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The drop in Spanish birth rates in 1998 to their lowest level of 1.1 births per woman was accompanied by a boom in publishing about motherhood. New narrative forms, ranging from blogs to diaries to comics, expressed women’s experiences, including ambivalence about motherhood in the face of societal pressures. Narrating Infertility in Spain, the first study of infertility in post-2008 female-authored texts, analyzes discussions of adoption, assisted reproduction, egg and sperm donation, and the decision not to have children due to economic or social instability. By examining the work of writers and vocal activists Silvia Nanclares, Raquel Sánchez-Silva, Samanta Villar, Laura Freixas, and Diana López Varela, Ross situates infertility in Spain within the cultural context of the Great Recession, while considering it as a business, a crisis, a stigma, and a class issue, and offering broader understandings of contemporary fertility challenges in Spain and beyond.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

In this original study, Gabriel Horowitz examines the work of select nineteenth- and twentieth-century Latin American writers through the lens of contemporary theoretical debates about nature, postcoloniality, and national identity. In the work of José Martí, Gertrudis Gómez de Avellaneda, Jorge Luis Borges, Augusto Roa Bastos, Cesar Aira, and others, he traces historical constructions of nature in regional intellectual traditions and texts as they inform political culture on the broader global stage. By investigating national literary discourses from Cuba, Argentina, and Paraguay, he identifies a common narrative thread that imagines the utopian wilderness of the New World as a symbolic site of independence from Spain. In these texts, Horowitz argues, an expressed desire to return to the nation’s foundational nature contributed to a movement away from political and social engagement and toward a “biopolitical state,” in which nature, traditionally seen as pre-political, conversely becomes its center.

New Vrindaban lives in the disputed territory between the past and present, between the idealistic hopes and complicated reality of creating a better world. An electrifying collision of uniquely Appalachian cultural forces, the formal division of poems into “Side One” and “Side Two” pay homage to the concept albums of 1970s garage rock, while the book’s title alludes to the intentional Hare Krishna community in West Virginia founded in the same era. 

Jacob Strautmann’s latest collection builds an extraordinary temple on the compromised ground — it houses the compressed narratives of varied characters, monumentalizes the beautiful illusions of failed ideas, and remembers the irretrievable innocent love of youth. The music of New Vrindaban is both a ballad of survivor’s guilt and the raucous soundtrack of a record party among friends. It is the “black swift-moving waters,” “the bright clouds unmoored in the wind.”

WINNER OF THE ELIZABETH AGEE PRIZE IN AMERICAN LITERATURE

A groundbreaking appreciation of Dylan as a literary practitioner.

The literary establishment tends to regard Bob Dylan as an intriguing, if baffling, outsider. That changed overnight when Dylan was awarded the 2016 Nobel Prize in Literature, challenging us to think of him as an integral part of our national and international literary heritage. No One to Meet: Imitation and Originality in the Songs of Bob Dylan places Dylan the artist within a long tradition of literary production and offers an innovative way to understand his unique and often controversial methods of composition.

Dylan expert Raphael Falco traces the similarities between the way Dylan borrows, digests, and transforms traditional songs and what Renaissance writers called imitatio. Although Dylan’s lyrical postures may suggest an avant-garde consciousness, No One to Meet shows that Dylan’s creative process creatively expands methods used by classical and Renaissance authors.

Drawing on numerous examples, including Dylan’s previously unseen manuscript excerpts and archival materials, Raphael Falco illuminates how the ancient process of poetic imitation, handed down from Greco-Roman antiquity, allows us to make sense of Dylan’s musical and lyrical technique. By placing Dylan firmly in the context of an age-old poetic practice, No One to Meet deepens our appreciation of Dylan’s songs and allows us to celebrate him as what he truly is: a great writer.
 

Exploring contemporary literature to expose how post-9/11 counterterror strategies are used to unhome families of color

More than a quarter of a century after 9/11, the global war on terror continues to rage in the name of homeland security. Through literature and archival research, Jay Shelat shows how war, Islamophobia, police brutality, and other state-sponsored legal and social maneuvers are used to revoke and control Brown and Black families and their belonging, and why the empire always starts at home.

By exploring insurgent narratives in fiction and poetry by writers of color such as Kamila Shamsie, N. K. Jemisin, and Dur e Aziz Amna, No Place for Home traces the long history of white supremacy infiltrating family life. Shelat expands this picture to include records, laws, brochures, executive orders, and other forms of documentation to illuminate how domesticity is posited as conditional—dependent on racial permission—in the United States. Woven through this nuanced exploration of radicalized violence in the US since the attacks are discussions of stubborn identity, queer kinship, and community organizing.

No Place for Home analyzes post-9/11 literature as a crucial informant for our understanding of how the war on terror has evolved into its current state. In doing so, Shelat charts a radical, healing way forward.

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Recovering the literary and intellectual history of anticolonial collaborations
 
Preoccupied with developing a multiethnic, postcolonial culture and seeking an alternative to Cold War–bloc politics, socialist Yugoslavia turned to the decolonizing countries of the Global South. It forged political, economic, and cultural links with postcolonial states and anticolonial liberation movements through the Non-Aligned Movement, of which it was a founding member in 1961. NAM spanned political and economic systems, uniting members in opposition to superpower politics and around policies of nuclear disarmament, active peaceful coexistence, anticolonialism, and respect for national sovereignty.
 
Nataša Kovačević reconstructs the forgotten literary and cultural history of this movement, tracing the development of new networks of intellectual engagement and cultural exchange between writers, journalists, and scholars who connected postwar Yugoslavia with 1950s India, 1960s Algeria and Guinea, 1970s Vietnam, and beyond. Nonaligned narratives attempted to reconfigure the understanding of the globe outside Eurocentric tropes and hegemonic political stratifications and to articulate Yugoslavs’ own internationalist sensibility. With Cold War–era rhetoric intensifying again in the twenty-first century, Nonaligned Imagination assumes the urgent task of unearthing a history of engaged writing and cultural diplomacy that imagined alternatives to superpower conflicts and a bipolar vision of the world.

A bold and provocative analysis of Jane Austen as an early gender abolitionist

Chris Washington reads Jane Austen differently than we have classically understood her: rather than the doyen of the cisheteronormative marriage plot, the author theorizes how Austen envisions a nonbinary future that traverses the two-sex model of gender that we can supposedly see solidifying in the eighteenth century. Instead, Washington argues, Austen leverages the generic restraints of the novel to write a disguised autofiction in which Austen imagines herself as transgender and works to abolish gender exclusivity altogether. In doing so, she establishes a politics that ushers in a future beyond the cisheteronormative binary, one built on plurality and possibility.

The first English-language translation of Rosabetty Muñoz’s vital and innovative poetry from across her extraordinary body of work

Rosabetty Muñoz is one of Chile’s most acclaimed and innovative contemporary poets. Her poems highlight the lives of girls and women on the islands of the Chilean archipelago, portraying the hardships they encounter in this often-overlooked region of the world. In this meticulous and compelling translation from Elena Barcia, Nothing Like Paradise offers a collection of selected works from across Muñoz’s oeuvre, offering a close look into the breadth and emotional intensity of her poetry.

These poems depict the wounds inflicted by the Pinochet dictatorship, foreign invasions, sexual exploitation, the incursions of global capitalism, and political exile. Renowned for her powerful use of multiple voices and striking images, Muñoz channels the thoughts and emotions of the islands’ female inhabitants, bringing immediacy and drama to their stories and transforming readers into their witnesses and confidants. Her poems invite us to confront pain and injustice with empathy and to turn understanding into a collective act of compassion and resistance.

Brockman-Campbell Book Award for Poetry, Honorable Mention

Mackenzie Kozak examines the complex question of whether or not to bear children. Through a series of untitled American sonnets, the poems speak to themes of origin and desire, noting the shame that can accompany such a decision. Many poetry collections speak to the varied griefs of becoming a mother, losing a child, or being unable to have a child, but this collection gives specific voice to another grief that feels unspeakable: the possible conclusion of not wanting to be a mother.

no swaddle reads as a sort of meditation on theme, its repeated form mirroring the spiraling nature of indecision and reconsideration of the same major question alongside its continuous struggle to name. In the end, this grappling with elements of grief and shame becomes a way of moving toward greater agency and fulfillment.