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On September 11, 1973, General Augusto Pinochet led a bloody military coup in Chile that overthrew Salvador Allende’s democratically elected socialist government. The coup ushered in a cruelly repressive dictatorship that would govern the country for the next seventeen years, constituting a watershed moment in Cold War history. 

This book recounts the untold story of how Chicano Movement poets, artists, musicians, and theater groups in the United States used their work to express solidarity with the international campaign to restore democracy in Chile. Such expressions of solidarity were especially prominent in the San Francisco Bay Area, where hundreds of Chilean exiles settled following the coup. Upon arrival, they joined a diverse Latinx population that was home to a Chicanx arts community whose members’ political orientations primed them to lend their talents to anti-imperialist causes. These Chicanxs were also drawn to the campaign against the dictatorship through friendship and acquaintance with members of the Chilean exile community. 

David Spener shows how the Bay Area’s unique cosmopolitan social context offered Chicanxs and Chileans meaningful opportunities for dialogue and collaboration with each other as well as with Latinxs of other national origins. Chicanxs often adopted a pan-ethnic raza identity that they could share with Chilean, Nicaraguan, Puerto Rican, Salvadoran, and other Latinx activists. This did not mean, however, that they abandoned the political identities that they had gained from the Chicano Movement. Instead, many came to see themselves as uniting with other Latinxs, first Chileans and then Nicaraguans and Salvadorans, in a struggle against U.S. imperialism throughout the Americas.

2026 NYU Joe Callaway Prize Winner

• 2025 Association for Theatre in Higher Education Outstanding Book Award in Innovative Achievement Winner
• 2024 Theatre Library Association George Freedley Memorial Award Co-Winner
• American Society for Theatre Research Barnard Hewitt Award for Outstanding Research in Theatre History Finalist 

Revolutionary Stagecraft draws on a rich corpus of literary, historical, and technical materials to reveal a deep entanglement among technological modernization, political agendas, and the performing arts in modern China. This unique approach to Chinese theater history combines a close look at plays themselves, performance practices, technical theater details, and behind-the-scenes debates over “how to” make theater amid the political upheavals of China’s 20th century. The book begins at a pivotal moment in the 1920s—when Chinese theater artists began to import, use, and write about modern stage equipment—and ends in the 1980s when China's scientific and technological boom began. By examining iconic plays and performances from the perspective of the stage technologies involved, Tarryn Li-Min Chun provides a fresh perspective on their composition and staging. The chapters include stories on the challenges of creating imitation neon, rigging up a makeshift revolving stage, and representing a nuclear bomb detonating onstage. 

In thinking about theater through technicity, the author mines well-studied materials such as dramatic texts and performance reviews for hidden technical details and brings to light a number of previously untapped sources such as technical journals and manuals; set design renderings, lighting plots, and prop schematics; and stage technology how-to guides for amateur thespians. This approach focuses on material stage technologies, situating these objects equally in relation to their technical potential, their human use, and the social, political, economic, and cultural forces that influence them. In each of its case studies, Revolutionary Stagecraft reveals the complex and at times surprising ways in which Chinese theater artists and technicians of the 20th  century envisioned and enacted their own revolutions through the materiality of the theater apparatus.

How modernist interartistic experimentation and the proliferation of new media technologies inspired fresh insights into poetry

Isobel Palmer spotlights Russian modernist poets’ and formalist theorists’ conscious engagement with formal convention, showing how their efforts were tied up with broader attempts in the early Soviet era to understand and articulate the nature of poetry and its most characteristic devices. Returning to critical debates around poetic encounters with three key aesthetic categories—rhythm, image, and voice—Palmer unpacks the period’s deeper interest in the material bases of poetic speech itself. Through fresh, incisive readings of canonical poets and theorists, from Andrei Bely and Vladimir Mayakovsky to Yury Tynianov and Viktor Shklovsky, Revolutions in Verse: The Medium of Russian Modernism explores the proliferation of interartistic experiments and the emergence of new media technologies that made poetry visible as a medium in its own right.

Established in 1935, the Federal Writers’ Project (FWP) sent over 6,500 unemployed historians, teachers, writers, and librarians out to document America’s past and present in the midst of the Great Depression. The English poet W. H. Auden referred to this New Deal program as “one of the noblest and most absurd undertakings ever attempted by any state.”

Featuring original work by scholars from a range of disciplinary perspectives, this edited collection provides fresh insights into how this extraordinary program helped transform American culture. In addition to examining some of the major twentieth-century writers whose careers the FWP helped to launch—including Ralph Ellison, Richard Wright, and Margaret Walker—Rewriting America presents new perspectives on the role of African Americans, Mexican Americans, Asian Americans, and women on the project. Essays also address how the project’s goals continue to resonate with contemporary realities in the midst of major economic and cultural upheaval.

Along with the volume editor, contributors include Adam Arenson, Sue Rubenstein DeMasi, Racheal Harris, Jerrold Hirsch, Kathi King, Maiko Mine, Deborah Mutnick, Diane Noreen Rivera, Greg Robinson, Robert Singer, James Sun, and David A. Taylor.

A critical reassessment of nineteenth‑century American architecture that uncovers how race, settler colonialism, and contested national identities shaped the built environment and its historiography.

Rewriting American Architecture offers a revisionist riposte to the canonical story of nineteenth-century American architecture. Drawing on new archival research and revisionist historiography, the essays in this volume reveal how American architecture was shaped not by inevitable progress toward a unified national culture but by the turbulent realities of race, labor, settler colonialism, and territorial expansion. Rather than treating architecture as an apolitical aesthetic expression, the contributors expose it as an active arena in which the meanings of nationhood were constructed, contested, and often violently enforced. From Indigenous spatial practices and Black institutional building to transnational exchanges and the racial politics embedded in professionalization, this collection reframes the built environment as central to the competing cultural, political, and geographic claims that defined the United States during this period.

Exodus, as a powerful narrative of liberation, has been a central imaginative touchstone in the black American struggle against US racism. This book traces the concept in a number of pivotal black thinkers, and explores its signficance for contemporary America.

The exodus story is a fitting allegory for the painful experience of exile that disproportionately afflicted African Americans in the aftermath of Hurricane Katrina, and it also provides compelling imagery for the triumphant election of Barack Obama in 2008. Building around these themes, Anna Hartnell traces the intellectual development of one of the defining narratives of black American thinking on social justice in the United States.

In placing black America at the centre of the study of US culture, Rewriting Exodus suggests new ways of thinking about America's relationship with the Middle East and the wider postcolonial world. Hartnell's groundbreaking contribution marks a vital new chapter in American cultural and political history.

In the eighteenth century, “technology” didn’t name a particular device or a process. It referred instead to written accounts of the mechanical arts, a now-obsolete category encompassing the wide range of work done by hand, from baking bread to building ships. Rewriting the Mechanic examines how these written descriptions, circulating across genres in eighteenth-century Britain, transformed certain mechanical arts by imagining them as newly innovative, authoritative, and able to make speculative possibilities real—as what we now call technological. Reversing the familiar story in which literature simply reflects technological change, West draws on the work of Robert Hooke, Aphra Behn, Daniel Defoe, Maria Edgeworth, and Jane Austen to demonstrate the influence of literary techniques on ideas about masculinity, power, and the body, and how these texts helped to bring the very idea of technological modernity into being.

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

A timely collection of essays by prominent scholars in the field—on the past, present, and future of rhetoric instruction.

From Isocrates and Aristotle to the present, rhetorical education has consistently been regarded as the linchpin of a participatory democracy, a tool to foster civic action and social responsibility. Yet, questions of who should receive rhetorical education, in what form, and for what purpose, continue to vex teachers and scholars.

The essays in this volume converge to explore the purposes, problems, and possibilities of rhetorical education in America on both the undergraduate and graduate levels and inside and outside the academy. William Denman examines the ancient model of the "citizen-orator" and its value to democratic life. Thomas Miller argues that English departments have embraced a literary-research paradigm and sacrificed the teaching of rhetorical skills for public participation. Susan Kates explores how rhetoric is taught at nontraditional institutions, such as Berea College in Kentucky, where Appalachian dialect is espoused. Nan Johnson looks outside the academy at the parlor movement among women in antebellum America. Michael Halloran examines the rhetorical education provided by historical landmarks, where visitors are encouraged to share a common public discourse. Laura Gurak presents the challenges posed to traditional notions of literacy by the computer, the promises and dangers of internet technology, and the necessity of a critical cyber-literacy for future rhetorical curricula.

Collectively, the essays coalesce around timely political and cross-disciplinary issues. Rhetorical Education in America serves to orient scholars and teachers in rhetoric, regardless of their disciplinary home, and help to set an agenda for future classroom practice and curriculum design.

Exposing the politics of seeing: how documentary photographs confront inequality and reshape public understanding.

In Rhetorical Exposures, Christopher Carter explores social documentary photography from the nineteenth century to the present in order to illuminate the political dimensions and consequences of photographs taken and selected to highlight social injustice. Documentary photography aims to capture the material reality of life. Carter demonstrates how the creation and display of documentary photographs—often now called “imagetexts”—both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film.

Carter’s carefully reasoned monograph examines both formal qualities of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heartrending photos of Manhattan’s poor in late nineteenth-century New York, Walker Evans’s iconic images of tenant farmers in west Alabama, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina.

While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. Carter argues that social documentary photography has the powerful capacity to disrupt complacent habits of viewing and to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to creations as diverse as public memorials, murals, and graphic novels.

As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.