How much did "making it new" have to do with "making it"? For the four "outsider poets" considered in this book—Charles Olson, Robert Creeley, Louis Zukofsky, and Ted Berrigan—the connection was everything. At once a social history of literary ambition in America in the fifties and sixties and a uniquely collective form of literary biography, Career Moves offers an intimate account of the postwar poetry underground.
Making the controversial claim that anti-Establishment poets were at least as "careerist" as their mainstream peers, Libbie Rifkin shows how the nature of these poets’ ambition actually defined postwar avant-garde identity. In doing so, she clarifies the complicated link between the crafting of a literary career and the defining of a literary canon.

From 1850 to 1867, Charles Dickens produced special issues (called “numbers”) of his journals Household Words and All the Year Round, which were released shortly before Christmas each year. In Collaborative Dickens, Melisa Klimaszewski undertakes the first comprehensive study of these Christmas numbers. She argues for a revised understanding of Dickens as an editor who, rather than ceaselessly bullying his contributors, sometimes accommodated contrary views and depended upon multivocal narratives for his own success.

Klimaszewski uncovers connections among and between the stories in each Christmas collection. She thus reveals ongoing conversations between the works of Dickens and his collaborators on topics important to the Victorians, including race, empire, supernatural hauntings, marriage, disability, and criminality. Stories from Wilkie Collins, Elizabeth Gaskell, and understudied women writers such as Amelia B. Edwards and Adelaide Anne Procter interact provocatively with Dickens’s writing. By restoring links between stories from as many as nine different writers in a given year, Klimaszewski demonstrates that a respect for the Christmas numbers’ plural authorship and intertextuality results in a new view of the complexities of collaboration in the Victorian periodical press and a new appreciation for some of the most popular texts Dickens published.

These wide-ranging case studies consider how language, the law, and the archive have historically served as instruments of colonialism and how they can be creatively transformed in constructing autonomy. The collection highlights points of commonality and solidarity across geographical, cultural, and linguistic boundaries and also reflects deep distinctions between North and South. Decolonizing Native Histories looks at Native histories and narratives in an internationally comparative context, with the hope that international collaboration and understanding of local histories will foster new possibilities for indigenous mobilization and an increasingly decolonized future.

Design Integrations calls for an innovative rethinking of design education, one that recognizes the changing modes of design and the shifting forms of user experience. The contributors urge new methods of approach that focus on interdisciplinary collaboration between the academic and business worlds. These essays, among the first to focus on the future of design, often in-depth explorations of inter-institutional projects, cross-cultural learning experiences, and a multinational healthcare project. Design Integrations will be of interest to design teachers and practitioners alike.

In (First Person)2, Day and Eodice offer one of the few book-length studies of co-authoring in academic fields since Lunsford and Ede published theirs over a decade ago. The central research here involves in-depth interviews with ten successful academic collaborators from a range of disciplines and settings. The interviews explore the narratives of these informants' experience—what brought them to collaborate, what cognitive and logistical processes were involved as they worked together, what is the status of collaborated work in their field, and so on—and situate these informants within the broader discussion of collaboration theory and research as it has been articulated over the last ten years.

As the study develops, Day and Eodice become most interested in the affective domain of co-authorship, and they find the most promising explorations of that domain in the work of feminist theorists in composition.

This collection provides a benchmark that helps secure the position of collaboration between Native American and non-Native American scholars in the forefront of study of Native oral traditions. Seven sets of intercultural authors present Native American oral texts with commentary, exploring dimensions of perspective, discovery, and meaning that emerge through collaborative translation and interpretation. The texts studied all come from the American West but include a rich variety of material, since their tribal sources range from the Yupik in the Arctic to the Yaqui in the Sonoran Desert.

This presentation of jointly authored work is timely: it addresses increasing interest in, calls for, and movement toward reflexivity in the relationships between scholars and the Native communities they study, and it responds to the renewed commitment in those communities to asserting more control over representations of their traditions. Although Native and academic communities have long tried to work together in the study of culture and literature, the relationship has been awkward and imbalanced toward the academics. In many cases, the contributions of Native assistants, informants, translators, and field workers to the work of professional ethnographers has been inadequately credited, ignored, or only recently uncovered. Native Americans usually have not participated in planning and writing such projects. Native American Oral Traditions provides models for overcoming such obstacles to interpreting and understanding Native oral literature in relation to the communities and cultures from which it comes.

Using recently declassified documents from Spain and the United States, personal interviews, and unpublished and published Spanish, German, British, and U.S. records, Spaniards and Nazi Germany makes a significant contribution to the understanding of Hispano-German relations during the 1930s and 1940s. This study shows that Naziphiles within the Spanish Falange, Spain's fascist party, made a concerted effort to bring their nation into World War II, and that only the indecisiveness of dictator Francisco Franco and diplomatic mistakes by the Nazis prevented them from succeeding.

Bowen demonstrates that while Spain was neutral in World War II, its policies clearly favored the Axis, at least in the early stages of the war. Franco, who had emerged victorious from the Spanish Civil War in 1939 largely because of support from Adolf Hitler and Benito Mussolini, even carefully considered entering World War II on the side of Nazi Germany.

By the late 1930s, members of the Falange saw World War II as a revolutionary opportunity, a chance to lead Spain into a new age as a partner with Nazi Germany and Fascist Italy at the head of a New Europe of social justice and authoritarian regimes. By the end of 1939, a significant minority of pro- Nazi Spaniards were unhappy that Spain had not entered the war and remade itself to fit better into Hitler's New Order. Bowen argues that support for Nazi Germany in Spain and among Spanish communities throughout Europe was both wide and deep, and that this enthusiasm for the Third Reich and the New Order it promised to bring lasted until the end of the war. Despite statements of neutrality by the Spanish government, the Franco regime was well aware of this collaboration by Spanish citizens as late as 1944-1945 and did little to stop it. Had Hitler been more interested in bringing Spain into his empire, or exploiting the pro-Nazi sentiments of these thousands of Spaniards, he might have replaced Franco with someone more willing to support his interests even as late as 1943.

Spaniards and Nazi Germany presents many possibilities for what might have been a far different outcome of World War II in Europe. It shows that even without the full support of the Spanish or German governments, pro-Nazi Spaniards, even if they did not quite bring Spain into the war, added to the strength of the Third Reich by serving in its armies, working in its factories, and promoting its ideas to other nations.

Disruptive pedagogies for archival research

In a cultural moment when institutional repositories carry valuable secrets to the present and past, this collection argues for the critical, intellectual, and social value of archival instruction. Graban and Hayden and 37 other contributors examine how undergraduate and graduate courses in rhetoric, history, community literacy, and professional writing can successfully engage students in archival research in its many forms, and successfully model mutually beneficial relationships between archivists, instructors, and community organizations.

Combining new and established voices from related fields, each of the book’s three sections includes a range of form-disrupting pedagogies. Section I focuses on how approaching the archive primarily as text fosters habits of mind essential for creating and using archives, for critiquing or inventing knowledge-making practices, and for being good stewards of private and public collections. Section II argues for conducting archival projects as collaboration through experiential learning and for developing a preservationist consciousness through disciplined research. Section III details praxis for revealing, critiquing, and intervening in historic racial omissions and gaps in the archives in which we all work. 

Ultimately, contributors explore archives as sites of activism while also raising important questions that persist in rhetoric and composition scholarship, such as how to decolonize research methodologies, how to conduct teaching and research that promote social justice, and how to shift archival consciousness toward more engaged notions of democracy. This collection highlights innovative classroom and curricular course models for teaching with and through the archives in rhetoric and composition and beyond.

A major reevaluation of collaboration’s role in art since 1968.

The lone artist is a worn cliché of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.

Treacherous Subjects is a provocative and thoughtful examination of Vietnamese films and literature viewed through a feminist lens. Lan Duong investigates the postwar cultural productions of writers and filmmakers, including Tony Bui, Trinh T. Minh-ha, and Tran Anh Hung.

Taking her cue from the double meaning of "collaborator," Duong shows how history has shaped the loyalties and shifting alliances of the Vietnamese, many of whom are caught between opposing/constricting forces of nationalism, patriarchy, and communism. Working at home and in France and the United States, the artists profiled in Treacherous Subjects have grappled with the political and historic meanings of collaboration. These themes, which probe into controversial issues of family and betrayal, figure heavily in fictions such as the films The Scent of Green Papaya and Surname Viet Given Name Nam.

As writers and filmmakers collaborate, Duong suggests that they lay the groundwork for both transnational feminist politics and queer critiques of patriarchy.