Rae Armantrout, a core member of the Language writing movement, has long been known for the wit, emotion and punch of her social critique. Veil contains poems from five of Armantrout's previous books as well as a generous selection of new poems. Her work relies tenaciously on the intelligibility of language, her careful syntax bordering on plain speech and meticulously scored lines always questioning how linguistic subjects are formed. Armantrout is interested in questions of origin, and the psychology of perception; she is interested in who is speaking and how we know what we know. Fans will welcome the chance to become reacquainted with her witty and lyric meditations on erotic and family issues, and new readers will be captivated by her poems' immediate availability and freshness.

Named for the ancient landform that preceded present-day California, Brenda Hillman's Cascadia creates from geological turbulence a fluid poetics of place. The book is Hillman's sixth collection and her most wide-ranging. The problem the book poses is nothing less than a phenomenology of transformation. In her previous work, Hillman's investigations of alchemy and of contemporary life have created their own distinct mythologies, and here she turns to the first of the four basic elements, earth, to demonstrate a visionary science with a combination of lightness, wit and force. Embodied in syntax as unpredictable as the earth's movements, these poetic forms speak to and query the landforms as the line between faith and science blurs. Short lyrics inspired by the California missions, each with a retablo of punctuation, reflect on the solitude and history of the sign as it moves through the quotidian. Set among these lyrics, each of the three long poems in the book presents an aspect of Hillman's topography. By the end of this powerful work, a new state is visible: a Modernist poetics, subjected to immense internal pressures, above and beneath unsettled ground, has emerged in original shapes

The facts of John Milton's life are well documented, but what of the person Milton -- the man whose poetic and prose works have been deeply influential and are still the subject of opposing readings? John Shawcross's "different" biography depicts the man against a psychological backdrop that brings into relief who he was -- in his works and from his works.While the theories of Freud, Lacan, Kohut, and others underlie this pursuit of Milton's "self," Jung and some of his followers provide the basic understanding by which Shawcross places Milton in the panorama of history. His explorations of the psychological underpinnings of Milton's decision to become a poet, of the homoerotic dimensions of his personality, and of his relationships with father and mother demonstrate the extent to which psychobiography proves itself invaluable as a means to appreciate this complex writer and his complex writings.This biography combines the traditional chronological narrative with a technique akin to that of fiction, "a mixture of times and a triggering of remembrances from various time frames without time differentiations." Such an approach offers a view of Milton "not only in being but in process of being."Shawcross's examination of two current concerns, gender attitudes and political ideologies, ranges Milton's work against the self he exhibits. Specialists and nonspecialists alike will find in this magisterial biography a wealth of new insight into one of the greatest of English poets.

Cathy Song’s fourth collection of poetry unveils glimpses of the elusive but ever-present power of wisdom and compassion. Recognizing that we have the ability to create our own misery as well as our own bliss, she finds the unexpected in broken lives, despair, and even seemingly joyous occasions. Song’s poems are often, like a handful of water, "cold and impossibly / clear, unlike anything / you’ve ever held before. "

Aimé Césaire's masterpiece, Notebook of a Return to the Native Land, is a work of immense cultural significance and beauty. The long poem was the beginning of Césaire's quest for négritude, and it became an anthem of Blacks around the world. With its emphasis on unusual juxtapositions of object and metaphor, manipulation of language into puns and neologisms, and rhythm, Césaire considered his style a "beneficial madness" that could "break into the forbidden" and reach the powerful and overlooked aspects of black culture. Clayton Eshleman and Annette Smith achieve a laudable adaptation of Césaire's work to English by clarifying double meanings, stretching syntax, and finding equivalent English puns, all while remaining remarkably true to the French text. Their treatment of the poetry is marked with imagination, vigor, and accuracy that will clarify difficulties for those already familiar with French, and make the work accessible to those who are not. André Breton's introduction, A Great Black Poet, situates the text and provides a moving tribute to Césaire.Notebook of a Return to the Native Land is recommended for readers in comparative literature, post-colonial literature, African American studies, poetry, modernism, and French.

Kentucky has a rich legacy of ghostly visitations. Lynwood Montell has harvested dozens of tales of haunted houses and family ghosts from all over the Bluegrass state. Many of the stories were collected from elders by young people and are recounted exactly as they were gathered. Haunted Houses and Family Ghosts of Kentucky includes chilling tales such as that of the Tan Man of Pike County, who trudges invisibly through a house accompanied by the smell of roses, and the famed Gray Lady of Liberty Hall in Frankfort, a houseguest who never left. Montell tells the story of a stormy night, shortly before Henry Clay's death, when the ghost of the statesman's old friend Daniel Boone calls upon him, and then recounts the more modern story of the ghouls that haunt the rehearsal house of the band The Kentucky Headhunters.Included are accounts of haunted libraries, mansions, bedrooms, log cabins, bathrooms, college campuses, apartments, furniture, hotels, and distilleries, as well as reports of eerie visitations from ghostly grandmothers, husbands, daughters, uncles, cousins, babies, slaves, Civil War soldiers, dogs, sheep, and even wildcats. Almost all of Kentucky's 120 counties are represented. Though the book emphasizes the stories themselves, Montell offers an introduction discussing how local history, local character, and local flavor are communicated across the generations in these colorful stories.

In Cognitive Pragmatism, Nicholas Rescher tackles the major questions of philosophical inquiry, pondering the nature of truth and existence. In the authoritative voice and calculated manner that we've come to expect from this distinguished philosopher, Rescher argues that the development of knowledge is a practice, pursued by humans because we have a need for its products. This pragmatic approach satisfies our innate urge as humans to make sense of our surroundings. Taking his discussion down to the level of particular details, and addressing such topics as inductive validation, hypostatization fallacies, and counterfactual reasoning, Rescher abandons abstract generalities in favor of concrete specifics. For example, philosophers usually insist that to reason logically from a counterfactual, we must imagine a possible world in which the statement is fact. But Rescher argues that there's no need to attempt to accept the facts of a world outside our cognition in order to reason from them. He shows us how we can use our own natural system of prioritizing, our own understanding of the fundamental, to resolve the inconsistencies in such statements as, "If the Eiffel Tower were in Manhattan, then it would be in New York State." In using dozens of real-world examples such as these, and in arguing in his characteristically succinct style, Rescher casts light on a wide variety of concrete issues in the classical theory of knowledge, and reassures us along the way that the inherent limitations on our knowledge are no cause for distress. In pragmatic theory and inquiry, we must accept that the best we can do is good enough, because we only have a certain (albeit large) set of tools and conceptualizations available to us.A unique synthesis, this endeavor into pragmatic epistemology will be of interest to scholars and students of philosophy and cognitive science.

James Slevin traces how composition emerged for him not as a vehicle for improving student writing, but rather as a way of working collaboratively with students to interpret educational practices and work for educational reform.

In Lullaby for One Fist, Andrea Werblin explores the anatomy of destructive relationships and the now what? at their ends. Intimate, accessible, and sharply self-conscious, these musical poems trace the arc of such a relationship, conveying the speaker's struggle to invent freedom. They also reflect how often such inventions can reveal themselves to be trickery and self-deception, yet are at the same time very necessary practice runs and steps toward genuine independence.Werblin's poems also speak about the slow and painstaking work of self-recovery, of the self as a burden one carries, and of the self as a previously unoccupied and unfamiliar territory into which one slowly makes her way. Metallic and pointed, yet fluid, these poems course strongly through the emotional veins; they brace and jar melodically as steady, illuminating undercurrents rise from the syntax in a contrapuntal dance and shed sudden and intense beams of light on the confusing and intensely human experience of extricating ourselves from ties that damage.

Winner of the 2000 Agnes Lynch Starrett Poetry Prize2002 finalist in poetry, Society of Midland AuthorsQuan Barry’s stunning debut collection has been compared to Sylvia Plath’s Ariel for the startling complexity of craft and the original sophisticated vision behind it. In these poems beauty is just as likely to be discovered on a radioactive atoll as in the existential questions raised by The Matrix.Asylum is a work concerned with giving voice to the displaced—both real and fictional. In "some refrains Sam would have played had he been asked" the piano player from Casablanca is fleshed out in ways the film didn’t allow. Steven Seagal, Yukio Mishima, Tituba of the Salem Witch Trials, and eighteenth-century black poet Phillis Wheatley also populate these poems.Barry engages with the world—the Tuskegee syphilis experiments, the legacy of the Vietnam war—but also tackles the broad meditative question of the individual’s existence in relation to a higher truth, whether examining rituals or questioning, "Where is it written that we should want to be saved?" Ultimately, Asylum finds a haven by not looking away.

With enormous wit and vitality, Harvey Shapiro's new collection of poems focuses on the approach of death, mingling canny observations of the city that never sleeps with homages to Hart Crane, George Oppen, the poet Rachel, and David Ignatow. Characterized by its focus on the urban world of New York, the Jewish tradition, and domesticity, Shapiro's poetry achieves a distinctive brilliance and true wisdom. These poems view life from the vantage of seventy-six years, deeply informed by the serious study of literature and language and always attuned to the present, as well as to the body, weather, and sex. With its passion, humor, and rich detail, this exquisite volume marks Harvey Shapiro's finest work to date.

“I say that even later someone will remember us.”—Sappho, Fragment 147, sixth century, BCSappho’s prediction came true; fragments of work by the earliest woman writer in Western literate history have in fact survived into the twenty-first century. But not without peril. Sappho’s writing remains only in fragments, partly due to the passage of time, but mostly as a result of systematic efforts to silence women’s voices. Sappho’s hopeful boast captures the mission of this anthology: to gather together women engaged in the art of persuasion—across differences of race, class, sexual orientation, historical and physical locations—in order to remember that the rhetorical tradition indeed includes them.Available Means offers seventy women rhetoricians—from ancient Greece to the twenty-first century—a room of their own for the first time. Editors Joy Ritchie and Kate Ronald do so in the feminist tradition of recovering a previously unarticulated canon of women’s rhetoric. Women whose voices are central to such scholarship are included here, such as Aspasia (a contemporary of Plato’s), Margery Kempe, Margaret Fuller, and Ida B. Wells. Added are influential works on what it means to write as a woman—by Virginia Woolf, Adrienne Rich, Nancy Mairs, Alice Walker, and Hélène Cixous. Public “manifestos” on the rights of women by Hortensia, Mary Astell, Maria Stewart, Sarah and Angelina Grimké, Anna Julia Cooper, Margaret Sanger, and Audre Lorde also join the discourse.But Available Means searches for rhetorical tradition in less obvious places, too. Letters, journals, speeches, newspaper columns, diaries, meditations, and a fable (Rachel Carson’s introduction to Silent Spring) also find places in this room. Such unconventional documents challenge traditional notions of invention, arrangement, style, and delivery, and blur the boundaries between public and private discourse. Included, too, are writers whose voices have not been heard in any tradition. Ritchie and Ronald seek to “unsettle” as they expand the women’s rhetorical canon.Arranged chronologically, Available Means is designed as a classroom text that will allow students to hear women speaking to each other across centuries, and to see how women have added new places from which arguments can be made. Each selection is accompanied by an extensive headnote, which sets the reading in context. The breadth of material will allow students to ask such questions as “How might we define women’s rhetoric? How have women used and subverted traditional rhetoric?”A topical index at the end of the book provides teachers a guide through the rhetorical riches. Available Means will be an invaluable text for rhetoric courses of all levels, as well as for women’s studies courses.

The humor of the Old South -- tales, almanac entries, turf reports, historical sketches, gentlemen's essays on outdoor sports, profiles of local characters -- flourished between 1830 and 1860. The genre's popularity and influence can be traced in the works of major southern writers such as William Faulkner, Erskine Caldwell, Eudora Welty, Flannery O'Connor, and Harry Crews, as well as in contemporary popular culture focusing on the rural South.This collection of essays includes some of the past twenty five years' best writing on the subject, as well as ten new works bringing fresh insights and original approaches to the subject. A number of the essays focus on well known humorists such as Augustus Baldwin Longstreet, Johnson Jones Hooper, William Tappan Thompson, and George Washington Harris, all of whom have long been recognized as key figures in Southwestern humor.Other chapters examine the origins of this early humor, in particular selected poems of William Henry Timrod and Washington Irving's "The Legend of Sleepy Hollow," which anticipate the subject matter, character types, structural elements, and motifs that would become part of the Southwestern tradition. Renditions of "Sleepy Hollow" were later echoed in sketches by William Tappan Thompson, Joseph Beckman Cobb, Orlando Benedict Mayer, Francis James Robinson, and William Gilmore Simms.Several essays also explore antebellum southern humor in the context of race and gender. This literary legacy left an indelible mark on the works of later writers such as Mark Twain and William Faulkner, whose works in a comic vein reflect affinities and connections to the rich lode of materials initially popularized by the Southwestern humorists.

William Motherwell (1797-1835), journalist, poet, man-of-letters, wit, civil servant, and outspoken conservative, published his anthology of ballads, Minstrelsy: Ancient and Modern, in 1827. His views on authenticity, editorial practice, the nature of oral transmission, and the importance of sung performance--acquired through field collecting--anticipate much later scholarly discourse.Published after the death of Burns and the publication of Scott's Minstrelsy of the Scottish Border, ballads such as those Motherwell collected were one focus of a loose-knit movement that might be designated, cultural nationalism. This interest in preserving relics that suggested a distinctly Scottish culture and nation was one response to the union of the Scottish and English Parliaments in 1707. Mary Ellen Brown's study provides a model for historical ethnography, focusing on an individual and illustrating the multiple ways he was richly embedded in his time and place.

Prepositions: The Collected Critical Essays, published first in 1967 and then in an expanded edition in 1981, was a definitive set of critical statements by Louis Zukofsky, one of the most important poets of the 20th century. These central expositions of Zukofsky's own poetics, and enduring examinations of the art of poetry, range over the entire length of Zukofsky's career and include sensitive and prescient readings of Henry Adams, William Carlos Williams, Marianne Moore, Ezra Pound, E. E. Cummings, and others.Prepositions + brings this essential collection back into print, and adds generous selections of Zukofsky's uncollected prose, most notably the crucial 5 Statements for Poetry. Published in a small edition in 1958 and out of print ever since, 5 Statements gathers the essays that Zukofsky felt best presented his own poetics. Among them are the three essays, in their original and expansive forms, that crystallized the "Objectivist" movement of the early 1930s. Prepositions + also includes an extended in-depth interview in which Zukofsky discusses his poetry and poetics.

This collection spans twenty-five years in the career of this highly regarded poet. It features poems from the books Stars, Calling the Dead,When There Are No Secrets, and Against Dreaming, along with seventeen new poems.