Since issuing its first volumes in 1959, the Wesleyan poetry program has challenged the reigning aesthetic of the time and profoundly influenced the development of American poetry. One of the country's oldest programs, its greatest achievement has been the publication of early works by yet undiscovered poetry who have since become major awarded Pulitzer and Bollingen prizes, National Book Awards, and many other honors. At a time when other programs are being phased out, Wesleyan takes this opportunity to celebrate its distinguished history and reaffirm its commitment to poetry with publication of The Wesleyan Tradition. Drawing from some 250 volumes, editor Michael Collier documents the wide-ranging impact of these works. In his introduction, he describes the literary and cultural context of American poetics in more recent decades, tracing the evolution of the Deep Image and Confessional movements of the 50s and 60s, and exploring the emergence of the "prose lyric" style. Although the success of the Wesleyan program has inspired its share of imitators, no other program has had such a fundamental impact. Works by the eighty-six poets included her both document and celebrate that contribution.

For over half a century, David Ignatow has crafted spare, plain, haunting poetry pf working life, urban images, and dark humor. The poetic heir of Whitman and William Carlos Williams, Ignatow is characteristically concerned with human mortality and human alienation in the world: the world as it is, defined by suffering and despair, yet at crucial times redeemed by cosmic vision and shared lives. His development as a poet is chronicled in Against the Evidence, title of the poem in part quoted above and meant by Ignatow as the metaphor for the whole body of his work. Where his previous collections have been organized thematically, Ignatow here arranges his poems "according to the decade in which they were written...returning each to its chronological order." Against the Evidence charts the evolution of his themes from the earliest origin in the Thirties to their present extraordinary manifestation in a variety of poetic forms and modes.

A haunting and peculiar travelogue, Deeds of the Utmost Kindness employs forms as diverse as haiku and prose poetry in settings that range from Japan to the rural Ozarks to contemporary Moscow. The compelling strangeness of the poems' precise details exposes varied rhythms of thought and illustrated how different logics work in the metaphoric structures of changing places . Yet behind the uneasy sense of dislocation felt by the constant traveler lies the personal, essentially moral, voice of the poet as observer.

A major phenomenon in the post-World War II world is the rise of Japan as a leading international economic and industrial power. This advance began with American aid in rebuilding the nation after the war, but it has now seen Japan rival and even outstrip the United States on several fronts. The relations between the two powers and the impact that they have on economic and political factors during the postwar years are the focus of this important book. The editors, Akira Iriye and Warren I. Cohen, themselves noted authorities on Asian affairs, have gathered here contributions from a distinguished group of American and Japanese scholars. The resulting collection represents a unique blend of viewpoints from each side of the American-Japanese relationship.

The poems in Brenda Hillman's new collection, a companion volume to her recent Death Tratates, offer a dynamic vision of a universe founded on the tensions between light and dark , existence and non-existence, male and female, spirit and matter. Informed in part by Gnostic concepts of the separate soul in search of its divine origins ("spirit held by matter"). This dualistic vision is cast in contemporary terms and seeks resolution of these tensions through acceptance.

"When I call poetry a form of partiality," writes Heather McHugh, "I mean its economies operate by powers of intimation: glimmering and glints, rather than exhaustible sums. It is a broken language from the beginning, brimming with non-words: all that white welled up to keep the line from surrendering to the margin; all that quiet, to keep the musics marked." In Broken English, McHugh applies her poetic sensibility and formidable critical insight to topics ranging from the poetry of Valéry and Rilke to ancient Greek drama and Yoruba folk songs, offering intense, passionate, highly personal readings that are informed and unified by her concern for the relationships among language, culture, and poetry.

\u201cI am reminded of the Argentinean writers Julio Cort\u00e1zar and Jorge Luis Borges, but with sunglasses and in California. The Flying Garcias is a sure voice and a fine book.\u201d—Alberto R\u00edos

Much criticism has posited an all-powerful patriarchy that effectively marginalized and disempowered women until well into the nineteenth century. In a startling revisionist study, Mona Scheuermann refutes these stereotypes, finding that the images presented by eighteenth- and early nineteenth-century novelists are of functioning, capable women whose involvement with the getting, keeping, and investing of money provides a ubiquitous theme in the novels of the period.Her Bread to Earn focuses on the images presented by the major novels of the eighteenth and early nineteenth century, those works that form the core of the canon or that define an important trend at a particular time. Moving through Defoe through Richardson, Fielding, Holcroft, Godwin, Bage, Inchbald, and Wollstonescaft to Austen, Scheuermann demonstrates that novelists of this period depicted women as relatively independent persons, many of whom managed property, shaped and directed events, and controlled their own destinies. These are intelligent women, eager to learn, and ready, sometimes aggressively ready, to act.Scheuermann's eighteenth-century women is drawn in the grays of reality, not in the black and white of ideology. The images she presents go far beyond the patriarchal prison into which modern criticism has sometimes forced the female characters. Certain to spark controversy, this book marks a major shift in received opinion.

Susan Howe approaches early American literature as pet and critic, blending scholarship with passionate commitment and unique view of her subject. The Birth-mark traces the collusive relationships among tradition, the constitution of critical editions, literary history and criticism, the institutionalized roles of poetry and prose, and the status of gender. Through an examination of the texts and editorial histories of Thomas Shepard's conversion narratives, the captivity narrative of Mary Rowlandson, and the poetry of Emily Dickinson, Howe reads our intellectual inheritance as a series of civil wars, where each text is a wilderness in which a strange and lawless author confronts interpreters and editors eager for settlement. In a concluding interview, Howe comments on her approach and recounts some the crucial biographical events that sparked her interest in early American literature.

In an insightful assessment of the study and teaching of writing against the larger theoretical, political, and technological upheavals of the past thirty years, Fragments of Rationality questions why composition studies has been less affected by postmodern theory than other humanities and social science disciplines.

This collection of essays traces the attempts of one writing teacher to understand theoretically - and to respond pedagogically - to what happens when students from diverse backgrounds learn to use language in college.Bizzell begins from the assumption that democratic education requires us to attempt to educate all students, including those whose social or ethnic backgrounds may have offered them little experience with academic discourse. Over the ten-year period chronicled in these essays, she has seen herself primarily as an advocate for such students, sometimes called “basic writers. ”Bizzell’s views on education for “critical consciousness,” widely discussed in the writing field, are represented in most of the essays in this volume. But in the last few chapters, and in the intellectual autobiography written as the introduction to the volume, she calls her previous work into question on the grounds that her self-appointment as an advocate for basic writers may have been presumptous, and her hopes for the politically liberating effects of academic discourse misplaced. She concludes by calling for a theory of discourse that acknowledges the need to argue for values and pedagogy that can assist these arguements to proceed more inclusively than ever before.The essays in this volume constitute the main body of work in which Bizzell developed her influential and often cited ideas. Organized chronologically, they present a picture of how she has grappled with major issues in composition studies over the past decade. In the process, she sketches a trajectory for the development of composition studies as an academic discipline.

Winner of the 1991 Associated Writing Programs' Award Series in Poetry

Winner of the 1991 Agnes Lynch Starrett Poetry Prize.The poems in this book deal with life in a Pennsylvania Mennonite community and the tensions and conflicts that exist for the speaker as she tries to be true to two worlds, the other being New York City.

"When history proves useless and consensus chimerical," Donald Revell has written, "the poet's necessity is invention, and this does a lot to explain our century's preference for revision over mimesis." For Revell, The disruptions of this century have destroyed old illusions of historical continuity: "The consolations of history are furtive,/ then fugitive, then forgotten." Invoking such contemporary events as the collapse of communism and the end of the Cold War, he seeks to integrate the political with the personal in a search for new paradigms of value and honor.

This is an account of a Native American family in central Kentucky in the year 1585. Fishes-With-Hands, his wife She-Who-Watches, and their family grind corn, make cooking pots, and build their homes while in their summer village. In autumn, they attend the funeral and mourning feast of Masked-Eyes. Then they move to their winter hunting camp, where they process nuts, make arrows, and hunt and butcher animals in preparation for the winter. Readers will soon realize that their lives and experiences in many ways parallel those of this family from Kentucky's not-so-distant past.

In the novel Hannah Fowler, Janice Holt Giles created a pioneer woman who would, In Giles's words, "endow her own physical seed with her strength and courage, and her own tenderness and love." First published in 1956, this work is the second in Giles's series of historical novels on Kentucky, which includes The Kentuckians and The Believers.Samuel Moore and his daughter Hannah set out for the border country with a party led by George Rogers Clark but left to follow the Kentucky River to Boones' Fort. As the story opens, Hannah is nursing her father, injured when an axe slips and cuts his leg. By the time Tice Fowler, on his way to Logan's Fort, stumbles upon them alone in the wilderness, Samuel is dying from blood poisoning.When Samuel dies, Tice takes Hannah to the fort, where women are scarce, and Hannah finds herself besieged by suitors. Only with Tice, as silent and downright as herself, does Hannah feel at ease. Finally, she turns to the bashful Tice and asks him to marry her and take her away from the crowded fort. Together, they take their claim to land, build a cabin, and start a family. They endure the harsh frontier life, the threat of hungry wolves, a killing blizzard, and Indian raids.Hannah is an unforgettable character -- tall, physically and psychologically strong, the epitome of frontier womanhood -- brought to life by a woman who knew and loved the Kentucky people and setting about which she wrote.Janice Holt Giles (1905-1979), author of nineteen books, lived and wrote near Knifley, Kentucky, for thirty-four years. Her biography is told in Janice Holt Giles: A Writer's Life.