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Popular images of women in Mexico—conveyed through literature and, more recently, film and television—were long restricted to either the stereotypically submissive wife and mother or the demonized fallen woman. But new representations of women and their roles in Mexican society have shattered the ideological mirrors that reflected these images. This book explores this major change in the literary representation of women in Mexico.

María Elena de Valdés enters into a selective and hard-hitting examination of literary representation in its social context and a contestatory engagement of both the literary text and its place in the social reality of Mexico. Some of the topics she considers are Carlos Fuentes and the subversion of the social codes for women; the poetic ties between Sor Juana Inés de la Cruz and Octavio Paz; questions of female identity in the writings of Rosario Castellanos, Luisa Josefina Hernández, María Luisa Puga, and Elena Poniatowska; the Chicana writing of Sandra Cisneros; and the postmodern celebration—without reprobation—of being a woman in Laura Esquivel's Like Water for Chocolate.

Exploring the Varied Roles of Bachelors during the Renaissance

What if the Renaissance bachelor wasn’t just a social outlier but a literary lens through which early modern masculinity reveals its cracks? In The Single Life: Unpatriarchal Manhoods in English Renaissance Literature, Jordan Windholz examines the overlooked and often subversive roles played by never-married men in shaping gender, sexuality, and social order.

Windholz challenges conventional views on gender and sexuality, identifying five archetypes of bachelorhood that complicate our understanding of patriarchal success: the chaste youth, the journeyman bachelor, the true gallant, the incel scholar, and the unmarried eunuch. These figures don’t conform to ideals of marriage, legacy, or economic productivity, but they also weren’t merely left behind. Instead, they served to define what early modern society valued by embodying what it resisted. Windholz shows how Renaissance texts constructed, contained, and occasionally celebrated these “unpatriarchal manhoods.”

By examining the intersections of sexuality, labor, gentility, emotion, and gender, the book provides a nuanced understanding of how single men both upheld and resisted patriarchal norms. Each chapter offers a detailed analysis of literary texts, blending historical and literary analysis with feminist and queer theory. The first study of its kind, Windholz’s work is essential reading for anyone interested in Renaissance literature, gender studies, or those looking to understand the margins of masculinity and the meanings of singledom—then and now.

A CHOICE Outstanding Academic Book

Literature in Latin America has long been a vehicle for debates over the interpretation of social history, cultural identity, and artistic independence. Indeed, Latin American literature has gained international respect for its ability to present social criticism through works of imaginative creation.

In this comprehensive, up-to-the-minute survey of research and opinion by leading Latin American cultural and literary critics, Naomi Lindstrom examines five concepts that are currently the focus of intense debate among Latin American writers and thinkers. Writing in simple, clear terms for both general and specialist readers of Latin American literature, she explores the concepts of autonomy and dependency, postmodernism, literary intellectuals and the mass media, testimonial literature, and gender issues, including gay and lesbian themes. Excerpts (in English) from relevant literary works illustrate each concept, while Lindstrom also traces its passage from the social sciences to literature.

Marie Sumner Lott examines the music available to musical consumers in the nineteenth century, and what that music tells us about their tastes, priorities, and activities. Her social history of chamber music performance places the works of canonic composers such as Schubert, Brahms, and Dvoøák in relation to lesser-known but influential peers. The book explores the dynamic relationships among the active agents involved in the creation of Romantic music and shows how each influenced the others' choices in a rich, collaborative environment. In addition to documenting the ways companies acquired and marketed sheet music, Sumner Lott reveals how the publication and performance of chamber music differed from that of ephemeral piano and song genres or more monumental orchestral and operatic works. Several distinct niche markets existed within the audience for chamber music, and composers created new musical works for their use and enjoyment.

Insightful and groundbreaking, The Social Worlds of Nineteenth-Century Chamber Music revises prevailing views of middle-class influence on nineteenth-century musical style and presents new methods for interpreting the meanings of musical works for musicians both past and present.

Musicals, it is often said, burst into song and dance when mere words can no longer convey the emotion. This book argues that musicals burst into song and dance when one body can no longer convey the emotion. Rogers shows how the musical’s episodes of burlesque and minstrelsy model the kinds of radical relationships that the genre works to create across the different bodies of its performers, spectators, and creators every time the musical bursts into song. These radical relationships—borne of the musical’s obsessions with “bad” performances of gender and race—are the root of the genre’s progressive play with identity, and thus the source of its subcultural power. However, this leads to an ethical dilemma: Are the musical’s progressive politics thus rooted in its embrace of regressive entertainments like burlesque and minstrelsy?

The Song Is You shows how musicals return again and again to this question, and grapple with a guilt that its joyous pleasures are based on exploiting the laboring bodies of its performers. Rogers argues that the discourse of “integration”—which claims that songs should advance the plot—has functioned to deny the radical work that the musical undertakes every time it transitions into song and dance. Looking at musicals from The Black Crook to Hamilton, Rogers confronts the gendered and racial dynamics that have always under-girded the genre, and asks how we move forward.

Wide-ranging and astute, The Sounds of Place explores high art music's role in the making of national myth and memory.

Exploring the landscapes, cultures, and psychological spaces where violence takes root in contemporary American fiction.

The Spaces of Violence is an insightful work of literary criticism in which James R. Giles investigates the complex relationship between violence and space in contemporary American fiction. Through close readings of novels by influential writers including Russell Banks, Cormac McCarthy, Lewis Nordan, Dorothy Allison, Don DeLillo, Denis Johnson, Sherman Alexie, Robert Stone, and Bret Easton Ellis, Giles demonstrates how violence is shaped by the physical, social, and psychological environments in which it occurs.

Drawing on spatial and cultural theory, Giles argues that these novels inhabit a distinctive "fourthspace," a realm existing at the margins of mainstream society where violence permeates everyday life and destabilizes traditional boundaries of identity, community, and morality. Whether set in rural landscapes, urban centers, suburban communities, football stadiums, or transient spaces such as highways and bus stations, the works examined reveal how environments become intertwined with systems of power, alienation, trauma, and destruction.

The book concludes by extending its analysis to representations of violence within family structures, highlighting the far-reaching effects of social and cultural fragmentation. Offering a sophisticated framework for understanding violence in literature, The Spaces of Violence is an important contribution to contemporary literary and cultural studies.

In The Spanish American Novel, John S. Brushwood analyzes the twentieth-century Spanish American novel as an artistic expression of social reality. In relating the generic history of the novel to extraliterary events in Spanish America, he shows how twentieth-century fiction sets forth the essence of such phenomena as the first Perón regime, the Mexican Revolution, the Che Guevara legend, indigenismo, and the strongman political type. In essence, he views the novel as art rather than as document, but not as art alienated from society.

The discussion is organized chronologically, opening with the turn of the century and focusing on novels from 1900 to 1915 that exemplify various aspects of the nineteenth-century literary inheritance. Brushwood then highlights the avant-garde fiction (influenced by Proust and Joyce) of the 1920s as a precursory movement to the “new” Latin American novel, a phenomenon that came into its own during the 1940s. He then examines the “boom” in Spanish American fiction, the period of extensive international recognition of certain works, which he dates from 1962 or 1963.

In each era considered, the development of the novel is placed in dual perspective. One view—that of particularly significant novels in light of others published during the same year—is a cross section of the genre at one particular moment. The second view—that of a panorama of novels published in intervals between significant moments in the history of the novel—is more general and selective in the number of books discussed. Combining the historical with the analytical approach, the author proposes that the experience of a novel in which reality has been transformed into art is essential to our understanding of that reality.

Tracing the origins of the modern short story, Michael Gorra provides the first fully realized picture of a century’s worth of great tales. 

The Storytellers offers a far-reaching account of the rich tradition of short narratives that flourished in nineteenth-century Europe and America, one that both prepared for and eventually gave way to the modern short story. Tracing unexpected resemblances across languages and decades, Michael Gorra restores a wide-angle view of the form in which works usually treated as stand-alone classics reveal themselves as parts of a single, lively conversation.

What unites these tales, Gorra argues, is their blend of novelty and unity. The book’s heart lies in a series of accessible readings of great tales by Herman Melville, Nikolai Gogol, Ivan Turgenev, E. T. A. Hoffmann, Guy de Maupassant, Nathaniel Hawthorne, Arthur Conan Doyle, Sarah Orne Jewett, Charles Chesnutt, and many more. Beyond its consideration of individual works, The Storytellers examines the formal and thematic concerns that bind the century together: the use of frame tales, accounts of social marginality, and an abundance of ghosts and uncanny coincidences. Over time, Gorra shows, these qualities yielded to a cooler realism, with Anton Chekhov as the key transitional figure. His compressed studies of ordinary lives inspired the modern short story and consigned the gothic flourishes of earlier tales to genre fiction.

What do we want from a story? What makes a tale worth telling? The nineteenth-century tale sought not the grand “meaning of life” promised by the novel, Gorra shows, but sudden revelations from singular events. The Storytellers gives readers an incomparable guide to a vast body of tales that still has the power to thrill and entertain.

Dutch scholars have recognized that Frans Fraet was executed for printing a prognostication by Willem de Vriese, but this prognostication was thought to be lost. A few scholars of sixteenth-century German apocalypticism have briefly noted the prophecies of Wilhelm Friess but have not studied them in depth. The Strange and Terrible Visions of Wilhelm Friess is the first to connect de Vriese and Friess, as well as recognize the prophecy of Wilhelm Friess as an adaptation of a French version of theVademecum of Johannes de Rupescissa, making these pamphlets by far the most widespread source for Rupescissa’s apocalyptic thought in Reformation Germany. The book explains the connection between the first and second prophecies of Wilhelm Friess and discovers the Calvinist context of the second prophecy and its connection to Johann Fischart, one of the most important German writers of the time.

Jonathan Green provides a study of how textual history interacts with print history in early modern pamphlets and proposes a model of how early modern prophecies were created and transmitted. The Strange and Terrible Visions of Wilhelm Friess makes important contributions to the study of early modern German and Dutch literature, apocalypticism and confessionalization during the Reformation, and the history of printing in the sixteenth century.

An interdisciplinary discussion engaging classics, archaeology, religious studies, and the social sciences

The Struggle over Class brings together scholars from the fields of New Testament and early Christianity to examine Christian texts in light of the category of class. Historically rigorous and theoretically sophisticated, this collection presents a range of approaches to, and applications of, class in the study of the epistles, the gospels, Acts, apocalyptic texts, and patristic literature. Contributors Alicia J. Batten, Alan H. Cadwallader, Cavan W. Concannon, Zeba Crook, James Crossley, Lorenzo DiTommaso, Philip F. Esler, Michael Flexsenhar III, Steven J. Friesen, Caroline Johnson Hodge, G. Anthony Keddie, Jaclyn Maxwell, Christina Petterson, Jennifer Quigley, Elisabeth Schüssler Fiorenza, Daniëlle Slootjes, and Emma Wasserman challenge both scholars and students to articulate their own positions in the ongoing scholarly struggle over class as an analytical category.