Through the course of numerous books, Samuel Green has established his primary poetic preoccupations, and in Disturbing the Light, he continues to mine them, addressing rituals and work in a small, isolated, rural community; the influence of the past on the present, especially in families; and the nature and evolution of a love that has spanned five decades. Added to these themes is something new: Poems written in response to symptoms of late onset PTSD. Though Green’s Coast Guard service in Vietnam ended in the fall of 1969, memories have returned recently in vivid, disturbing details, amplified by the haunting knowledge that civilians in Southeast Asia are still, today, suffering death and injury from unexploded ordnance left over from that war. A powerful collection that reminds us that our past is always with us, even as we attend carefully to the present, Disturbing the Light is a masterwork from a poet at the height of his powers.  

W. C. Handy waking up to the blues on a train platform, Buddy Bolden eavesdropping on the drums at Congo Square, John Lomax taking his phonograph recorder into a southern penitentiary—some foundational myths of the black vernacular remain inescapable, even as they come under increasing pressure from skeptics.

In Disturbing the Peace, Bryan Wagner revises the history of the black vernacular tradition and gives a new account of black culture by reading these myths in the context of the tradition’s ongoing engagement with the law. Returning to some familiar examples (trickster tales, outlaw legends, blues lyrics) central to previous studies of the black vernacular expression, Wagner uses an analytic framework he has developed from the historical language of the law to give new and surprising analyses.

Wagner’s work draws both on his deep understanding of history and on a wealth of primary sources that range from novels to cartoons to popular ballads and early blues songs to newspapers and court reports. Through his innovative engagement with them, Wagner gives us a new and deeper understanding of black cultural expression, revealing its basis in the relational workings of African Americans in the social world.

 The Young Adult novel is ordinarily characterized as a coming-of-age story, in which the narrative revolves around the individual growth and maturation of a character, but Roberta Trites expands this notion by chronicling the dynamics of power and repression that weave their way through YA books. Characters in these novels must learn to negotiate the levels of power that exist in the myriad social institutions within which they function, including family, church, government, and school.

Trites argues that the development of the genre over the past thirty years is an outgrowth of postmodernism, since YA novels are, by definition, texts that interrogate the social construction of individuals. Drawing on such nineteenth-century precursors as Little Women and Adventures of Huckleberry Finn, Disturbing the Universe demonstrates how important it is to employ poststructuralist methodologies in analyzing adolescent literature, both in critical studies and in the classroom. Among the twentieth-century authors discussed are Blume, Hamilton, Hinton, Le Guin, L'Engle, and Zindel.

Trites' work has applications for a broad range of readers, including scholars of children's literature and theorists of post-modernity as well as librarians and secondary-school teachers.

Disturbing the Universe: Power and Repression in Adolescent Literature by Roberta Seelinger Trites is the winner of the 2002 Children's Literature Association's Book Award. The award is given annually in order to promote and recognize outstanding contributions to children's literature, history, scholarship, and criticisim; it is one of the highest academic honors that can accrue to an author of children's literary criticism.