Race and Time urges our attention to women’s poetry in considering the cultural history of race. Building on close readings of well known and less familiar poets—including Elizabeth Margaret Chandler, Sarah Louisa Forten, Hannah Flagg Gould, Frances Ellen Watkins Harper, Sarah Piatt, Mary Eliza Tucker Lambert, Sarah Josepha Hale, Eliza Follen, and Mary Mapes Dodge—Gray traces tensions in women’s literary culture from the era of abolitionism to the rise of the Plantation tradition. She devotes a chapter to children’s verse, arguing that racial stereotypes work as “nonsense” that masks conflicts in the construction of white childhood. A compilation of the poems cited, most of which are difficult to find elsewhere, is included as an appendix.

Gray clarifies the cultural roles women’s poetry played in the nineteenth-century United States and also reveals that these poems offer a fascinating, dynamic, and diverse field for students of social and cultural history. Gray’s readings provide a rich sense of the contexts in which this poetry is embedded and examine its aesthetic and political vitality in meticulous detail, linking careful explication of the texts with analysis of the history of poetry, canons, literacy, and literary authority.

Race and Time distinguishes itself from other critical studies not only through its searching, in-depth readings but also through its sustained attention to less known poets and its departure from a Dickinson-centered model. Most significantly, it offers a focus on race, demonstrating how changes in both the U.S. racial structure and women’s place in public culture set the terms for change in how women poets envisioned the relationship between poetry and social power.

Gray’s work makes contributions to several fields of study: poetry, U.S. literary history and American studies, women’s studies, African American studies and whiteness studies, children’s literature, and cultural studies. While placing the works of figures who have been treated elsewhere (e.g., Dickinson and Harper) into revealing new relationships, Race and Time does much to open interdisciplinary discussion of unfamiliar works.

When Lorine Niedecker died in 1970, the British poet and critic Basil Bunting eulogized her warmly. “In England,” he wrote, “she was, in the estimation of many, the most interesting woman poet America has yet produced.”
     Aesthetically linked with the New York Objectivist poets, Niedecker remained committed to her community in rural Wisconsin despite the grinding poverty that dogged her throughout her life.  Largely self-taught, Niedecker formed attachments through her voracious reading and correspondence, but she also delighted in the disruptive richness of vernacular usage and in the homegrown, improvisational aesthetics that thrived within her immediate world. Niedecker wrote from a highly attenuated concern with biological, cultural, and political sustainability and, in her stridently modernist poems, anticipated many of the most urgent concerns in twenty-first-century poetics. In Radical Vernacular, Elizabeth Willis collects essays by leading poets and scholars that make a major contribution to the study of an important but long overlooked American poet.
     This pathbreaking volume contains essays by seventeen leading scholars: Rae Armantrout, Glenna Breslin, Michael Davidson, Rachel Blau DuPlessis, Ruth Jennison, Peter Middleton, Jenny Penberthy, Mary Pinard, Patrick Pritchett, Peter Quartermain, Lisa Robertson, Elizabeth Robinson, Eleni Sikelianos, Jonathan Skinner, Anne Waldman, Eliot Weinberger, and Elizabeth Willis.

A novella in verse, Radioapocrypha envisions what would have happened if Jesus Christ had arrived for the first time not in Palestine two thousand years ago but in a subdivision in Maryland in 1989, the year Depeche Mode released “Personal Jesus.” In this suburban retelling of the gospel, Jesus is a hunky post-punk high school chemistry teacher and the disciples are a twelve-member garage band. The story unfolds as recorded testimony and overheard teachings, a series of alternating lyric poems, prose poems, and parables that engage the social, sexual, and racial tensions of an era. Told from the point of view of the Magdalen character, named Maren—and drawing from the Gnostic text known as the Gospel of Mary as well as other scriptural sources—these poems sample widely from popular music and 1980s culture to recast and revivify a gritty, surreal, crackpot story of loners, losers, and lovers.

The question of civic lyric—the possibility of a politics of mourning—runs through this book-length aria-errancy-eros. All vectors of “rag” are at work: polemic political journal, syncopated turn-of-century song, menstrual blood, burial shroud, complaint, insult, a wiping cloth, the barest semblance of clothes, the slang word for woman. The energy running beneath this rag is human violence and sexual force erupting through fragments of film, fairy tale, news, novels: a father on fire, stranger in tears, prisoner who believes he’s a dog, women dressed in food, women refusing to eat, a body with no face, or a face with no skin. RAG spirals forward, picking up recurrent language, its narratives troubled by stutter, broken by what can’t be told.

Raising the Dust identifies a heretofore-overlooked literary phenomenon that author Beth Sutton-Ramspeck calls “literary housekeeping.” The three writers she examines rejected turn-of-the-century aestheticism and modernism in favor of a literature that is practical, even ostensibly mundane, designed to “set the human household in order.”

To Mary Augusta Ward, Sarah Grand, and Charlotte Perkins Gilman, housekeeping represented public responsibilities: making the food supply safe, reforming politics, and improving the human race itself. Raising the Dust places their writing in the context of the late-Victorian era, in particular the eugenics movement, the proliferation of household conveniences, the home economics movement, and decreased reliance on servants. These changes affected relationships between the domestic sphere and the public sphere, and hence shaped the portrayal of domesticity in the era's fiction and nonfiction.

Moreover, Ward, Grand, and Gilman articulated a domestic aesthetic that swept away boundaries. Sutton-Ramspeck uncovers a new paradigm here: literature as engaging the public realm through the devices and perspectives of the domestic. Her innovative and ambitious book also connects fixations on cleaning with the discovery of germs (the first bacterium discovered was anthrax, and knowledge of its properties increased fears of dust); analyzes advertising cards for soap; and links the mental illness in Gilman's “The Yellow Wall-Paper” to fears during the period of arsenic poisoning from wallpaper.

In Reading the East India Company, Betty Joseph offers an innovative account of how archives—and the practice of archiving—shaped colonial ideologies in Britain and British-controlled India during the eighteenth and nineteenth centuries.

Drawing on the British East India Company's records as well as novels, memoirs, portraiture and guidebooks, Joseph shows how the company's economic and archival practices intersected to produce colonial "fictions" or "truth-effects" that strictly governed class and gender roles—in effect creating a "grammar of power" that kept the far-flung empire intact. And while women were often excluded from this archive, Joseph finds that we can still hear their voices at certain key historical junctures. Attending to these voices, Joseph illustrates how the writing of history belongs not only to the colonial project set forth by British men, but also to the agendas and mechanisms of agency—of colonized Indian, as well as European women. In the process, she makes a valuable and lasting contribution to gender studies, postcolonial theory, and the history of South Asia.

In a book rich with formal variety and lyric intensity, Carr takes up economic inequality, gendered violence, losses both personal and national, and the crisis of the body within all of these forces. Real Life: An Installation is a terrifying book, but one that keeps us close as it moves through the disruptions and eruptions of the real.

With the rise of women's suffrage, challenges to marriage and divorce laws, and expanding opportunities for education and employment for women, the early years of the twentieth century were a time of social revolution. Examining British novels written in 1890-1914, Jane Eldridge Miller demonstrates how these social, legal, and economic changes rendered the traditional narratives of romantic desire and marital closure inadequate, forcing Edwardian novelists to counter the limitations and ideological implications of those narratives with innovative strategies. The original and provocative novels that resulted depict the experiences of modern women with unprecedented variety, specificity, and frankness. Rebel Women is a major re-evaluation of Edwardian fiction and a significant contribution to literary history and criticism.

"Miller's is the best account we have, not only of Edwardian women novelists, but of early 20th-century women novelists; the measure of her achievement is that the distinction no longer seems workable." —David Trotter, The London Review of Books

Surprisingly, glimmerings of ecofeminist theory that would emerge a century later can be detected in women’s poetry of the late Victorian period. In Reconceiving Nature, Patricia Murphy examines the work of six ecofeminist poets—Augusta Webster, Mathilde Blind, Michael Field, Alice Meynell, Constance Naden, and L. S. Bevington—who contested the exploitation of the natural world. Challenging prevalent assumptions that nature is inferior, rightly subordinated, and deservedly manipulated, these poets instead “reconstructed” nature.

Finalist, 2023 Miller Williams Poetry Prize

In Jessica Poli’s Red Ocher, the wild mortality of the natural world merges with melancholic expressions of romantic loss: a lamb runt dies in the night, a first-time lover inflicts casual cruelties, brussels sprouts rot in a field, love goes quietly and unbearably unrequited. This is an ecopoetics that explores the cyclical natures of love and grief, mindful that “there will be room for desire / again, even after it leaves / like a flood receding, / the damaged farmhouses / and washed-away bridges / lying scattered the next day / amid silt and debris.” Throughout, Poli’s poems hold space for the sacred—finding it in woods overgrown with thorny weeds, in drunken joy rides down rural roads, and in the red ocher barns that haunt the author’s physical and emotional landscapes.

Winner of the 2020 New Mexico-Arizona Book Awards 
Winner of the inaugural Interim 2018 Test Site Poetry Series Prize

Refugia is a bright and hopeful voice in the current conversation about climate change. Kyce Bello’s stunning debut ponders what it means to inhabit a particular place at a time of enormous disruption, witnessing a beloved landscape as it gives way to, as Bello writes, “something other and unknown, growing beyond us.” Ultimately an exploration of resilience, Refugia brings to life the author’s home ground in Northern New Mexico and carefully observes the seasons in parallel with personal cycles of renewal and loss. These vivid poems touch upon history, inheritance, drought, and most of all, trees—be they Western conifers succumbing to warming temperatures, ramshackle orchards along the Rio Grande, or family trees reaching simultaneously into the past and future.

Like any wilderness, Refugia creates a terrain that is grounded in image and yet many-layered and complex. These poems write us back into an ecological language of place crucial to our survival in this time of environmental crisis.

In Reimagining the Middle Passage: Black Resistance in Literature, Television, and Song, Tara T. Green turns to twentieth- and recent twenty-first-century representations of the Middle Passage created by African-descended artists and writers. Examining how these writers and performers revised and reimagined the Middle Passage in their work, Green argues that they recognized it as a historical and geographical site of trauma as well as a symbol for a place of understanding and change. Their work represents the legacy African captives left for resisting “social death” (the idea that Black life does not matter), but it also highlights strong resistance to that social death (the idea that it does matter). 
 
Exploring the presence of water and its impact on African descendants,Reimagining the Middle Passageoffers fresh analyses of Alex Haley’sRootsand the television adaptations; the history of flooding in Black communities in literature such as Jesmyn Ward’sSalvage the Bonesand Paule Marshall’sPraisesong for the Widow, in blues songs, and in television shows such asTreme; and stories of resistance found in myths associated with Marie Laveau and flying Africans. 
 

Explores liturgical practice as formative for how three Victorian women poets imagined the world and their place in it and, consequently, for how they developed their creative and critical religious poetics.

This new study rethinks several assumptions in the field: that Victorian women’s faith commitments tended to limit creativity; that the contours of church experiences matter little for understanding religious poetry; and that gender is more significant than liturgy in shaping women’s religious poetry.

Exploring the import of bodily experience for spiritual, emotional, and cognitive forms of knowing, Karen Dieleman explains and clarifies the deep orientations of different strands of nineteenth-century Christianity, such as Congregationalism’s high regard for verbal proclamation, Anglicanism’s and Anglo-Catholicism’s valuation of manifestation, and revivalist Roman Catholicism’s recuperation of an affective aesthetic. Looking specifically at Elizabeth Barrett Browning, Christina Rossetti, and Adelaide Procter as astute participants in their chosen strands of Christianity, Dieleman reveals the subtle textures of these women’s religious poetry: the different voices, genres, and aesthetics they create in response to their worship experiences. Part recuperation, part reinterpretation, Dieleman’s readings highlight each poet’s innovative religious poetics.

Dieleman devotes two chapters to each of the three poets: the first chapter in each pair delineates the poet’s denominational practices and commitments; the second reads the corresponding poetry. Religious Imaginaries has appeal for scholars of Victorian literary criticism and scholars of Victorian religion, supporting its theoretical paradigm by digging deeply into primary sources associated with the actual churches in which the poets worshipped, detailing not only the liturgical practices but also the architectural environments that influenced the worshipper’s formation. By going far beyond descriptions of various doctrinal positions, this research significantly deepens our critical understanding of Victorian Christianity and the culture it influenced.

Repetition is a poetic memoir of a daughter’s grief after her father’s death, as told to a loved one. These meditative prose poems journey through Paris, New York and Berlin on bike rides “to watch the tower sparkle in the distance” and on walks “past the zoo in the dark, the animals calling.” Paul Celan and Gertrude Stein accompany the daughter through her grief until the speaker can finally say, “it’s enough—you can go now.”

With this edition Swallow Press presents two of Anna Akhmatova’s best-known works that represent the poet at full maturity, and that most trenchantly process the trauma she and others experienced living under Stalin’s regime.

Akhmatova began the three-decade process of writing “Requiem” in 1935 after the arrests of her son, Lev Gumilev, and her third husband. The autobiographical fifteen-poem cycle primarily chronicles a mother’s wait—lining up outside Leningrad Prison every day for seventeen months—for news of her son’s fate. But from this limbo, Akhmatova expresses and elevates the collective grief for all the thousands vanished under the regime, and for those left behind to speculate about their loved ones’ fates. Similarly, Akhmatova wrote “Poem without a Hero” over a long period. It takes as its focus the transformation of Akhmatova’s beloved city of St. Petersburg—historically a seat of art and culture—into Leningrad. Taken together, these works plumb the foremost themes for which Akhmatova is known and revered. When Ohio University Press published D. M. Thomas’s translations in 1976, it was the first time they had appeared in English. Under Thomas’s stewardship, Akhmatova’s words ring clear as a bell.

The first major study in English of nineteenth-century German women writers, this book examines their social and cultural milieu along with the layers of interpretation and representation that inform their writing.

Studying a period of German literary history that has been largely ignored by modern readers, Ruth-Ellen Boetcher Joeres demonstrates that these writings offer intriguing opportunities to examine such critical topics as canon formation; the relationship between gender, class, and popular culture; and women, professionalism, and technology. The writers she explores range from Annette von Droste-Hülshoff, who managed to work her way into the German canon, to the popular serial novelist E. Marlitt, from liberal writers such as Louise Otto and Fanny Lewald, to the virtually unknown novelist and journalist Claire von Glümer. Through this investigation, Boetcher Joeres finds ambiguities, compromises, and subversions in these texts that offer an extensive and informative look at the exciting and transformative epoch that so much shaped our own.

Influenced by Alice Notley, Eileen Myles, Rachel Zucker, and other poets of the New York school, the poems in Retribution Forthcoming blend a talky, quick, funny voice with candid examinations of gender norms, class pressures, and the existential. Their speaker explores her mortality anxiety through her experiences of gendered exploitation, reflecting on bodily autonomy and the nexus of violences that women face. Using oblique and direct strategies, these poems recount sexual coercion, the ways consumerist society reinforces and reifies gender conformity and performativity, and the psychological ramifications of these abuses of power. Retribution Forthcoming examines selfhood, consciousness, and mortality as they intertwine with our identities and the ways those identities are politicized. At its core, though, this book is an account of sexual assault and its aftermath, exploring how trauma interacts with belief and our ability to trust others and ourselves.

These poems—varying from narrative to imagist to lyrical—reflect the "sodade" of Cape Verdean culture that is shaped by separation and longing—longing for the home that has been left behind and for loved ones who have departed. Cape Verdean communities extend beyond national boundaries and are paradoxically independent of place, even when inspired by it. Return Flights marks a turning point for Cape Verdean American culture, one in which a partially forgotten past becomes a starting point for possible futures, both of new transoceanic contacts and of new reinventions of culture.

That literature is a form of social action has been an implicit assumption of feminist literary criticism since its emergence in academia some twenty-five years ago. This assumption has served not only to heighten the awareness of gender construction and response in literature, but also to redefine the process and goals of literary criticism itself.

Three powerful interviews with writers of different nationalities (Audre Lorde, Simone de Beauvoir, and Carmen Naranjo) introduce topics echoed in the essays that follow: the interplay between women's writing and feminist theory, the politics of writing, and the roles of race, class, and sexual orientation in artistic production. These issues are engaged on a theoretical level by three essays that represent today's most prominent areas of concern for feminist literary criticism. The theoretical perspectives advanced in this anthology provide models for reading the traditional expressions of women worldwide including oratory and performance as well as literature in the more conventional sense.

Contributors include Jane Flax on "Postmodernism and Gender Relations in Feminist Theory," Evelyn Brooks Higginbotham on "African-American Women's History and the Metalanguage of Race," Paula Bennett on "Female Sexual Imagery and Feminist Psychoanalytic Theory," Leslie Rabine on "Social Gender and Symbolic Gender in the Writings of Maxine Hong Kingston," Joyce Zonana on "Feminist Orientalism and the Structure of Jane Eyre," Jane Desmond on "Cultural Imperialism and Ruth St. Denis's 'Radha' of 1906," Terri Brint Joseph on "Poetry as a Strategy of Power: The Case of Riffian Berber Women," Chikwenye Ogunyemi on "The Contemporary Black Female Novel in English," and Sandra Zagarell on "Narrative of Community."

This collection is especially appropriate for scholars and students of feminist literary criticism, women's studies, English, and ethnic studies.

Essays were originally published in Signs: Journal of Women in Culture and Society.

Rewild is a collection of documentary lyric poetry that explores places that, having been ravaged by war and environmental plunder, have since been abandoned to regenerate and restore. At this moment where we find ourselves in the Anthropocene, the poems hover between ruin and restoration. They open ways we can ask transformative questions and turn ourselves into these questions that begin to tunnel through difficulty and despair into “another spreadsheet than human … chromosomal and intricate.” To begin to unbuy ourselves, to rewild our communal lives.

Ringer approaches womanhood from two directions: an examination of ways that women’s identities are tied to domestic spaces, like homes, cars, grocery stores, and daycare centers; and a consideration of physical, sexual, and political violence against women, both historically and in the present day. Lehmann’s poems look outward, and go beyond cataloguing trespasses against women by biting back against patriarchal systems of oppression, and against perpetrators of violence against women. Many poems in Ringer are ecopoetical, functioning in a “junk” or “sad” pastoral mode, inhabiting abandoned, forgotten, and sometimes impoverished landscapes of rural America.

Histories, stories, lyrics, aspirations, dreams, pressures, and images are spun into a musical tale through a site of convergence: the Black female body. Swarmed by external gazes and narratives, the inhabitant of this body uses her power to turn down this cacophony of noise and compose a symphonic space for herself. By breaching boundaries of racism, sexism, sizeism, colorism, and colonialism, these poems investigate the memories and realities of existing as Black in America. Building from poetic, journalistic, and musical histories, poet and essayist Kimberly Reyes constructs a complex and fantastic narrative in which she negotiates a path to claim her own power.

These poems teem with life, a life rich with many selves and many histories that populate in the voice of Reyes’s poetic narrator. They sway between negotiations of hypervisibility and erasure, the inevitable and the chosen, and the perceived and the constructed. Reyes’s poems offer sharp observations and lyrical movement to guide us in a ballad of reconciliation and becoming.
 

Russian Women Poets of the Eighteenth and Early Nineteenth Centuries is a bold, pioneering achievement. Not only does it bring to light a poetic tradition that has been totally forgotten for over two centuries, even in its country of origin, but it does so in a broadly inclusive fashion. It offers both the Russian texts (verified against their original publications) as well as accurate English translations, accompanied by short illuminating biographical and critical introductions. It thus makes this intriguing material accessible to a broad spectrum of readers, from the curious generalist to the scholar. This corpus of texts sheds significant light on the genesis and formation of modern Russian verse and on the ways in which this new cohort of poets strove to find their voice during a complex era of shifting literary, cultural and gender values, navigating between the male-oriented high genres of Neoclassicism and the “feminized” modes of Sentimentalism.
—Marcus C. Levitt
Professor, Department of Slavic Languages, University of Southern California