Results by title

First published in 1995, I Am Because We Are has been recognized as a major, canon-defining anthology and adopted as a text in a wide variety of college and university courses. Bringing together writings by prominent Black thinkers from Africa, the Caribbean, and North America, Fred Lee Hord and Jonathan Scott Lee made the case for a tradition of “relational humanism” distinct from the philosophical preoccupations of the West.

Over the past twenty years, however, new scholarly research has uncovered other contributions to the discipline now generally known as “Africana philosophy” that were not included in the original volume. In this revised and expanded edition, Hord and Lee build on the strengths of the earlier anthology while enriching the selection of readings to bring the text into the twenty-first century. In a new introduction, the editors reflect on the key arguments of the book's central thesis, refining them in light of more recent philosophical discourse. This edition includes important new readings by Kwame Gyekye, Oyeronke Oy ewumi­, Paget Henry, Sylvia Wynter, Toni Morrison, Charles Mills, and Tommy Curry, as well as extensive suggestions for further reading.

Lively and entertaining, this is the first comprehensive biography of Walt Whitman in more than twenty-five years, drawing on significant new discoveries and scholarship.

Walt Whitman is not only one of the most influential and popular poets in American history but also a symbol of American character and independence, as important to our nation’s identity as Abraham Lincoln, Harriet Beecher Stowe, or Louis Armstrong. While his poetry and exuberant style still inspire writers today, our understanding of his life is due for an update. It has been over a quarter of a century since the last full-length biography of Whitman, and in that time several works by Whitman have been rediscovered—including a novel and a men’s health manual—that put Whitman in a new light. In I Contain Multitudes, Eric G. Wilson draws on these discoveries to give us a fresh life of Whitman, one that reveals him to be more playful, flexible, and pragmatic than we had known.

Whitman emerges here as an artist adept in almost every literary genre. Across these varied writings, he fashioned a comedic vision based on the multifariousness of the cosmos. In his life as well, he created a wide range of personae. Like an experienced actor, Whitman had many roles and selves at the ready: the urban dandy, the Broadway bohemian, the humble Civil War nurse. Wilson’s portrait casts well-studied Whitman traits in a new light: his radical egalitarianism, he shows, was suffused with humor—to be a good citizen meant not taking yourself too seriously—and his famous powers of empathy resulted in darkly funny challenges to oppressive hierarchies.   

Wilson tells Whitman’s life in dozens of brief, vivid segments, an innovative approach that reflects Whitman’s own existential and literary brio. Presenting the multitudinous Whitman with both stylistic gusto and scholarly rigor, I Contain Multitudes reads as much like a novel as the authoritative biography it is.

In I Know That You Know That I Know, Butte explores how stories narrate human consciousness. Butte locates a historical shift in the representation of webs of consciousnesses in narrative—what he calls “deep intersubjectivity”—and examines the effect this shift has since had on Western literature and culture. The author studies narrative practices in two ways: one pairing eighteenth-and nineteenth-century British novels (Moll Flanders and Great Expectations, for example), and the other studying genre practices—comedy, anti-comedy and masquerade—in written and film narratives (Jane Austen and His Girl Friday, for example, and Hitchcock’s Cary Grant films).

Butte’s second major claim argues for new ways to read representations of human consciousness, whether or not they take the form of deep intersubjectivity. Phenomenological criticism has lost its credibility in recent years, but this book identifies better reading strategies arising out of what the author calls poststructuralist phenomenology, grounded largely in the work of the French philosopher Merleau-Ponty. Butte criticizes the extreme of transcendental idealism (first-wave phenomenological criticism) and cultural materialism (when it rules out the study of consciousness). He also criticizes the dominant Lacanian framework of much academic film criticism.

A landmark survey of African American literature about Black experiences of the maritime environment.

The ocean is foundational to the story of Africans in America, beginning with the searing Middle Passage. Initially evoking terror, pain, and death, the ocean also became associated with escape, empowerment, freedom, and home, as over time, African Americans in seaport towns found work, built communities, and gained knowledge from travelers. David R. Anderson shows in this groundbreaking collection of memoir, fiction, poetry, and more that African American maritime literature summons many of the traditional themes—survival in the face of overwhelming natural force, sublimity, demonstration of skill and merit, and self-discovery—but often with an eye on legacies of imperialism, slavery, discrimination, and cultural erasure.

Divided thematically across ten sections that address peril, labor, recreation, and more, the book gathers work by influential writers and intellectuals from the eighteenth century to the present, including: Lucille Clifton, Edwidge Danticat, Frederick Douglass, Alice Dunbar-Nelson, W. E. B. DuBois, Camille T. Dungy, Marcus Garvey, Robert Hayden, Zora Neale Hurston, Major Jackson, Harriet Jacobs, John S. Jacobs, Nella Larsen, Claude McKay, Toni Morrison, Walter Mosley, Natasha Trethewey, Phillis Wheatley, Colson Whitehead, and Kevin Young. 

As a diary writer imagines shadow readers rifling diary pages, she tweaks images of the self, creating multiple readings of herself, fixed and unfixed. When the readers and potential readers are husbands and publishers, the writer maneuvers carefully in a world of men who are quick to judge and to take offense. She fills the pages with reflections, anecdotes, codes, stories, biographies, and fictions. The diary acts as a site for the writer’s tension, rebellion, and remaking of herself.

In this book Martinson examines the diaries of Virginia Woolf, Katherine Mansfield, Violet Hunt, and Doris Lessing’s fictional character Anna Wulf, and shows that these diaries (and others like them) are not entirely private writings as has been previously assumed. Rather, their authors wrote them knowing they would be read. In these four cases, the audience is the author’s male lover or husband, and Martinson reveals how knowledge of this audience affects the language and content in each diary. Ultimately, she argues, this audience enforces a certain “male censorship” which changes the shape of the revelations, the shape of the writer herself, making it impossible for the female author to be honest in writing about her true self.

Even sophisticated readers often assume that diaries are primarily private. This study interrogates the myth of authenticity and self-revelation in diaries written under the gaze of particular peekers.

Presenting a groundbreaking account of an audacious theatrical undertaking

Created by the Norwegian/German duo of Vegard Vinge and Ida Müller, the Ibsen-Saga (2006–present) is a six-hundred-year project to restage Henrik Ibsen’s entire oeuvre. Andrew Friedman presents a groundbreaking historical narrative of this project’s development and dramaturgy, through the theories and practices of modernism’s most influential and controversial artists, including Henrik Ibsen, Richard Wagner, F. T. Marinetti, Erwin Piscator, and Jackson Pollock. Vinge and Müller treat Ibsen’s plays as the urtexts of a mythical struggle between artistic vision and material limits, which they explore through analogous narratives ranging from Hamlet to World Cup soccer matches, all unified by a singular aesthetic that juxtaposes totalizing fiction and extreme reality. As Friedman shows, they mythologize Ibsen’s themes of artistic ambition to resurrect and test modernism’s fantasies of artistic autonomy, totality, creative license, and provocation.

By reading Vinge and Müller’s project through its modernist inspirations, Friedman demonstrates the material and ethical limits of modernist ideals in current theatrical practice, providing new perspectives on the legacy of these pioneering figures. Ibsen Apocalypse is a bold, cross-disciplinary reappraisal of the persistent power of modernity in contemporary performance.
 

In the second century CE, the multiethnic, multilingual, and religiously diverse Roman Empire grew to its greatest extent. To maintain order, Rome relied heavily on strict social hierarchies, established not only through legal frameworks like citizenship, but also through cultural markers (such as clothing and language) and personal traits (such as educational achievement). Even as Rome grew into one of the world’s most powerful empires, however, its social systems strained under the stresses caused by that very growth, which encouraged cultural interaction, long-distance travel, and social mobility—all of which threatened the hierarchies that underpinned Roman order.

It was during this time that the North African–born, Latin-speaking, Greek-educated Apuleius—whose own background showcases the multiplicity of identities available then to Roman individuals—flourished. He remains one of the ancient world’s best-known authors today, thanks particularly to his famous novel, Metamorphoses, known also as The Golden Ass. Taking a bird’s-eye view of his work, Ashli J. E. Baker proffers a bold new reading of Apuleius, proposing that across his writings there is a consistent focus on the theme of identity and its instability. By placing close readings in conversation with sociocultural and material contexts, she shows that because the structures of Roman power depended on inherently unreliable markers of identity, Apuleius’ work can be read as a biting critique of the fraught relationship between the individual, society, and the state in his contemporary Rome.

The ideogram changed the course of modern American poetry, and Ideogram is the first history of this important poetic tradition.

In modern poetry the ideogram is an idea presented to the reader by means of the juxtaposition of concrete particulars, usually without connective words or phrases. The poem is therefore presented in precise images, usually very tersely, and free from conventional form and meter. The idea of presenting a concept in this manner derives in part from Ernest Fenollosa's essay "The Chinese Character as a Medium for Poetry," the Chinese written character itself being a juxtaposition of pictographs to form a new meaning.

Ezra Pound's search for an alternative to traditional forms of verse composition resulted in his use of the ideogrammic method which, Laszlo K. Géfin asserts, became the major mode of presentation in twentieth-century American poetry. Two generations of avant-garde, experimental poets since Pound have turned to it for inspiration, evolving their own methods from its principles.

Géfin begins by tracing the development of Pound's poetics from the pre-Imagist stage through Imagism and Vorticism to the formulation of the ideogrammic method. He then examines the Objectivist poetics of Louis Zukofsky, Charles Reznikoff, and George Oppen; the contributions to the ideogrammic tradition of William Carlos Williams; and the Projectivist theories of Charles Olson, Robert Duncan, and Robert Creeley. He concludes with an exploration of Allen Ginsberg's theory of the ellipse and Gary Snyder's "riprap" method. Throughout, Géfin maintains that the ideogrammic mode is the literary representation of the twentieth-century post-logical—even post-humanist—world view.

A powerful argument that the failure of ideology has created political disconnection and apathy

Political institutions increasingly fail to provide representations where citizens can recognize, identify, and imagine themselves as part of the institutions’ democratic project. Robin Truth Goodman argues that this disconnection is because ideology itself has gotten interrupted. Reversing Louis Althusser’s famous formulation of ideology as “calling” to citizens who, in response, turn toward the call, she argues that citizens now believe that ideology has turned away from them and stopped calling, endangering the most basic processes of modern democracies.

Deconstructing the widespread failure of democratic institutions to connect with individuals, Goodman examines recent works by authors such as Claire Vaye Watkins, Colson Whitehead, Ling Ma, Han Kang, and Ruth Ozeki that interrogate subjective agency within three different sites of social struggle: eco-catastrophe, pandemic, and food insecurity. She shows the themes that emerge from the novels reflecting and extending how the privatization and technologization of political decision-making have effectively cut off politicians and political institutions from the people they are supposed to serve.

Basing her study in the political philosophy of Judith Butler, Hannah Arendt, Julia Kristeva, and other prominent feminists, Goodman draws parallels with gender theory and argues that precarity in democratic societies has prevented citizens from finding points of engagement within politics. Diagnosing this widespread inability to translate private struggles into collective responses, Ideology, Interrupted is a powerful and inspiring call for new forms of societal bonds and political engagement to rejuvenate our democratic systems.

Retail e-book files for this title are screen-reader friendly.

In the Cold War era, Chinese Americans were caught in a double-bind. The widespread stigma of illegal immigration, as it was often called, was most easily countered with the model minority, assimilating and forming nuclear families, but that in turn led to further stereotypes. In Illegal Immigrants/Model Minorities, Heidi Kim investigates how Chinese American writers navigated a strategy to normalize and justify the Chinese presence during a time when fears of Communism ran high.

Kim explores how writers like Maxine Hong Kingston, Jade Snow Wong, and C. Y. Lee, among others, addressed issues of history, family, blood purity, and law through then-groundbreaking novels and memoirs. Illegal Immigrants/Model Minorities also uses legal cases, immigration documents, and law as well as mass media coverage to illustrate how writers constructed stories in relation to the political structures that allowed or disallowed their presence, their citizenship, and their blended identity. 

Kim illuminates the rapidly shifting political and social pressures on Chinese American authors who selectively concealed, revealed, and reconstructed issues of citizenship, belonging, and inclusion in their writing.

"A brilliant and daring book on how art reveals life, how it illuminates childhood beyond what the sciences of development can tell us."
---Jerome Bruner, University Professor, New York University

"Combining the surgical precision of a psychoanalytically informed critic with the oracular eloquence of a brilliant close reader, Ellen Handler Spitz reads our cultural fortunes about childhood and parenting through works of art.  Moving us (in both senses of the term) from the serene plenitude of Piero della Francesca's Madonna of Childbirth to the unsparing horror of Lessing's Fifth Child, she reveals just how powerfully art puts us in touch with the pulsing energies of real life."
---Maria Tatar, John L. Loeb Professor of Germanic Languages and Literatures, Harvard University 

"Illuminating Childhood is a wonderfully well-written and researched interdisciplinary study of childhood in various media and mediums as well as through ethnicity, race, gender, cultures, and time."
---T. Denean Sharpley-Whiting, Distinguished Professor of French and Director of African American and Diaspora Studies, Vanderbilt University

While literature and the arts are rarely considered primary sources for knowledge about human motivation and behavior, people read novels, attend movies, watch television, and go to the theater not solely to be entertained but also to learn about one another and about themselves. Illuminating Childhood formalizes this quest for psychological knowledge in the domain of the arts.

Starting with the premise that a gifted writer, artist, or filmmaker has the ability to teach us as much in one scene as a theorist can in a treatise or a therapist in a session, the author shares her intimate experience of eight thematically linked works in film and literature from the second half of the twentieth century, touching on issues central to parent-child relations, including toxic intrafamilial secrets, the disjunction between love and understanding, and the lasting impact of deceased parents on their children. While the canon of literature about children and parent-child relations includes books that identify problems, propose solutions, and present statistical data, Illuminating Childhood offers a living out of experience via the arts, written for a general audience---parents, teachers, mental health professionals, those who engage with their students via the arts of literature and film, and others.

Ellen Handler Spitz holds the Honors College Professorship of Visual Arts at the University of Maryland. She is the author of a number of books on art, psychology, and imagery, including The Brightening Glance: Imagination and Childhood. Her abiding research interests are the cultural lives of young people; the relations between aesthetics and psychology; and the interconnections among literature, music, dance, and the visual arts.

Jacket photo: Courtesy of PhotoFest

What do we read when we read a text? The author's words, of course, but is that all? The prevailing publishing ethic has insisted that typography—the selection and arrangement of type and other visual elements on a page—should be an invisible, silent, and deferential servant to the text it conveys. 

This book contests that conventional point of view. Looking at texts ranging from the King James Bible to contemporary comic strips, the contributors to Illuminating Letters examine the seldom considered but richly revealing relationships between a text's typography and its literary interpretation. The essays assume no previous typographic knowledge or expertise; instead they invite readers primarily concerned with literary and cultural meanings to turn a more curious eye to the visual and physical forms of a specific text or genre. As the contributors show, closer inspection of those forms can yield fresh insights into the significance of a text's material presentation, leading readers to appreciate better how presentation shapes understandings of the text's meanings and values. 

The case studies included in the volume amplify its two overarching themes: one set explores the roles of printers and publishers in manipulating, willingly or not, the meaning and reception of texts through typographic choices; the other group examines the efforts of authors to circumvent or subvert such mediation by directly controlling the typographic presentation of their texts. Together these essays demonstrate that choices about type selection and arrangement do indeed help to orchestrate textual meaning. 

In addition to the editors, contributors include Sarah A. Kelen, Beth McCoy, Steven R. Price, Leon Jackson, and Gene Kannenberg Jr.

Erickson examines the work of Marianne Moore in order to provide some consistently successful strategies for understanding her poetry

In 1935, T.S. Eliot wrote that Marianne Moore’s poems “form part of the small body of durable poetry written in our time.” In this comprehensive critical study of the American poet Marianne Moore (1887-1972) and her work, Erickson amply justifies Eliot’s praise, demonstrating the poet’s ability to combine close observation with a worldview presentation that is at once intuitive, kaleidoscopic, and optimistic. Unfortunately, over the years the excellence and originality of Moore’s work has been overshadowed by its apparent inscrutability. Erickson examines the work of Marianne Moore in order to provide some consistently successful strategies for understanding her poetry.

The thesis is centered in a line from Moore’s poem, “Armor’s Undermining Modesty”:” What is more precise than precision? Illusion.” Erickson argues that Moore came to see herself humorously as “Imagnifico, a Wizard in Words,” a magician who used her conjuries to express a truth beyond reason, a truth described by the philosopher Henri Bergson as intuition, the highest stage of the evolution of human understanding. Is Erickson’s contention that Moore’s sense of magic is inextricably bound up in her own uniquely feminine epistemology, the tendency to place great value on intuition, and to find one’s own voice among collections of many voices.

This study demonstrates that Moore’s voice is arguably the strongest female voice in twentieth century American literature and her poetic voice could hold its own in the company of the best of the other modernists. Unlike many current scholars, Erickson examines closely the texts of Moore’s poems themselves, allowing the poet’s own voice to speak clearly. The study also explores Moore’s obsession with time, her preoccupation with the visual, her interest in the forms of Hebrew verse and her “susceptibility to happiness,” an outlook at some odds with the twentieth century’s fascination with the “romance of failure.”

While the book is scholarly in its intent and carefully documented, it is eminently readable and will be of interest of anyone fascinated by the mind of a brilliant twentieth century woman.

Focusing on the years from 1922 to 1938, this book revisits an important moment in black cultural history to explore how visual elements were used in poems, novels, and photography to undermine existing stereotypes. Miriam Thaggert identifies and analyzes an early form of black American modernism characterized by a heightened level of experimentation with visual and verbal techniques for narrating and representing blackness. The work of the writers and artists under discussion reflects the creative tension between the intangibility of some forms of black expression, such as spirituals, and the materiality of the body evoked by other representations of blackness, such as “Negro” dialect. 

By paying special attention to the contributions of photographers and other visual artists who have not been discussed in previous accounts of black modernism, Thaggert expands the scope of our understanding of the Harlem Renaissance and contributes to a growing recognition of the importance of visual culture as a distinct element within, and not separate from, black literary studies. 

Thaggert trains her critical eye on the work of James Weldon Johnson, Nella Larsen, George Schuyler, Carl Van Vechten, James Van Der Zee, and Aaron Siskind—artists who experimented with narrative and photographic techniques in order to alter the perception of black images and to question and reshape how one reads and sees the black body. Examining some of the more problematic authors and artists of black modernism, she challenges entrenched assumptions about black literary and visual representations of the early to mid twentieth century. 

Thaggert concludes her study with a close look at the ways in which Harlem and the Harlem Renaissance were reimagined and memorialized in two notable texts—Wallace Thurman's 1932 satire Infants of the Spring and the Metropolitan Museum of Art's controversial 1969 exhibition “Harlem on My Mind: The Cultural Capital of Black America, 1900–1968.”

The first comprehensive analysis of English national identity in the late Middle Ages

During the late Middle Ages, the increasing expansion of administrative, legal, and military systems by a central government, together with the greater involvement of the commons in national life, brought England closer than ever to political nationhood. Examining a diverse array of texts—ranging from Latin and vernacular historiography to Lollard tracts, Ricardian poetry, and chivalric treatises—this volume reveals the variety of forms “England” assumed when it was imagined in the medieval West.