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Who writes "I"? To whom are autobiographies addressed? What kinds of readers are inscribed in autobiographical narratives? In Apology to Apostrophe, James D. Fernández's offers a lucid and powerful meditation on the nature of autobiographical writing through his investigation of the historical conditions and literary stagings of autobiographical writing in Spain.
As Fernández demonstrates, recent developments in critical theory provide new and fruitful approaches to autobiographical works that have long been neglected, misunderstood, or, in some cases, virtually unknown. Focusing primarily but not exclusively on nineteenth-century Spain, Fernández exposes a rhetorical tension that often occurs in autobiographical discourse, between self-justification, or "apology," and the transcendence of this worldly impulse, or "apostrophe." This tension, he argues, is of particular interest in the case of Spain, but not peculiar to that nation, and his attention to the theoretical nature of autobiography leads to insightfl considerations of many canonical European autobiographies, including those of Saint Augustine, Rousseau, Saint Teresa, and Cardinal Newman.
Considering Spanish autobiography in the context of first-person narrative in Europe and in the terms of current debates on the relationship between writing and selfhood, Apology to Apostrophe marks a significant advance in our historical understanding and critical discussion of the genre. The book will be of great value not only to Hispanists but also to those interested in autobiography and cultural history.

Despite the range and abundance of autobiographical writing from the Anglophone Caribbean, this book is the first to explore this literature fully. It covers works from the colonial era up to present-day AIDS memoirs and assesses the links between more familiar works by George Lamming, C. L. R. James, Derek Walcott, V. S. Naipaul, and Jamaica Kincaid and less frequently cited works by the Hart sisters, Mary Prince, Mary Seacole, Claude McKay, Yseult Bridges, Jean Rhys, Anna Mahase, and Kamau Brathwaite.
    Sandra Pouchet Paquet charts the intersection of multiple, contradictory viewpoints of the colonial and postcolonial Caribbean, differing concepts of community and levels of social integration, and a persistent pattern of both resistance and accommodation within island states that were largely shaped by British colonial practice from the mid-seventeenth through the mid-twentieth century. The texts examined here reflect the entire range of autobiographical practice, including the slave narrative and testimonial, written and oral narratives, spiritual autobiographies, fiction, serial autobiography, verse, diaries and journals, elegy, and parody.

Wordsworth in His Major Lyrics explores the identity, role, and subjectivity of the speaker in Wordsworth's finest and best-known longer lyrics—"Tintern Abbey," "Resolution and Independence," "Ode: Intimations of Immortality," and "Elegiac Stanzas." Because Wordsworth is the most autobiographical poet of the Romantic period, and perhaps in the English language, readers naturally take the speaker to be the poet himself or, as Wordsworth says in his prefaces and essays, "the poet in his own person."

Some readers allow for a fictional dimension in the characterization of the speaker and refer to him as a persona; others treat him as a biographical self, defined in literary, political, historical, or cultural terms. Leon Waldoff examines the critical issues posed by these different understandings of the speaker's identity and argues for a conception of Wordsworth's lyrical "I" that deals with the dramatic and psychological complexities of the speaker's act of self-representation.

Taking concepts from Freud and Winnicott, this book presents a psychoanalytic model for defining the speaker and conceptualizing his subjectivity. Waldoff suggests that the lyrical "I" in each poem is a transitional self of the poet. The poem offers, in the suspended moment and cultural space of lyrical form, a self-dramatization in which the speaker attempts to act out, in the sense of both performing and attempting to achieve, a reconstitution and transformation of the self.

In a series of close readings that provide formalistic and psychological analysis, the book shows that the major lyrics contain compelling evidence that Wordsworth devoted much of his poetic art to each speaker's act of self-dramatization. The various strategies that each speaker employs and the self- dramatizing character of his utterance are theorized and assimilated into an understanding of the subjectivity he represents.

Waldoff concludes that Wordsworth's lyrical "I" requires a conception of subjectivity that gives greater recognition to its individual, psychological dimensions and to the art of self-representation in each poem than recent Wordsworth criticism has provided. This important new work will be appreciated by anyone interested in Wordsworth or in Romantic poetry.

A long-overdue analysis of how Black lesbians have asserted their lived experience through creative practice, pushing back against heteropatriarchal systems that deny them visibility.

“We Must Document Ourselves Now” examines the essential but oft-ignored importance of Black lesbian literature and film in queer literary and film histories, arguing that Black lesbian cultural texts reflect creators’ lived experiences and resist the heteropatriarchal systems that deny Black lesbians visibility in popular culture. Stephanie Andrea Allen contends that these texts have three goals: to lay bare the experiences of Black lesbians in a raced, gendered, classed, and homophobic society; to challenge the notion that claiming Black lesbian identity is marginal or forbidden; and to take care of Black lesbians by bearing witness to their experiences through creative practice.

Insisting that Black feminist creative practice is an integral form of self and community care, Allen weaves analysis of cultural output spanning key sociocultural moments from 1974 to 2020 with interviews with Black lesbian cultural workers. “We Must Document Ourselves Now” examines the Black Arts / Black Power movement, the “boom” in lesbian and gay publishing, the so-called golden era of Black film, and twenty-first-century visual media to demonstrate how representations of Black lesbians, or lack thereof, were vital to constructing a cultural canon that focused on illuminating Black lesbian experiences in the United States.