with Kruse to Long Island to explore its physical and moral geography in relation to Fitzgerald, specifically the role of certain elite Long Island families in the advancement of the “science of eugenics” movement. The final two essays take Kruse across the globe to various destinations to consider the broader place of The Great Gatsby in American and international intellectual history.
 
Replete with fascinating discoveries and insights, F. Scott Fitzgerald at Work both corrects previous assumptions about The Great Gatsby and deepens our appreciation and understanding of Fitzgerald‘s imagination.

Anthropology has long had a vexed relationship with literature, and nowhere has this been more acutely felt than in France, where most ethnographers, upon returning from the field, write not one book, but two: a scientific monograph and a literary account. In Far Afield—brought to English-language readers here for the first time—Vincent Debaene puzzles out this phenomenon, tracing the contours of anthropology and literature’s mutual fascination and the ground upon which they meet in the works of thinkers from Marcel Mauss and Georges Bataille to Claude Lévi-Strauss and Roland Barthes.
           
The relationship between anthropology and literature in France is one of careful curiosity. Literary writers are wary about anthropologists’ scientific austerity but intrigued by the objects they collect and the issues they raise, while anthropologists claim to be scientists but at the same time are deeply concerned with writing and representational practices. Debaene elucidates the richness that this curiosity fosters and the diverse range of writings it has produced, from Proustian memoirs to proto-surrealist diaries. In the end he offers a fascinating intellectual history, one that is itself located precisely where science and literature meet.

Wilson R. Bachelor was a Tennessee native who moved with his family to Franklin County, Arkansas, in 1870. A country doctor and natural philosopher, Bachelor was impelled to chronicle his life from 1870 to 1902, documenting the family's move to Arkansas, their settling a farm in Franklin County, and Bachelor's medical practice. Bachelor was an avid reader with wide-ranging interests in literature, science, nature, politics, and religion, and he became a self-professed freethinker in the 1870s. He was driven by a concept he called "fiat flux," an awareness of the "rapid flight of time" that motivated him to treat the people around him and the world itself as precious and fleeting. He wrote occasional pieces for a local newspaper, bringing his unusually enlightened perspectives to the subjects of women's rights, capital punishment, the role of religion in politics, and the domination of the American political system by economic elite in the 1890s. These essays, along with family letters and the original diary entries, are included here for an uncommon glimpse into the life of a country doctor in nineteenth-century Arkansas.

How do the specific circumstances in which we write affect what we write? How does what we write affect who we become? How can we maintain professsional and personal integrity in today's university? In a series of traditional and experimental writings, a culmination of ten years of works-in-progress, Laurel Richardson records an intellectual journey, displacing boundaries and creating new ways of reading and writing. Applying the sociological imagination to the writing process, she connects her life to her work.

Deeply engaging, movingly written with grace, elegance, and clarity, the book stimulates readers to situate their own writing in personal, social, and political contexts.

During the 1960s, when cinema first entered the academy as a serious object of study, the primary focus was on auteurism, or on films authorship. Burgeoning cinema studies courses demonstrated how directors were the authors of work that undermined (or succeeded in spite of) all the constraints that Hollywood threw at them. New critical methods were introduced as the field matured, and studies of the author/director, for the most part, were considered obsolete.

Virginia Wright Wexman has pulled together some of the freshest writing available on the topic of film authorship. Spanning approaches including poststructuralism, feminism, queer theory, postcolonialism, and cultural studies, the contributors ask, what does auteurship look like today in light of all these developments? The contents of the volume are divided into three major sections: Theoretical Statements, Historical and Institutional Contexts, and Case Studies. Wexmans comprehensive introduction contextualizes the selections and summarizes the scholarly methods through which auteurism has been addressed in the past; it also provides a sketch of the history of media authorship. An extensive bibliography rounds off the volume.

Every person has a story to tell, but few beginners know how to uncover their story's narrative potential. And despite a growing interest among students and creative writers, few guides to the genre of memoirs and creative nonfiction highlight compelling storytelling strategies. Addressing this gap, authors Lynn C. Miller and Lisa Lenard-Cook provide a compact, accessible guide to memoir writing that shows how an aspiring memoir writer can use storytelling tools and tactics borrowed from fiction to weave personal experiences into the shape of a story.

            Find Your Story, Write Your Memoir offers an overview of the building blocks of memoir writing. Individual chapters focus on key issues and challenges, such as the balance between the remembering narrator and the experiencing narrator, the capacity to honor the subjective voice, the occasion of telling (why does this narrator tell this story now?), creating an organically functional structure for a particular story, and taking the next steps with a written memoir. Drawing on their combined years of experience teaching memoir writing, authoring works of fiction and nonfiction, and working in autobiographical performance, Miller and Lenard-Cook provide a practical guide whose core philosophy is motivated by a key word: story.

Bronze winner, Foreword Book of the Year, Writing Guides

In (First Person)2, Day and Eodice offer one of the few book-length studies of co-authoring in academic fields since Lunsford and Ede published theirs over a decade ago. The central research here involves in-depth interviews with ten successful academic collaborators from a range of disciplines and settings. The interviews explore the narratives of these informants' experience—what brought them to collaborate, what cognitive and logistical processes were involved as they worked together, what is the status of collaborated work in their field, and so on—and situate these informants within the broader discussion of collaboration theory and research as it has been articulated over the last ten years.

As the study develops, Day and Eodice become most interested in the affective domain of co-authorship, and they find the most promising explorations of that domain in the work of feminist theorists in composition.

Frank Capra's films have had a lasting impact on American culture. His powerful depiction of American values, myths, and ideals was central famous Hollywood films as It Happened One Night, Mr. Smith Goes to Washington, and It's a Wonderful Life. These pre-war films are remembered for their depiction of an individual's overcoming adversity, populist politics, and an unflappable optimist view of life.

This collection of nine essays by leading international film historians analyzes Capra's filmmaking during his most prolific period, from 1928 to 1939, taking a closer look at the more complex aspects of his work. They trace his struggles for autonomy against Columbia Pictures head Harry Cohn, his reputation as an amateur, and the ways in which working within studio modes of production my have enhanced the director's strengths.

The contributors also place their critiques within the context of the changing fortunes of the Hollywood studio system, the impact of the Depression, and Capra's working relationships with other studio staff and directors. The contributors' access to nineteen newly restored Capra films made at Columbia during this period fills this collection with some of the most comprehensive critiques available on the director's early body of work.

Over the past decade, movie audiences have become hungry for films based on real people and historical events. Never was this more evident than during the best-picture showdown between The King’s Speech and The Social Network during the 2011 Academy Awards, a scene then repeated, with Argo, Lincoln and Zero Dark Thirty in the 2013 awards.. While Hollywood moguls have come to recognize the box-office revenue and critical acclaim that accompany such films and are now fast-tracking many docudramas into theaters, there remains a need for more reality-based film scripts.

In From “Chariots of Fire” to “The King’s Speech,” writer, director, and producer Alan Rosenthal presents a manual for screenwriters to develop their bio-pic or docudrama from concept to completion. This comprehensive guide begins with an overview of the genre before providing screenwriters with all the techniques and insights needed to navigate the often intimidating landscape of screenwriting for reality-based scripts. Included within the volume are tips for such challenges as inception and research, developing dialogue and narration, and capably addressing any legal and rights issues that may arise. Also included are appendixes containing useful marketing tips and broadcast guidelines.

A practical, down-to-earth manual for experienced and novice screenwriters alike, From “Chariots of Fire” to “The King’s Speech”  is the only manual dedicated explicitly to writing the bio-pic and docudrama. Rosenthal shares his decades of experience in the film industry, along with hands-on tools and maps, to help screenwriters completely master this popular film genre.

All new Phd's hope that their dissertations can become books. But a dissertation is written for a committee and a book for the larger world. William Germano's From Dissertation to Book is the essential guide for academic writers who want to revise a doctoral thesis for publication. The author of Getting It Published, Germano draws upon his extensive experience in academic publishing to provide writers with a state-of-the-art view of how to turn a dissertation into a manuscript that publishers will notice.

Acknowledging first that not all theses can become books, Germano shows how some dissertations might have a better life as one or more journal articles or as chapters in a newly conceived book. But even dissertations strong enough to be published as books first need to become book manuscripts, and at the heart of From Dissertation to Book is the idea that revising the dissertation is a fundamental process of adapting from one genre of writing to another.

Germano offers clear guidance on how to do just this. Writers will find advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision. With crisp directives, engaging examples, and a sympathetic eye for the foibles of academic writing, From Dissertation to Book reveals to recent PhD's the process of careful and thoughtful revision—a truly invaluable skill as they grow into their new roles as professional writers.

Since its publication in 2005, From Dissertation to Book has helped thousands of young academic authors get their books beyond the thesis committee and into the hands of interested publishers and general readers. Now revised and updated to reflect the evolution of scholarly publishing, this edition includes a new chapter arguing that the future of academic writing is in the hands of young scholars who must create work that meets the broader expectations of readers rather than the narrow requirements of academic committees.

At the heart of From Dissertation to Book is the idea that revising the dissertation is fundamentally a process of shifting its focus from the concerns of a narrow audience—a committee or advisors—to those of a broader scholarly audience that wants writing to be both informative and engaging. William Germano offers clear guidance on how to do this, with advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision.

Germano draws on his years of experience in both academia and publishing to show writers how to turn a dissertation into a book that an audience will actually enjoy, whether reading on a page or a screen. Germano also acknowledges that not all dissertations can or even should become books and explores other, often overlooked, options, such as turning them into journal articles or chapters in an edited work.

With clear directions, engaging examples, and an eye for the idiosyncrasies of academic writing, From Dissertation to Book reveals to recent PhDs the secrets of careful and thoughtful revision—a skill that will be truly invaluable as they add “author” to their curriculum vitae.

Ethnography centers on the culture of everyday life. So it is ironic that most scholars who do research on the intimate experiences of ordinary people write their books in a style that those people cannot understand. In recent years, the ethnographic method has spread from its original home in cultural anthropology to fields such as sociology, marketing, media studies, law, criminology, education, cultural studies, history, geography, and political science.  Yet, while more and more students and practitioners are learning how to write ethnographies, there is little or no training on how to write ethnographies well.

 From Notes to Narrative picks up where methodological training leaves off.  Kristen Ghodsee, an award-winning ethnographer, addresses common issues that arise in ethnographic writing. Ghodsee works through sentence-level details, such as word choice and structure. She also tackles bigger-picture elements, such as how to incorporate theory and ethnographic details, how to effectively deploy dialogue, and how to avoid distracting elements such as long block quotations and in-text citations. She includes excerpts and examples from model ethnographies. The book concludes with a bibliography of other useful writing guides and nearly one hundred examples of eminently readable ethnographic books.

David Wojahn examines the state of American verse as it enters the first decades of a new millennium, focusing on both the challenges and opportunities of an ancient art as it tries to adapt to the cultural, technological, and political transformations of our turbulent era. Each of these nine essays makes an impassioned and nuanced argument against the so-called marginalization of poetry in contemporary American culture. Among the work included is a penetrating essay on the role of politics in contemporary verse, a querulous examination of the rise of what Wojahn terms “the Google poem,” and a meditation on poetry and “self-doubt.” Among the figures he considers are American poets such as Hayden Carruth, John Berryman, Linda Bierds, and Tom Sleigh, as well as crucial modern international poets, among them Nazim Hikmet, Zbigniew Herbert, C.P. Cavafy, and Tomas Transtromer. These are personable, opinionated, and, above all, readable essays by a widely admired poet-critic.