For more than a decade Nina Baym has pioneered in the reexamination of American literature. She has led the way in questioning assumptions about American literary history, in critiquing the standard canon of works we read and teach, and in rediscovering lost texts by American women writers. Feminism and American Literary History collects fourteen of her most important essays published since 1980, which, combining feminist perspectives with original archival research, significantly revise standard American literary history. In Part I, "Rewriting Old American Literary History," the focus is on male writers. Essays range from close readings of individual works to ambitious critiques of the main paradigms by which scholars have conventionally linked disparate texts and authors in a narrative of nationalist literary history: the self-in-the-wilderness myth, the romance-novel distinction, the myth of New England origins. Part II, "Writing New American Literary History," studies examples of women's writing from the Revolution through the Civil War. Stressing much overtly public and political writing that has been overlooked even by feminist scholars, noting public and political themes in supposedly domestic works, the essays substantially modify and historicize the paradigm by which premodern American women's writing is currently understood. The contentious and influential essays in Part III, "Two Feminist Polemics," address feminist literary theory and pedagogy, advocating a pluralist practice as the basis for scholarship, criticism, and humane feminism. No one interested in American literature or in women's writing can afford to ignore Baym's revisionist work. Humorous and gracefully written, this book is enjoyable and indispensable.

Multi-volume history of American literature.

Introduction: making ends meet -- The struggle for representation -- Not born on the fourth of July -- Taking multiculturalism personally -- The discipline of the syllabus -- The end of "American" literature.

Charles J. Rzepka's important contributions to scholarship on the Romantic period and twentieth-century literature and culture are gathered together for the first time. Included are award-winning essays on Keats and Wordsworth, critical studies of De Quincey, and Austen; and interventions into popular culture and detective fiction. Together, the essays are both a career retrospective and a roadmap of the innovations and controversies that have influenced literary studies from the early 1980s to the present.

John Neal and Nineteenth-Century American Literature and Culture is a critical reassessment of American novelist, editor, critic, and activist John Neal, arguing for his importance to the ongoing reassessment of the American Renaissance and the broader cultural history of the Nineteenth Century. Contributors (including scholars from the United States, Germany, England, Italy, and Israel) present Neal as an innovative literary stylist, penetrating cultural critic, pioneering regionalist, and vital participant in the business of letters in America over his sixty-year career.

The antebellum period has long been identified with the belated emergence of a truly national literature. And yet, as Meredith L. McGill argues, a mass market for books in this period was built and sustained through what we would call rampant literary piracy: a national literature developed not despite but because of the systematic copying of foreign works. Restoring a political dimension to accounts of the economic grounds of antebellum literature, McGill unfolds the legal arguments and political struggles that produced an American "culture of reprinting" and held it in place for two crucial decades. In this culture of reprinting, the circulation of print outstripped authorial and editorial control. McGill examines the workings of literary culture within this market, shifting her gaze from first and authorized editions to reprints and piracies, from the form of the book to the intersection of book and periodical publishing, and from a national literature to an internally divided and transatlantic literary marketplace. Through readings of the work of Dickens, Poe, and Hawthorne, McGill seeks both to analyze how changes in the conditions of publication influenced literary form and to measure what was lost as literary markets became centralized and literary culture became stratified in the early 1850s. American Literature and the Culture of Reprinting, 1834-1853 delineates a distinctive literary culture that was regional in articulation and transnational in scope, while questioning the grounds of the startlingly recent but nonetheless powerful equation of the national interest with the extension of authors' rights.

Contrary to popular thought, New Age spirituality did not suddenly appear in American life in the 1970s and '80s. In American Feminism and the Birth of New Age Spirituality, Catherine Tumber demonstrates that the New Age movement first flourished more than a century ago during the Gilded Age under the mantle of 'New Thought.' Based largely on research in popular journals, self-help manuals, newspaper accounts, and archival collections, American Feminism and the Birth of New Age Spirituality explores the contours of the New Thought movement. Through the lives of well-known figures such as Mary Baker Eddy, Madame Helena Petrovna Blavatsky, and Edward Bellamy as well as through more obscure, but more representative 'New Thoughters' such as Abby Morton Diaz, Emma Curtis Hopkins, Ursula Gestefeld, Lilian Whiting, Sarah Farmer, and Elizabeth Towne, Tumber examines the historical conditions that gave rise to New Thought. She pays close attention to the ways in which feminism became grafted, with varying degrees of success, to emergent forms of liberal culture in the late nineteenth century—progressive politics, the Social Gospel, humanist psychotherapy, bohemian subculture, and mass market journalism. American Feminism and the Birth of New Age Spirituality questions the value of the new age movement—then and now—to the pursuit of women's rights and democratic renewal.

Fifty-one essays by writers such as Langston Hughes, W.E.B. Du Bois, Ralph Ellison, and Zora Neale Hurston, as well as critics and academics such as Henry Louis Gates, Jr. examine the central texts and arguments in African American literary theory from the 1920s through the present. Contributions are organized chronologically beginning with the rise of a black aesthetic criticism, through the Black Arts Movement, feminism, structuralism and poststructuralism, queer theory, and cultural studies. Annotation copyrighted by Book News Inc., Portland, OR

Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce art to politics and are hostile to any form of aesthetic pleasure. Literature after Feminism is the first work to comprehensively rebut such caricatures, while also offering a clear-eyed assessment of the relative merits of various feminist approaches to literature. Spelling out her main arguments clearly and succinctly, Rita Felski explains how feminism has changed the ways people read and think about literature. She organizes her book around four key questions: Do women and men read differently? How have feminist critics imagined the female author? What does plot have to do with gender? And what do feminists have to say about the relationship between literary and political value? Interweaving incisive commentary with literary examples, Felski advocates a double critical vision that can do justice to the social and political meanings of literature without dismissing or scanting the aesthetic.

A compelling biography of an important but long-neglected figure in the history of American feminism