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The Misplaced Heritage
As a result of a series of court cases, by the mid-1960s the U.S. post office could no longer interdict books that contained homosexuality. Gay writers were eager to take advantage of this new freedom, but the only houses poised to capitalize on the outpouring of manuscripts were “adult” paperback publishers who marketed their products with salacious covers. Gay critics, unlike their lesbian counterparts, have for the most part declined to take these works seriously, even though they cover an enormous range of genres: adventures, blue collar and gray flannel novels, coming-out stories, detective fiction, gothic novels, historical romances, military stories, political novels, prison fiction, romances, satires, sports stories, and spy thrillers—with far more short story collections than is generally realized. Twelve scholars have now banded together to begin a recovery of this largely forgotten explosion of gay writing that occurred in the 1960s. Descriptions of these pulps have often been inadequate and misinforming, the result of misleading covers, unrepresentative sampling of texts, and a political blindness that refuses to grant worth to pre-Stonewall writing. This volume charts the broader implications of this state of affairs before examining some of the more significant pulp writers from the period. It brings together a diverse range of scholars, methodologies, and reading strategies. The evidence that these essays amass clearly demonstrates the significance of gay pulps for gay literary history, queer cultural studies, and book history.
Print Culture Studies after Elizabeth L. Eisenstein
Inspiring debate since the early days of its publication, Elizabeth L. Eisenstein's The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early-Modern Europe (1979) has exercised its own force as an agent of change in the world of scholarship. Its path-breaking agenda has played a central role in shaping the study of print culture and "book history"—fields of inquiry that rank among the most exciting and vital areas of scholarly endeavor in recent years. Joining together leading voices in the field of print scholarship, this collection of twenty essays affirms the catalytic properties of Eisenstein's study as a stimulus to further inquiry across geographic, temporal, and disciplinary boundaries. From early modern marginalia to the use of architectural title pages in Renaissance books, from the press in Spanish colonial America to print in the Islamic world, from the role of the printed word in nation-building to changing histories of reading in the electronic age, this book addresses the legacy of Eisenstein's work in print culture studies today as it suggests future directions for the field. In addition to a conversation with Elizabeth L. Eisenstein, the book includes contributions by Peng Hwa Ang, Margaret Aston, Tony Ballantyne, Vivek Bhandari, Ann Blair, Barbara A. Brannon, Roger Chartier, Kai-wing Chow, James A. Dewar, Robert A. Gross, David Scott Kastan, Harold Love, Paula McDowell, Jane McRae, Jean-Dominique Mellot, Antonio Rodr’guez-Buckingham, Geoffrey Roper, William H. Sherman, Peter Stallybrass, H. Arthur Williamson, and Calhoun Winton.
Print Culture, Censorship, and Modernity in Twentieth-Century America
Until the close of the Second Vatican Council in 1965, the stance of the Roman Catholic Church toward the social, cultural, economic, and political developments of the twentieth century was largely antagonistic. Naturally opposed to secularization, skeptical of capitalist markets indifferent to questions of justice, confused and appalled by new forms of high and low culture, and resistant to the social and economic freedom of women—in all of these ways the Catholic Church set itself up as a thoroughly anti-modern institution. Yet, in and through the period from World War I to Vatican II, the Church did engage with, react to, and even accommodate various aspects of modernity. In All Good Books Are Catholic Books, Una M. Cadegan shows how the Church’s official position on literary culture developed over this crucial period.
The Catholic Church in the United States maintained an Index of Prohibited Books and the National Legion of Decency (founded in 1933) lobbied Hollywood to edit or ban movies, pulp magazines, and comic books that were morally suspect. These regulations posed an obstacle for the self-understanding of Catholic American readers, writers, and scholars. But as Cadegan finds, Catholics developed a rationale by which they could both respect the laws of the Church as it sought to protect the integrity of doctrine and also engage the culture of artistic and commercial freedom in which they operated as Americans. Catholic literary figures including Flannery O’Connor and Thomas Merton are important to Cadegan’s argument, particularly as their careers and the reception of their work demonstrate shifts in the relationship between Catholicism and literary culture. Cadegan trains her attention on American critics, editors, and university professors and administrators who mediated the relationship among the Church, parishioners, and the culture at large.
This book examines literary authorship in the twentieth century and covers such topics as publishing, book distribution, the trade editor, the literary agent, the magazine market, subsidiary rights, and the blockbuster mentality.
Vol. 13 (2003) through current issue
American Periodicals: A Journal of History, Criticism, & Bibliography an annual publication devoted exclusively to scholarship and criticism relating to American magazines and newspapers of all periods Sponsored by the Research Society for American Periodicals and founded by James T. F. Tanner, American Periodicals is now under the editorship of Karen Roggenkamp, Cynthia Patterson, and Craig Monk, and is published by The Ohio State University Press. Beginning in 2004, the journal will be published twice a year.
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The American Novel in the Age of Television
It almost goes without saying that the rise in popularity of television has killed the audience for “serious" literature. This is such a given that reading Fitzpatrick's challenge to this notion can be very disconcerting, as she traces the ways in which a small cadre of writers of "serious" literature--DeLillo, Pynchon, and Franzen, for instance--have propagated this myth in order to set themselves up as the last bastions of good writing. Fitzpatrick first explores whether serious literature was ever as all-pervasive as critics of the television culture claim and then asks the obvious question: what, or who, exactly, are these guys defending good writing against? Fitzpatrick examines the ways in which the anxiety about the supposed death of the novel is built on a myth of the novel's past ubiquity and its present displacement by television. She explores the ways in which this myth plays out in and around contemporary fiction and how it serves as a kind of unacknowledged discourse about race, class, and gender. The declaration constructs a minority status for the “white male author” who needs protecting from television's largely female and increasingly non-white audience. The novel, then, is transformed from a primary means of communication into an ancient, almost forgotten, and thus, treasured form reserved for the well-educated and well-to-do, and the men who practice it are exalted as the practitioners of an almost lost art. Such positioning serves to further marginalize women writers and writers of color because it makes the novel, by definition, the preserve of the poor endangered white man. If the novel is only a product of a small group of white men, how can the contributions of women and writers of color be recognized? Instead, this positioning abandons women and people of color to television as a creative outlet, and in return, cedes television to them. Fitzpatrick argues that there's a level of unrecognized patronization in assuming that television serves no purpose but to provide dumb entertainment to bored women and others too stupid to understand novels. And, instead, she demonstrates the real positive effects of a televisual culture.
Systems and Literacy
Amid radical transformation and rapid mutation in the nature, transmission, and deployment of information and communications, Around the Book offers a status report and theoretically nuanced update on the traditions and medium of the book. What, it asks, are the book's current prospects? The study highlights the most radical experiments in the book's history as trials in what the author terms the Prevailing Operating Systemat play within the fields of knowledge, art, critique, and science. The investigations of modern systems theory, as exemplified by Gregory Bateson, Anthony Wilden, and Niklas Luhmann, turn out to be inseparable from theoretically astute inquiry into the nature of the book.Sussman's primary examples of such radical experiments with the history of the book are Sei Shonagon's Pillow Book (both the text and Peter Greenaway's screen adaptation), Stphane Mallarm's Un coup de ds,Walter Benjamin's Arcades Project, Jacques Derrida's Glas, Maurice Blanchot's Death Sentence, and Franz Kafka's enduring legacy within the world of the graphic novel.In the author's hands, close reading of these and related works renders definitive proof of the book's persistence and vitality. The book medium, with its inbuilt format and program, continues, he argues, to supply the tablet or screen for cultural notation. The perennial crisis in which the book seems to languish is in fact an occasion for readers to realize fully their role as textual producers, to experience the full range of liberty in expression and articulation embedded in the irreducibly bookish process of textual display.
The Formative Years at Knopf, 1915-1929
In the American book trade, Alfred A. Knopf, Inc., and its inimitable logo featuring a borzoi wolfhound have come to signify the pinnacle of prestigious publishing. Launched in 1915 by a dynamic twenty-two-year-old and his refined fiancée, Blanche Wolf, the firm soon developed a reputation for excellence, quickly overcoming outsider status to forge a unique identity that has endured well past its founders’ lifetimes. Capturing the little-known early history of Knopf, The Art of Prestige explores the origins of the company’s rise to success during the Jazz Age, when Alfred and Blanche established themselves as literary impresarios on both sides of the Atlantic. Drawing on key archival documents from all phases of the publishing process, Amy Root Clements reconstructs the turning points and rhetorical exchanges that made Knopf’s initial books noteworthy, from the acquisitions process to design, consumer marketing, and bookselling. Lasting cornerstones of the young firm include alliances with pivotal figures in the world of graphic arts and book production and with European publishers who brought numerous Nobel Prize winners to the Borzoi list during the company’s first fifteen years. Other featured luminaries include the American authors Willa Cather, Dashiell Hammett, and Langston Hughes. The Art of Prestige also examines Alfred Knopf’s ancestry, up-bringing, and formal education at Columbia, as well as his apprenticeships with Frank Nelson Doubleday and Mitchell Kennerley—factors that would influence his business decisions for years to come. The result is a portrait of innovative branding that seamlessly merged book production with book promotion in a literary landscape that was ripe for transformation.
Empathy and Anti-Racist Reading
Critics often characterize white consumption of African American culture as a form of theft that echoes the fantasies of 1950s-era bohemians, or "White Negroes," who romanticized black culture as anarchic and sexually potent. In Beyond the White Negro, Kimberly Chabot Davis claims such a view fails to describe the varied politics of racial crossover in the past fifteen years.Davis analyzes how white engagement with African American novels, film narratives, and hip-hop can help form anti-racist attitudes that may catalyze social change and racial justice. Though acknowledging past failures to establish cross-racial empathy, she focuses on examples that show avenues for future progress and change. Her study of ethnographic data from book clubs and college classrooms shows how engagement with African American culture and pedagogical support can lead to the kinds of white self-examination that make empathy possible. The result is a groundbreaking text that challenges the trend of focusing on society's failures in achieving cross-racial empathy and instead explores possible avenues for change.
Studies in the Print Culture of Early New England
Hugh Amory (1930-2001) was at once the most rigorous and the most methodologically sophisticated historian of the book in early America. Gathered here are his essays, articles, and lectures on the subject, two of them printed for the first time. An introduction by David D. Hall sets this work in context and indicates its significance; Hall has also provided headnotes for each of the essays.
Amory used his training as a bibliographer to reexamine every major question about printing, bookmaking, and reading in early New England. Who owned Bibles, and in what formats? Did the colonial book trade consist of books imported from Europe or of local production? Can we go behind the iconic status of the Bay Psalm Book to recover its actual history? Was Michael Wigglesworth's Day of Doom really a bestseller? And why did an Indian gravesite contain a scrap of Psalm 98 in a medicine bundle buried with a young Pequot girl?
In answering these and other questions, Amory writes broadly about the social and economic history of printing, bookselling and book ownership. At the heart of his work is a determination to connect the materialities of printed books with the workings of the book trades and, in turn, with how printed books were put to use. This is a collection of great methodological importance for anyone interested in literature and history who wants to make those same connections.