*English Language & Literature

In most college and university libraries, materials published before 1800 have been moved into special collections, while the post-1923 books remain in general circulation. But books published between these dates are vulnerable to deaccessioning, as libraries increasingly reconfigure access to public-domain texts via digital repositories such as Google Books. Even libraries with strong commitments to their print collections are clearing out the duplicates, assuming that circulating copies of any given nineteenth-century edition are essentially identical to one another. When you look closely, however, you see that they are not. Many nineteenth-century books were donated by alumni or their families decades ago, and many of them bear traces left behind by the people who first owned and used them. In Book Traces, Andrew M. Stauffer adopts what he calls "guided serendipity" as a tactic in pursuit of two goals: first, to read nineteenth-century poetry through the clues and objects earlier readers left in their books and, second, to defend the value of keeping the physical volumes on the shelves. Finding in such books of poetry the inscriptions, annotations, and insertions made by their original owners, and using them as exemplary case studies, Stauffer shows how the physical, historical book enables a modern reader to encounter poetry through the eyes of someone for whom it was personal.

Bright: A Memoir, the first full-length essay collection from acclaimed poet Kiki Petrosino, is a work of lyric nonfiction, offering glimpses of a life lived between cultural worlds. "Bright," a slang term used to describe light-skinned people of interracial American ancestry, becomes the starting point for an extended meditation on the author's upbringing in a mixed Black and Italian American family. Alternating moments of memoir, archival research, close reading and reverie, this work contemplates the enduring, deeply personal legacies of enslavement and racial discrimination in America. Situated at the luminous crossroads where public and private histories collide, Bright asks important questions about love, heritage, identity and creativity.

Civil War Witnesses and Their Books: New Perspectives on Iconic Works serves as a wide-ranging analysis of texts written by individuals who experienced the American Civil War. Edited by Gary W. Gallagher and Stephen Cushman, this volume, like its companion, Civil War Writing: New Perspectives on Iconic Texts (2019), features the voices of authors who felt compelled to convey their stories for a variety of reasons. Some produced works intended primarily for their peers, while others were concerned with how future generations would judge their wartime actions. One diarist penned her entries with no thought that they would later become available to the public. The essayists explore the work of five men and three women, including prominent Union and Confederate generals, the wives of a headline-seeking US cavalry commander and a Democratic judge from New York City, a member of Robert E. Lee?s staff, a Union artillerist, a matron from Richmond?s sprawling Chimborazo Hospital, and a leading abolitionist US senator. Civil War Witnesses and Their Books shows how some of those who lived through the conflict attempted to assess its importance and frame it for later generations. Their voices have particular resonance today and underscore how rival memory traditions stir passion and controversy, providing essential testimony for anyone seeking to understand the nation?s greatest trial and its aftermath. CONTENTS: ?From Manassas to Appomattox: James Longstreet?s Memoir and the Limits of Confederate Reconciliation,? Elizabeth R. Varon ?A Modern Sensibility in Older Garb: Henry Wilson?s Rise and Fall of the Slave Power and the Beginnings of Civil War History,? William Blair ??The Brisk and Brilliant Matron of Chimborazo Hospital?: Phoebe Yates Pember?s Nurse Narrative,?? Sarah E. Gardner ?George McClellan?s Many Turnings,? Stephen Cushman ?Maria Lydig Daly: Diary of a Union Lady 1861?1865,? J. Matthew Gallman ?John D. Billings?s Hardtack and Coffee: A Union Fighting Man?s Civil War,? M. Keith Harris ?One Widow?s Wars: The Civil War, Reconstruction, and the West in Elizabeth Bacon Custer?s Memoirs,? Cecily N. Zander ?Proximity and Numbers: Walter H. Taylor Shapes Confederate History and Memory,? Gary W. Gallagher

Characters with disabilities are often overlooked in fiction, but many occupy central places in literature by celebrated authors like Chinua Achebe, Salman Rushdie, J. M. Coetzee, Anita Desai, Jhumpa Lahiri, Edwidge Danticat, and others. These authors deploy disability to do important cultural work, writes Christopher Krentz in his innovative study, Elusive Kinship. Such representations not only relate to the millions of disabled people in the global South, but also make more vivid such issues as the effects of colonialism, global capitalism, racism and sexism, war, and environmental disaster. Krentz is the first to put the fields of postcolonial studies, studies of human rights and literature, and literary disability in conversation with each other in a book-length study. He enhances our appreciation of key texts of Anglophone postcolonial literature of the global South, including Things Fall Apart and Midnight's Children. In addition, he uncovers the myriad ways fiction gains energy, vitality, and metaphoric force from characters with extraordinary bodies or minds. Depicting injustices faced by characters with disabilities is vital to raising awareness and achieving human rights. Elusive Kinship nudges us toward a fuller understanding of disability worldwide.

How rhyme became entangled with debates about the nature of liberty in sixteenth- and seventeenth-century English poetry. In his 1668 preface to Paradise Lost, John Milton rejected the use of rhyme, portraying himself as a revolutionary freeing English verse from "the troublesome and modern bondage of Riming." Despite his claim to be a pioneer, Milton was not initiating a new line of thought--English poets had been debating about rhyme and its connections to liberty, freedom, and constraint since Queen Elizabeth's reign. The Fetters of Rhyme traces this dynamic history of rhyme from the 1590s through the 1670s. Rebecca Rush uncovers the surprising associations early modern readers attached to rhyming forms like couplets and sonnets, and she shows how reading poetic form from a historical perspective yields fresh insights into verse's complexities. Rush explores how early modern poets imagined rhyme as a band or fetter, comparing it to the bonds linking individuals to political, social, and religious communities. She considers how Edmund Spenser's sonnet rhymes stood as emblems of voluntary confinement, how John Donne's revival of the Chaucerian couplet signaled sexual and political radicalism, and how Ben Jonson's verse charted a middle way between licentious Elizabethan couplet poets and slavish sonneteers. Rush then looks at why the royalist poets embraced the prerational charms of rhyme, and how Milton spent his career reckoning with rhyme's allures. Examining a poetic feature that sits between sound and sense, liberty and measure, The Fetters of Rhyme elucidates early modern efforts to negotiate these forces in verse making and reading.

In this book, Stephen Cushman considers Civil War generals' memoirs as literary works of art and examines how they remain vital to understanding the interaction of memory, imagination, and the writing of American history. Drawing on methods from history and literary studies, Cushman analyses how generals Ulysses S. Grant, Joseph E. Johnston, George B. McClellan, Philip H. Sheridan, William T. Sherman, and Richard Taylor crafted memoirs that shaped the practice of Civil War writing generally. Cushman particularly assesses how nineteenth-century market forces shaped the production of memoirs and, therefore, memories of the war itself; how audiences have engaged with the memoirs to create memories that continually change with time and circumstance; and what these texts tell us about current conflicts over the history and meanings of the Civil War.

It begins with a miracle - a baby born too small and too early but defiantly alive. This is Joe. Decades before, another miracle: a seventeen-year-old boy falls in love with his best friend in a nettle-infested garden. The baby grows into a young man, Joe, who longs for a boyfriend and plays the violin magnificently. A young man who is ready to begin. The teenager, having settled into a compromised life after his parents' intervention, starts a family and finds himself a grandfather, Edward. When Joe is diagnosed with Stage 4 cancer, his sister Emily and grandfather, Edward, are left waiting for a miracle. A miracle that won't come. Here Comes the Miracle is a profoundly beautiful story about two young men separated by generations, not allowed to grow up as they should; about love and loss; and about the beautiful and violent randomness of life.

The Latino Continuum and the Nineteenth-Century Americas argues that the process of recovering Latina/o figures and writings in the nineteenth century does not merely create a bridge between the US and Latin American countries, peoples, and literatures, as they are currently understood.Instead, it reveals their fundamentally interdependent natures, politically, socially, historically, and aesthetically, thereby recognizing the degree of mutual imbrication of their peoples and literatures of the period. Largely archived in Spanish, it addresses concerns palpably felt within (andintegral to) the US and beyond. English-language works also find a place on this continuum and have real implications for the political and cultural life of hispanophone and anglophone communities in the US. Moreover, the central role of Latina/o translations signal the global and the local natureof the continuum. For the Latino Continuum embeds layered and complex political and literary contexts and overlooked histories, situated as it is at the crossroads of both hemispheric and translatlantic currents of exchange often effaced by the logic of borders-national, cultural, religious,linguistic and temporal. To recover this continuum of Latinidad, which is neither confined to the US or Latin American nation states nor located primarily within them, is to recover forgotten histories of the hemisphere, and to find new ways of seeing the past as we have understood it. The figures of Felix Varela, Miguel Teurbe Tolon, Eusebio Guiteras, Jose Marti and Martin Morua Delgado serve as points of departures for this reconceptualization of the intersection between American, Latin American, Cuban, and Latinx studies.

This career-spanning volume portrays in stunning fashion Lisa Russ Spaar's exquisite obsessions: spiritual hunger, lingual pleasures, bodily decay. The "ringleader of a stunning lexicon" (Shenandoah), Spaar's poems are both colloquial and sumptuous, hyper-attuned to contemporary idiom while rooted in language's primordial, earthy roots. Whether writing of the erotic or the divine, of anorexia or insomnia, of fairy tale or literary history, Spaar's writing is unmistakably her own, a trove of music and magic like nothing else in contemporary poetry. In Madrigalia, her oeuvre is on full display; it is a showcase of her indispensable poetic gifts, a tribute to a writer both ascetic and ecstatic.

A debut YA novel-in-verse by Amber McBride, Me (Moth) is about a teen girl who is grieving the deaths of her family, and a teen boy who crosses her path. Moth has lost her family in an accident. Though she lives with her aunt, she feels alone and uprooted. Until she meets Sani, a boy who is also searching for his roots. If he knows more about where he comes from, maybe he'll be able to understand his ongoing depression. And if Moth can help him feel grounded, then perhaps she too will discover the history she carries in her bones. Moth and Sani take a road trip that has them chasing ghosts and searching for ancestors. The way each moves forward is surprising, powerful, and unforgettable. Here is an exquisite and uplifting novel about identity, first love, and the ways that our memories and our roots steer us through the universe.

A beautifully written suite of personal essays on the value of not knowing. Moments of clarity are rare and fleeting; how can we become comfortable outside of them, in the more general condition of uncertainty within which we make our lives? Written by English professor Emily Ogden while her children were small, On Not Knowing forays into this rich, ambivalent space. Each of her sharply observed essays invites the reader to think with her about questions she can't set aside: not knowing how to give birth, to listen, to hold it together, to love. Unapologetically capacious in her range of reference and idiosyncratic in the canon she draws on, Ogden moves nimbly among the registers of experience, from the operation of a breast pump to the art of herding cattle; from one-night stands to the stories of Edgar Allan Poe; from kayaking near a whale to a psychoanalytic meditation on drowning. Committed to the accumulation of knowledge, Ogden nonetheless finds that knowingness for her can be a way of getting stuck, a way of not really living. Rather than the defensiveness of willful ignorance, On Not Knowing celebrates the defenselessness of not knowing yet--possibly of not knowing ever. Ultimately, this book shows how resisting the temptation of knowingness and embracing the position of not knowing becomes a form of love.

In 1971, orphan Marlise Schade-fourteen, anorectic, and evicted from the psychiatric hospital her trust fund can no longer support-finds herself alone in an ancestral home during a blizzard. Marlise's struggles to survive there become the focal point for a host of imperiled figures, living and dead, whose stories intersect with hers and with forces roiling the U.S. in the '70s. Decades later, on the brink of Trump's America, sixty-something Tee Handel is shaken by an inexplicable visitation. For years he's nursed a deep hurt over his breakup with a captivating artist, spending his days and nights in solitude tinkering with antique clocks. What's become of the artist, and how Tee reacts to his mysterious guest, testifies to the risk and inexorability of change. These two seemingly unrelated tales entwine to show how the wages of the past are always with us, as are the dangerous and redemptive consequences of secrets confided and withheld.

In her first volume of new poems in twelve years, Rita Dove investigates the vacillating moral compass guiding America's, and the world's, experiments in democracy. Whether depicting the first Jewish ghetto in sixteenth-century Venice or Black Lives Matter, this extraordinary poet never fails to connect history's grand exploits to the triumphs and tragedies of individual lives-- the simmering resentment of an elevator operator, an octogenarian's exuberant mambo, the mordant humor of a philosophizing cricket. Audaciously playful yet grave, alternating poignant meditations on mortality and acerbic observations of injustice, Playlist for the Apocalypse takes us from the smallest moments of redemption to apocalyptic failures of the human soul.

In Sissy Insurgencies, Marlon B. Ross focuses on the figure of the sissy in order to rethink how Americans have imagined, articulated, and negotiated manhood and boyhood from the 1880s to the present. Rather than collapsing sissiness into homosexuality, Ross shows how sissiness constitutes a historically fluid range of gender practices that are expressed as a physical manifestation, discursive epithet, social identity, and political phenomenon. He reconsiders several black leaders, intellectuals, musicians, and athletes within the context of sissiness, from Booker T. Washington, George Washington Carver, and James Baldwin to Little Richard, Amiri Baraka, and Wilt Chamberlain. Whether examining Washington's practice of cleaning as an iteration of sissiness, Baldwin's self-fashioned sissy deportment, or sissiphobia in professional sports and black nationalism, Ross demonstrates that sissiness can be embraced and exploited to conform to American gender norms or disrupt racialized patriarchy. In this way, sissiness constitutes a central element in modern understandings of race and gender.

In the midst of a crisis of democracy, we have much to learn from Walt Whitman's journey toward egalitarian selfhood.Walt Whitman knew a great deal about democracy that we don't. Most of that knowledge is concentrated in one stunning poem, Song of Myself.Esteemed cultural and literary thinker Mark Edmundson offers a bold reading of the 1855 poem, included here in its entirety. He finds in the poem the genesis and development of a democratic spirit, for the individual and the nation. Whitman broke from past literature that he saw as "feudal": obsessed with the noble and great. He wanted instead to celebrate the common and everyday. Song of Myself does this, setting the terms for democratic identity and culture in America. The work captures the drama of becoming an egalitarian individual, as the poet ascends to knowledge and happiness by confronting and overcoming the major obstacles to democratic selfhood. In the course of his journey, the poet addresses God and Jesus, body and soul, the love of kings, the fear of the poor, and the fear of death. The poet's consciousness enlarges; he can see more, comprehend more, and he has more to teach.In Edmundson's account, Whitman's great poem does not end with its last line. Seven years after the poem was published, Whitman went to work in hospitals, where he attended to the Civil War's wounded, sick, and dying. He thus became in life the democratic individual he had prophesied in art. Even now, that prophecy gives us words, thoughts, and feelings to feed the democratic spirit of self and nation.