Books by Literary Studies Faculty

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As a tradition modernism has fostered particularly polarised impulses – though the great modernist poems offer impressive models, modernist principles, epitomised in Ezra Pound’s exhortation to ‘make it new’, encourage poets to reject the methods of their immediate predecessors. Re-making it New explores the impact of this polarised tradition on contemporary American poets by examining the careers of John Ashbery, Elizabeth Bishop, Robert Creeley and James Merrill. To demonstrate how these four have extended modernist attitudes to create a distinctive post-modern art, each one’s poetry is compared with that of a modernist who has been an important influence: Ashbery is discussed in conjunction with Wallace Stevens, Bishop with Marianne Moore, Creeley with William Carlos Williams and Merrill with W. H. Auden. Lynn Keller’s book shows that contemporary poets have chosen not to reach for order as their modernist predecessors did; instead, they attempt to dissolve hierarchical distinction and polarising categories in a modest spirit of accommodation and acceptance.

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This book offers a fresh understanding of the role of aesthetics in Wordsworth’s major poetry and prose. Professor Kelley proposes aesthetic and geological precedents for this aesthetic model and evaluates its differences from the models developed by Burke, Kant and Hegel.

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Penelope’s Web should appeal to a wide spectrum of readers interested in twentieth-century modernism, women’s writing, feminist criticism, post-structuralist theory, psychoanalysis, autobiography, and women’s studies. It is the first book to examine fully the brilliantly innovative prose writings of H.D., the pen-name for Hilda Doolittle (1886-1961), who has been known primarily as a poet. Her prose, more personal, experimental, and postmodern than her poetry, raises central questions about the relation of women writers to language, desire, and history. She suppressed in her lifetime many of these texts because of their daring exploration of her bisexuality and their radical critique of the social order. H.D.’s prose writings contribute importantly to the many histories and theories of modernism that are redrawing boundaries to include the achievement of women writers.

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Signets is an essential resource for those interested in H. D., modernism, and feminist criticism and writing that brings together the best essays of H.D. (Hilda Doolittle). Susan Stanford Friedman and Rachel Blau DuPlessis have gathered the most influential and generative studies of H. D.’s work and complemented them with photobiographical, chronological, and bibliographical portraits unique to this volume.

The essays in Signets span H. D.’s career from the origins of Imagism to late modernism, from the early poems of Sea Garden to the novel HER and the epic poems Trilogy and Helen in Egypt. In addition to the editors, the contributors are Diana Collecott, Robert Duncan, Albert Gelpi, Eileen Gregory, Susan Gubar, Barbara Guest, Elizabeth A. Hirsch, Deborah Kelly Kloepfer, Cassandar Laity, Adalaide Morris, Alicia Ostriker, Cyrena N. Pondrom, Perdita Schaffner, and Louis H. Silverstein.

Susan Stanford Friedman is Professor of English and Women’s Studies at the University of Wisconsin–Madison. Her works include Psyche Reborn: The Emergence of H. D. and Penelope’s Web: Gender, Modernity, H. D.’s Fiction.Rachel Blau DuPlessis is Professor of English at Temple University. She is author of Writing Beyond the Ending: Narrative Strategies of the Twentieth-Century Women Writers and H. D.: The Career of that Struggle.

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Did James Joyce, that icon of modernity, spearhead the dismantling of the Cartesian subject? Or was he a supreme example of a modern man forever divided and never fully known to himself? This volume reads the dialogue of contradictory cultural voices in Joyce’s works–revolutionary and reactionary, critical and subject to critique, marginal and central. It includes ten essays–all but two of them published here for the first time–that identify repressed elements in Joyce’s writings and examine how psychic and cultural repressions persistently surface in his texts.

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According to one myth, the first Athenian citizen was born from the earth after the sperm of a rejected lover, the god Hephaistos, dripped off the virgin goddess Athena’s leg and onto fertile soil. Henceforth Athenian citizens could claim to be truly indigenous to their city and to have divine origins that bypassed maternity. In these essays, the renowned French Hellenist Nicole Loraux examines the implication of this and other Greek origin myths as she explores how Athenians in the fifth century forged and maintained a collective identity.

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Feminist Measures: Soundings in Poetry and Theory breaks new ground in postmodern literary theory, including feminist theory, by moving the focus away from narrative fiction and onto poetry. The book responds to the need for more adequately theorized approaches to poetic literature by bringing together new, previously unpublished essays by fourteen accomplished critics.

Varied in subject, scope, and theoretical orientation, the essays consider poets from Aemilia Lanyer and Emily Dickinson to Lucille Clifton, Marilyn Hacker, and Theresa Hak Kyung Cha. The issues addressed range from the gender ideologies of the lyric to the construction of gendered narrative voice in Chicana poetry, and from the honoring of African-American spiritual traditions by acknowledging the reality of ghosts to the relevance to Adrienne Rich’s poetry of Irigaray’s recent writing on ethics. These diverse essays share a common interest in a theoretically self-conscious exploration of gender’s role in poetic production.

Contributors include Rachel Blau DuPlessis, Susan Stanford Friedman, Margaret Homans, Akasha (Gloria) Hull, and Suzanne Juhasz. Several pieces by poet critics, most notably those by Marlene Nourbese Philip and by Joan Retallack, radically revise the generic expectations of literary criticism. By emphasizing the intersection of theoretical and poetic discourses, the book moves beyond the simple application of theory to text; it opens up the possibilities of the academic essay. The collection will be of vital interest to scholars and students interested in feminist literary criticism and women’s poetry, and to readers of American poetry and twentieth-century poetry.

Lynn Keller is Associate Professor of English, University of Wisconsin-Madison. She is author of Re-Making It New: Contemporary American Poetry and the Modernist Tradition. Cristanne Miller is Associate Professor of English, Pomona College. She is the author of Emily Dickinson: A Poet’s Grammar.

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Fathering the Nation examines competing expressions of national memory appearing in a wide range of mid-nineteenth-century artifacts, including slave autobiography, classic American fiction, monumental architechture, myths of the Revolution, proslavery writing, and landscape painting. While these images, icons, and fictions attempt to present an ordered, inspiring narrative of America, they also tell other stories that disrupt the nation. Arguing that even the most rigid representations, such as the Bunker Hill Monument and official legends of the founding fathers, are incoherent, Castronovo presents a geneology that recovers those members of the national family whose status challenges the body politic and its history. The forgotten orphans in Melville’s Moby Dick and Israel Potter, the rebellious slaves in the work of Frederick Douglass and William Wells Brown, the citizens afflicted with amnesia in Lincoln’s speeches, and the dispossessed sons in slave narratives all provide dissenting voices that provoke insurrectionary plots and counter-memories. Viewed here as a “miscegenation” of stories, the narrative of “America” resists being told in terms of an intelligible story of uncontested descent. National identity rests not on rituals of consensus but on repressed legacies of parricide and rebellion.

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This original work redefines and broadens our understanding of the drama of the English-speaking African diaspora. Looking closely at the work of Amiri Baraka, Nobel prize-winners Wole Soyinka and Derek Walcott, and Ntozake Shange, the author contends that the refashioning of the collective cultural self in black drama originates from the complex intersection of three discourses: Eurocentric, Afrocentric, and Post-Afrocentric. From blackface minstrelsy to the Trinidad Carnival, from the Black Aesthetic to the South African Black Consciousness theatres and the scholarly debate on the (non)existence of African drama, Olaniyan cogently maps the terrains of a cultural struggle and underscores a peculiar situation in which the inferiorization of black performance forms is most often a shorthand for subordinating black culture and corporeality. Drawing on insights from contemporary theory and cultural studies, and offering detailed readings of the above writers, Olaniyan shows how they occupy the interface between the Afrocentric and a liberating Post-Afrocentric space where black theatrical-cultural difference could be envisioned as a site of multiple articulations: race, class, gender, genre, and language.

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This collection of essays forges a new definition of Romanticism that includes the wide range of women’s artistic expression.

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This study explores the relation between Samuel Beckett’s five major novels—Murphy, Watt, Molloy, Malone Dies, and The Unnamable—and the phenomenon that Jean-François Lyotard, Jürgen Habermas, and Gianni Vattimo have described as the “end of modernity.” Through a sustained reading of Beckett’s “pentalogy,” Begam demonstrates how these novels, written between 1935 and 1950, strikingly anticipate many of the defining themes and ideas of Roland Barthes, Michel Foucault and Jacques Derrida, extending from madness and the cogito to the “death of the author” and the “end of the book,” from différance and unnamability to the “end of man” and the “beginning of writing.”

Samuel Beckett and the End of Modernity situates Beckett in relation to a postmodern philosophical intervention that is defined by Friedrich Nietzsche, Ludwig Wittgenstein and Martin Heidegger, and a modernist literary tradition that is represented by Marcel Proust and James Joyce.  Arguing against the tendency to treat the postmodern as the mere negation of Enlightenment thinking—a form of “overcoming” in which the modern is replaced by the antimodern—Begam proposes an approach that is based more on “différance” than antithesis.   Especially important in this regard is Derrida’s claim that there is never “any question of choosing” between modernity (“Western metaphysics”) and a term of opposition (the “overcoming” of metaphysics).  Rather, Derrida recommends what he calls a “new writing” that simultaneously coordinates two modes of deconstruction, at once working critically within the tradition and projecting itself imaginatively beyond that tradition. The pentalogy offers an extended application of this “new writing” some twenty years before the advent of poststructuralism.

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Susan Bernstein examines the gendered power relationships embedded in confessional literature of the Victorian period. Exploring this dynamic in Charlotte Bronta’s Villette, Mary Elizabeth Braddon’s Lady Audley’s Secret, George Eliot’s Daniel Deronda, and Thomas Hardy’s Tess of the d’Urbervilles, she argues that although women’s disclosures to male confessors repeatedly depict wrongdoing committed against them, they themselves are viewed as the transgressors. Bernstein emphasizes the secularization of confession, but she also places these narratives within the context of the anti-Catholic tract literature of the time. Based on cultural criticism, poststructuralism, and feminist theory, Bernstein’s analysis constitutes a reassessment of Freud’s and Foucault’s theories of confession. In addition, her study of the anti-Catholic propaganda of the mid-nineteenth century and its portrayal of confession provides historical background to the meaning of domestic confessions in the literature of the second half of the century.

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Expanding the boundaries of both genre and gender, contemporary American women are writing long poems in a variety of styles that repossess history, reconceive female subjectivity, and revitalize poetry itself. In the first book devoted to long poems by women, Lynn Keller explores this rich and evolving body of work, offering revealing discussions of the diverse traditions and feminist concerns addressed by poets ranging from Rita Dove and Sharon Doubiago to Judy Grahn, Marilyn Hacker, and Susan Howe.

Arguing that women poets no longer feel intimidated by the traditional associations of long poems with the heroic, public realm or with great artistic ambition, Keller shows how the long poem’s openness to sociological, anthropological, and historical material makes it an ideal mode for exploring women’s roles in history and culture. In addition, the varied forms of long poems—from sprawling free verse epics to regular sonnet sequences to highly disjunctive experimental collages—make this hybrid genre easily adaptable to diverse visions of feminism and of contemporary poetics.

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Winner, Best Scholarly Book, South Central Modern Language Association (1998).

Reinventing Allegory asks how and why allegory has survived as a literary mode from the late Renaissance to the postmodern present. Three chapters on Romanticism, including one on the painter J. M. W. Turner, present this era as the pivotal moment in allegory’s modern survival. Other chapters describe larger historical and philosophical contexts, including classical rhetoric and Spenser, Milton and seventeenth-century rhetoric, Neoclassical distrust of allegory, and recent theory and metafiction. By using a series of key historical moments to define the special character of modern allegory, this study offers an important framework for assessing allegory’s role in contemporary literary culture.

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In this powerful work, Susan Friedman moves feminist theory out of paralyzing debates about us and them, white and other, first and third world, and victimizers and victims. Throughout, Friedman adapts current cultural theory from global and transnational studies, anthropology, and geography to challenge modes of thought that exaggerate the boundaries of gender, race, ethnicity, sexuality, class, and national origin. The author promotes a transnational and heterogeneous feminism, which, she maintains, can replace the proliferation of feminisms based on difference. She argues for a feminist geopolitical literacy that goes beyond fundamentalist identity politics and absolutist poststructuralist theory, and she continually focuses the reader’s attention on those locations where differences are negotiated and transformed.

Pervading the book is a concern with narrative: the way stories and cultural narratives serve as a primary mode of thinking about the politically explosive question of identity. Drawing freely on modernist novels, contemporary film, popular fiction, poetry, and mass media, the work features narratives of such writers and filmmakers as Gish Jen, Julie Dash, June Jordon, James Joyce, Gloria Anzalda, Neil Jordon, Virginia Woolf, Mira Nair, Zora Neale Hurston, E. M. Forster, and Irena Klepfisz.

Defending the pioneering role of academic feminists in the knowledge revolution, this work draws on a wide variety of twentieth-century cultural expressions to address theoretical issues in postmodern feminism.

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Asian American women have long dealt with charges of betrayal within and beyond their communities. Images of their “disloyalty” pervade American culture, from the daughter who is branded a traitor to family for adopting American ways, to the war bride who immigrates in defiance of her countrymen, to a figure such as Yoko Ono, accused of breaking up the Beatles with her “seduction” of John Lennon. Leslie Bow here explores how representations of females transgressing the social order play out in literature by Asian American women. Questions of ethnic belonging, sexuality, identification, and political allegiance are among the issues raised by such writers as Jeanne Wakatsuki Houston, Bharati Mukherjee, Jade Snow Wong, Amy Tan, Sky Lee, Le Ly Hayslip, Wendy Law-Yone, Fiona Cheong, and Nellie Wong. Beginning with the notion that feminist and Asian American identity are mutually exclusive, Bow analyzes how women serve as boundary markers between ethnic or national collectives in order to reveal the male-based nature of social cohesion.

In exploring the relationship between femininity and citizenship, liberal feminism and American racial discourse, and women’s domestic abuse and human rights, the author suggests that Asian American women not only mediate sexuality’s construction as a determiner of loyalty but also manipulate that construction as a tool of political persuasion in their writing. The language of betrayal, she argues, offers a potent rhetorical means of signaling how belonging is policed by individuals and by the state. Bow’s bold analysis exposes the stakes behind maintaining ethnic, feminist, and national alliances, particularly for women who claim multiple loyalties.

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In Necro Citizenship Russ Castronovo argues that the meaning of citizenship in the United States during the nineteenth century was bound to – and even dependent on – death. Deploying an impressive range of literary and cultural texts, Castronovo interrogates an American public sphere that fetishized death as a crucial point of political identification. This morbid politics idealized disembodiment over embodiment, spiritual conditions over material ones, amnesia over history, and passivity over engagement.

Moving from medical engravings, séances, and clairvoyant communication to Supreme Court decisions, popular literature, and physiological tracts, Necro Citizenship explores how rituals of inclusion and belonging have generated alienation and dispossession. Castronovo contends that citizenship does violence to bodies, especially those of blacks, women, and workers. “Necro ideology,” he argues, supplied citizens with the means to think about slavery, economic powerlessness, or social injustice as eternal questions, beyond the scope of politics or critique. By obsessing on sleepwalkers, drowned women, and other corpses, necro ideology fostered a collective demand for an abstract even antidemocratic sense of freedom. Examining issues involving the occult, white sexuality, ghosts, and suicide in conjunction with readings of Harriet Jacobs, Ralph Waldo Emerson, Frederick Douglass, Nathaniel Hawthorne, and Frances Harper, Necro Citizenship successfully demonstrates why Patrick Henry’s “give me liberty or give me death” has resonated so strongly in the American imagination. Those working in the fields of American studies, literature, history, and political theory will be interested in the social revelations and cultural connections found in Necro Citizenship.

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Breezy, informal, irreverent, vibrant in detail, H.D.’s letters to her companion, Bryher, revolve around her 1933-1934 therapy sessions with Sigmund Freud, from which she emerged reborn. “A correspondence that tells us more about Freud as a clinician than any other source” (PsyArt), this volume includes H.D.’s and Bryher’s letters, as well as letters by Freud to H.D. and Bryher, most of them published here for the first time. In addition, the book includes H.D.’s and Bryher’s letters to and from Havelock Ellis, Kenneth MacPherson, Conrad Aiken, Ezra Pound, and Anna Freud, among others. Taken together, the 307 letters in Analyzing Freud, introduced and fully annotated by Susan Stanford Friedman, comprise a fresh, compelling portrait of H.D., and her analyst, Freud.

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For the most part, democracy is simply presumed to exist in the United States. It is viewed as a completed project rather than as a goal to be achieved. Fifteen leading scholars challenge that stasis in Materializing Democracy. They aim to reinvigorate the idea of democracy by placing it in the midst of a contentious political and cultural fray, which, the volume’s editors argue, is exactly where it belongs. Drawing on literary criticism, cultural studies, history, legal studies, and political theory, the essays collected here highlight competing definitions and practices of democracy—in politics, society, and, indeed, academia.

Covering topics ranging from rights discourse to Native American performance, from identity politics to gay marriage, and from rituals of public mourning to the Clinton-Lewinsky affair, the contributors seek to understand the practices, ideas, and material conditions that enable or foreclose democracy’s possibilities. Through readings of subjects as diverse as Will Rogers, Alexis de Tocqueville, slave narratives, interactions along the Texas-Mexico border, and liberal arts education, the contributors also explore ways of making democracy available for analysis. Materializing Democracy suggests that attention to disparate narratives is integral to the development of more complex, vibrant versions of democracy.

Contributors: Lauren Berlant, Wendy Brown, Chris Castiglia, Russ Castronovo, Joan Dayan, Wai Chee Dimock, Lisa Duggan, Richard R. Flores, Kevin Gaines, Jeffrey C. Goldfarb, Michael Moon, Dana D. Nelson, Christopher Newfield, Donald E. Pease

Russ Castronovo is the Jean Wall Bennett Professor of English and American Studies, University of Wisconsin-Madison and author of Necro Citizenship: Death, Eroticism, and the Public Sphere in the Nineteenth-Century United States, published by Duke University Press. Dana D. Nelson is Professor of English and Social Theory at the University of Kentucky and author of National Manhood: Capitalist Citizenship and the Imagined Fraternity of White Men, also published by Duke University Press.

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Scholars have long recognized that narrative suspense dominates the formal dynamics of nineteenth-century British fiction, both high and low. But few have asked why suspense played such a crucial role in the Victorian novel—and in Victorian culture more broadly. The Serious Pleasures of Suspense argues that a startling array of nineteenth-century thinkers—from John Ruskin and Michael Faraday to Charlotte Brontë and Wilkie Collins —saw suspense as the perfect vehicle for a radically new approach to knowledge that they called “realism.” Although by convention suspense has belonged to the realm of sensational mysteries and gothic horrors, and realism to the world of sober, reformist, middle-class domesticity, the two were in fact inextricably intertwined. The real was defined precisely as that which did not belong to the mind, that which stood separate from patterns of thought and belief. In order to get at the truth of the real, readers would have to learn to suspend their judgment. Suspenseful plots were the ideal vehicles for disseminating this experience of doubt, training readers to pause before leaping to conclusions. Far from being merely low or sensational, the mysteries of many plotted texts were intended to introduce readers to a rigorous epistemological training borrowed from science. And far from being complacently conservative, suspense was deliberately employed to encourage a commitment to skepticism and uncertainty. In The Serious Pleasures of Suspense, Caroline Levine argues convincingly that the nineteenth-century critics were not wrong about suspense: the classic readerly text was indeed far more writerly—dynamic, critical, questioning, and indeterminate—than modern critics have been inclined to imagine. Offering original readings of canonical texts, including Jane Eyre, Great Expectations, The Moonstone, and The Picture of Dorian Gray, and drawing on a range of historical sources, from popular fiction and art criticism to the philosophy of science and scientific biography, Levine combines narrative theory and the history of ideas to offer a stunning rereading of nineteenth-century realism.

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• Choice Outstanding Academic Title
• International Society of Anglo-Saxonists [ISAS] Best Edition Publication Prize

“The Bayeux Tapestry presents its story of the Norman Conquest of England in words of such simplicity and images of such power that it has long determined the view we take of the momentous events of 1064-6. This digital edition creates new and exciting ways of viewing the Tapestry, with additional features in the form of a brilliantly-conceived array of supporting material. It transforms the way in which students and teachers alike will be able to approach, to use and to enjoy one of the most remarkable of all our sources for the middle ages.” – Simon Keynes, Elrington and Bosworth Professor of Anglo-Saxon, University of Cambridge.

This online edition presents full images of the tapestry itself, magnifiable so that individual stitches can be seen, with images of three facsimiles, and of many related artifacts. They are accompanied by authoritative translations of seventeen historical sources concerning the events of 1066, maps, genealogies, bibliography, and full commentary, in an attractive interface. Read More

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African Drama and Performance is a collection of innovative and wide-ranging essays that bring conceptually fresh perspectives, from both renowned and emerging voices, to the study of drama, theatre, and performance in Africa. Topics range from studies of major dramatic authors and formal literary dramas to improvisational theatre and popular video films. South Africa’s Truth and Reconciliation Commissions are analyzed as a kind of social performance, and aspects of African performance in the diaspora are also considered. This dynamic volume underscores theatre’s role in postcolonial society and politics and reexamines performance as a form of high art and everyday social ritual. Contributors are Akin Adesokan, Daniel Avorgbedor, Karin Barber, Nicholas Brown, Catherine Cole, John Conteh-Morgan, Johannes Fabian, Joachim Fiebach, Marie-José Hourantier, Loren Kruger, Pius Ngandu Nkashama, Isidore Okpewho, Tejumola Olaniyan, Ato Quayson, Sandra L. Richards, Wole Soyinka, Dominic Thomas, and Bob W. White.

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“Olaniyan has given us a profound and beautifully integrated book which culminates in a persuasive interpretation of the relationship between Fela’s apparently incompatible presentational selves. . . . The book’s accessible and evocative prose is in itself a kind of homage to Fela’s continual ability to seduce and astonish. . . . This is such an attractive book you feel like . . . ransacking your collection for Fela tapes.” —Karin Barber

“ . . . an indispensable companion to Fela’s music and a rich source of information for studies in modern African popular music.” —Akin Euba

Arrest the Music! is a lively musical study of Fela Anikulapo-Kuti, one of Africa’s most recognizable, popular, and controversial musicians. The flamboyant originator of the “Afrobeat” sound and self-proclaimed voice of the voiceless, Fela used music, sharp-tongued lyrics, and derisive humor to challenge the shortcomings of Nigerian and postcolonial African states. Looking at the social context, instrumentation, lyrics, visual art, people, and organizations through which Fela produced his music, Tejumola Olaniyan offers a wider, more suggestive perspective on Fela and his impact on listeners in all parts of the world. Placing Fela front and center, Olaniyan underscores important social issues such as authenticity, racial and cultural identity, the relationship of popular culture to radical politics, and the meaning of postcolonialism, nationalism, and globalism in contemporary Africa. Readers interested in music, culture, society, and politics, whether or not they know Fela and his music, will find this work invaluable for understanding the career of an African superstar and the politics of popular culture in contemporary Africa.

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Winner of the prestigious Joe A. Callaway Prize for the Best Book in Drama and Theatre (2005); Finalist, George Freedley Memorial Award, Theatre Library Association (2006)

Theatres of Independence is a comprehensive study of drama, theatre, and urban performance in post-independence India. Combining theatre history with theoretical analysis and literary interpretation, Aparna Dharwadker examines the unprecedented conditions for writing and performance that the experience of new nationhood created in a dozen major Indian languages. The book also offers detailed discussions of the major plays, playwrights, directors, dramatic genres, and theories of drama that have made the contemporary Indian stage a vital part of postcolonial and world theatre. Theatres of Independence will be of interest to students and scholars of modern drama, comparative theatre, theatre history, and the new national and postcolonial literatures.

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Oscar Wilde wrote of this novel, “Its directness, its uncompromising truths, its depth of feeling, and above all, its absence of any single superfluous word, make Reuben Sachs, in some sort, a classic.” Reuben Sachs, the story of an extended Anglo-Jewish family in London, focuses on the relationship between two cousins, Reuben Sachs and Judith Quixano, and the tensions between their Jewish identities and English society. The novel’s complex and sometimes satirical portrait of Anglo-Jewish life, which was in part a reaction to George Eliot’s romanticized view of Victorian Jews in Daniel Deronda, caused controversy on its first publication.

This Broadview edition prints for the first time since its initial publication in The Jewish Chronicle Levy’s essay “The Jew in Fiction.” Other appendices include George Eliot’s essay on anti-Jewish sentiment in Victorian England and a chapter from Israel Zangwill’s novel The Children of the Ghetto. Also included is a map of Levy’s London with landmarks from her biography and from the “Jewish geography” of Reuben Sachs.

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The Romance of a Shop is an early “New Woman” novel about four sisters, who decide to establish their own photography business and their own home in central London after their father’s death and their loss of financial security. In this novel, Amy Levy examines both the opportunities and dangers of urban experience for women in the late nineteenth century who pursue independent work rather than follow the established paths of domestic service. By outfitting her characters as photographers, Levy emphasizes the importance of the gendered gaze in this narrative of the modern city.

This Broadview edition prints for the first time since the 1880s Levy’s essay on Christina Rossetti and a short story set in North London, both published in Oscar Wilde’s magazine The Woman’s World. Other appendices include poetry by Levy, Michael Field, Dollie Radford, and A. Mary F. Robinson, and essays on Victorian photography, literary realism, “the woman question” at the end of the nineteenth century, and the plight of women working in London.

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Drama at the Courts of Queen Henrietta Maria considers Queen Henrietta Maria’s patronage of drama in England in the light of her French heritage. Karen Britland challenges a common view of Henrietta Maria as a meddlesome and frivolous woman whose actions contributed to the outbreak of the English civil wars by showing how she was consistent in her allegiances to her family and friends, and how her cultural and political positions were reflected in the plays and court masques she sponsored. Unlike previous studies, this book considers the queen’s upbringing at the French court and her later exile in France during the English civil wars, and is therefore able to challenge received notions about her activities in England during the 1630s. Karen Britland employs innovative research by combining discussions of literary texts with historical and archival research and discussions of art, architecture and music.

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A Nota Bene selection of The Chronicle of Higher Education

During the economic depression of the 1890s and the speculative frenzy of the following decade, Wall Street, high finance, and market crises assumed unprecedented visibility in the United States. Fiction writers published scores of novels in the period that explored this new cultural phenomenon. In Panic!, David A. Zimmerman studies how American novelists and their readers imagined–and in one case, incited–market crashes and financial panics. Panic! examines how Americans’ attitudes toward securities markets, popular investment, and financial catastrophe were entangled with their conceptions of gender, class, crowds, corporations, and history. Zimmerman investigates how writers turned to mob psychology, psychic investigations, and conspiracy discourse to understand not only how financial markets worked, but also how mass acts of financial reading, including novel reading, could trigger economic disaster and cultural chaos. In addition, Zimmerman shows how, by concentrating on markets in crisis, novelists were able to explore the limits of fiction’s aesthetic, economic, and ethical capacities. With readings of canonical as well as lesser-known novelists, Zimmerman provides an original and wide-ranging analysis of the relation between fiction and financial modernity.

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“We are used to telling ourselves that the arts need the protection of a flourishing democracy in order to survive. But in fact, the opposite is true: democracies require art – challenging art – to ensure that they are acting as free societies.'” This ground-breaking book provides a provocative and compelling exploration of the complex relationship between democracy and the arts. It analyses the roles of dissenting and unpopular artists, such as Jackson Pollock, Bertolt Brecht, D. H. Lawrence, and 2 Live Crew in twentieth century society. Shows how artists in the tradition of the avant-garde may once again prove to be effective catalysts for contemporary change and democratic freedom. Moves beyond specific debates over obscenity, public funding, and censorship, getting at art’s value and purpose in democratic societies and concluding that the most rebellious artists need the protection of the democratic state, just as the freest and fairest democracies need the provocations of art. Forms part of the Blackwell Manifestos series, in which top scholars offer lively interventions into current debates.

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• International Society of Anglo-Saxonists [ISAS] Best First Book Publication Prize
• Finalist for the Modern Language Association’s First Book Prize

Foys argues that early medieval culture did not favor the representational practices privileged by the modern age and that five hundred years of print culture have in effect shut off modern readers from interpretations of text and image that would have been transparent to a medieval audience. Examining print and post-print ways of reading medieval literature and art, he derives alternative models of understanding from the realm of digital media, considering pre-print expression through a range of post-print ideas and producing new and vital understandings of visionary Old English poetry, Anglo-Saxon maps of the world, 11th-century Benedictine devotional writings, medieval mathematical systems, stone sculpture of Viking settlers, and the famous Bayeux Tapestry.

Building chapter upon chapter into a sustained discussion of New Media theory and medieval interpretation, Foys provides a field-defining investigation of how digital technology and expression can refine and revitalize early medieval studies.

 

This is the first anthology to bring together the key texts of African literary theory and criticism. Covers all genres and critical schools. Provides the intellectual context for understanding African literature. Facilitates the future development of African literary criticism.

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This collection of essays by renowned literary scholars offers a sustained and comprehensive account of the relation of British and Irish literary modernism to colonialism. Bringing postcolonial studies into dialogue with modernist studies, the contributors move beyond depoliticized appreciations of modernist aesthetics as well as the dismissal of literary modernism as irredeemably complicit in the evils of colonialism. They demonstrate that the modernists were not unapologetic supporters of empire. Many were avowedly and vociferously opposed to colonialism, and all of the writers considered in this volume were concerned with the political and cultural significance of colonialism, including its negative consequences for both the colonizer and the colonized. Ranging over poetry, fiction, and criticism, the essays provide fresh appraisals of Joseph Conrad, T. S. Eliot, Ezra Pound, Virginia Woolf, D. H. Lawrence, Wyndham Lewis, E. M. Forster, W. B. Yeats, James Joyce, Elizabeth Bowen, Hugh MacDiarmid, and Evelyn Waugh, as well as Robert Louis Stevenson and H. Rider Haggard. The essays that bookend the collection connect the modernists to their Victorian precursors, to postwar literary critics, and to postcolonial poets. The rest treat major works written or published between 1899 and 1939, the boom years of literary modernism and the period during which the British empire reached its greatest geographic expanse. Among the essays are explorations of how primitivism figured in the fiction of Lawrence and Lewis; how, in Ulysses, Joyce used modernist techniques toward anticolonial ends; and how British imperialism inspired Conrad, Woolf, and Eliot to seek new aesthetic forms appropriate to the sense of dislocation they associated with empire.

Contributors include Nicholas Allen, Rita Barnard, Richard Begam, Nicholas Daly, Maria DiBattista, Ian Duncan, Jed Esty, Andrzej Gąsiorek, Declan Kiberd, Brian May, Michael Valdez Moses, Jahan Ramazani, Vincent Sherry.

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The photographer and reformer Jacob Riis once wrote, “I have seen an armful of daisies keep the peace of a block better than a policeman and his club.” Riis was not alone in his belief that beauty could tame urban chaos, but are aesthetic experiences always a social good? Could aesthetics also inspire violent crime, working-class unrest, and racial murder? To answer these questions, Russ Castronovo turns to those who debated claims that art could democratize culture–civic reformers, anarchists, novelists, civil rights activists, and college professors – to reveal that beauty provides unexpected occasions for radical, even revolutionary, political thinking.

Beautiful Democracy explores the intersection of beauty and violence by examining university lectures and course materials on aesthetics from a century ago along with riots, acts of domestic terrorism, magic lantern exhibitions, and other public spectacles. Philosophical aesthetics, realist novels, urban photography, and black periodicals, Castronovo argues, inspired and instigated all sorts of collective social endeavors, from the progressive nature of tenement reform to the horrors of lynching. Discussing Jane Addams, W.E.B. Du Bois, Charlie Chaplin, William Dean Howells, and Riis as aesthetic theorists in the company of Kant and Schiller, Beautiful Democracy ultimately suggests that the distance separating academic thinking and popular wisdom about social transformation is narrower than we generally suppose.

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“Sherrard-Johnson does an excellent job of expanding the scope of previous considerations of the mulatta as a trope, as well as reinforcing the necessity of seeing the icon in all of its complexity.” —African American Review

“This beautifully written book locates artists and writers of the Harlem Renaissance squarely within Modernism and puts women at the center of this project . . . the scholarship is impeccable and the work as a whole is brilliantly organized.” —Maureen E. Honey, editor of Shadowed Dreams: Women’s Poetry of the Harlem Renaissance

Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries. Portraits of the New Negro Woman investigates the visual and literary images of black femininity that occurred between the two world wars. Cherene Sherrard-Johnson traces the origins and popularization of these new representations in the art and literature of the Harlem Renaissance and how they became an ambiguous symbol of racial uplift constraining African American womanhood in the early twentieth century. In this engaging narrative, the author uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.

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Romanticism After Auschwitz reveals how post-Holocaust testimony remains romantic, and shows why romanticism must therefore be rethought. The book argues that what literary historians have traditionally called “romanticism,” and characterized as a literary movement stretching roughly between 1785 and 1832, should be redescribed in light of two circumstances. The first is the specific inadequacy of literary-historical models before “romantic” works. The second is the particular function that these unsettling aspects of “romantic” works have after Auschwitz. The book demonstrates that certain figures (of speech, writing, and argument) central to normative accounts of “romanticism,” serve in their most radical—most genuinely “romantic”—form as vehicles for posing a conception of life (and death) revealed in the camps. In these pages, Agamben meets Wordsworth, Shakespeare meets Celan, film meets lyric poetry, survivors’ accounts meet fiction, de Man encounters Nancy. The book offers new readings of highly canonical works—Mary Shelley’s Frankenstein, Wordsworth and Coleridge’s Lyrical Ballads, Alain Resnais’s Night and Fog—and introduces unfamiliar texts. It elaborates a fascinating account of the rhetoric of ethical dispositions and gives its readers an attentive, moving way of understanding the condition of human survival after the Holocaust.

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This collection re-evaluates the work of fifteenth-century poet John Lydgate in light of medieval material culture. Top scholars in the field unite here with critical newcomers to offer fresh perspectives on the function of poetry on the cusp of the modern age, and in particular on the way that poetry speaks to the heightened relevance of material goods and possessions to the formation of late medieval identity and literary taste. Advancing in provocative ways the emerging fields of fifteenth-century literary and cultural study, the volume as a whole explores the role of the aesthetic not only in late medieval society but also in our own.

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In the past two decades, scholarly assessment of the Bayeux Tapestry has begun to consider issues beyond its sources and analogues, dating, origin and purpose, and site of display.” “This volume demonstrates the utility of more recent interpretive approaches to this famous artefact, especially with regard to newer concepts of gender, materiality, reception theory, cultural criticism, performativity, spatial narrative, New Historicism, and post-structuralism.” “The essays frame vital issues for the future of Tapestry scholarship: they provide original perspectives, and engage with myriad critical concerns: the (New-) historical layering of meaning, representational systems of gender difference, visuality, memory and architecture, modern obsessions with author-like patronage, post-colonial notions of territory and saintly relics, and the function of historiography and media.” “A bibliography of three centuries of critical writings completes the work.

Comedy: American Style, Jessie Redmon Fauset’s fourth and final novel, recounts the tragic tale of a family’s destruction—the story of a mother who denies her clan its heritage. Originally published in 1933, this intense narrative stands the test of time and continues to raise compelling, disturbing, and still contemporary themes of color prejudice and racial self-hatred. Several of today’s bestselling novelists echo subject matter first visited in Fauset’s commanding work, which overflows with rich, vivid, and complex characters who explore questions of color, passing, and black identity. Cherene Sherrard-Johnson’s introduction places this literary classic in both the new modernist and transatlantic contexts and will be embraced by those interested in early twentieth-century women writers, novels about passing, the Harlem Renaissance, the black/white divide, and diaspora studies. Selected essays and poems penned by Fauset are also included, among them “Yarrow Revisited” and “Oriflamme,” which help highlight the full canon of her extraordinary contribution to literature and provide contextual background to the novel.

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Originally describing language use and class position, vulgarity became, over the course of the nineteenth century, a word with wider social implications. Variously associated with behavior, the possession of wealth, different races, sexuality and gender, the objects displayed in homes, and ways of thinking and feeling, vulgarity suggested matters of style, taste, and comportment. This collection examines the diverse ramifications of vulgarity in the four areas where it was most discussed in the nineteenth century: language use, changing social spaces, the emerging middle classes, and visual art. Exploring the dynamics of the term as revealed in dictionaries and grammars; Mayhew’s London Labour and the London Poor; fiction by Dickens, Eliot, Gissing, and Trollope; essays, journalism, art, and art reviews, the contributors bring their formidable analytical skills to bear on this enticing and divisive concept. Taken together, these essays urge readers to consider the implications of vulgarity’s troubled history for today’s writers, critics, and artists.

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A groundbreaking study of contemporary American poetry, Race and the Avant-Garde changes the way we think about race and literature. Examining two of the most exciting developments in recent American writing, Timothy Yu juxtaposes the works of experimental language poets and Asian American poets—concerned primarily with issues of social identity centered around discourses of race. Yu delves into the 1960s social upheaval to trace how Language and Asian American writing emerged as parallel poetics of the avant-garde, each with its own distinctive form, style, and political meaning. From its provocative reevaluation of Allen Ginsberg to fresh readings of Ron Silliman, Theresa Hak Kyung Cha, and John Yau, along with its analysis of a new archive of Asian American writers from the 1970s, this book is indispensable for readers interested in race, Asian American studies, contemporary poetry, and the avant-garde.

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Focusing on the problems and conflicts of doing African diaspora research from various disciplinary perspectives, these essays situate, describe, and reflect on the current practice of diaspora scholarship. Tejumola Olaniyan, James H. Sweet, and the international group of contributors assembled here seek to enlarge understanding of how the diaspora is conceived and explore possibilities for the future of its study. With the aim of initiating interdisciplinary dialogue on the practice of African diaspora studies, they emphasize learning from new perspectives that take advantage of intersections between disciplines. Ultimately, they advocate a fuller sense of what it means to study the African diaspora in a truly global way.

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2012 Honorable mention for the Book Award in Cultural Studies from the Association for Asian American Studies

Arkansas, 1943. The Deep South during the heart of Jim Crow-era segregation. A Japanese-American person boards a bus, and immediately is faced with a dilemma. Not white. Not black. Where to sit?

By elucidating the experience of interstitial ethnic groups such as Mexican, Asian, and Native Americans—groups that are held to be neither black nor white—Leslie Bow explores how the color line accommodated—or refused to accommodate—“other” ethnicities within a binary racial system. Analyzing pre- and post-1954 American literature, film, autobiography, government documents, ethnography, photographs, and popular culture, Bow investigates the ways in which racially “in-between” people and communities were brought to heel within the South’s prevailing cultural logic, while locating the interstitial as a site of cultural anxiety and negotiation.

Spanning the pre- to the post- segregation eras, Partly Colored traces the compelling history of “third race” individuals in the U.S. South, and in the process forces us to contend with the multiracial panorama that constitutes American culture and history.

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The Scent of the Gods tells the enchanting, haunting story of a young girl’s coming of age in Singapore during the tumultuous years of its formation as a nation. Eleven-year-old Su Yen bears witness to the secretive lives of “grown-ups” in her diasporic Chinese family and to the veiled threats in Southeast Asia during the Cold War years. From a child’s limited perspective, the novel depicts the emerging awareness of sexuality in both its beauty and its consequences, especially for women. In the context of postcolonial politics, Fiona Cheong skillfully parallels the uncertainties of adolescence with the growing paranoia of a population kept on alert to communist infiltration. In luminous prose, the novel raises timely questions about safety, protection, and democracy–and what one has to give up to achieve them.

Ideal for students and scholars of Asian American and transnational literature, postcolonial history, women’s studies, and many other interconnected disciplines, this special edition of The Scent of the Gods includes a contextualizing introduction, a chronology of historical events covered in the novel, and explanatory notes.

Fiona Cheong is an associate professor of creative writing at the University of Pittsburgh and the author of the novel Shadow Theatre. Leslie Bow is a professor of English and Asian American studies at the University of Wisconsin, Madison, and the author of Partly Colored: Asian Americans and Racial Anomaly in the Segregated South.

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The Tragedy of Mariam, the Fair Queen of Jewry is a Jacobean closet drama by Elizabeth Tanfield Cary. First published in 1613, it was the first work by a woman to be published under her real name. Never performed during Cary’s lifetime, and apparently never intended for performance, the Senecan revenge tragedy tells the story of Mariam, the second wife of Herod. The play exposes and explores the themes of sex, divorce, betrayal, murder, and Jewish society under Herod’s tyrannous rule. A new introduction includes recent criticism and new developments in theatre history and scholarship. A more substantial performance history is given, including accounts of recent screen versions.

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The Novel as Event is a timely reconsideration of the historical role of the Victorian novel from the perspective of its performativity. In a highly original application of the work of Jacques Derrida, Paul de Man, Pierre Bourdieu, Judith Butler, and other readers of J. L. Austin, Mario Ortiz Robles argues that the language of the novel is paramount and that the current emphasis on the representational and physical aspects of the novel tends to obscure this fact. He provides brilliant original readings of five major Victorian novels: Dickens’s Our Mutual Friend, Brontë’s Jane Eyre, George Eliot’s Middlemarch, Thackeray’s Vanity Fair, and Collins’s The Woman in White, illustrating that it is impossible to fully grasp the cultural power of the novel, from its role in the cultivation of manners and the conduct of courtship to the consolidation of bourgeois ideology and the construction of the subject, without an adequate account of the performativity of its language. By considering the novel as a linguistic event, Ortiz Robles offers a new explanatory model for understanding how novels intervene materially in the reality they describe, and, in doing so, he seeks to reinvigorate critical debate on the historicity of the realist novel and current methods of cultural criticism. The Novel as Event serves as a well-timed corrective to the narrow historicist approach to the materiality of the novel that currently holds sway.

“The Novel as Event brilliantly does two things: presents a strikingly new theory of the way novels have effect in the social world, and also presents original readings of five major Victorian novels as demonstrations of the way that theory may be exemplified in practice. No other book that I know of does either of these two things in at all the same way.” —J. Hillis Miller, University of California, Irvine

“I have no doubt that this book will become an important part of a renewed questioning of a certain unchallenged historicism prevalent in Victorian novel studies from the beginning.” —Kevin McLaughlin, Brown University

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“For all their awards and publications, until now the poetry of Rosmarie Waldrop, Joan Retallack, C. D. Wright, Alice Fulton, Susan Wheeler, Cole Swensen, and Myung Mi Kim has not received always commensurate scholarly attention. Thinking Poetry gathers together for the first time Lynn Keller’s groundbreaking work on these poets and will be a superlative resource for students of innovative contemporary poetry by American women writers. The volume will also be of significant interest to anyone examining women writers who are, as Keller notes, ‘indebted to Language poetry but not necessarily tied to it.’ Each chapter provides meticulous, provocative analyses of the poets’ challenging formal strategies, themes, and source texts. This is an outstanding volume.”—Susan Vanderborg, University of South Carolina

As the twentieth century drew to a close, experimentalism in American poetry was most commonly identified with Language writing. At the same time, however, a number of poets, many of them women, were developing their own alternative forms of experimentalism, creating “uncommon languages” often indebted to Language writing but distinct from it.

With impressive intellectual engagement and nuanced presentation, Thinking Poetry provides a meticulous and provocative analysis of the ways in which Alice Fulton, Myung Mi Kim, Joan Retallack, Cole Swensen, Rosmarie Waldrop, Susan Wheeler, and C. D. Wright explored varied compositional strategies and created their own innovative works. In doing so, Lynn Keller resourcefully models a range of reading strategies that will assist others in analyzing the complex epistemology and craft of recent “exploratory” writing.

The seven women whose work is discussed here demonstrate widely differing ways of using poetry to, as Swensen puts it, “stretch the boundaries of the sayable.” Thinking Poetry examines approaches to women’s poetic exploration ranging from radically open, thoroughly disjunctive writing to feminist experimentation within relatively conventional free verse forms; from texts testing the resources of visual elements and page space to those in which multilingualism or digital technology provide arenas for innovation; from revitalized forms of ekphrasis to fresh approaches to pop culture.

Keller illuminates as well a transitional era in U.S. poetry that presaged current developments that are often seen as combining the poetics of personal lyric and Language writing. Thinking Poetry challenges reductive notions of such a synthesis as it makes clear that the groundwork for current poetic trends was laid by poets who, in a far more polarized climate, pursued their own, often distinctly feminist, visions of necessary innovation.

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Narrative theorists have lavished attention on beginnings and endings, but they have too often neglected the middle of narratives. In this groundbreaking collection of essays, Narrative Middles: Navigating the Nineteenth-Century British Novel, nine literary scholars offer innovative approaches to the study of the underrepresented middle of the vast, bulky nineteenth-century multiplot novel. Combining rigorous formal analysis with established sociohistorical methods, these essays seek to account for the various ways in which the novel gave shape to British culture’s powerful obsession with middles. The capacious middle of the nineteenth-century novel provides ample room for intricately woven plots and the development of complex character systems, but it also becomes a medium for capturing, consecrating, and cultivating the middle class and its middling, middlebrow tastes as well as its mediating global role in empire.

Narrative Middles explores these fascinating conjunctions in new readings of novels by Jane Austen, William Makepeace Thackeray, Anne Brontë, George Eliot, Charles Dickens, Wilkie Collins, Henry James, and William Morris. Contributors: Amanda Claybaugh, Suzanne Daly, Amanpal Garcha, Amy King, Caroline Levine, Mario Ortiz-Robles, Kent Puckett, Hilary Schor, and Alex Woloch.

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Lisa H. Cooper offers new insight into the relationship of material practice and literary production in the Middle Ages by exploring the representation of craft labor in England from c.1000-1483. She examines genres as diverse as the school-text, comic poem, spiritual allegory, and mirror for princes, and works by authors both well-known (Chaucer, Lydgate, Caxton) and far less so. Whether they represent craft as profitable endeavor, learned skill, or degrading toil, the texts she reviews not only depict artisans as increasingly legitimate members of the body politic, but also deploy images of craft labor and its products to confront other complex issues, including the nature of authorship, the purpose of community, the structure of the household, the fate of the soul, and the scope of princely power.

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The divide between the sciences and the humanities, which often seem to speak entirely different languages, has its roots in the way intellectual disciplines developed in the long eighteenth century. As various fields of study became defined and to some degree professionalized, their ways of communicating evolved into an increasingly specialist vocabulary. Chemists, physicists, philosophers, and poets argued about whether their discourses should become more and more specialised, or whether they should aim to remain intelligible to the layperson. In this interdisciplinary 2009 study, Robin Valenza shows how Isaac Newton, Samuel Johnson, David Hume, Adam Smith, Samuel Taylor Coleridge and William Wordsworth invented new intellectual languages. By offering a much-needed account of the rise of the modern disciplines, Robin Valenza shows why the sciences and humanities diverged so strongly, and argues that literature has a special role in navigating between the languages of different areas of thought.

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A classic, reimagined.

Read by millions of students since its first publication, The Norton Anthology of World Literature remains the most-trusted anthology of world literature available. Guided by the advice of more than 500 teachers of world literature and a panel of regional specialists, the editors of the Third Edition—a completely new team of scholar-teachers—have made this respected text brand-new in all the best ways. Dozens of new selections and translations, all-new introductions and headnotes, hundreds of new illustrations, redesigned maps and timelines, and a wealth of media resources all add up to the most exciting, accessible, and teachable version of “the Norton” ever published.

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• Best New Journal 2012, by the Association of Learned and Professional Society Publishers (ALPSP).
• On-line crowd/peer review experiment for volume: http://postmedievalcrowdreview.wordpress.com/editors-vision-statement/
• On-line forum for volume: http://postmedieval-forum.com/forums/forum-ii-states-of-review/

In media studies circles, it is now almost trite to discuss the term remediation: the liminal, ambivalent staging of a media life caught between older and newer forms, and the functional tussle that happens between them. Nevertheless, scholars today work within this oscillating, in-between space – a space fraught with cross pressures of how we used to do things and how we ought to do things. As (post)medievalists, we study the very old with the very new, but remain constrained by the cultural logic of earlier and increasingly archaic media production. So the theme ‘Becoming Media’ applies as much to the entire process of this issue and its own immediately historical context as to its organizing theme and published product – a product realized here traditionally in print and then again, digitally and differently, on postmedieval’s website. This process has been in many ways a stochastic one, infused with prediction, probability and randomness. We guessed about the new as we studied the old: the form and function of the online crowd review for early drafts of our contributors’ essays necessarily developed out of the moment, as there was relatively little precedent for how such a process would or should work. We experimented with alternatives to the standard modes of publishing scholarship, even as we here produce such scholarship in such modes.

The in-between of media and mediation is as much a historical investment as it is a phenomenological and ontological problem. On the one hand, the ‘new’ in our refrain of ‘new media’ betrays the uncritical assumption that media can appear from the ether as novel innovations unfettered by their remediations in and through the past. On the other, there is a tendency to reify the media object as a ‘lure’ to ‘demonstrating its past’; that is, media objects lure us toward an archeology of their present that is rooted in a chronology of progressive succession. What of historically abject media, of the object resistant entirely to a telos of mediation ‘for’ …?”

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The ancient Greek romances of Achilles Tatius and Heliodorus were widely imitated by early modern writers such as Miguel de Cervantes, Philip Sidney, and Mary Wroth. Like their Greek models, Renaissance romances used ekphrasis, or verbal descriptions of visual representation, as a tool for characterization. The Emblematics of the Self shows how the women, foreigners, and non-Christians of these tales reveal their identities and desires in their responses to the ‘verbal pictures’ of romance.

Elizabeth B. Bearden illuminates how ‘verbal pictures’ enliven characterization in English, Spanish, and Neolatin romances from 1552 to 1621. She notes the capacity for change among characters — such as cross-dressed Amazons, shepherdish princesses, and white Mauritanians — who traverse transnational cultural and aesthetic environments. Engaging and rigorous, The Emblematics of the Self breaks new ground in understanding hegemonic and cosmopolitan European conceptions of the ‘other,’ as well as new possibilities for early modern identities, in an increasingly global Renaissance.

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How do we approach the rich field of nineteenth-century American literature? How might we recalibrate the coordinates of critical vision and open up new areas of investigation? To answer such questions, this volume brings together 23 original essays written by leading scholars in American literary studies. By examining specific novels, poems, essays, diaries and other literary examples, the authors confront head-on the implications, scope, and scale of their analysis. The chapters foreground methodological concerns to assess the challenges of transnational perspectives, disability studies, environmental criticism, affect studies, gender analysis, and other cutting-edge approaches. The Oxford Handbook of Nineteenth-Century American Literature is thus both critically incisive and sharply practical, inviting attention to how readers read,how critics critique, and how interpreters interpret. It offers forceful strategies for rethinking protest novels, women’s writing, urban literature, slave narratives, and popular fiction, just to name a few of the wide array of topics and genres covered. This volume, rather than surveying established ideas in studies of nineteenth-century American literature, registers what is happening now and anticipates what will shape the field’s future.

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Praise for previous volumes of Dorothy West’s Paradise: “Soundly researched and well written, Dorothy West’s Paradise adds significantly to our understanding of the Harlem Renaissance and its youngest surviving member.”—Maureen Honey, editor of Shadowed Dreams: Women’s Poetry of the Harlem Renaissance

Dorothy West is best known as one of the youngest writers involved in the Harlem Renaissance. Subsequently, her work is read as a product of the urban aesthetics of this artistic movement. But West was also intimately rooted in a very different milieu—Oak Bluffs, an exclusive retreat for African Americans on Martha’s Vineyard. She played an integral role in the development and preservation of that community. In the years between publishing her two novels, 1948’s The Living is Easy and the 1995 bestseller The Wedding, she worked as a columnist for the Vineyard Gazette. Dorothy West’s Paradise captures the scope of the author’s long life and career, reading it alongside the unique cultural geography of Oak Bluffs and its history as an elite African American enclave—a place that West envisioned both as a separatist refuge and as a space for interracial contact. An essential book for both fans of West’s fiction and students of race, class, and American women’s lives, Dorothy West’s Paradise offers an intimate biography of an important author and a privileged glimpse into the society that shaped her work.

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Romanticism was a cultural and intellectual movement characterized by discovery, revolution, and the poetic as well as by the philosophical relationship between people and nature. Botany sits at the intersection where romantic scientific and literary discourses meet. Clandestine Marriage explores the meaning and methods of how plants were represented and reproduced in scientific, literary, artistic, and material cultures of the period.

Theresa M. Kelley synthesizes romantic debates about taxonomy and morphology, the contemporary interest in books and magazines devoted to plant study and images, and writings by such authors as Mary Wollstonecraft and Anna Letitia Barbauld. Period botanical paintings of flowers are reproduced in vibrant color, bringing her argument and the romantics’ passion for plants to life.

In addition to exploring botanic thought and practice in the context of British romanticism, Kelley also looks to the German philosophical traditions of Kant, Hegel, and Goethe and to Charles Darwin’s reflections on orchids and plant pollination. Her interdisciplinary approach allows a deeper understanding of a time when exploration of the natural world was a culture-wide enchantment.

“Richly documented and deeply researched, Clandestine Marriage displays a wide conversancy with literary criticism and the history of science, recognizing the ways in which the meaning of plants regularly exceeds or disrupts the conceptual categories in which they are placed or found.”—Alan John Bewell, University of Toronto

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Writing and teaching across cultures and disciplines makes the act of comparison inevitable. Comparative theory and methods of comparative literature and cultural anthropology have permeated the humanities as they engage more centrally with the cultural flows and circulation of past and present globalization. How do scholars make ethically and politically responsible comparisons without assuming that their own values and norms are the standard by which other cultures should be measured?

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What happens if we abandon the assumption that a person is a discrete, world-making agent who acts on and creates place? This, Monique Allewaert contends, is precisely what occurred on eighteenth-century American plantations, where labor practices and ecological particularities threatened the literal and conceptual boundaries that separated persons from the natural world. Integrating political philosophy and ecocriticism with literary analysis, Ariel’s Ecologyexplores the forms of personhood that developed out of New World plantations, from Georgia and Florida through Jamaica to Haiti and extending into colonial metropoles such as Philadelphia. Allewaert’s examination of the writings of naturalists, novelists, and poets; the oral stories of Africans in the diaspora; and Afro-American fetish artifacts shows that persons in American plantation spaces were pulled into a web of environmental stresses, ranging from humidity to the demand for sugar. This in turn gave rise to modes of personhood explicitly attuned to human beings’ interrelation with nonhuman forces in a process we might call ecological. Certainly the possibility that colonial life revokes human agency haunts works from Shakespeare’s Tempestand Montesquieu’s Spirit of the Laws to Spivak’s theories of subalternity. In Allewaert’s interpretation, the transformation of colonial subjectivity into ecological personhood is not a nightmare; it is, rather, a mode of existence until now only glimmering in Che Guevara’s dictum that postcolonial resistance is synonymous with “perfect knowledge of the ground.”

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Drawing on archival materials around this national library reading room, Roomscape is the first study that integrates documentary, theoretical, historical, and literary sources to examine the significance of this public interior space for women writers and their treatment of reading and writing spaces in literary texts. This book challenges an assessment of the Reading Room of the British Museum as a bastion of class and gender privilege, an image firmly established by Virginia Woolf’s 1929 A Room of One’s Own and the legions of feminist scholarship that upholds this spatial conceit.

Susan David Bernstein argues not only that the British Museum Reading Room facilitated various practices of women’s literary traditions, she also questions the overdetermined value of privacy and autonomy in constructions of female authorship, a principle generated from Woolf’s feminist manifesto. Rather than viewing reading and writing as solitary, individual events, Roomscape considers the meaning of exteriority and the public and social and gendered dimensions of literary production.

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This collection displays the fascinating range of intellectual possibilities generated by representations of these medieval ‘objects,’ and through the interdisciplinary collaboration of its contributors produces a fresh view of the multiple intersections of the spiritual and the material in the Middle Ages and Renaissance. It also includes a new and authoritative critical edition of the Middle English Arma Christi poem known as ‘O Vernicle’ that takes account of all twenty surviving manuscripts.

The book opens with a substantial introduction that surveys previous scholarship and situates the Arma in their historical and aesthetic contexts. The ten essays that follow explore representative examples of the instruments of the Passion across a broad swath of history, from some of their earliest formulations in late antiquity to their reformulations in early modern Europe. Together, they offer the first large-scale attempt to understand the arma Christi as a unique cultural phenomenon of its own, one that resonated across centuries in multiple languages, genres, and media. The collection directs particular attention to this array of implements as an example of the potency afforded material objects in medieval and early modern culture, from the glittering nails of the Old English poem Elene to the coins of the Middle English poem ‘Sir Penny,’ from garments and dice on Irish tomb sculptures to lanterns and ladders in Hieronymus Bosch’s panel painting of St. Christopher, and from the altar of the Sistine Chapel to the printed prayer books of the reformation.

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Simultaneous Worlds challenges the notion that science fiction cinema is largely a Western genre by focusing on cinemas and cultures from Cuba to North Korea that are not traditionally associated with science fiction. This is the first volume to bring a transnational, interdisciplinary lens to science fiction cinema.

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Drawing on a vast archive of world history, anthropology, geography, cultural theory, postcolonial studies, gender studies, literature, and art, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Considering cosmopolitan as well as nomadic and oceanic worlds, she radically revises the scope of modernist critique and opens the practice to more integrated study.

Friedman moves from large-scale instances of pre-1500 modernities, such as Tang Dynasty China and the Mongol Empire, to small-scale instances of modernisms, including the poetry of Du Fu and Kabir and Abbasid ceramic art. She maps the interconnected modernisms of the long twentieth century, pairing Joseph Conrad with Tayeb Salih, E. M. Forster with Arundhati Roy, Virginia Woolf with the Tagores, and Aimé Césaire with Theresa Hak Kyung Cha. She reads postcolonial works from Sudan and India and engages with the idea of Négritude. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence, elevating the agencies and creative capacities of all cultures not only in the past and present but also in the century to come.

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In Platonic Occasions, Richard Begam & James Soderholm reflect upon a wide range of thinkers, writers and ideas from Plato, Descartes and Nietzsche to Shakespeare, the Romantics and the Moderns—from Evil, Love and Death to Art, Memory and Mimesis. The dialogues suggest that Percy Shelley was right when he claimed “We are all Greeks,” and yet what have we learned about the initiatives of culture and literature since our classical predecessors? Begam & Soderholm’s ten dialogues function as a series of dual-meditations that take Plato as an intellectual godfather while presenting a new form of dialogic knowledge based on the friction and frisson of two minds contending, inventing and improvising.  The authors discuss not only what is healthy and vigorous about Western culture but also consider where that culture is in retreat, as they seek to understand the legacy of the Enlightenment and its relation to the contemporary moment. Platonic Occasions is an experiment in criticism that enjoins the reader to imagine what the dialogic imagination can do when inspired by Platonic inquiry, but not bound by a single master and the singular mind.

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Reading with John Clare argues that at the heart of contemporary biopolitical thinking is an insistent repression of poetry. By returning to the moment at which biopolitics is said to emerge simultaneously with romanticism, this project renews our understanding of the operations of contemporary politics and its relation to aesthetics across two centuries.

Guyer focuses on a single, exemplary case: the poetry and autobiographical writing of the British poet John Clare (1793–1864). Reading Clare in combination with contemporary theories of biopolitics, Guyer reinterprets romanticism’s political legacies, specifically the belief that romanticism is a direct precursor to the violent nationalisms and redemptive environmentalisms of the twentieth and twenty-first centuries.

Guyer offers an alternative account of many of romanticism’s foundational concepts, like home, genius, creativity, and organicism. She shows that contemporary critical theories of biopolitics, despite repeatedly dismissing the aesthetic or poetic dimensions of power as a culpable ideology, emerge within the same rhetorical tradition as the romanticism they denounce. The book thus compels a rethinking of the biopolitical critique of poetry and an attendant reconsideration of romanticism and its concepts.

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At first glance, modernism and opera may seem like strange bedfellows—the former hostile to sentiment, the latter wearing its heart on its sleeve. And yet these apparent opposites attract: many operas are aesthetically avant-garde, politically subversive, and socially transgressive. From the proto-modernist strains of Richard Wagner’s Parsifal through the twenty-first-century modernism of Kaija Saariaho’s L’amour de loin, the duet between modernism and opera, at turns harmonious and dissonant, has been one of the central artistic events of modernity. Despite this centrality, scholars of modernist literature only rarely venture into opera, and music scholars generally return the favor by leaving literature to one side. But opera, that grand cauldron of the arts, demands that scholars, too, share the stage with one another.

In Modernism and Opera, Richard Begam and Matthew Wilson Smith bring together musicologists, literary critics, and theater scholars for the first time in a mutual endeavor to trace certain key moments in the history of modernism and opera. This innovative volume includes essays from some of the most notable scholars in their fields and covers works as diverse as Debussy’s Pelléas et Mélisande, Bartók’s Bluebeard’s Castle, Berg’s Wozzeck, Janáček’sMakropulos Case, Thomson’s Four Saints in Three Acts, Strauss’sArabella, Schoenberg’s Moses und Aron, Stravinsky’s The Rake’s Progress, Britten’s Gloriana, and Messiaen’s Saint François d’Assise.

A collaborative study of the ultimate collaborative art form,Modernism and Opera reveals how modernism and opera illuminate each other and, more generally, the culture of the twentieth century. It also addresses a number of issues crucial for understanding the relation between modernism and opera, focusing in particular on intermediality (how modernism integrates music, literature, and drama into opera) and anti-theatricality (how opera responds to modernism’s apparent antipathy to theatricality). This captivating book—the first of its kind—will appeal to scholars of literature, music, theater, and modernity as well as to sophisticated opera lovers everywhere.

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Why do animals talk in literature? In this provocative book, Mario Ortiz Robles tracks the presence of animals across an expansive literary archive to argue that literature cannot be understood as a human endeavor apart from its capacity to represent animals. Focusing on the literary representation of familiar animals, including horses, dogs, cats, and songbirds, Ortiz Robles examines the various tropes literature has historically employed to give meaning to our fraught relations with other animals. Beyond allowing us to imagine the lives of non-humans, literature can make a lasting contribution to Animal Studies, an emerging discipline within the humanities, by showing us that there is something fictional about our relation to animals.

Literature and Animal Studies combines a broad mapping of literary animals with detailed readings of key animal texts to offer a new way of organizing literary history that emphasizes genera over genres and a new way of classifying animals that is premised on tropes rather than taxa. The book makes us see animals and our relation to them with fresh eyes and, in doing so, prompts us to review the role of literature in a culture that considers it an endangered art form.

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Audible Empire rethinks the processes and mechanisms of empire and shows how musical practice has been crucial to its spread around the globe. Music is a means of comprehending empire as an audible formation, and the contributors highlight how it has been circulated, consumed, and understood through imperial logics. These fifteen interdisciplinary essays cover large swaths of genre, time, politics, and geography, and include topics such as the affective relationship between jazz and cigarettes in interwar China; the sonic landscape of the U.S.– Mexico border; the critiques of post-9/11 U.S. empire by desi rappers; and the role of tonality in the colonization of Africa. Whether focusing on Argentine tango, theorizing anticolonialist sound, or examining the music industry of postapartheid South Africa, the contributors show how the audible has been a central component in the creation of imperialist notions of reason, modernity, and culture. In doing so, they allow us to hear how empire is both made and challenged.

Contributors: Kofi Agawu, Philip V. Bohlman. Michael Denning, Brent Hayes Edwards, Nan Enstad, Andrew Jones, Josh Kun, Morgan Luker, Jairo Moreno, Tejumola Olaniyan, Marc Perry, Ronald Radano, Nitasha Sharma, Micol Seigel, Gavin Steingo, Penny Von Eschen, Amanda Weidman.

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In 1964, noted literary critic Leslie Fiedler described American youth as “new mutants,” social rebels severing their attachments to American culture to remake themselves in their own image. 1960s comic book creators, anticipating Fiedler, began to morph American superheroes from icons of nationalism and white masculinity into actual mutant outcasts, defined by their genetic difference from ordinary humanity. These powerful misfits and “freaks” soon came to embody the social and political aspirations of America’s most marginalized groups, including women, racial and sexual minorities, and the working classes.

In The New Mutants, Ramzi Fawaz draws upon queer theory to tell the story of these monstrous fantasy figures and how they grapple with radical politics from Civil Rights and The New Left to Women’s and Gay Liberation Movements. Through a series of comic book case studies – including The Justice League of America, The Fantastic Four, The X-Men, and The New Mutants –alongside late 20th century fan writing, cultural criticism, and political documents, Fawaz reveals how the American superhero modeled new forms of social belonging that counterculture youth would embrace in the 1960s and after. The New Mutants provides the first full-length study to consider the relationship between comic book fantasy and radical politics in the modern United States.

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Media Laboratories explores a pivotal time for South American literature of the 1930s and ’40s. Cinema, radio, and the typewriter, once seen as promising catalysts for new kinds of writing, began to be challenged by authors, workers, and the public. What happens when media no longer seem novel and potentially democratic but rather consolidated and dominant?

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How has the state impacted culture and cultural production in Africa? How has culture challenged and transformed the state and our understandings of its nature, functions, and legitimacy? Compelled by complex realities on the ground as well as interdisciplinary scholarly debates on the state-culture dynamic, senior scholars and emerging voices examine the intersections of the state, culture, and politics in postcolonial Africa in this lively and wide-ranging volume. The coverage here is continental and topics include literature, politics, philosophy, music, religion, theatre, film, television, sports, child trafficking, journalism, city planning, and architecture. Together, the essays provide an energetic and nuanced portrait of the cultural forms of politics and the political forms of culture in contemporary Africa.

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In the cultural imaginary of Paris, there is little room for the working class multi-racial outskirts, unless the subject is Islamic culture and the subjection of women and queer subjects. The Paris imagined in Maghrebi, African American and French immigrant cultures was both invisible in the scholarship and hypervisible as the “Badlands of the Republic” in French mainstream media. Like the city of the Francophile tourists, this other Paris is largely an imagined territory, albeit associated with crime, unbridled patriarchy, and violence.

Un-shackling the sensational and the Paris outskirts, this book chronicles everyday life in the impoverished sectors of the French capital in various contexts and cultural traditions. We find versions of Postcolonial Paris in post-World War II Maghrebi and African American expatriate fiction, 1980s beur fiction and cinema, and contemporary French immigrant cultures. Together, works by Driss Chraïbi, Mehdi Charef, William Gardner Smith, Faïza Guène, J.R., and Princess Hijab register the shifting politics and grammars of race in a nation where it does not appear on the census and where the public overwhelmingly condemns it as an Anglo-Saxon importation.

Spanning 1955 to 2015, authors of African descent have pondered the French tyranny of universalism and interrogated the myth of Paris as a space of liberation for the African diaspora. Some of the most well-known Francophiles such as James Baldwin also wrote about a French capital marred by colonial exclusion. By desegregating the cultural study of Paris to include its impoverished outskirts, the book reveals that writers and filmmakers have deployed Franco-African intimate encounters to articulate the political exclusion of racialized subjects. In the colonial and contemporary eras, their narratives of intimacy can help us better understand the ways in which gender and sexual difference work(ed) to construct, maintain, or challenge racial boundaries.

Praise for Postcolonial Paris:
“Provides unique ways to reread, re-portray the outskirts of Paris, successfully and creatively showing how they reveal France’s history of colonization and continued oppression of racially, sexually, and religiously excluded groups of people”
—Public books

“Present[s] a compelling reading of several classic works of French and francophone literature, and deepens readers’ understanding of the social dynamics shaping lived experiences in Paris today.”
—French Studies

“Amine’s work is impressive in the temporal ground it covers, and the theorisation is supported by very thoughtful in-depth analyses of the works at play. Overall the book provides a cohesive argument and brilliant analyses on the role of spatiality in colonial and postcolonial intimacies in the French capital”
—Postcolonial Studies

“A powerful, highly relevant, and innovative study of the cultural and political role of France’s largest ethnic and religious minority”
—Jarrod Hayes, author of Queer Nations: Marginal Sexualities in the Maghreb

“Effectively demonstrates how racialized stereotyping and ethnocultural marginalization of citizens of North African descent have long betrayed the French idyll of equality and integration. Perceptive and groundbreaking”
—Adlai Murdoch, author of Creolizing the Metropole

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Winner, Grand Prize, French Voices Award for Excellence in Publication and Translation

The Space Age is over? Not at all! A new planet has appeared: Earth. In the age of the Anthropocene, the Earth is a post-natural planet that can be remade at will, controlled and managed thanks to the prowess of geoengineering. This new imaginary is also accompanied by a new kind of power—geopower—that takes the entire Earth, in its social, biological and geophysical dimensions, as an object of knowledge, intervention, and governmentality. In short, our rising awareness that we have destroyed our planet has simultaneously provided us not with remorse or resolve but with a new fantasy: that the Anthropocene delivers an opportunity to remake our terrestrial environment thanks to the power of technology.

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Cartoonists make us laugh—and think—by caricaturing daily events and politics. The essays, interviews, and cartoons presented in this innovative book vividly demonstrate the rich diversity of cartooning across Africa and highlight issues facing its cartoonists today, such as sociopolitical trends, censorship, and use of new technologies. Celebrated African cartoonists including Zapiro of South Africa, Gado of Kenya, and Asukwo of Nigeria join top scholars and a new generation of scholar-cartoonists from the fields of literature, comic studies and fine arts, animation studies, social sciences, and history to take the analysis of African cartooning forward. Taking African Cartoons Seriously presents critical thematic studies to chart new approaches to how African cartoonists trade in fun, irony, and satire. The book brings together the traditional press editorial cartoon with rapidly diverging subgenres of the art in the graphic novel and animation, and applications on social media. Interviews with bold and successful cartoonists provide insights into their work, their humor, and the dilemmas they face. This book will delight and inform readers from all backgrounds, providing a highly readable and visual introduction to key cartoonists and styles, as well as critical engagement with current themes to show where African political cartooning is going and why.

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Returning to revolution’s original meaning of ‘cycle’, Contemporary Revolutions explores how 21st-century writers, artists, and performers re-engage the arts of the past to reimagine a present and future encompassing revolutionary commitments to justice and freedom. Dealing with histories of colonialism, slavery, genocide, civil war, and gender and class inequities, essays examine literature and arts of Africa, Europe, the Middle East, the Pacific Islands, and the United States.

The broad range of contemporary writers and artists considered include fabric artist Ellen Bell; poets Selena Tusitala Marsh and Antje Krog; Syrian artists of the civil war and Sana Yazigi’s creative memory web site about the war; street artist Bahia Shehab; theatre installation artist William Kentridge; and the recycles of Virginia Woolf by multi-media artist Kabe Wilson, novelist W. G. Sebald, and the contemporary trans movement.

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Everywhere and Nowhere considers the ubiquity of anonymity and mediation in the publication and circulation of eighteenth-century British literature—before the Romantic creation of the “author”—and what this means for literary criticism. Drawing on quantitative analysis and robust archival work, it reveals the long history of print anonymity so central to the risks and benefits of the digital culture.

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As challenging as it is to imagine how an educated cleric or wealthy lay person in the early Middle Ages would have understood a letter (especially one from God), it is even harder to understand why letters would have so captured the imagination of people who might never have produced, sent, or received letters themselves.

In Epistolary Acts, Jordan Zweck examines the presentation of letters in early medieval vernacular literature, including hagiography, prose romance, poetry, and sermons on letters from heaven, moving beyond traditional genre study to offer a radically new way of conceptualizing Anglo-Saxon epistolarity. Zweck argues that what makes early medieval English epistolarity unique is the performance of what she calls “epistolary acts,” the moments when authors represent or embed letters within vernacular texts. The book contributes to a growing interest in the intersections between medieval studies and media studies, blending traditional book history and manuscript studies with affect theory, media studies, and archive studies.

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Colony Collapse Disorder, ubiquitous pesticide use, industrial agriculture, habitat reduction—these are just a few of the issues causing unprecedented trauma in honeybee populations worldwide. In this artfully illustrated book, UW PhD alum Heather Swan embarks on a narrative voyage to discover solutions to—and understand the sources of—the plight of honeybees.

Through a lyrical combination of creative nonfiction and visual imagery, Where Honeybees Thrive tells the stories of the beekeepers, farmers, artists, entomologists, ecologists, and other advocates working to stem the damage and reverse course for this critical pollinator. Using her own quest for understanding as a starting point, Swan highlights the innovative projects and strategies these groups employ. Her mosaic approach to engaging with the environment not only reveals the incredibly complex political ecology in which bees live—which includes human and nonhuman actors alike—but also suggests ways of comprehending and tackling a host of other conflicts between postindustrial society and the natural world. Each chapter closes with an illustrative full-color gallery of bee-related artwork.

A luminous journey from the worlds of honey producers, urban farmers, and mead makers of the United States to those of beekeepers of Sichuan, China, and researchers in southern Africa, Where Honeybees Thrive traces the global web of efforts to secure a sustainable future for honeybees—and ourselves.

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Ringer approaches womanhood from two directions: an examination of ways that women’s identities are tied to domestic spaces, like homes, cars, grocery stores, and daycare centers; and a consideration of physical, sexual, and political violence against women, both historically and in the present day. Lehmann’s poems look outward, and go beyond cataloguing trespasses against women by biting back against patriarchal systems of oppression, and against perpetrators of violence against women. Many poems in Ringer are ecopoetical, functioning in a “junk” or “sad” pastoral mode, inhabiting abandoned, forgotten, and sometimes impoverished landscapes of rural America.

Winner of the 2018 Donald Hall Prize for Poetry

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As England withdrew from its empire after World War II, how did writers living outside the United Kingdom respond to the history of colonialism and the aesthetics of modernism within a global context? In fourteen original essays, edited by Richard Begam and Michael Valdez Moses, a distinguished group of scholars considers these questions in relation to novelists, playwrights, and poets living in English-speaking countries around the world. Modernism, Postcolonialism, and Globalism not only examines how modernism and postcolonialism evolved over several generations, but also situates the writers analyzed in terms of canonical realignments inspired by the New Modernist Studies and an array of emerging methodologies and approaches.

While this volume highlights social and political questions connected with the end of empire, it also considers the aesthetics of postcolonialism, detailing how writers drew upon, responded to and, sometimes reacted against, the formal innovations of modernism. Many of the essays consider the influence modernist artists and movements exercised on postcolonial writers, from W. B. Yeats, Joseph Conrad, Franz Kafka, Marcel Proust, James Joyce, T. S. Eliot, and Virginia Woolf to Impressionism, Expressionism, Surrealism, and Abstractionism. Modernism, Postcolonialism, and Globalism is organized around six geographic locales and includes essays on Africa (Chinua Achebe, Ngugi wa Thiong’o, Nadine Gordimer, J. M. Coetzee), Asia (Salman Rushdie, Arundhati Roy), the Caribbean (Jean Rhys, Derek Walcott, V. S. Naipaul), Ireland (Samuel Beckett, Seamus Heaney), Australia/New Zealand (David Malouf, Keri Hulme) and Canada (Michael Ondaatje). Examining how Anglophone writers engaged with the literary, intellectual, and cultural heritage of modernism, this volume offers a vital and distinctive intervention in ongoing discussions of modern and contemporary literature.

Contributors include: Genevieve Abravanel, Nicholas Allen, Deepika Bahri, Rita Barnard, Richard Begam, Alice Brittan, Simon During, Andrzej Gąsiorek, Nico Israel, Brian May, Michael Valdez Moses, Brigid Rooney, Philip Steer and Mark Wollaeger.

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Corporealities: Discourses of Disability series, Ann Arbor: U of Michigan P, 2019. ISBN: 978-0-472-13112-9

Winner of the Tobin Siebers Prize for Disability Studies in the Humanities.

This project examines disability in the Renaissance in conduct books and treatises, travel writing, and wonder books. The cross-section of texts is comparative, putting canonical European authors such as Castiglione into dialogue with transatlantic and Anglo-Ottoman literary exchange. Its methodology takes a formal and philosophical approach to pre-modern formulations of monstrous bodies, spaces, and narratives, which continue to shape our understandings of disability today. Bearden’s work discerns the norming of early modern bodies in the discourse of the ideal and the natural, and it discovers alternative representations of embodiment that allow for variation and vulnerability. It overturns the assumption that “monstrosity” was relegated to the margins of the world from antiquity to the Renaissance, and it questions grand narratives propounding a progression of disability from supernatural marvel to medical specimen. I contend that these categories coexist and intersect, and that we can better understand early modern productions of disability by attending to the rich variety of monstrous bodies, spaces, and narratives that populate Renaissance texts.

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