Results by title

One of the most famous living French writers, Marguerite Duras is renowned for her provocative and hauntingly beautiful works of fiction, drama, and cinema. This book offers the first comprehensive study of the narrative and stylistic characteristics of Duras's fiction. Susan D. Cohen examines the entire range of Duras's works, combining close textual analyses with a more general discussion of narrativity and its connections with gender, class, and race. The focus throughout is on language, representation, and difference, which Duras explores on every structural level.

Cohen shows how Duras's writings, even the controversial “erotic” works, expose and subvert the repression of women in traditional, dominant discourse and at the same time present an alternative, nonrepressive discursive model. She formulates a concept of creative “ignorance,” which she identifies as the generative principle of Duras's textual production and the approach to language it proposes. Cohen also explores the distinctive features of Duras's prose, describing how the writer achieves the ritual, legendary aura that characterizes her work.

Women readers, editors, librarians, authors, journalists, booksellers, and others are the subjects in this stimulating new collection on modern print culture. The essays feature women like Marie Mason Potts, editor of Smoke Signals, a mid-twentieth century periodical of the Federated Indians of California; Lois Waisbrooker, publisher of books and journals on female sexuality and women's rights in the decades after the Civil War; and Elizabeth Jordan, author of two novels and editor of Harper's Bazaar from 1900 to 1913.  The volume presents a complex and engaging picture of print culture and of the forces that affected women's lives in the nineteenth and twentieth centuries.

Published in collaboration among the University of Wisconsin Press, the Center for the History of Print Culture in Modern America (a joint program of the University of Wisconsin–Madison and the Wisconsin Historical Society), and the University of Wisconsin–Madison General Library System Office of Scholarly Communication.

“The / drugs, the page, none of it is here. That was years ago,” Daniel Barban Levin writes in his debut collection of poems, trying to create an inventory of blank spaces, to describe the persistent presence — the psychological furniture — of what no longer exists. “There was a room. I lived there. / Now, I can’t find it anymore.” 

Written in the wake of the media storm surrounding the revelation of the Sarah Lawrence cult, interrogating the constructs of confessionalism and journalistic epistemology after the release of memoirs and viral articles and a Hulu docu-series, Worms, Dirt considers the soil beneath the story playing out aboveground. These poems are a unique telling of two kinds of departure – leaving a cult and exiting a relationship. They weave together fragments and elisions of memory — “Was any of it right? Did any of it happen the way / You remembered?” — reverse engineering a story from the aftermath — “The piece you still can’t find. It must be true. He was // Gentle. Sometimes, he was gentle.” Devastating and open-hearted, these pages transcribe transformation and reconstruction of self, survival, reckoning. They confront the intimate betrayals of belonging to a high-control group or seeking love from the wrong romantic relationships. These lyrics confront horror and a fragile hope in their recognition of this inconceivable thing, the soft flesh smothered by the scar:  “The hands’ capacity / For gentleness even as you watched them, in disbelief, dismantle you.” 

Traversing New York and New Hampshire and landing in Los Angeles, Levin treats the things we leave behind as the material from which we grow. Most striking about Worms, Dirt is its lyrical metacommentary — as a book about writing a book, it constantly refuses the constraints of the imposed narrative memoir and the parasitic appetite for sensationalism, easily commodified true crime, and flattening characterizations of victims and villains. “For I am at work, writing this / For I have accrued so many reasons to live.” 

A diverse collection of essays and interviews on reading, teaching, and writing poetry from a preeminent critic and scholar.

Jed Rasula is a distinguished scholar of avant-garde poetics, noted for his erudition, intellectual range, and critical independence. Wreading: A Poetics of Awareness, or How Do We Know What We Know? is a collection of essays and interviews that reflects the breadth and diversity of his curiosity.

While this volume presents highlights from Rasula’s criticism, it also serves as a carefully assembled intellectual autobiography. Wreading consists of two parts: an assortment of Rasula’s solo criticism and selected interviews and conversations with other poets and scholars. These detailed conversations are with Evelyn Reilly, Leonard Schwartz, Tony Tost, Mike Chasar, Joel Bettridge, and Ming-Qian Ma. Their exchanges address ecopoetics, the corporate university, the sheer volume of contemporary poetry, and more. This substantial set of dialogues gives readers a glimpse inside a master critic’s deeply informed critical practice, illuminating his intellectual touchstones.

The balance between essay and interview achieves a distillation of Rasula’s long-established idea of “wreading.” In his original use, the term denotes how any act of criticism inherently adds to the body of writing that it purports to read. In this latest form, Wreading captures a critical perception that sparks insight and imagination, regardless of what it sees.

Throughout the Progressive Era, reform literature became a central feature of the American literary landscape. Works like Upton Sinclair’s The Jungle, Charlotte Perkins Gilman’s “The Yellow Wall-Paper,” and Jacob Riis’s How the Other Half Lives topped bestseller lists and jolted middle-class readers into action.

While realism and social reform have a long-established relationship, prominent writers of the period such as Henry James, Edith Wharton, James Weldon Johnson, Rebecca Harding Davis, and Kate Chopin resisted explicit political rhetoric in their own works and critiqued reform aesthetics, which too often rang hollow. Arielle Zibrak reveals that while these writers were often seen as indifferent to the political currents of their time, their work is a part of a little explored debate on the relationship between literature and politics at the heart of Progressive Era publishing. Examining the critique of reform aesthetics within the tradition of American realist literature of the late nineteenth and early twentieth centuries, Writing Against Reform promises to change the way we think about the fiction of this period and many of America’s leading writers.

A study of cultural encounter, this book takes a fresh look at the much ignored and often misunderstood experience of Christian Indians in early America. Focusing on New England missionary settlements from the mid-seventeenth to the early nineteenth centuries, Hilary E. Wyss examines the ways in which Native American converts to Christianity developed their own distinct identity within the context of a colonial culture. 

With an approach that weaves together literature, religious studies, and ethno-history, Wyss grounds her work in the analysis of a rarely read body of “autobiographical” writings by Christian Indians, including letters, journal entries, and religious confessions. She then juxtaposes these documents to the writings of better known Native Americans like Samson Occom as well as to the published works of Anglo-Americans, such as Mary Rowlandson's famous captivity narrative and Eleazor Wheelock's accounts of his charity schools. 

In their search for ostensibly “authentic” Native voices, scholars have tended to overlook the writings of Christian Indians. Yet, Wyss argues, these texts reveal the emergence of a dynamic Native American identity through Christianity. More specifically, they show how the active appropriation of New England Protestantism contributed to the formation of a particular Indian identity that resisted colonialism by using its language against itself.

Exposing little-known facts about the five modes of execution practiced in the United States today, Writing for Their Lives documents the progress of life on death row from a capital trial to execution and beyond, through the testimony of the prisoners themselves as well as those who watch, listen, and write to them. What emerges are stories of the survival of the human spirit under even the most unimaginable circumstances, and the ways in which some prisoners find penitence and peace in the most unlikely surroundings. In spite of the uniformity of their prison life and its nearly inevitable conclusion, prisoners able to read and write letters are shown to retain and develop their individuality and humanity as their letters become poems and stories.

Writing for Their Lives serves ultimately as an affirmation of the value of life and provides bountiful evidence that when a state executes a prisoner, it takes a life that still had something to give.

This edition features an introduction by the editor as well as a foreword by Jan Arriens. Dr. Mulvey-Roberts will be donating her profits from the sale of this volume to the legal charity Amicus, which assists in capital defense in the United States."