Results by title

3576 books match the query 'American' and 141 start with r

cover of Readings at the Edge of Literature

Readings at the Edge of Literature

Myra Jehlen

University of Chicago Press, 2002

Myra Jehlen's aim in these essays is to read for what she calls the edge of literature: the point at which writing seems unable to say more, which is also, for Jehlen, the threshold of the real. It is here, she argues, that the central paradoxes of the American project become clear—self-reliance and responsibility, universal equality and the pursuit of empire, writing from the heart and representing shared values and ideas. Developing these paradoxes to their utmost tension, American writers often produce penetrating critiques of American society without puncturing its basic myths. For instance, Mark Twain's Puddn'head Wilson begins as a slashing satire of racism, only to conclude by demonstrating that even an invisible portion of black blood can make a man a murderer.

Throughout these essays Jehlen demonstrates the crucial role that the process of writing itself plays in unfolding these paradoxes, whether in the form of novels by Harriet Beecher Stowe and Virginia Woolf; the histories of Captain John Smith; or even a work of architecture, such as the Guggenheim museum in Bilbao.
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cover of Real Folks: Race and Genre in the Great Depression

Real Folks

Race and Genre in the Great Depression

Sonnet H. Retman

Duke University Press, 2011

During the Great Depression, people from across the political spectrum sought to ground American identity in the rural know-how of “the folk.” At the same time, certain writers, filmmakers, and intellectuals combined documentary and satire into a hybrid genre that revealed the folk as an anxious product of corporate capitalism, rather than an antidote to commercial culture. In Real Folks, Sonnet Retman analyzes the invention of the folk as figures of authenticity in the political culture of the 1930s, as well as the critiques that emerged in response. Diverse artists and intellectuals—including the novelists George Schuyler and Nathanael West, the filmmaker Preston Sturges, and the anthropologist Zora Neale Hurston—illuminated the fabrication and exploitation of folk authenticity in New Deal and commercial narratives. They skewered the racist populisms that prevented interracial working-class solidarity, prophesized the patriotic function of the folk for the nation-state in crisis, and made their readers and viewers feel self-conscious about the desire for authenticity. By illuminating the subversive satirical energy of the 1930s, Retman identifies a rich cultural tradition overshadowed until now by the scholarly focus on Depression-era social realism.
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cover of Realism after the Individual: Women, Desire, and the Modern American Novel

Realism after the Individual

Women, Desire, and the Modern American Novel

Rafael Walker

University of Chicago Press, 2026

A study of the transformation of the realist novel in the hands of early-twentieth-century American writers, who adapted this quintessentially nineteenth-century genre to the conditions of their age. 
 
Realism after the Individual offers a new theoretical paradigm for understanding realist novels published in the United States between 1900 and 1920, a period that has been described wrongheadedly as a “gulf” or a “valley” in American literary history. In this generation of writers, only three have remained in favor among critics: Kate Chopin, Edith Wharton, and Theodore Dreiser. Others have disappeared from view altogether—writers such as Robert Grant, Robert Herrick, and Booth Tarkington, all of whom were critically acclaimed bestsellers in their day.

As Rafael Walker shows, this generation of writers deserves new attention for the way they revised many core facets of the nineteenth-century novel in response to the historical shifts around it. This generation of novelists not only rejected liberal individualism but also formulated alternative paradigms for conceptualizing selfhood. The result was a slew of woman-centered realist novels that broke with literary precedent: The novels punish characters not for desiring too much but for failing to desire enough, they depict subjectivity not as private and interior but as outward-facing, and they view closure not as the novel’s aim but as a convention to flout. Realism after the Individual both revises prevailing views of American realism and lays the foundation for an alternative account of the development of literary modernism, one that illuminates the continuity between realism and the modernism that followed it.
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cover of Realism and Naturalism in Nineteenth-Century American Literature, Revised Edition

Realism and Naturalism in Nineteenth-Century American Literature, Revised Edition

Donald Pizer

Southern Illinois University Press, 1984

The 1966 edition of this book has be­come a standard work. In this new, re­vised edition, Pizer has dropped three chapters and has refined and extended the work by adding six: “American Liter­ary Naturalism: An Approach Through Form,” “American Literary Naturalism: The Example of Dreiser,” “The Prob­lem of Philosophy in the Naturalistic Novel,” “Hamlin Garland’s 1891 Main-Travelled Roads: Local Color as Art,” “Jack London: The Problem of Form,” and “Dreiser’s ‘Nigger Jeff’: The Devel­opment of an Aesthetic.”

The book contains definitions of real­ism and naturalism based on representa­tive novels of the period ranging from Howells’ Rise of Silas Lapham to Crane’s Red Badge of Courage; analyses of the literary criticism of the age, stressing that of Howells, Garland, and Norris; and close readings of specific works by major figures of the period.

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cover of Realism and the American Dramatic Tradition

Realism and the American Dramatic Tradition

William W. Demastes

University of Alabama Press, 1996

This book reconsiders realism on the American stage by addressing the great variety and richness of the plays that form the American theatre canon.

Any review of 20th-century American theatre invariably leads to the term realism. Yet despite the strong tradition of theatrical realism on the American stage, the term is frequently misidentified, and the practices to which it refers are often attacked as monolithically tyrannical, restricting the potential of the American national theatre.This book reconsiders realism on the American stage by addressing the great variety and richness of the plays that form the American theatre canon. By reconsidering the form and revisiting many of the plays that contributed to the realist tradition, the authors provide the opportunity to apprise strengths often overlooked by previous critics. The volume traces the development of American dramatic realism from James A. Herne, the "American Ibsen," to currently active contemporaries such as Sam Shepard, David Mamet, and Marsha Norman. This frank assessment, in sixteen original essays, reopens a critical dialog too long closed.

Essays include:

American Dramatic Realisms, Viable Frames of Thought

The Struggle for the Real--Interpretive Conflict, Dramatic Method, and the Paradox of Realism

The Legacy of James A. Herne: American Realities and Realisms

Whose Realism? Rachel Crothers's Power Struggle in the American Theatre

The Provincetown Players' Experiments with Realism

Servant of Three Masters: Realism, Idealism, and "Hokum" in American High Comedy



 

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cover of Rebels in Paradise: Sketches of Northampton Abolitionists

Rebels in Paradise

Sketches of Northampton Abolitionists

Bruce Laurie

University of Massachusetts Press, 2014

Long ago dubbed the “Paradise of America,” Northampton, Massachusetts, is also known as the home of visionaries—from the Reverend Jonathan Edwards, father of the First Great Awakening, to George W. Benson, brother-in-law of William Lloyd Garrison and a founder of the utopian Northampton Association for Education and Industry. During the mid-nineteenth century the town became a center of political abolitionism and a hub in the Underground Railroad. In this book, Bruce Laurie profiles five rebellious figures who launched Northampton's abolitionist movement—Sylvester Judd Jr., John Payson Williston, David Ruggles, Henry Sherwood Gere, and Erastus Hopkins. Through their individual stories he traces the evolution of the antislavery movement in western Massachusetts and links it to broader developments in economics, civil life, and political affairs. 

Northampton's abolitionists were a heterodox group, yet most were intrepid devotees of democracy and racial equality, idealists who enjoyed genuine friendships and political alliances with African Americans. Several even took the bold step of hiring African Americans in their businesses. They avoided the doctrinal rivalries that sometimes troubled the antislavery movement in other places, skillfully steering clear of the xenophobic nativism that infected Massachusetts politics in the mid–1850s and divided the Republican Party at large. Although a prohibitionist faction disrupted the Northampton abolitionist movement for a time, the leaders prevailed on the strength of their personal prestige and political experience, making the seat of Hampshire County what one of them called an abolitionist “stronghold.”

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cover of Recalculating

Recalculating

Charles Bernstein

University of Chicago Press, 2013

Long anticipated, Recalculating is Charles Bernstein’s first full-length collection of new poems in seven years. As a result of this lengthy time under construction, the scope, scale, and stylistic variation of the poems far surpasses Bernstein’s previous work. Together, the poems of Recalculating take readers on a journey through the history and poetics of the decades since the end of the Cold War as seen through the lens of social and personal turbulence and tragedy.
 
The collection’s title, the now–familiar GPS expression, suggests a change in direction due to a mistaken or unexpected turn. For Bernstein, formal invention is a necessary swerve in the midst of difficulty. As in all his work since the 1970s, he makes palpable the idea that radically new structures, appropriated forms, an aversion to received ideas and conventions, political engagement, and syntactic novelty will open the doors of perception to exuberance and resonance, from giddiness to pleasure to grief. But at the same time he cautions, with typical deflationary ardor, “The pen is tinier than the sword.” In these poems, Bernstein makes good on his claim that “the poetry is not in speaking to the dead but listening to the dead.” In doing so, Recalculating incorporates translations and adaptations of Baudelaire, Cole Porter, Mandelstam, and Paul Celan, as well as several tributes to writers crucial to Bernstein’s work and a set of epigrammatic verse essays that combine poetics with wry observation, caustic satire, and aesthetic slapstick.
 
Formally stunning and emotionally charged, Recalculating makes the familiar strange—and in a startling way, makes the strange familiar. Into these poems, brimming with sonic and rhythmic intensity, philosophical wit, and multiple personae, life events intrude, breaking down any easy distinction between artifice and the real. With works that range from elegy to comedy, conceptual to metrical, expressionist to ambient, uproarious to procedural, aphoristic to lyric, Bernstein has created a journey through the dark striated by bolts of imaginative invention and pure delight. 
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cover of Reconstituting Authority: American Fiction in the Province of the Law, 1880-1920

Reconstituting Authority

American Fiction in the Province of the Law, 1880-1920

William E. Moddelmog

University of Iowa Press, 2000

In Reconstituting Authority, William Moddelmog explores the ways in which American law and literature converged in the late nineteenth and early twentieth centuries. Through close readings of significant texts from the era, he reveals not only how novelists invoked specific legal principles and ideals in their fictions but also how they sought to reconceptualize the boundaries of law and literature in ways that transformed previous versions of both legal and literary authority.
Moddelmog does not assume a sharp distinction between literary and legal institutions and practices but shows how writers imagined the two fields as engaged in the same cultural process. He argues that because the law was instrumental in setting the terms by which concepts such as race, gender, nationhood, ownership, and citizenship were defined in the nineteenth century, authors challenging those definitions had to engage the law on its own terrain: to place their work in a dialogue with the law by telling stories that were already authorized (though perhaps suppressed) by legal institutions.
The first half of the book is devoted in separate chapters to William Dean Howells, Helen Hunt Jackson, and Pauline Hopkins. The focus shifts from large theoretical concerns to questions of contract and native sovereignty, to issues of African American citizenship and racial entitlement. In each case the discussion is rooted in a larger consideration of the rule (or misrule) of law.
The second half of the book turns from the rule of law to the issue of property, specifically the Lockean version of the self that tied identity to legal conceptions of property and economic value. In separate discussions of Charles Chesnutt, Edith Wharton, and Theodore Dreiser, Reconstituting Authority reveals authors as closely engaged with those changing perspectives on property and identity, in ways that challenged the racial, gendered, and economic consequences of America's possessive individualism.
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cover of Reconstituting the American Renaissance: Emerson, Whitman, and the Politics of Representation

Reconstituting the American Renaissance

Emerson, Whitman, and the Politics of Representation

Jay Grossman

Duke University Press, 2003

Challenging the standard periodization of American literary history, Reconstituting the American Renaissance reinterprets the works of Ralph Waldo Emerson and Walt Whitman and the relationship of these two authors to each other. Jay Grossman argues that issues of political representation—involving vexed questions of who shall speak and for whom—lie at the heart of American political and literary discourse from the revolutionary era through the Civil War. By taking the mid-nineteenth-century period, traditionally understood as marking the advent of literary writing in the United States, and restoring to it the ways in which Emerson and Whitman engaged with eighteenth-century controversies, rhetorics, and languages about political representation, Grossman departs significantly from arguments that have traditionally separated American writing in the eighteenth and nineteenth centuries.

Reconstituting the American Renaissance describes how Emerson and Whitman came into the period of their greatest productivity with different conceptions of the functions and political efficacy of the word in the world. It challenges Emerson’s position as Whitman’s necessary precursor and offers a cultural history that emphasizes the two writers’ differences in social class, cultural experience, and political perspective. In their writings between 1830 and 1855, the book finds contrasting conceptions of the relations between the “representative man” and the constituencies to whom, and for whom, he speaks. Reconstituting the American Renaissance opens up the canonical relationship between Emerson and Whitman and multiplies the historical and discursive contexts for understanding their published and unpublished works.

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cover of Recovering Bodies: Illness, Disability, and Life Writing

Recovering Bodies

Illness, Disability, and Life Writing

G. Thomas Couser

University of Wisconsin Press, 1997

    This is a provocative look at writing by and about people with illness or disability—in particular HIV/AIDS, breast cancer, deafness, and paralysis—who challenge the stigmas attached to their conditions by telling their lives in their own ways and on their own terms. Discussing  memoirs, diaries, collaborative narratives, photo documentaries, essays, and other forms of life writing, G. Thomas Couser shows that these books are not primarily records of medical conditions; they are a means for individuals to recover their bodies (or those of loved ones) from marginalization and impersonal medical discourse.
    Responding to the recent growth of illness and disability narratives in the United States—such works as Juliet Wittman’s Breast Cancer Journal, John Hockenberry’s Moving Violations, Paul Monette’s Borrowed Time: An AIDS Memoir, and Lou Ann Walker’s A Loss for Words: The Story of Deafness in a Family—Couser addresses questions of both poetics and politics. He examines why and under what circumstances individuals choose to write about illness or disability; what role plot plays in such narratives; how and whether closure is achieved; who assumes the prerogative of narration; which conditions are most often represented; and which literary conventions lend themselves to representing particular conditions. By tracing the development of new subgenres of personal narrative in our time, this book explores how explicit consideration of illness and disability has enriched the repertoire of life writing. In addition, Couser’s discussion of medical discourse joins the current debate about whether the biomedical model is entirely conducive to humane care for ill and disabled people.
    With its sympathetic critique of the testimony of those most affected by these conditions, Recovering Bodies contributes to an understanding of the relations among bodily dysfunction, cultural conventions, and identity in contemporary America.
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cover of Recovering the Black Female Body: Self-Representation by African American Women

Recovering the Black Female Body

Self-Representation by African American Women

Edited by Michael Bennett and Vanessa D Dickerson

Rutgers University Press, 2000

Despite the recent flood of scholarly work investigating the interrelated issues of race, gender, and representation, little has been written about black women’s depictions of their own bodies. Both past and present-day American cultural discourse has attempted either to hypereroticize the black female body or make it a site of impropriety and crime.

The essays in this volume focus on how African American women, from the nineteenth century to the present, have represented their physical selves in opposition to the distorted vision of others. Contributors attempt to  “recover” the black female body in two ways: they explore how dominant historical images have mediated black female identity, and they analyze how black women have resisted often demeaning popular cultural perceptions in favor of more diverse, subtle presentations of self.   

The pieces in this book—all of them published here for the first time—address a wide range of topics, from antebellum American poetry to nineteenth-century African American actors, and twentieth-century pulp fiction.

Recovering the Black Female Body recognizes the pressing need to highlight through scholarship the vibrant energy of African American women’s attempts to wrest control of the physical and symbolic construction of their bodies away from the distortions of others.

Contributors are Margaret Bass, Dorri Rabung Beam, Michael Bennett, Jacqueline E. Brady, Daphne A. Brooks, Vanessa D. Dickerson, Meredith Goldsmith, Yvette Louis, Ajuan Maria Mance, Noliwe Rooks, Mark Winokur, and Doris Witt. This book also contains a foreword by Carla L. Peterson and an afterword by Deborah E. McDowell.

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cover of Red Business: Walt Whitman’s Notebooks and Fragments of the Civil War and the Reconstruction Era

Red Business

Walt Whitman’s Notebooks and Fragments of the Civil War and the Reconstruction Era

Matt Miller

University of Iowa Press, 2027

In Red Business, Walt Whitman readers can explore nearly all his notebooks and manuscript fragments from the Civil War and the Reconstruction Era. In addition to Whitman’s numerous accounts of Civil War soldiers, Red Business contains the infamous notebook in which Whitman records his feverish obsession with his young companion Peter Doyle, as well as several difficult to find, unpublished poems and essays.

Matt Miller and Zachary Turpin’s meticulous transcriptions of Whitman’s written materials allow readers to explore the often-neglected final chapter of Whitman’s life, as he battled ailments, prepared speeches, and received famous visitors, all the while continuing to write revealing new poems.

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cover of Red Clay Suite

Red Clay Suite

Honoree Fanonne Jeffers

Southern Illinois University Press, 2007

In her third book of poems, Honorée Fanonne Jeffers expresses her familiarity with the actual and imaginary spaces that the American South occupies in our cultural lexicon. Her two earlier books of poetry, The Gospel of Barbecue and Outlandish Blues, use the blues poetic to explore notions of history and trauma. Now, in Red Clay Suite, Jeffersapproaches the southern landscape as utopia and dystopia—a crossroads of race, gender, and blood. These poems signal the ending movement of her crossroads blues and complete the last four “bars” of a blues song, resting on the final, and essential, note of resolution and reconciliation.
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cover of Red Land, Red Power: Grounding Knowledge in the American Indian Novel

Red Land, Red Power

Grounding Knowledge in the American Indian Novel

Sean Kicummah Teuton

Duke University Press, 2008

In lucid narrative prose, Sean Kicummah Teuton studies the stirring literature of “Red Power,” an era of Native American organizing that began in 1969 and expanded into the 1970s. Teuton challenges the claim that Red Power thinking relied on romantic longings for a pure Indigenous past and culture. He shows instead that the movement engaged historical memory and oral tradition to produce more enabling knowledge of American Indian lives and possibilities. Looking to the era’s moments and literature, he develops an alternative, “tribal realist” critical perspective to allow for more nuanced analyses of Native writing. In this approach, “knowledge” is not the unattainable product of disinterested observation. Rather it is the achievement of communally mediated, self-reflexive work openly engaged with the world, and as such it is revisable. For this tribal realist position, Teuton enlarges the concepts of Indigenous identity and tribal experience as intertwined sources of insight into a shared world.

While engaging a wide spectrum of Native American writing, Teuton focuses on three of the most canonized and, he contends, most misread novels of the era—N. Scott Momaday’s House Made of Dawn (1968), James Welch’s Winter in the Blood (1974), and Leslie Marmon Silko’s Ceremony (1977). Through his readings, he demonstrates the utility of tribal realism as an interpretive framework to explain social transformations in Indian Country during the Red Power era and today. Such transformations, Teuton maintains, were forged through a process of political awakening that grew from Indians’ rethought experience with tribal lands and oral traditions, the body and imprisonment, in literature and in life.

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cover of Red Line

Red Line

By Charles Bowden, foreword by James Galvin

University of Texas Press, 2018

“At its best, Red Line can read like an original synthesis of Peter Matthiessen and William Burroughs . . . a brave and interesting book.”
—David Rieff, Los Angeles Times Book Review

“Charles Bowden’s Red Line is a look at America through the window of the southwest. His vision is as nasty, peculiar, brutal, as it is intriguing and, perhaps, accurate. Bowden offers consciousness rather than consolation, but in order to do anything about our nightmares we must take a cold look and Red Line casts the coldest eye in recent memory.”
—Jim Harrison

One of Charles Bowden’s earliest books, Red Line powerfully conveys a desert civilization careening over the edge—and decaying at its center. Bowden’s quest for the literal and figurative truth behind the assassination of a murderous border-town drug dealer becomes a meditation on the glories of the desert landscape, the squalors of the society that threatens it, and the contradictions inherent in trying to save it.

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cover of Red On Red: Native American Literary Separatism

Red On Red

Native American Literary Separatism

Craig S. Womack

University of Minnesota Press, 1999

An entertaining and enlightening proposal for a new way to read Native American literature.

An entertaining and enlightening proposal for a new way to read Native American literature.

How can a square peg fit into a round hole? It can’t. How can a door be unlocked with a pencil? It can’t. How can Native literature be read applying conventional postmodern literary criticism? It can’t.That is Craig Womack’s argument in Red on Red. Indian communities have their own intellectual and cultural traditions that are well equipped to analyze Native literary production. These traditions should be the eyes through which the texts are viewed. To analyze a Native text with the methods currently dominant in the academy, according to the author, is like studying the stars with a magnifying glass.In an unconventional and piercingly humorous appeal, Womack creates a dialogue between essays on Native literature and fictional letters from Creek characters who comment on the essays. Through this conceit, Womack demonstrates an alternative approach to American Indian literature, with the letters serving as a “Creek chorus” that offers answers to the questions raised in his more traditional essays. Topics range from a comparison of contemporary oral versions of Creek stories and the translations of those stories dating back to the early twentieth century, to a queer reading of Cherokee author Lynn Riggs’s play The Cherokee Night.Womack argues that the meaning of works by Native peoples inevitably changes through evaluation by the dominant culture. Red on Red is a call for self-determination on the part of Native writers and a demonstration of an important new approach to studying Native works-one that engages not only the literature, but also the community from which the work grew.ISBN 0-8166-3022-4 Cloth £33.50 $47.95xxISBN 0-8166-3023-2 Paper £13.00 $18.95x288 Pages 5 7/8 x 9 November Translation inquiries: University of Minnesota Press
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cover of Red Rover

Red Rover

Susan Stewart

University of Chicago Press, 2008

Red Rover is both the name of a children’s game and a formless spirit, a god of release and permission, called upon in the course of that game. The “red rover” is also a thread of desire, and a clue to the forces of love and antipathy that shape our fate. In her most innovative work to date, award-winning poet and critic Susan Stewart remembers the antithetical forces—falling and rising, coming and going, circling and centering—revealed in such games and traces them out to many other cycles. Ranging among traditional, open, and newly-invented forms, and including a series of free translations of medieval dream visions and love poems, Red Rover begins as a historical meditation on our fall and grows into a song of praise for the green and turning world.

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cover of Red Strawberry Leaf: Selected Poems, 1994-2001

Red Strawberry Leaf

Selected Poems, 1994-2001

John Peck

University of Chicago Press, 2005

The poems in Red Strawberry Leaf speak in a voice unique in American letters, moving effortlessly beyond arbitrary city limits and national borders, transcending trends, continents, and eras to connect individual states of mind to the whole of Western culture. Written over seven years, Red Strawberry Leaf meditates on the spirit's engagement with the world in an allusive, personal style, in which neither the personal nor the tribal holds pride of place. Scattered touches of apocalypse and dark collective inventories serve only to highlight moments of burnished, lyric brilliance. These challenging poems will reward readers many times over.
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cover of Red, Black, and Jew: New Frontiers in Hebrew Literature

Red, Black, and Jew

New Frontiers in Hebrew Literature

By Stephen Katz

University of Texas Press, 2009

Between 1890 and 1924, more than two million Jewish immigrants landed on America's shores. The story of their integration into American society, as they traversed the difficult path between assimilation and retention of a unique cultural identity, is recorded in many works by American Hebrew writers. Red, Black, and Jew illuminates a unique and often overlooked aspect of these literary achievements, charting the ways in which the Native American and African American creative cultures served as a model for works produced within the minority Jewish community.

Exploring the paradox of Hebrew literature in the United States, in which separateness, and engagement and acculturation, are equally strong impulses, Stephen Katz presents voluminous examples of a process that could ultimately be considered Americanization. Key components of this process, Katz argues, were poems and works of prose fiction written in a way that evoked Native American forms or African American folk songs and hymns. Such Hebrew writings presented America as a unified society that could assimilate all foreign cultures. At no other time in the history of Jews in diaspora have Hebrew writers considered the fate of other minorities to such a degree. Katz also explores the impact of the creation of the state of Israel on this process, a transformation that led to ambivalence in American Hebrew literature as writers were given a choice between two worlds.

Reexamining long-neglected writers across a wide spectrum, Red, Black, and Jew celebrates an important chapter in the history of Hebrew belles lettres.

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cover of Red, White, and Blues: Poets on the Promise of America

Red, White, and Blues

Poets on the Promise of America

Virgil & Ryan G. Suarez & Van Cleave

University of Iowa Press, 2004

 Red, White, and Blues, a new anthology from the award-winning editors of Like Thunder: Poets Respond to Violence in America and Vespers: Contemporary American Poems of Religion and Spirituality, offers a chorus of contemporary American poets on the idea of liberty, democracy, patriotism, and the American Dream;a twenty-first-century "Song of Myself” for the entire country.

The poems in Red, White, and Blues reflect our collective memory—from icons of pop culture to national disasters and times of unrest. Yet they are not simply reflections of the headline news or political diatribes of the day; instead, they provide roadmaps of American history—roadmaps of where we’ve been, who we are, and where we’re going as a nation.

Poets as diverse as Martín Espada and Paisley Rekdal, J. P. Dancing Bear and Vivian Shipley seek to answer questions that resonate within the heart of our national identity—what does it mean to be an American? What is the American Dream? How does one define patriotism? Regardless of ethnicity, gender, or class, each poet’s answer to such questions proves that our experiences unite us more than they divide us.

Red, White, and Blues is an ambitious collection of the finest contemporary poetry on the subject of America and the indefatigable spirit of its citizens. Its poems don’t pull punches, nor do they celebrate without cause. They show spirit and excitement, outrage and joy, solemnity and ambiguity—all reflections of our wonderfully diverse nation.

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cover of Rediscovering the Maine Woods: Thoreau's Legacy in an Unsettled Land

Rediscovering the Maine Woods

Thoreau's Legacy in an Unsettled Land

John J. Kucich

University of Massachusetts Press, 2019

The Maine Woods, vast and largely unsettled, are often described as unchanged since Henry David Thoreau's journeys across the backcountry, in spite of the realities of Indian dispossession and the visible signs of logging, settlement, tourism, and real estate development. In the summer of 2014 scholars, activists, members of the Penobscot Nation, and other individuals retraced Thoreau's route.

Inspired partly by this expedition, the accessible and engaging essays here offer valuable new perspectives on conservation, the cultural ties that connect Native communities to the land, and the profound influence the geography of the Maine Woods had on Thoreau and writers and activists who followed in his wake. Together, these essays offer a rich and multifaceted look at this special place and the ways in which Thoreau's Maine experiences continue to shape understandings of the environment a century and a half later.

Contributors include the volume editor, Kathryn Dolan, James S. Finley, James Francis, Richard W. Judd, Dale Potts, Melissa Sexton, Chris Sockalexis, Stan Tag, Robert M. Thorson, and Laura Dassow Walls.
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cover of Reel to Reel

Reel to Reel

Alan Shapiro

University of Chicago Press, 2014

Reel to Reel, Alan Shapiro’s twelfth collection of poetry, moves outward from the intimate spaces of family and romantic life to embrace not only the human realm of politics and culture but also the natural world, and even the outer spaces of the cosmos itself. In language richly nuanced yet accessible, these poems inhabit and explore fundamental questions of existence, such as time, mortality, consciousness, and matter. How did we get here? Why is there something rather than nothing? How do we live fully and lovingly as conscious creatures in an unconscious universe with no ultimate purpose or destination beyond returning to the abyss that spawned us? Shapiro brings his humor, imaginative intensity, characteristic syntactical energy, and generous heart to bear on these ultimate mysteries. In ways few poets have done, he writes from a premodern, primal sense of wonder about our postmodern world.
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cover of Refiguring Race and Risk: Counternarratives of Care in the US Security State

Refiguring Race and Risk

Counternarratives of Care in the US Security State

Roberta Wolfson

The Ohio State University Press, 2024

In Refiguring Race and Risk, Roberta Wolfson turns to novels, memoirs, and other cultural works to debunk the false sense of national security rooted in positioning people of color as embodiments of risk. Considering output by Miné Okubo, Sanyika Shakur, Abraham Verghese, Khaled Hosseini, Helena María Viramontes, and others, Wolfson demonstrates how these authors disrupt racist security regimes and model alternative strategies for managing risk by crafting stories of collective care and community building. Chapters discuss, among other examples, how gang members defy the mass incarceration of Black and Latinx Americans by committing to self-education and self-advocacy; how an Asian immigrant doctor offers a corrective to the pandemic-era trend of allowing xenophobia to inform public health decisions by providing human-centered medical services to HIV-positive patients; and how Latinx migrant farmworkers battle ongoing precarity amid the increasing militarization of the US-Mexico border by bartering life-sustaining resources. In revealing how these works cultivate love as a mode of political resistance, Wolfson relabels people of color not as a source of risk but as critical actors in the push to improve national security.
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cover of Reflections: The American Collection of the Columbus Museum of Art

Reflections

The American Collection of the Columbus Museum of Art

Nannette V. Maciejunes

Ohio University Press, 2019

Reflections: The American Collection of the Columbus Museum of Art adds a novel and provocative element to the library of art museum collection catalogs. In the traditional manner, Reflections features selected works—more than 125—from the museum’s collection, accompanied by concise essays by scholars of art who reflect on and respond to the distinctive aspects of each work. To this customary approach, the editors have added what they term intersections essays: an examination of a well-known work of art from the differing perspectives of two authors—most of whom are not art historians. For instance, acclaimed writer Joyce Carol Oates provides her perspective on George Bellows and is joined by Laurie Bellows Booth, an objects conservator and the painter’s granddaughter. The book includes ten of these compelling essays, including contributions by such authors as Adam Gopnik and Alan Trachtenberg.
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cover of Reforming the World: Social Activism and the Problem of Fiction in Nineteenth-Century America

Reforming the World

Social Activism and the Problem of Fiction in Nineteenth-Century America

Maria Carla Sanchez

University of Iowa Press, 2009

Reforming the World considers the intricate relationship between social reform and spiritual elevation and the development of fiction in the antebellum United States. Arguing that novels of the era engaged with questions about the proper role of fiction taking place at the time, Maria Carla Sánchez illuminates the politically and socially motivated involvement of men and women in shaping ideas about the role of literature in debates about abolition, moral reform, temperance, and protest work. She concludes that, whereas American Puritans had viewed novels as risqué and grotesque, antebellum reformers elevated them to the level of literature—functioning on a much higher intellectual and moral plane.
     In her informed and innovative work, Sánchez considers those authors both familiar (Lydia Maria Child, Harriet Jacobs, and Harriet Beecher Stowe) and those all but lost to history (Timothy Shay Arthur). Along the way, she refers to some of the most notable American writers in the period (Emerson, Thoreau, and Poe). Illuminating the intersection of reform and fiction, Reforming the World visits important questions about the very purpose of literature, telling the story of “a revolution that never quite took place," one that had no grandiose or even catchy name. But it did have numerous settings and participants: from the slums of New York, where prostitutes and the intemperate made their homes, to the offices of lawyers who charted the downward paths of broken men, to the tents for revival meetings, where land and souls alike were “burned over” by the grace of God.

[more]
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Rehumanization Litany

Jarrett Moseley

University of Arkansas Press, 2027

[more]
cover of Reimagining "To Kill a Mockingbird": Family, Community, and the Possibility of Equal Justice under Law

Reimagining "To Kill a Mockingbird"

Family, Community, and the Possibility of Equal Justice under Law

Austin Sarat

University of Massachusetts Press, 2013

Fifty years after the release of the film version of Harper Lee's acclaimed novel To Kill a Mockingbird, this collection of original essays takes a fresh look at a classic text in legal scholarship. The contributors revisit and examine Atticus, Scout, and Jem Finch, their community, and the events that occur there through the interdisciplinary lens of law and humanities scholarship.

The readings in this volume peel back the film's visual representation of the many-layered social world of Maycomb, Alabama, offering sometimes counterintuitive insights through the prism of a number of provocative contemporary theoretical and interpretive questions. What, they ask, is the relationship between the subversion of social norms and the doing of justice or injustice? Through what narrative and visual devices are some social hierarchies destabilized while others remain hegemonic? How should we understand the sacrifices characters make in the name of justice, and comprehend their failures in achieving it?

Asking such questions casts light on the film's eccentricities and internal contradictions and suggests the possibility of new interpretations of a culturally iconic text. The book examines the context that gave meaning to the film's representation of race and how debates about family, community, and race are played out and reframed in law.

Contributors include Colin Dayan, Thomas L. Dumm, Susan Sage Heinzelman, Linda Ross Meyer, Naomi Mezey, Imani Perry, and Ravit Reichman.
[more]
cover of Reimagining Realism: A New Anthology of Late Nineteenth- and Early Twentieth-Century American Short Fiction

Reimagining Realism

A New Anthology of Late Nineteenth- and Early Twentieth-Century American Short Fiction

Charles A. Johanningsmeier

Ohio University Press, 2022

This innovative collection reinvents the standard American short fiction anthology and offers readers an invigorated, inclusive, and nuanced understanding of American literary history and culture from the Civil War to the end of World War I.

Beginning with one of Louisa May Alcott’s Hospital Sketches, originally published in 1863, this anthology offers a refreshing perspective on American literature from the latter half of the nineteenth century through the first decades of the twentieth. Based on Alcott’s brief stint as a Civil War nurse, Hospital Sketches stands in contrast to the sentimentality of her better-known Little Women and illustrates a blending of romanticism and realism. Furthermore, its thematic focus on the tension between idealized notions of noble, patriotic duty and the horrific reality of war exemplifies a dominant American cultural mindset at the time.

Following this model of complicating accepted ideas about realism and of particular authors, Reimagining Realism brings together dozens of texts that engage with the immense changes and upheavals that characterized American culture over the next six decades: war, abolition, voting rights, westward expansion, immigration, racism and ethnocentrism, industrial production, labor reforms, transportation, urban growth, journalism, mass media, education, and economic disparity.

Reimagining Realism presents a collection of works much more diverse than what is typically found in other anthologies of short fiction from this era. Some selections are lesser-known works by familiar authors that enable readers to see dimensions of these authors that are rarely considered but deserve further study. The book also features authors from many previously underrepresented groups and includes some outstanding works by authors whose names are almost completely unknown to today’s readers—but which deserve greater attention.

The volume’s editors, in their intent to spur readers to further reimagine realism, to represent the spectrum of viewpoints prevalent during this era, and to spark critical thinking and productive discussion, have been careful not to apply any type of political litmus test to the included works. They have also refrained from categorizing works according to convention, so as not to predispose readers to restrictive interpretations, and have provided only brief, highly readable headnotes and annotations that will help readers better understand the texts.

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Reimagining the Middle Passage

Black Resistance in Literature, Television, and Song

Tara T. Green

The Ohio State University Press, 2018

In Reimagining the Middle Passage: Black Resistance in Literature, Television, and Song, Tara T. Green turns to twentieth- and recent twenty-first-century representations of the Middle Passage created by African-descended artists and writers. Examining how these writers and performers revised and reimagined the Middle Passage in their work, Green argues that they recognized it as a historical and geographical site of trauma as well as a symbol for a place of understanding and change. Their work represents the legacy African captives left for resisting “social death” (the idea that Black life does not matter), but it also highlights strong resistance to that social death (the idea that it does matter). 
 
Exploring the presence of water and its impact on African descendants,Reimagining the Middle Passageoffers fresh analyses of Alex Haley’sRootsand the television adaptations; the history of flooding in Black communities in literature such as Jesmyn Ward’sSalvage the Bonesand Paule Marshall’sPraisesong for the Widow, in blues songs, and in television shows such asTreme; and stories of resistance found in myths associated with Marie Laveau and flying Africans. 
 
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Reinventing the Peabody Sisters

Monika M. Elbert

University of Iowa Press, 2006

Whether in the public realm as political activists, artists, teachers, biographers, editors, and writers or in the more traditional role of domestic, nurturing women, Elizabeth Peabody, Mary Peabody Mann, and Sophia Peabody Hawthorne subverted rigid nineteenth-century definitions of women’s limited realm of influence.

Reinventing the Peabody Sisters seeks to redefine this dynamic trio’s relationship to the literary and political movements of the mid nineteenth century. Previous scholarship has romanticized, vilified, or altogether erased their influences and literary productions or viewed these individuals solely in light of their relationships to other nineteenth-century luminaries, particularly men—Ralph Waldo Emerson, Nathaniel Hawthorne, Horace Mann. This collection underscores that each woman was a creative force in her own right.

Despite their differences and sibling conflicts, all three sisters thrived in the rarefied—if economically modest—atmosphere of a childhood household that glorified intellectual and artistic pursuits. This background allowed each woman to negotiate the nineteenth-century literary marketplace and in the process redefine its scope. Elizabeth, Mary, and Sophia remained linked throughout their lives, encouraging, complementing, and sometimes challenging each other's endeavors while also contributing to each other’s literary work.

The essays in this collection examine the sisters’ confrontations with and involvement in the intellectual movements and social conflicts of the nineteenth century, including Transcendentalism, the Civil War, the role of women, international issues, slavery, Native American rights, and parenting. Among the most revealing writings that the sisters left behind, however, are those which explore the interlaced relationship that continued throughout their remarkable lives.
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Reinventing the South

Versions of a Literary Region

Mark Royden Winchell

University of Missouri Press, 2006

Before the Civil War, the South had a flourishing culture. In the dormant decades following the surrender at Appomattox, however, southerners devoted most of their energies to survival, neglecting such luxuries as literature. It was not until the 1920s that the South experienced a significant rebirth of literary activity.
Mark Royden Winchell’s book is divided into two sections. The first, entitled “The Nashville Renascence,” examines this resurgence of literature. This movement was partly an attempt to define or reinvent southern culture both socially and aesthetically, and the Fugitives and Agrarians were at the forefront. Essays in this section explore the political and social vision of the Agrarians; discuss prominent charter Agrarians John Gould Fletcher and Robert Penn Warren; and examine the influence the Fugitives and Agrarians have had on later southern literature, even into the twenty-first century.
The second section of the book, “The Lower South,” deals with writers outside the Nashville tradition, including William Faulkner and Tennessee Williams, as well as two novelists who combine elements of southern and western regionalism—William Humphrey and Cormac McCarthy. All of these figures belong to a “lower South,” a region unrelated to the Nashville literati and with an audience less insistently highbrow.
Winchell’s thoughtful and well-informed book includes the most extensive discussions to date of the work of Monroe K. Spears and Walter Sullivan. The essays in this cohesive collection build upon one another to demonstrate how the literary imagination can create different visions of a regional culture and different versions of a regional myth.
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Relatability

Sharing and Oversharing with the New York School Poets

Brian Glavey

University of Chicago Press, 2026

An engaging account of how the New York School poets used art to imagine their queerness as something that might be shared with other people.

How did Frank O’Hara and other New York School poets—a small coterie associated with experimental art and gay culture —become fixtures in today’s culture, quoted on prestige television shows, in teen romances, and at the wedding ceremonies of straight celebrities? How, in other words, did these poets become so relatable? Brian Glavey’s Relatability tells the story of an aesthetic as it traveled from a cluster of mostly queer poets in the middle of the twentieth century to become increasingly central to everyday life in the early twenty-first century. 

That the New York School poets are more relatable now than they were during their own lifetime speaks in part to the growing acceptance of same-sex desire in American culture. But Glavey argues that this transformation also tells the story of a shift in the way that aesthetic experience is understood to work. Moving away from forms of modernist impersonality, O’Hara, John Ashbery, James Schuyler, and Joe Brainard made sociability central to the experience of art and literature. Attempting to share their experience of works of art, they were willing to risk the reader’s judgment that they had, perhaps, overshared. Glavey advances an idea of aesthetic judgment that takes seriously its missed connections as well as its successes. Relatability adds a fresh perspective to current conversations around attachment and affect in literary studies.

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Reliquary

Abigail Wender

Four Way Books, 2021

An introspective lyric on how the opiate crisis alters families and futures

In her debut collection, Reliquary, Abigail Wender addresses losing a brother to prison and, ultimately, opiate addiction. The text also considers womanhood, motherhood, and marriage in lyric poems that confront the complicated nature of grief, the effects of illness on family, and how love—even bliss—figure into grief’s equation. The collection suspends time, as the speaker weaves between flashbacks and the present, assembling fragments and vignettes of her childhood and marriage. In the book’s moments of solace and interiority, such as in the poem, “Hiking,” Wender contemplates how to hold on and to what. In this particular poem’s reflection on forgiveness, the speaker asks “Are there words for us, / high on an uppermost branch?,” and the collection responds with a resounding yes.
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Remarkable Modernisms

Contemporary American Authors on Modern Art

Daniel Morris

University of Massachusetts Press, 2009

For the authors discussed in Remarkable Modernisms—poets John Yau, Charles Simic, and Mark Strand, and novelists Ann Beattie and Joyce Carol Oates—writing about modern art not only helps to illuminate the work of the artist but also serves as a stimulus to verbal self-portraiture. By revealing as much about their own lives and works as they do about the visual objects reviewed—pieces, for example by Jasper Johns, Andy Warhol, Joseph Cornell, Alex Katz, Edward Hopper, and George Bellows—the authors studied by Daniel Morris extend the scope of their analysis. In all five cases, writing about art becomes a critical inquiry into the nature of public acts of witnessing and private acts of seeing and not seeing.

While challenging older, rigidly formalist approaches, these authors also diverge from the strictly contextual approaches favored by many contemporary academic critics. As poets and novelists, they remain sensitive to the value of compositional techniques when they address a visual artifact, and they reject the shibboleth of "content" versus "formalist" approaches to art. They reveal that this dichotomy fails to account for the "semantics of form"— the interwoven relationship between the "how" and the "what" of a work of art. Indebted to visual art as a basis for their own compositional discoveries in words, these authors' writings on art have the effect of turning pictures into a language that extends our frame of reference beyond the flat surface of the picture plane to each author's version of contemporary society as social text.
[more]
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Renaissance Reflections

Selected Essays

Arthur F. Kinney

University of Massachusetts Press, 2014

"Arthur Kinney has made so many contributions to the study of English literature, in so many different roles, that it can be difficult to reckon with the true sum of his achievement. . . . His curiosity encompasses an entire world and all the things in it, the very world that English Renaissance thinkers inhabited and approached with the same comprehensive spirit of inquiry. . . . Every topic to which he turns in these pages is pursued with impeccable scholarly rigor. . . . To pursue new approaches as Kinney has done year after year and decade after decade requires the nerve to risk failure, even repeated failure. It demands that the scholar constantly explore unfamiliar ground where the feet are still unsure and use analytical tools before they have grown familiar in the hand. It asks the thinker to move outside the security of expertise, the writer to advance arguments that may not succeed. . . . [Kinney] has provided us a wholly different model of a distinguished scholarly career, spending decades in pursuit of intellectual risk and adventure."—James J. Marino, author of Owning William Shakespeare: The King's Men and Their Intellectual Property
[more]
cover of Renaming the Earth: Personal Essays

Renaming the Earth

Personal Essays

Ray Gonzalez

University of Arizona Press, 2008

In his distinctive and spirited way, Ray Gonzalez, the well-known essayist, poet, fiction writer, and anthologist, reflects on the American Southwest—where he was raised and to which he still feels attached (even though he has lived much of his life elsewhere). It is a place that tugs at him, from its arid desert landscapes to its polyglot cities—part Mexican, part Anglo, part something in-between—always in the process of redefining themselves.

Nowhere does the process of redefinition hit Gonzalez quite as hard as in his native city of El Paso, Texas. There he finds the “segregated little town of my childhood” transformed into “a metropolis of fast Latino zip codes . . . a world where the cell phone, the quick beer, the rented apartment, and the low-paying job say you can be young and happy on the border.” Readers will wonder, along with the author, whether life along the “new border” is worth “the extermination of the old boundaries.”

But there is another side of the Southwest for this “son of the desert”—the world of dusty canyons, ponderosa pines, ocotillo, and mesquite. Here, he writes, “there is a shadow, and it is called ancient home—structures erased from their seed to grow elsewhere, vultured strings searching for a frame that stands atop history and renames the ground.”

Rooted in the desert sand and in the banks of the Rio Grande, the muddy river that forms the border between nations, these essays are by turns lyrical, mournful, warm to the ways of the land, and lukewarm to the ways of man.
[more]
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Renditions

Reginald Gibbons

Four Way Books, 2021

An energetic exploration of the expanse of language translated and otherwise transformed

In Renditions Reginald Gibbons conducts an ensemble of poetic voices, using the works of a varied, international selection of writers as departure points for his translations and transformations. The collection poses the idea that all writing is, at least abstractly, an act of translation, whether said act “translates” observation into word or moves ideas from one language to another. Through these acts of transformation, Gibbons infuses the English language with stylistic aspects of other languages and poetic traditions. The resulting poems are imbued with a sense of homage that allows us to respectfully reimagine the borders of language and revel in the fellowship of idea sharing. In this tragicomedy of the human experience and investigation of humanity’s effects, Gibbons identifies the “shared underthoughts that we can (all) sense:” desire, love, pain, and fervor.
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Replica

Lisa Low

University of Wisconsin Press, 2026

Stand-up comedy, a celebrity non-apology, observations of racism, and the slipperiness of nostalgia underpin Replica. In poignant, witty poems, Lisa Low navigates the tensions of solidarity and hostility in white spaces as she sets out to write differently about race.

“The problem of being with a white man is also a problem of writing,” Low says in a prose poem that turns writing about identity on its head. She peers in from outside the poem, as if through an open ceiling. The poem itself becomes a site of investigation—a counterpoint to constricting narratives about Asian American identity—reimagined as a dollhouse, a stage with props, an image the speaker wears like a bodysuit. Replica asks what it means to represent yourself and your experiences in a world where you are indistinguishable from others.

[more]
cover of Represent and Destroy: Rationalizing Violence in the New Racial Capitalism

Represent and Destroy

Rationalizing Violence in the New Racial Capitalism

Jodi Melamed

University of Minnesota Press, 2011

In the global convulsions in the aftermath of World War II, one dominant world racial order broke apart and a new one emerged. This is the story Jodi Melamed tells in Represent and Destroy, portraying the postwar racial break as a transition from white supremacist modernity to a formally antiracist liberal capitalist modernity in which racial violence works normatively by policing representations of difference.

Following the institutionalization of literature as a privileged domain for Americans to get to know difference—to describe, teach, and situate themselves with respect to race—Melamed focuses on literary studies as a cultural technology for transmitting liberal racial orders. She examines official antiracism in the United States and finds that these were key to ratifying the country’s global ascendancy. She shows how racial liberalism, liberal multiculturalism, and neoliberal multiculturalism made racism appear to be disappearing, even as they incorporated the assumptions of global capitalism into accepted notions of racial equality.

Yet Represent and Destroy also recovers an anticapitalist “race radical” tradition that provides a materialist opposition to official antiracisms in the postwar United States—a literature that sounds out the violence of liberal racial orders, relinks racial inequality to material conditions, and compels desire for something better than U.S. multiculturalism.

[more]
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Requiem

Virginia Konchan

Carnegie Mellon University Press, 2025

Poems that explore literary and religious depictions of grief to honor the loss of a mother.

Requiem is a collection anchored in personal and collective grief, remembrance, and commemoration, journeying through the loss of a mother in a series of elegies, fugues, and lamentations that draw from the Church’s canonical hours of prayer as collected in a breviary. Historical and religious mourning rites, and the grief work of John Donne, Gerard Manley Hopkins, Roland Barthes, Emily Dickinson, and Mozart, among others, establish a lyric dialogue around aesthetic representations of grief, invoking a doubleness between the griever and the grieved; a mutuality and interconnectedness that illuminate the role of witness in poetry, mortality, and transcendence. Requiem enacts our deepest longing: to honor and immortalize the beloved.
[more]
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Res Publica

Alan Williamson

University of Chicago Press, 1998

Res Publica faithfully moves from the private to the public, from individual experience to civic responsibility through an elegy for the 1960s and the world that has become our own.

[more]
cover of Resilient Kitchens: American Immigrant Cooking in a Time of Crisis, Essays and Recipes

Resilient Kitchens

American Immigrant Cooking in a Time of Crisis, Essays and Recipes

Philip Gleissner

Rutgers University Press, 0

Winner of the James Beard Award for Best Book in Food Issues and Advocacy

Immigrants have left their mark on the great melting pot of American cuisine, and they have continued working hard to keep America’s kitchens running, even during times of crisis like the COVID-19 pandemic. For some immigrant cooks, the pandemic brought home the lack of protection for essential workers in the American food system. For others, cooking was a way of reconnecting with homelands they could not visit during periods of lockdown. 

 Resilient Kitchens: American Immigrant Cooking in a Time of Crisis is a stimulating collection of essays about the lives of immigrants in the United States before and during the COVID-19 pandemic, told through the lens of food. It includes a vibrant mix of perspectives from professional food writers, restaurateurs, scholars, and activists, whose stories range from emotional reflections on hardship, loss, and resilience to journalistic investigations of racism in the American food system. Each contribution is accompanied by a recipe of special importance to the author, giving readers a taste of cuisines from around the world. Every essay is accompanied by gorgeous food photography, the authors’ snapshots of pandemic life, and hand-drawn illustrations by Filipino American artist Angelo Dolojan. 

 

[more]
cover of Resisting Regionalism: Gender And Naturalism In American Fiction, 1885-1915

Resisting Regionalism

Gender And Naturalism In American Fiction, 1885-1915

Donna Campbell

Ohio University Press, 1997

When James Lane Allen defined the “Feminine Principle” and the “Masculine Principle” in American fiction for the Atlantic Monthly in 1897, he in effect described local color fiction and naturalism, two branches of realism often regarded as bearing little relationship to each other. In this award-winning study of both movements, Resisting Regionalism explores the effect the cultural dominance of women’s local color fiction in the 1890’s had on young male naturalist writers, who rebelled against the local colorists and their “teacup tragedies.”

An immensely popular genre, local color fiction reached its peak in the 1880s in such literary journals as Harper’s Monthly, Scribner’s, the Atlantic Monthly, and the Century. These short stories exhibited local “characters,” depicted marginal groups and vanishing folkways, and addressed issues of absence, loss, limitation, and the past. Despite such prickly themes, according to Donna Campbell, local color fiction “fulfilled some specific needs of the public – for nostalgia, for a retreat into mildly exotic locales, for a semblance of order preserved in ritual.”

By the turn of the century, however, local color fiction was fading from the scene, supplanted by writers of adventure fiction and historical romances, with whom local colorists increasingly merged, and opposed by the naturalists. In examining this historic shift, Resisting Regionalism shows that far from being distanced from local color fiction, nationalism emerged in part as a dissenting response to its popularity and to the era’s concerns about the dominance of feminine influence in American literature. The new generation of authors, including Crane, Norris, London, Frederic, Wharton, resisted the cultural myths and narrative strategies common to local colorists Sarah Orne Jewett, Rose Terry Cooke, Mary E. Wilkins Freeman, and Constance Fenimore Woolson. Yet, as Campbell underscores in her analysis of Stephan Crane’s The Monster, the naturalists could, and did, integrate local color conventions with the grotesque and horrifying to powerful effect.

In clear, accessible prose, Resisting Regionalism provides fresh readings of naturalistic works in the context of the dispute between local color and naturalism. In the process, this book shows the debt naturalism owes to local color fiction and illuminates a neglected but significant literary era.

[more]
cover of Resurrecting the First Great American Play: Imperial Politics and Colonial Ambitions in Frontier Detroit

Resurrecting the First Great American Play

Imperial Politics and Colonial Ambitions in Frontier Detroit

Sämi Ludwig

University of Wisconsin Press, 2020

In the mid-eighteenth century, the Ottawa chief Pontiac (also spelled Ponteach) led an intertribal confederacy that resisted British power in the Great Lakes region. This event was immortalized in the play Ponteach, or the Savages of America: A Tragedy, attributed to the infamous frontier soldier Robert Rogers. Never performed, it is one of the earliest theatrical renderings of the region, depicting its hero in a way that called into question eighteenth-century constructions of Indigenous Americans.
Sämi Ludwig contends that Ponteach's literary and artistic merits are worthy of further exploration. He investigates questions of authorship and analyzes the play's content, embracing its many contradictions as enriching windows into the era. In this way, he suggests using Ponteach as a tool to better understand British imperialism in North America and the emerging theatrical forms of the Young Republic.
[more]
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Resurrection of the Animals

Anita Skeen

Michigan State University Press, 2002

The Resurrection of the Animals explores the trinity of the natural world, the humans adrift in it, and the animals that accompany them. Although each of the five sections centers on a particular theme, motifs of change, loss, cycles, and transformation thread through the collection, weaving the parts into a unified whole. Individual sections focus on: the seasons of the year, and by extension, people’s lives; the power of memory and its limitations; the theory that what is magical often resides within; and, the mysteries of love. The Resurrection of the Animals culminates in the title section, revealing the lessons of kinship with animals and how epiphanies occur in the simplest actions— taking a walk with dogs or catching sight of a bird on the wing. These poems suggest that memory, association, and interaction with the tangible world can revive a part of the self that has slipped below the depths of consciousness.
[more]
cover of Returning the Gift: Poetry and Prose from the First North American Native Writers' Festival

Returning the Gift

Poetry and Prose from the First North American Native Writers' Festival

Edited by Joseph Bruchac

University of Arizona Press, 1994

An unprecedented gathering of more than 300 Native writers was held in Norman, Oklahoma, in 1992. The Returning the Gift Festival brought more Native writers together in one place than at any other time in history. "Returning the Gift," observes co-organizer Joseph Bruchac, "both demonstrated and validated our literature and our devotion to it, not just to the public, but to ourselves." In compiling this volume, Bruchac invited every writer who attended the festival to submit new, unpublished work; he then selected the best of the more than 200 submissions to create a collection that includes established writers like Duane Niatum, Simon Ortiz, Lance Henson, Elizabeth Woody, Linda Hogan, and Jeanette Armstrong, and also introduces such lesser-known or new voices as Tracy Bonneau, Jeanetta Calhoun, Kim Blaeser, and Chris Fleet.

The anthology includes works from every corner of the continent, representing a wide range of tribal affiliations, languages, and cultures. By taking their peoples' literature back to them in the form of stories and songs, these writers see themselves as returning the gift of storytelling, culture, and continuance to the source from which it came. In addition to contributions by 92 writers are two introductory chapters: Joseph Bruchac comments on the current state of Native literature and the significance of the festival, and Geary Hobson traces the evolution of the event itself.
[more]
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Reunion

Fleda Brown

University of Wisconsin Press, 2007

The poems in Reunion insistently turn back toward sources: toward home and the idea of home, toward the body, and toward objects that return us to ourselves. They always surprise, moving from quantum mechanics, wildflowers, and a Bobcat driver to a woman killed by a flying deer, magma becoming rock, and an invasion of flying ants. Fleda Brown deftly unites daily frustrations and suffering with profound psychological, physical, and cosmic questions.
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cover of Reverse Colonization: Science Fiction, Imperial Fantasy, and Alt-victimhood

Reverse Colonization

Science Fiction, Imperial Fantasy, and Alt-victimhood

David M. Higgins

University of Iowa Press, 2021

Reverse colonization narratives are stories like H. G. Wells’s War of the Worlds, in which technologically superior Martians invade and colonize England. They ask Western audiences to imagine what it’s like to be the colonized rather than the colonizers. David Higgins argues that although some reverse colonization stories are thoughtful and provocative, reverse colonization fantasy has also led to the prevalence of a very dangerous kind of science fictional thinking in our current political culture. It has become popular among groups such as anti-feminists, white supremacists, and far-right reactionaries to appropriate a sense of righteous, anti-imperial victimhood—the sense that white men, in particular, are somehow colonized victims fighting an insurgent resistance against an oppressive establishment. Nothing could be timelier, as an armed far-right mob stormed the U.S. Capitol on January 6, 2021, in an effort to stop the presidential election from being “stolen from them.”

Higgins shows that this reverse colonization stance depends upon a science fictional logic that achieved dominance within imperial fantasy during the 1960s and has continued to gain momentum ever since. By identifying with fantastic forms of victimhood, subjects who already enjoy social hegemony are able to justify economic inequality, expansions of police and military power, climatological devastation, new articulations of racism, and countless other forms of violence—all purportedly in the name of security, self-defense, and self-protection.
 
[more]
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Revisionary Interventions into the Americanist Canon

Donald E. Pease

Duke University Press, 1994

Throughout the era of the Cold War a consensus reigned as to what constituted the great works of American literature. Yet as scholars have increasingly shown, and as this volume unmistakably demonstrates, that consensus was built upon the repression of the voices and historical contexts of subordinated social groups as well as literary works themselves, works both outside and within the traditional canon. This book is an effort to recover those lost voices. Engaging New Historicist, neo-Marxist, poststructuralist, and other literary practices, this volume marks important shifts in the organizing principles and self-understanding of the field of American Studies.
Originally published as a special issue of boundary 2, the essays gathered here discuss writers as diverse as Kate Chopin, Frederick Douglass, Emerson, Melville, W. D. Howells, Henry James, W. E. B. DuBois, and Mark Twain, plus the historical figure John Brown. Two major sections devoted to the theory of romance and to cultural-historical analyses emphasize the political perspective of "New Americanist" literary and cultural study.

Contributors. William E. Cain, Wai-chee Dimock, Howard Horwitz, Gregory S. Jay, Steven Mailloux, John McWilliams, Susan Mizruchi, Donald E. Pease, Ivy Schweitzer, Priscilla Wald, Michael Warner, Robert Weimann

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cover of Revolution Downeast: The War for American Independence in Maine

Revolution Downeast

The War for American Independence in Maine

James S. Leamon

University of Massachusetts Press, 1993

The history of the Revolution in Maine is the story of a people who did not really want a revolution—at least at first.

Since the middle of the seventeenth century, the powerful Massachusetts Bay Colony had exercised an increasing hegemony over the settlements downeast—a hegemony legalized in the Massachusetts royal charter of 1691. From then until 1820, when it became a state, Maine remained an integral part of Massachusetts. Geographically isolated from the Bay Colony by the province of New Hampshire, and dependent on Massachusetts for its very existence, Maine was indeed a colony, in every sense of the word. 

The larger Massachusetts context has tended to obscure Maine as a legitimate object of study, nowhere more than in the period of the American Revolution. Even historians in Maine have slighted the period of the American Revolution. Where appropriate, town historians devote a chapter or so to the event, but only in the context of a particular community. 

In his book, Leamon aims to meet that deficiency by drawing together town and general histories, specialized studies, and primary sources, both published and unpublished. He examines why and how Maine fought the Revolution and the changes that occurred in Maine during and after the war.

[more]