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"It has long been known that Dreiser devoted much effort during the final two decades of his lfe to the preparation of a major philosophical work which remained unfinished at his death....The best evidence of Dreiser's later thought would appear to be [t]his treatise, and it is appropriate that Marguerite Tjader and John J. McAleer--the two Dreiserians most sympathetic to the mystical religiosity of the later Dreiser--should make it available in published form." --American Literary Realism
Notes on Nowhere was first published in 1997. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The term utopia implies both "good place" and "nowhere." Since Sir Thomas More wrote Utopia in 1516, debates about utopian models of society have sought to understand the implications of these somewhat contradictory definitions. In Notes on Nowhere, author Jennifer Burwell uses a cross section of contemporary feminist science fiction to examine the political and literary meaning of utopian writing and utopian thought.
Burwell provides close readings of the science fiction novels of five feminist writers-Marge Piercy, Sally Gearhart, Joanna Russ, Octavia Butler, and Monique Wittig-and poses questions central to utopian writing: Do these texts promote a tradition in which narratives of the ideal society have been used to hide rather than reveal violence, oppression, and social divisions? Can a feminist critical utopia offer a departure from this tradition by using utopian narratives to expose contradiction and struggle as central aspects of the utopian impulse? What implications do these questions have for those who wish to retain the utopian impulse for emancipatory political uses?
As one way of answering these questions, Burwell compares two "figures" that inform utopian writing and social theory. The first is the traditional abstract "revolutionary" subject who contradicts existing conditions and who points us to the ideal body politic. The second, "resistant," subject is partial, concrete, and produced by conditions rather than operating outside of them. In analyzing contemporary changes in the subject's relationship to social space, Burwell draws from and revises "standpoint approaches" that tie visions of social transformation to a group's position within existing conditions.
By exploring the dilemmas, antagonisms, and resolutions within the critical literary feminist utopia, Burwell creates connections to a similar set of problems and resolutions characterizing "nonliterary" discourses of social transformation such as feminism, gay and lesbian studies, and Marxism. Notes on Nowhere makes an original, significant, and persuasive contribution to our understanding of the political and literary dimensions of the utopian impulse in literature and social theory.
Jennifer Burwell teaches in the Department of English at Wesleyan University in Connecticut.
Notes on Vermin is an atlas of the literary vermin that appear in modern and contemporary literature, from Franz Kafka’s gigantic insect to Richard Wright’s city rats to Namwali Serpell’s storytelling mosquitoes. As parasites, trespassers, and collectives, vermin animals prove useful to writers who seek to represent life in the margins of power. Drawing on psychoanalysis, cultural studies, eco-Marxism, and biopolitics, this book explores four uses for literary vermin: as figures for the repressed thought, the uncommitted fugitive, the freeloading parasite, and the surplus life. In a series of short, accessible, interlinked essays, Notes on Vermin explores what animal pests can show us about our cultures, our environments, and ourselves.
September 19, 1985: A powerful earthquake hits Mexico City in the early morning hours. As the city collapses, the government fails to respond. Long a voice of social conscience, prominent Mexican journalist Elena Poniatowska chronicles the disintegration of the city's physical and social structure, the widespread grassroots organizing against government corruption and incompetence, and the reliency of the human spirit. As a transformative moment in the life of mexican society, the earthquake is as much a component of the country's current crisis as the 1982 debt crisis, the problematic economic of the last ten years, and the recent elections.
In masterfully weaving together a multiplicity of voices, Poniatowska has reasserted the inherent value and latent power of people working together. Punctuated by Poniatowska's own experiences and observations, these post disaster testimonies speak of the disruption of families and neighborhoods, of the destruction of homes and hospitals, of mutilation and death—the collective loss of a city. Drawing the reader dramatically into the scene of national horror through dozens of personal stories, Poniatowska demonstrates the importance of courage and self-reliance in redeeming life from chaos.
The first collection of critical essays to focus specifically on the fiction produced by American novelists of the Depression era, The Novel and the American Left contributes substantially to the newly emerging emphasis on twentieth-century American literary radicalism. Recent studies have recovered this body of work and redefined in historical and theoretical terms its vibrant contribution to American letters. Casey consolidates and expands this field of study by providing a more specific consideration of individual novels and novelists, many of which are reaching new contemporary audiences through reprints.
The Novel and the American Left focuses exclusively on left-leaning fiction of the Depression era, lending visibility and increased critical validity to these works and showing the various ways in which they contributed not only to theorizations of the Left but also to debates about the content and form of American fiction. In theoretical terms, the collection as a whole contributes to the larger reconceptualization of American modernity currently under way. More pragmatically, individual essays suggest specific authors, texts, and approaches to teachers and scholars seeking to broaden and/or complicate more traditional “American modernism” syllabi and research agendas.
The selected essays take up, among others, such “hard-core"” leftist writers as Mike Gold and Myra Page, who were associated with the Communist Party; the popular novels of James M. Cain and Kenneth Fearing, whose works were made into successful films; and critically acclaimed but nonetheless “lost” novelists such as Josephine Johnson, whose Now in November (Pulitzer Prize, 1936) anticipates and complicates the more popular agrarian mythos of Steinbeck’s The Grapes of Wrath.
This volume will be of interest not only to literary specialists but also to historians, social scientists, and those interested in American cultural studies.
In contrast with studies that characterized the nineteenth-century U.S. novel as a consensus-generating form complicit with disciplinary culture, Funchion shows how novels shaped a series of culture wars by advancing antagonistic nostalgias. Southern slave owners and their slaves or industrial magnates and their union opponents alike enlisted the power of nostalgia to validate their rival visions of the nation as lost moments awaiting recovery. Antagonistic nostalgias legitimated the political claims of movements as diverse as abolitionism, sectionalism, populism, socialism, anarchism, and cosmopolitanism. Novel Nostalgias provides a deep cultural historical understanding of the nineteenth-century United States, but ultimately, it also allows for a better understanding of how twenty-first-century movements function.
The Novel of Human Rights defines a new, dynamic American literary genre. It incorporates key debates within the contemporary human rights movement in the United States, and in turn influences the ideas and rhetoric of that discourse.
In James Dawes’s framing, the novel of human rights takes as its theme a range of atrocities at home and abroad, scrambling the distinction between human rights within and beyond national borders. Some novels critique America’s conception of human rights by pointing out U.S. exploitation of international crises. Other novels endorse an American ethos of individualism and citizenship as the best hope for global equality. Some narratives depict human rights workers as responding to an urgent ethical necessity, while others see only inefficient institutions dedicated to their own survival. Surveying the work of Chris Abani, Susan Choi, Edwidge Danticat, Dave Eggers, Nathan Englander, Francisco Goldman, Anthony Marra, and John Edgar Wideman, among others, Dawes finds traces of slave narratives, Holocaust literature, war novels, and expatriate novels, along with earlier traditions of justice writing.
The novel of human rights responds to deep forces within America’s politics, society, and culture, Dawes shows. His illuminating study clarifies many ethical dilemmas of today’s local and global politics and helps us think our way, through them, to a better future. Vibrant and modern, the human rights novel reflects our own time and aspires to shape the world we will leave for those who come after.
In The Novel of the Future, Anaïs Nin explores the act of creation—in film, art, and dance as well as literature—to chart a new direction for the young artist struggling against what she perceived as the sterility, formlessness, and spiritual bankruptcy afflicting much of mid-twentieth-century fiction. Nin offers, instead, an argument for and synthesis of the poetic novel and discusses her own efforts in this genre as well as its influence on the development of such writers as D. H. Lawrence, Henry Miller, Lawrence Durrell, Marguerite Young, and Djuna Barnes. In chapters devoted to the pursuit of the hidden self, the genesis of fiction, and the relationship between the diary and fiction, she addresses the materials, techniques, and nourishment of the arts, and the functions of art itself.
Originally published in 1968, The Novel of the Future remains a classic among both creative writers and literary scholars. This new Swallow Press edition includes an introduction by Nin biographer Deirdre Bair.
In Novel Subjects, Leah Milne offers a new way to look at multicultural literature by focusing on scenes of writing in contemporary works by authors with marginalized identities. These scenes, she argues, establish authorship as a form of radical self-care—a term we owe to Audre Lorde, who defines self-care as self-preservation and “an act of political warfare.”
In engaging in this battle, the works discussed in this study confront limitations on ethnicity and nationality wrought by the institutionalization of multiculturalism. They also focus on identities whose mere presence on the cultural landscape is often perceived as vindictive or willful. Analyzing recent texts by Carmen Maria Machado, Louise Erdrich, Ruth Ozeki, Toni Morrison, and more, Milne connects works across cultures and nationalities in search of reasons for this recent trend of depicting writers as characters in multicultural texts. Her exploration uncovers fiction that embrace unacceptable or marginalized modes of storytelling—such as plagiarism, historical revisions, jokes, and lies—as well as inauthentic, invisible, and unexceptional subjects. These works ultimately reveal a shared goal of expanding the borders of belonging in ethnic and cultural groups, and thus add to the ever-evolving conversations surrounding both multicultural literature and self-care.
The Novels of Theodore Dreiser was first published in 1976. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Relying heavily on the manuscripts and letters in the Dreiser Collection of the University of Pennsylvania Library, Professor Pizer seeks to establish the facts of the sources and composition of each of Dreiser's eight novels and to study the themes and form of the completed works. In this study he relates what can be discovered about the factual reality of a novel to its imaginative reality. His interpretation of the novels avoids the suggestion that there is a single overriding theme or direction in Dreiser's work and emphasizes that Dreiser deserves examination primarily on the basis of the individuality and worth of each of his novels. A separate chapter is devoted to each of the novels: Sister Carrie, Jennie Gerhardt, The "Genius," The Financier, The Titan, An American Tragedy, The Bulwark, and The Stoic.
In Novelty, Michael North takes us on a dazzling tour of more than two millennia of thinking about the problem of the new, from the puzzles of the pre-Socratics all the way up to the art world of the 1960s and ’70s. The terms of the debate, North shows, were established before Plato, and have changed very little since: novelty, philosophers argued, could only arise from either recurrence or recombination. The former, found in nature’s cycles of renewal, and the latter, seen most clearly in the workings of language, between them have accounted for nearly all the ways in which novelty has been conceived in Western history, taking in reformation, renaissance, invention, revolution, and even evolution. As he pursues this idea through centuries and across disciplines, North exhibits astonishing range, drawing on figures as diverse as Charles Darwin and Robert Smithson, Thomas Kuhn and Ezra Pound, Norbert Wiener and Andy Warhol, all of whom offer different ways of grappling with the idea of originality.
Novelty, North demonstrates, remains a central problem of contemporary science and literature—an ever-receding target that, in its complexity and evasiveness, continues to inspire and propel the modern. A heady, ambitious intellectual feast, Novelty is rich with insight, a masterpiece of perceptive synthesis.
Shaw uses the tools of social movement analysis, including the quantitative analysis of budgets, electoral data, and housing statistics, as well as historical research and personal interviews, to better understand the dilemmas, innovations, and dynamics of grassroots activism. He begins with a history of discriminatory housing practices and racial divisions that deeply affected Detroit following the Second World War and set the stage for the election of the city’s first black mayor, Coleman Young. By emphasizing downtown redevelopment, Mayor Young’s administration often collided with low-income housing advocates. Only through grassroots activism were those advocates able to delay or derail governmental efforts to demolish low-income housing in order to make way for more upscale development. Shaw then looks at present-day public housing activism, assessing the mixed success of the nationally sponsored HOPE VI project aimed at fostering home ownership in low-income areas. Descriptive and prescriptive, Now Is the Time! traces the complicated legacy of community activism to illuminate what is required for grassroots activists to be effective in demanding public accountability to poor and marginalized citizens.
Moving with quantum ease through the porous membranes of the past, present, and future, the speaker wonders: What is each moment but the swirling confluence (or shy first meeting) of past and future—of what happened, and what-has-not-yet-happened but will?
Such phenomenological questions are sparked by ordinary events: a friend's passion for jigsaw puzzles; an imagined conversation with a neighbor's dog; a meditation on the uses of modern poetry. Here, in language at once elegant and agile, intimate and universal, the author probes beneath the surface of happenstance, moving with depth, humor, and compassion into the heart of our shared predicament: that of loving what we cannot keep.
But if time in these poems is relative, it bends toward grace—even, as the title suggests, towards consolation. Taken together, the poems invite us to raise a glass to the way we're each "held light and golden in Time's mouth," and to savor something of the eternal—distilled, sparkling, already lost—inside every now.
Between poems that consider the disappearance of language in an age of digital/binary communication, and poems that mourn the disappearance of fellow poets and artists, this collection attempts to stand on a nano-second that looks both backward and forward in time: the ever-shifting "now."
This is a book of sustenance, of fresh assurances that come to us—ready or not—out of the blue of this spirited poet’s most engaging work yet.
At the chapbook's center are two long poems, titled "Phnom Penh Diptych: Wet Season" and "Phnom Penh Diptych: Dry Season," that examine the escapist narratives that draw tourists and expatriates to Cambodia, and the speaker’s own privileged positioning.
On a formal level, the poems in Nowhere to Arrive make room for the unsaid and that which cannot be articulated. Here, we have a vocabulary of silence alongside stark imagistic juxtapositions, poems that celebrate compression and the force of paratactic constructions. Attentiveness and concentration emerge as virtues, as the speaker surveys the vast territory of the present with a wakeful gaze.
Contrary to previous works that suppress Nuevomexicana/o presence throughout U.S. nuclear history, Nuclear Nuevo México focuses on recovering the voices and stories that have been lost or ignored in the telling of this history. By recuperating these narratives, Myrriah Gómez tells a new story of New Mexico, one in which the nuclear history is not separate from the collective colonial history of Nuevo México but instead demonstrates how earlier eras of settler colonialism laid the foundation for nuclear colonialism in New Mexico.
Gómez examines the experiences of Nuevomexicanas/os who have been impacted by the nuclear industrial complex, both the weapons industry and the commercial industry. Gómez argues that Los Alamos was created as a racist project that targeted poor and working-class Nuevomexicana/o farming families, along with their Pueblo neighbors, to create a nuclear empire. The resulting imperialism has left a legacy of disease and distress throughout New Mexico that continues today.
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