Even though Edward Said’s Orientalism inspired several generations of scholars to study the English novel’s close involvement with colonialism, they have not considered how English novels themselves were radically altered by colonialism. In Educating Seeta, Shuchi Kapila argues that the paradoxes of indirect rule in British India were negotiated in “family romances” which encoded political struggle in the language of domestic and familial civility. A mixture of domestic ideology and liberal politics, these are Anglo-Indian romances, written by British colonials who lived in India during a period of indirect colonial rule. Instead of providing neat conclusions and smooth narratives, they become a record of the limits of liberal colonialism. They thus offer an important supplement to Victorian novels, extend the study of nineteenth-century domestic ideology, and offer a new perspective on colonial culture. Kapila demonstrates that popular writing about India and, by implication, other colonies is an important supplement to the high Victorian novel and indispensable to our understanding of nineteenth-century English literature and culture. Her nuanced study of British writing about indirect rule in India will reshape our understanding of Victorian domestic ideologies, class formation, and gender politics.

“A deeply intimate meditation on millennial Black womanhood and a righteous indictment of how this country treats Black girls and women.” —Kirkus (starred review)
A LitHub Most Anticipated Book of 2022

“Emotional range without consequence,” Negesti Kaudo writes in her debut collection, Ripe, is a privilege of whiteness. In these essays, she fights back, exhorting readers to follow her through fury, grief, love, and hope as she confronts what it means to own her Blackness and her body in contemporary America. A scathing and nuanced cultural critic, she disentangles intersections of race, class, pop culture, size, sexuality, and more in spaces where she always seems to be either too Black or not Black enough. From attending private school as a poor Black student to the evolution of her hair routine to being fat and sexual when society says she should be neither, Kaudo overlooks nothing as she names the ways that white America simultaneously denigrates and steals Black culture. Most of all, she writes against the idea that a Black woman’s anger makes her an “angry Black woman,” claiming full emotional range as her birthright and as a tool against injustice on her quest to find herself no matter how uncomfortable the journey.

“If my mother were to tell the story . . .” So begins the title piece in this debut collection of short fiction, eight stories that explore the gap between the stories we tell ourselves and the stories we have lived. In “Punitive Damages,” a father, the beneficiary of a huge financial settlement in compensation for his son’s death, must confront the truth of the life that the son’s death has provided. In “Punnett’s Squares,” winner of the Chicago Tribune’s Nelson Algren Award, an adopted son seeks to prove, against all evidence to the contrary, that his adoptive father is in fact his biological father. In “Induction Ceremony,” a small-town basketball hero returns to his hometown no longer a man but now a woman, and his onetime teammate-and-friend must reconsider who they were and who they are now. In the pair of pieces that bookend the collection, “Ordination” and “Be a Missionary,” a Baptist preacher’s son must reconcile the distance between the evidence of things seen and the evidence of things unseen.

These are men and boys who like to see themselves as worthy of the titles of father, son, husband, lover, and friend, but who must fight their own instincts and desires to claim such honors. These are boys and men for whom questions of identity—biological, cultural, sexual, religious, moral—are unavoidable, men and boys always seeking to be who they want to be, always aware of who they are.

Jordan Peele’s Get Out: Political Horror is a collection of sixteen essays devoted to exploring Get Out’s roots in the horror tradition and its complex and timely commentary on twenty-first-century US race relations. The first section, “The Politics of Horror,” traces the influence of the gothic and horror tradition on Peele’s film, from Shakespeare’s Othello, through the female gothic and Ira Levin’s Rosemary’s Baby and The Stepford Wives, to the modern horror film, including the zombie, rural, suburban, and body-swap subgenres of horror. The second section, “The Horror of Politics,” takes up Get Out’s varied political interventions—notably its portrayal of the continuation of slavery and the deformation of the black body and mind in white, so-called progressive America. Contributors address Peele’s film alongside African American figures such as Nat Turner, W. E. B. Du Bois, and James Baldwin. Taken together, the essays illuminate how Get Out stands as both a groundbreaking intervention in the horror tradition as well as a devastating unmasking of racism in the contemporary United States.

A 2021 CHOICE Outstanding Academic Title
Exemplified by President Donald J. Trump’s slogan “Make American Great Again,” white masculinity has become increasingly organized around melancholic attachments to an imagined past when white men were still atop the social hierarchy. How and why are white men increasingly identifying as victims of social, economic, and political change? Casey Ryan Kelly’s Apocalypse Man seeks to answer this question by examining textual and performative examples of white male rhetoric—as found among online misogynist and incel communities, survivalists and “doomsday preppers,” gender-motivated mass shooters, gun activists, and political demagogues. Using sources ranging from reality television and Reddit manifestos to gun culture and political rallies, Kelly ultimately argues that death, victimhood, and fatalism have come to underwrite the constitution of contemporary white masculinity.

Winner, 2023 Eisner Award for Best Scholarly/Academic Work
Honorable Mention, 2023 CSS Charles Hatfield Book Prize

In How Comics Travel: Publication, Translation, Radical Literacies, Katherine Kelp-Stebbins challenges the clichéd understanding of comics as a “universal” language, circulating without regard for cultures or borders. Instead, she develops a new methodology of reading for difference. Kelp-Stebbins’s anticolonial, feminist, and antiracist analytical framework engages with comics as sites of struggle over representation in a diverse world. Through comparative case studies of Metro, Tintin, Persepolis, and more, she explores the ways in which graphic narratives locate and dislocate readers in every phase of a transnational comic’s life cycle according to distinct visual, linguistic, and print cultures. How Comics Travel disengages from the constrictive pressures of nationalism and imperialism, both in comics studies and world literature studies more broadly, to offer a new vision of how comics depict and enact the world as a transcultural space.

In Stigma Stories: Rhetoric, Lived Experience, and Chronic Illness, Molly Margaret Kessler focuses on ostomies and gastrointestinal conditions to show how stigma is nearly as central to living with chronic conditions as the conditions themselves. Drawing on a multi-year study that includes participant observations, interviews, and rhetorical engagement with public health campaigns, blogs, social media posts, and news articles, Stigma Stories advocates for a rhetorical praxiographic approach that is attuned to the rhetorical processes, experiences, and practices in which stigma is enacted or countered.

Engaging interdisciplinary conversations from the rhetoric of health and medicine, disability studies, narrative medicine, and sociology, Kessler takes an innovative look at how stigma functions on individual, interpersonal, and societal levels. In doing so, Kessler reveals how  stories and lived experiences have much to teach us not only about how stigma functions but also about how it can be dismantled.

Even when we leave them, our cities never leave us. After her Dutch mother’s death, Sorayya Khan confronts her grief by revisiting their relationship, her parents’ lives, and her own Pakistani-Dutch heritage in a multicultural memoir that unfolds over seven cities and three continents. We Take Our Cities with Us ushers us from Khan’s childhood independence forged at her grandparents’ home in Lahore; to her adolescence in Pakistan’s new capital, Islamabad; to Syracuse and Ithaca, New York, where Khan finds her footing as the mother of young, brown sons in post-9/11 America; to her birthplace, Vienna, where her parents die; and finally to Amsterdam and Maastricht, the cities of her mother’s conflicted youth. In Khan’s gripping telling of her immigrant experience, she shows us what it is to raise children and lose parents in worlds other than your own. Drawing on family history, geopolitics, and art in this stunning story of loss, identity, and rediscovery, Khan beautifully illuminates the complexities of our evolving global world and its most important constant: love. 

Often dismissed as trivial or even “trash,” celebrity culture offers a unique way of considering what it means to be human. In Mapping the Stars, Claire Sisco King shows how close analysis of the complex and sometimes contradictory forms of celebrity culture can challenge dominant ideas about selfhood. In particular, as a formation that develops across time, mediums, and texts, celebrity is useful for demonstrating how humanness is defined by relationality, contingency, and even vulnerability.  
 
King considers three stars with popular and controversial personas: Norman Rockwell, Will Smith, and Kim Kardashian. Working in very different contexts and with very different public images, these figures nonetheless share a consistent, if not conspicuous, interest in celebrity as a construct. Offering intertextual readings of their public images across such sites as movie posters, magazines, cinema, and social media—and deploying rhetorical theories of metonymy (a linguistic device linking signifiers by shared associations)—King argues that these stars’ self-reflexive attention to the processes by which celebrity is created and constrained creates opportunities for reframing public discourse about what it means to be famous and what it means to be a person.

During his last two decades (ca. 2 BCE–17 CE), Ovid composed, but never completed, his Fasti, an elegiac representation of Rome’s rites and festivals: only six of twelve month-books remain. Earlier scholars have claimed that this is due either to Ovid’s exile from Rome (which put him out of touch with the Roman literary world) or else his frustration over the Roman calendar’s discontinuity. Drawing upon recent scholarship in gender studies and Lacanian film theory, Richard J. King analyzes this exilic incompletion as inviting the citizen male reader into what he calls an “angular” or “skewed” viewpoint, which interrogates the Roman hierarchical and male-dominated social order, insofar as it is mirrored in the Roman calendar of rites and festivals.  Ovid (already well known and even infamous as the composer of erotic poems and the Metamorphoses) does this by emulating the civic gesture of “calendar presentation,” whereby upwardly mobile adult male citizens caused calendars to be carved in stone and set up in conspicuous public places to reflect the city’s pride and to build their own prestige as public figures. In this innovative study, King discusses the Fasti as Ovid’s socially strategic use of this gesture. Interrupted by exile and filled with varying explanations of Roman festivals, Ovid’s poetic version manifests a form whose brokenness comments on the fractured identity of the exiled poet and citizen subjects generally in an imperial order ambivalent toward its greatest poet.
     Desiring Rome expands upon recent recognition of the Fasti’s centrality to early imperial politics by situating the poem’s “failure” within broader negotiations of identity between early imperial citizen-subjects and the cultural ideology of Roman manhood.

In 1841 Thomas Worthington King accepted a position as supercargo on the Helena, a ship some have called “the first American clipper,” as it was about to make its maiden voyage to China. Journal of a Voyage around the World recounts the travel of Thomas Worthington King on the Helena from 1841 to 1842.

In full and well-written entries, King recounts the routines and surprises of life at sea, where storms and calms could be equally threatening, and the next day might bring a stop at St. Helena to see Napoleon’s tomb or an encounter with pirates. King provides details often missing from histories that give a real sense of the period. In his description of Chile and Peru we learn about activities as diverse as cockfighting and courtship. We learn about produce and prisons, mints and monasteries, fruits and fashions. In his account of China, King vividly describes rivers so full of boats that one could “see no water—nothing but the large mat sales” and calm groves of “green lychee, or broad leaved & rustling plantain.”

Perhaps the most important subject of the diary is the diarist himself, whose talent and confidence develop on the pages of his record. Thomas Worthington King was born and raised in Chillicothe, Ohio, and was the grandson of two Ohio Senators: Rufus King and Thomas Worthington.

Winner, 2022 Charles Hatfield Award from the Comics Studies Society

In the years following 1975, a group of female-created comic strips came to national attention in a traditionally male-dominated medium. Typical Girls: The Rhetoric of Womanhood in Comic Strips uncovers the understudied and developing history of these strips, defining and exploring the ramifications of this expression of women’s roles at a time of great change in history and in comic art. This impressive, engaging, and timely study illustrates how these comics express the complexities of women’s experiences, especially as such experiences were shaped by shifting and often competing notions of womanhood and feminism. Including the comics of Lynn Johnston (For Better or For Worse), Cathy Guisewite (Cathy), Nicole Hollander (Sylvia), Lynda Barry (Ernie Pook’s Comeek), Barbara Brandon-Croft (Where I’m Coming From), Alison Bechdel (Dykes to Watch Out For), and Jan Eliot (Stone Soup), Typical Girls is an important history of the representation of womanhood and women’s rights in popular comic strips.

A/Moral Economics is an interdisciplinary historical study that examines the ways which social “science” of economics emerged through the discourse of the literary, namely the dominant moral and fictional narrative genres of early and mid-Victorian England. In particular, this book argues that the classical economic theory of early-nineteenth-century England gained its broad cultural authority not directly, through the well- known texts of such canonical economic theorists as David Ricardo, but indirectly through the narratives constructed by Ricardo’s popularizers John Ramsey McCulloch and Harriet Martineau.

By reexamining the rhetorical and institutional contexts of classical political economy in the nineteenth century, A/Moral Economics repositions the popular writings of both supporters and detractors of political economy as central to early political economists’ bids for a cultural voice. The now marginalized economic writings of  McCulloch, Martineau, Henry Mayhew, and John Ruskin, as well as the texts of Charles Dickens and J. S. Mill, must be read as constituting in part the entities they have been read as merely criticizing. It is this repressed moral logic that resurfaces in a range of textual contradictions—not only in the writings of Ricardo’s supporters, but, ironically, in those of his critics as well.

Suburban Steel chronicles the rise and fall of the Lustron Corporation, once the largest and most completely industrialized housing company in U.S. history. Beginning in 1947, Lustron manufactured porcelain-enameled steel houses in a one-million-square-foot plant in Columbus, Ohio. With forty million dollars in federal funds and support from the highest levels of the Truman administration, the company planned to produce one hundred houses per day, each neatly arranged on specially designed tractor-trailers for delivery throughout the country. Lustron’s unprecedented size and scope of operations attracted intense scrutiny. The efficiencies of uninterrupted production, integrated manufacturing, and economies of scale promised to lead the American housing industry away from its decentralized, undercapitalized, and inefficient past toward a level of rationalization and organization found in other sectors of the industrial economy.

The company’s failure marked a watershed in the history of the American housing industry. Although people did not quit talking about industrialized housing, enthusiasm for its role in the transformation of the housing industry at large markedly waned. Suburban Steel considers Lustron’s magnificent failure in the context of historical approaches to the nation’s perpetual shortage of affordable housing, arguing that had Lustron’s path not been interrupted, affordable and desirable housing for America’s masses would be far more prevalent today.