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Agee at 100 Cover

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Agee at 100

Centennial Essays on the Works of James Agee

Edited by Michael A. Lofaro

Drawn mainly from the centennial anniversary symposium on James Agee held at the University of Tennessee in the fall of 2009, the essays of Agee at 100 are as diverse in topic and purpose as is Agee’s work itself. Often devalued during his life by those who thought his breadth a hindrance to greatness, Agee’s achievements as a poet, novelist, journalist, essayist, critic, documentarian, and screenwriter are now more fully recognized. With its use of previously unknown and recently recovered materials as well as established works, this groundbreaking new collection is a timely contribution to the resurgence of interest in Agee’s significance. The essays in this collection range from the scholarly to the personal, and all offer insight into Agee’s writing, his cultural influence, and ultimately Agee himself. Dwight Garner opens with his reflective essay on “Why Agee Matters.” Several essays present almost entirely new material on Agee. Paul Ashdown writes on Agee’s book reviews, which, unlike Agee’s film criticism, have received scant attention. With evidence from two largely unstudied manuscripts, Jeffrey Couchman sets the record straight on Agee’s contribution to the screenplay for The African Queen and delves as well into his television “miniseries” screenplay Mr. Lincoln. John Wranovics treats Agee’s lesser-known films--the documentaries In the Street and The Quiet One and the Filipino epic Genghis Khan. Jeffrey J. Folks wrestles with Agee’s “culture of repudiation” while James A. Crank investigates his perplexing treatment of race in his prose. Jesse Graves and Andrew Crooke provide new analyses of Let Us Now Praise Famous Men, and Michael A. Lofaro and Philip Stogdon both discuss Lofaro’s recently restored text of A Death in the Family. David Madden closes the collection with his short story “Seeing Agee in Lincoln,” an imagined letter from Agee to his longtime confidante Father Flye.

Aggressive Fictions Cover

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Aggressive Fictions

Reading the Contemporary American Novel

by Kathryn Hume

A frequent complaint against contemporary American fiction is that too often it puts off readers in ways they find difficult to fathom. Books such as Bret Easton Ellis's American Psycho, Katherine Dunn's Geek Love, and Don DeLillo's Underworld seem determined to upset, disgust, or annoy their readers-or to disorient them by shunning traditional plot patterns and character development. Kathryn Hume calls such works "aggressive fiction." Why would authors risk alienating their readers-and why should readers persevere? Looking beyond the theory-based justifications that critics often provide for such fiction, Hume offers a commonsense guide for the average reader who wants to better understand and appreciate books that might otherwise seem difficult to enjoy.

In her reliable and sympathetic guide, Hume considers roughly forty works of recent American fiction, including books by William Burroughs, Kathy Acker, Chuck Palahniuk, and Cormac McCarthy. Hume gathers "attacks" on the reader into categories based on narrative structure and content. Writers of some aggressive fictions may wish to frustrate easy interpretation or criticism. Others may try to induce certain responses in readers. Extreme content deployed as a tactic for distancing and alienating can actually produce a contradictory effect: for readers who learn to relax and go with the flow, the result may well be exhilaration rather than revulsion.

Ain’t Got No Home Cover

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Ain’t Got No Home

The Akron Offering Cover

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The Akron Offering

The Literary Magazine of a Progressive Canal Town (1849-1850), Complete and Annotated

edited by Jon Miller

The Akron offering is the republication of a full year of a literary magazine produced in Akron, Ohio from 1849 to 1850. The book provides a primary look into a progressive canal town on the verge of being transformed by the railroad wave that is sweeping the nation.Also, during this period, woman's rights conventions are taking place across the country refected by the Sojourner Truth speech on High Street in Akron. The vast amount of material in this edition is available for the first time.

Albert Murray and the Aesthetic Imagination of a Nation Cover

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Albert Murray and the Aesthetic Imagination of a Nation

Edited by Barbara A. Baker, with contributio Lons fromuis A Rabb, Roberta S. Mag

 
This collection consists of essays written by prominent African American literature, jazz, and Albert Murray scholars, reminiscences from Murray protégés and associates, and interviews with Murray himself. It illustrates Murray’s place as a central figure in African American arts and letters and as an American cultural pioneer.
 
Born in Nokomis, Alabama, and raised in Mobile, Albert Murray graduated from Tuskegee University, where he later taught, but he has long resided in New York City. He is the author of many critically acclaimed novels, memoirs, and essay collections, among them The Omni-Americans, South to a Very Old Place, Train Whistle Guitar, The Spyglass Tree, and The Seven League Boots. He is also a critic and visual artist, as well as a lifelong friend of and collaborator with artistic luminaries such as Ralph Ellison, Duke Ellington, and Romare Bearden. As such, his life and work are testaments to the centrality of southern and African American aesthetics in American art. Murray is widely viewed as a figure who, through his art and criticism, transforms the “fakelore” of white culture into a new folklore that illustrates the centrality of the blues and jazz idioms and reveals the black vernacular as what is most distinct about American art.

Alcott in Her Own Time Cover

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Alcott in Her Own Time

A Biographical Chronicle of Her Life, Drawn from Recollections, Interviews, and Memoirs by Family, Friends, and Associates

By 1888, twenty years after the publication of Little Women, Louisa May Alcott (1832-1888) was one of the most popular and successful authors America had yet produced. In her pre-Little Women days, she concocted blood-and-thunder tales for low wages; post-Little Women, she specialized in domestic novels and short stories for children. Collected here for the first time are the reminiscences of people who knew her, the majority of which have not been published since their original appearance in the 19th and early 20th centuries.

Many of the printed recollections in this book appeared after Alcott became famous and showcase her as a literary lion, but others focus on her teen years, when she was living the life of Jo March; these intimate glimpses into the life of the Alcott family lead the reader to one conclusion: the family was happy, fun, and entertaining, very much like the fictional Marches. The recollections about an older and wealthier Alcott show a kind and generous, albeit outspoken, woman little changed by her money and status.

From Annie Sawyer Downs’s description of life in Concord to Anna Alcott Pratt’s recollections of the Alcott sisters’ acting days to Julian Hawthorne’s neighborly portrait of the Alcotts, the thirty-six recollections in this copiously illustrated volume tell the private and public story of a remarkable life.

All Our Stories Are Here Cover

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All Our Stories Are Here

Critical Perspectives on Montana Literature

Brady Harrison

This wide-ranging collection of essays addresses a diverse and expanded vision of Montana literature, offering new readings of both canonical and overlooked texts. Although a handful of Montana writers such as Richard Hugo, A. B. Guthrie Jr., D’Arcy McNickle, and James Welch have received considerable critical attention, sizable gaps remain in the analysis of the state’s ever-growing and ever-evolving canon. The twelve essays in All Our Stories Are Here not only build on the exemplary, foundational work of other writers but also open further interpretative and critical conversations.
 
Expanding on the critical paradigms of the past and bringing to bear some of the latest developments in literary and cultural studies, the contributors engage issues such as queer ambivalence in Montana writing, representations of the state in popular romances, and the importance of the University of Montana’s creative writing program in fostering the state’s literary corpus. The contributors also explore the work of writers who have not yet received their critical due, take new looks at old friends, and offer some of the first explorations of recent works by well-established artists. All Our Stories Are Here conveys a sense of continuity in the field of Western literary criticism, while at the same time challenging conventional approaches to regional literature.

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The Altar at Home

Sentimental Literature and Nineteenth-Century American Religion

By Claudia Stokes

Displays of devout religious faith are very much in evidence in nineteenth-century sentimental novels such as Uncle Tom's Cabin and Little Women, but the precise theological nature of this piety has been little examined. In the first dedicated study of the religious contents of sentimental literature, Claudia Stokes counters the long-standing characterization of sentimental piety as blandly nondescript and demonstrates that these works were in fact groundbreaking, assertive, and highly specific in their theological recommendations and endorsements. The Altar at Home explores the many religious contexts and contents of sentimental literature of the American nineteenth century, from the growth of Methodism in the Second Great Awakening and popular millennialism to the developing theologies of Mormonism and Christian Science.

Through analysis of numerous contemporary religious debates, Stokes demonstrates how sentimental writers, rather than offering simple depictions of domesticity, instead manipulated these scenes to advocate for divergent new beliefs and bolster their own religious authority. On the one hand, the comforting rhetoric of domesticity provided a subtle cover for sentimental writers to advance controversial new beliefs, practices, and causes such as Methodism, revivalism, feminist theology, and even female clergy. On the other hand, sentimentality enabled women writers to bolster and affirm their own suitability for positions of public religious leadership, thereby violating the same domestic enclosure lauded by the texts. The Altar at Home offers a fascinating new historical perspective on the dynamic role sentimental literature played in the development of innumerable new religious movements and practices, many of which remain popular today

Ambivalent Art of Katherine Anne Porter Cover

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Ambivalent Art of Katherine Anne Porter

Mary Titus

During a life that spanned ninety years, Katherine Anne Porter (1890-1980) witnessed dramatic and intensely debated changes in the gender roles of American women. Mary Titus draws upon unpublished Porter papers, as well as newly available editions of her early fiction, poetry, and reviews, to trace Porter's shifting and complex response to those cultural changes. Titus shows how Porter explored her own ambivalence about gender and creativity, for she experienced firsthand a remarkable range of ideas concerning female sexuality. These included the Victorian attitudes of the grandmother who raised her; the sexual license of revolutionary Mexico, 1920s New York, and 1930s Paris; and the conservative, ordered attitudes of the Agrarians.

Throughout Porter's long career, writes Titus, she “repeatedly probed cultural arguments about female creativity, a woman's maternal legacy, romantic love, and sexual identity, always with startling acuity, and often with painful ambivalence.” Much of her writing, then, serves as a medium for what Titus terms Porter's “gender-thinking”--her sustained examination of the interrelated issues of art, gender, and identity.

Porter, says Titus, rebelled against her upbringing yet never relinquished the belief that her work as an artist was somehow unnatural, a turn away from the essential identity of woman as “the repository of life,” as childbearer. In her life Porter increasingly played a highly feminized public role as southern lady, but in her writing she continued to engage changing representations of female identity and sexuality. This is an important new study of the tensions and ambivalence inscribed in Porter's fiction, as well as the vocational anxiety and gender performance of her actual life.

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Ambrose Bierce and the Dance of Death

Sharon Talley

“Sharon Talley draws on psychoanalytic theory to illuminate the connections between Bierce’s life and works, without ever losing sight of the historical contexts—especially his experience in the Civil War—that also shaped his creativity. This judicious and comprehensive book will give a major boost to the reassessment of Bierce’s place in American letters.”
—Peter L. Rudnytsky, author of Reading Psychoanalysis: Freud, Rank, Ferenczi, Groddeck



Ambrose Bierce and the Dance of Death uses psychoanalytic theory in combination with historical, cultural, and literary contexts to examine the complex motif of death in a full range of Bierce’s writings. Scholarly interest in Bierce, whose work has long been undervalued, has grown significantly in recent years. This new book contributes to the ongoing reassessment by providing new contexts for joining the texts in his canon in meaningful ways.

Previous attempts to consider Bierce from a psychological perspective have been superficial, often reductive Freudian readings of individual stories such as “An Occurrence at Owl Creek Bridge” and “The Death of Halpin Frayser.” This new volume not only updates these interpretations with insights from post-Freudian theorists but uses contemporary death theory as a framework to analyze the sources and expressions of Bierce’s attitudes about death and dying. This approach makes it possible to discern links among texts that resolve some of the still puzzling ambiguities that have—until now—precluded a fuller understanding of both the man and his writings.

Lively and engaging, Ambrose Bierce and the Dance of Death adds valuable new insights not only to the study of Bierce but to that of nineteenth-century American literature in general.

Sharon Talley is the author of the Student Companion to Herman Melville. Her articles have been published in Nineteenth-Century Prose, American Imago, and the Journal of Men’s Studies. She is associate professor of English at Texas A&M University–Corpus Christi.

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