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The Oxford Handbook of Charles Brockden Brown provides an up-to-date survey of the life of and full range of writings by Charles Brockden Brown (1771–1810), a key writer of the Atlantic revolutionary age and U.S. Early Republic. Through the late twentieth century, Brockden Brown was best known as an important author of political romances in the gothic mode that were widely influential in romantic era, and has generated large amounts of scholarship as a crucial figure in the history of the American novel. More recent work recognizes him likewise an influential editor, historian, and writer in other genres such as poetry, short fiction, and essays, and as a figure whose work resonated throughout the Atlantic world of the revolutionary age. The Oxford Handbook’s thirty-five chapters build on the research of the most recently scholarly generation to introduce readers to and explore Brown’s wide-ranging work. Its chapters focus on the author’s biography, romances, writings in a range of genres, his key concept of the romance as a form of engaged conjectural history, his engagements in the cultural-ideological struggles of the revolutionary and Napoleonic eras, as well as the aesthetic, political, scientific, and other key dimensions of his corpus. The volume concludes with a survey of Brown’s complex reception history and the state of Brown studies at present.

An Archaelogy of Days contains new poetry from Vivian Shipley. Connecticut State University Distinguished Professor, Vivian Shipley teachesat Southern Connecticut State University where she was named FacultyScholar in 2000, 2005 and 2008. Her eleventh book, Perennial, was publishedin 2015 by Negative Capability Press and was nominated for the PulitzerPrize and named the Paterson Poetry Prize Finalist. The Poet, her tenth book,was published in 2015 by Louisiana Literature Press, Southeastern LouisianaUniversity. All of Your Messages Have Been Erased (Louisiana Literature Press,SLU, 2010) was nominated for the Pulitzer Prize, won the Sheila MottonBook Prize from the New England Poetry Club, the Paterson Award forSustained Literary Achievement and the CT Press Club Award for BestCreative Writing. Her sixth chapbook is Greatest Hits: 1974-2010 (PuddingHouse Press, Youngstown, Ohio, 2010). She has received the Library ofCongress’s Connecticut Lifetime Achievement Award for Service to theLiterary Community and a Connecticut Book Award for Poetry two times.Most recently, she won the 2017-18 Steve Kowit Prize for Poetry for “Cargo”from San Diego Arts & Entertainment Guild. In 2015, she won the HackneyLiterary Award for Poetry for “Foxfire.”

This article works to unsettle the use of transcription in qualitative inquiry by troubling the truth claims of transcribed text. Building on the hermeneutic phenomenology of Van Manen, it explores the way the researcher might “write through” transcribed text to return to the two-dimensional text space a more honest reading of lived experience. It also draws on Deleuze and Guattari’s rhizomatic thinking to explore the “gruesome multiplicities” present in reality—and the ways we might honor that multiplicity in research texts. Excerpts from an inquiry into the phenomenon of “reading as not a reader” are used to illustrate.

Reading as Democracy in Crisis: Interpretation, Theory, History explores the dialectic between historical conditions and the reading strategies that arise from them. It explores the relationship...

Adi Ophir has suggested that the political realm is an order of evils, producing and managing regular forms of suffering and violence rather than eliminating them. Thus, the political is always to some extent a corrupted order of justice. Emmanuel Levinas’ work presents in its focus on the face-to-face relationship a means of rethinking how to make the political more open to compassionate justice. Though Levinas himself doesn’t sufficiently take on this question, I argue that his work facilitates a way of thinking about commiserative shame that provides a means to connect the face-to-face to its potential effects in the political sphere. If such shame isn’t ignored or bypassed, it produces an unsettling relation to the other that in its adversity motivates a kind of responsibility and care for the other that can alter the public sphere.

A trailblazing modernist, Gertrude Stein studied psychology at Radcliffe with William James and went on to train as a medical doctor before coming out as a lesbian and moving to Paris, where she collected contemporary art and wrote poetry, novels, and libretti. Known as a writer�s writer, she has influenced every generation of American writers since her death in 1946 and remains avant-garde.Part 1 of this volume, �Materials,� provides information and resources that will help teachers and students begin and pursue their study of Stein. The essays of part 2, �Approaches,� introduce major topics to be covered in the classroom�race, gender, feminism, sexuality, narrative form, identity, and Stein�s experimentation with genre�in a wide range of contexts, including literary analysis, art history, first-year composition, and cultural studies.

A leader of the transcendentalist movement and one of the country's first public intellectuals, Ralph Waldo Emerson has been a long-standing presence in American literature courses. Today he is remembered for his essays, but in the nineteenth century he was also known as a poet and orator who engaged with issues such as religion, nature, education, and abolition.This volume presents strategies for placing Emerson in the context of his time, for illuminating his rhetorical techniques, and for tracing his influence into the present day and around the world. Part 1, "Materials," offers guidance for selecting classroom editions and information on Emerson's life, contexts, and reception. Part 2, "Approaches," provides suggestions for teaching Emerson's works in a variety of courses, not only literature but also creative writing, religion, digital humanities, media studies, and environmental studies. The essays in this section address Emerson's most frequently anthologized works, such as Nature and "Self-Reliance," along with other texts including sermons, lectures, journals, and poems.

Using Fahrenheit 451 as a model for reading in the age of spectacle, this paper offers a critique of reading curriculum driven by Common Core State Standards for English Language Arts and Literacy in History/Social Studies, Science, and Technical Subjects (CCSS-ELA), which divorces reading from dialogue and lived experience.  Drawing on Debord’s (1967/1983) notion of spectacle, the author considers how our current cultural moment may be shaping and shaped by an alienated and alienating curriculum of reading.  By embracing the political implications of reading curriculum, we can reclaim reading as a dialogic activity grounded in the world.

Encounters with water shape the Middle English romances of The Awntyrs off Arthure and Sir Isumbras. In the latter, rivers and the 'Greek Sea' serve to distinguish separate sections of the narrative: the river marks the point at which the titular hero's family unit begins to break down, while the beach of the sea marks the lowest point of his social power. Yet his later traversal of the Greek Sea itself allows him to reassemble his family and reclaim his aristocratic power. In Awntyrs, the Tarn Wathelene (or Wadling) ties the actions of the romance's first episode onto a specific spot in the real-world English landscape, while connecting the text to a number of other Arthurian romances that also mention or take place near the tarn. This article, then, argues that the waterscapes in these two texts illustrate a late-medieval understanding of tarns, rivers, and seas as explicitly alien, yet intimately physical embodiments of divine power in the natural world. Taken together, these poems-one a metrical romance, the other alliterative-show how interests in waterscapes crossed boundaries within the muddy genre of romance itself, and reveal that water upsets such human categories as family and property. Tarns, rivers, and seas turn human bodies, instead, into their possessions; the disturbing experience of that dehumanizing process should, these texts imply, wear the world, its history, and its bonds away, until even the greatest knights or ladies are left alone with watery forms beyond the pale of human understanding. © 2018 The Author(s).

This new work is currently the only book devoted to the teaching of one of the most canonical and frequently taught American authors.In addition to a Preface by the noted Hawthorne scholar Larry J. Reynolds [University Distinguished Professor and Thomas Franklin Mayo Professor of Liberal Arts Department of English Texas A&M University] the contributors include well-known and rising teacher-scholars who offer theoretical and pedagogical approaches to Hawthorne's four published novels and a wide range of his short stories.The specially commissioned essays are designed to help teachers meet students at points of genuine interest and need. They incorporate biographical, literary, historical, and multidisciplinary scholarship. The studies are further grounded in specific contexts such as literature surveys, interdisciplinary humanities courses, upper division literature seminars, and study abroad courses.Special emphasis is given to the issues of gender, science, and visual culture (including film adaptations). Offering both theoretical and practical classroom resources, this anthology confirms the continued vitality of Hawthorne's work - his critiques of religious and moral authority are more relevant than ever in today's global political environment - even as it showcases how today's "Hawthorne" is more of a diverse amalgam of texts and perspectives than ever before. Given its diversity of approaches and authors (including essayists from Germany, Israel, and Sweden), Nathaniel Hawthorne in the College Classroom charts new paths for reading and teaching Hawthorne in the 21st century.

In nonfiction, poetry, short fiction, artwork, and detailed interviews, States of the Union collects reflections from everyday Americans on the 2016 presidential election. -Publisher Web Site.

Animal characters abound in graphic narratives ranging from Krazy Kat and Maus to WE3 and Terra Formars. Exploring these and other multispecies storyworlds presented in words and images, Animal Comics draws together work in comics studies, narrative theory, and cross-disciplinary research on animal environments and human-animal relationships to shed new light on comics and graphic novels in which animal agents play a significant role. At the same time, the volume's international team of contributors show how the distinctive structures and affordances of graphic narratives foreground key questions about trans-species entanglements in a more-than-human world. The writers/artists covered in the book include: Nick Abadzis, Adolpho Avril, Jeffrey Brown, Sue Coe, Matt Dembicki, Olivier Deprez, J. J. Grandville, George Herriman, Adam Hines, William Hogarth, Grant Morrison, Osamu Tezuka, Frank Quitely, Yu Sasuga, Charles M. Schultz, Art Spiegelman, Fiona Staples, Ken'ichi Tachibana, Brian K. Vaughan, and others.

Let’s twin and twine together two primary aspects of how America can see herself—the good atoms of Whitman’s leaves of grass, and the engines humming their freedom on the highways that cut across those 19th century fields. Now, Jason Labbe well knows, as Whitman’s atoms become pixels, we find ourselves at a crossroads, learning again and again the consequences of “the indescribable way you shape / a past of little use.” Seeking to find that law or logic to shattering, be it in the memory-echo of personal trauma caught on infinite loop in the mind, or be it the dismal virtualities of the post-modern ether, the poems of Spleen Elegy unfold their rueful nostalgia: “I have something accurate to say that lacks perspective.” That may well be the very accuracy we most need, riding the routes of America, the byways and frontage roads, seeking anyone who is willing for a poem or two to see. —Dan Beachy-Quick "A chunk of broken tar”—that's the color of this book. And the sound of this book is "a train in the static." Its poems count time in "decaseconds of dusk." To read this book is to feel the uneasy passivity and unerring stuckness, the particular absurdity, of certain citizens stuck in this millennium. So many lines made me laugh. And sigh. But not cry. Jason Labbe is great at melancholy. Baudelaire's mosquito is definitely here: "I am Past / who passing lit and sucked your life and left." The future is unthinkable and unalterable. Except. Except! Lucretius' swerve is also here. Atoms may veer randomly, which is extra significant in a book that takes place mostly on the road. "My sutures are beautiful as a tread pattern," he says, and it is easy (and dangerous) to fall in love with Labbe's strangled version of optimism. —Darcie Dennigan