The first collection focused on the writing of provocative author and performance artist Sapphire, including her groundbreaking novel PUSH that has since become the Academy-award-winning film Precious.

Beginning with their forced introduction to American soil, Black women have relied on maverick-like characteristics to survive. And yet, these liberating qualities have been repeatedly disparaged by the masses in favor of an elitist politics of respectability. In Maverick Feminist: To Be Female and Black in a Country Founded upon Violence and Respectability, scholar Kemeshia Randle Swanson examines the extent to which the politics of respectability diminish joy and increase sorrow throughout the lifespan of Black women. By rejecting this damaging standard in society, Black women can wholly and attentively assist in the obliteration of racist, sexist, classist, and ableist oppression. But first, they must work towards becoming self-identified, self-actualized, and self-sexualized. Bridging the gap between women in both the streets and the academy, Maverick Feminist expands the traditional understandings of activism and enlarges discussions about Black female sexuality. Swanson emphasizes sexuality’s significance to the literary and sociopolitical success of Black women of the past and in this contemporary climate. Through close readings and critical analyses of fiction, nonfiction, and popular culture, Swanson argues that #BlackGirlMagic and racial progression require rejecting respectability politics and developing an intimate appreciation of self. Maverick Feminist examines texts by and about bold Black women, including Zora Neale Hurston’s Their Eyes Were Watching God, Sister Souljah’s The Coldest Winter Ever, Brittney Cooper’s Eloquent Rage: A Black Feminist Discovers Her Superpower, Alice Walker’s The Color Purple, Sapphire’s PUSH, Roxane Gay’s Hunger: A Memoir of (My) Body, Terry McMillan’s Getting to Happy, and Michelle Obama’s Becoming. Maverick Feminist offers hope concerning the growing divide between scholars and the communities about which they theorize. The book celebrates centuries of agency and control that Black women have mustered and maintained in a world that seems to want nothing more than to see them prone and powerless. Ultimately, maverick feminism provides a freer means of living out, evaluating, understanding, and improving the lives of Black women.

This thoroughly updated fourth edition of Critical Theory Today offers an accessible introduction to contemporary critical theory, providing in-depth coverage of the most common approaches to literary analysis today, including: feminism; psychoanalysis; Marxism; reader-response theory; New Criticism; structuralism and semiotics; deconstruction; new historicism and cultural criticism; lesbian, gay, and queer theory; African American criticism; and postcolonial criticism and ecocriticism. This new edition features: • A brand new chapter on ecocriticism, including sections on deep ecology, eco-Marxism, ecofeminism (including radical, Marxist, and vegetarian ecofeminisms), and postcolonial ecocriticism and environmental justice • Considerable updates to the chapters on feminist theory, African American theory, postcolonial theory, and LGBTQ theories, including terminology and theoretical concepts • An extended explanation of each theory, using examples from everyday life, popular culture, and a variety of literary texts • A list of specific questions critics ask about literary texts • An interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory • A list of questions for further practice to guide readers in applying each theory to different literary works • Updated and expanded bibliographies Both engaging and rigorous, this is a "how-to" book for undergraduate and graduate students new to critical theory and for college professors who want to broaden their repertoire of critical approaches to literature.

How creativity makes its way through feeling—and what we can know and feel through the artistic work of Black women Feeling is not feelin. As the poet, artist, and scholar Bettina Judd argues, feelin, in African American Vernacular English, is how Black women artists approach and produce knowledge as sensation: internal and complex, entangled with pleasure, pain, anger, and joy, and manifesting artistic production itself as the meaning of the work. Through interviews, close readings, and archival research, Judd draws on the fields of affect studies and Black studies to analyze the creative processes and contributions of Black women—from poet Lucille Clifton and musician Avery*Sunshine to visual artists Betye Saar, Joyce J. Scott, and Deana Lawson. Feelin: Creative Practice, Pleasure, and Black Feminist Thought makes a bold and vital intervention in critical theory’s trend toward disembodying feeling as knowledge. Instead, Judd revitalizes current debates in Black studies about the concept of the human and about Black life by considering how discourses on emotion as they are explored by Black women artists offer alternatives to the concept of the human. Judd expands the notions of Black women’s pleasure politics in Black feminist studies that include the erotic, the sexual, the painful, the joyful, the shameful, and the sensations and emotions that yet have no name. In its richly multidisciplinary approach, Feelin calls for the development of research methods that acknowledge creative and emotionally rigorous work as productive by incorporating visual art, narrative, and poetry.

Argues that a new, post-postmodern aesthetic emerges in the 1990s as American writers grapple with the triumph of free-market politics.

A new 25th anniversary edition of the instant classic that inspired the major motion picture and Sundance Film Festival winner Precious: Based on the Novel by Sapphire, whose power and ferocity influenced a generation of writers. Precious Jones, an illiterate sixteen-year-old, has up until now been invisible to the father who rapes her and the mother who batters her and to the authorities who dismiss her as just one more of Harlem's casualties. But when Precious, pregnant with a second child by her father, meets a determined and radical teacher, we follow her on a journey of education and enlightenment as she learns not only how to write about her life, but how to make it truly her own for the first time.

Urban forests, trees and greenspace are critical in contemporary planning and development of the city. Their study is not only a question of the growth and conservation of green spaces, but also has social, cultural and psychological dimensions. This book brings a perspective of political ecology to the complexities of urban trees and forests through three themes: human agency in urban forests and greenspace; arboreal and greenspace agency in the urban landscape; and actions and interventions in the urban forest. Contributors include leading authorities from North America and Europe from a range of disciplines, including forestry, ecology, geography, landscape design, municipal planning, environmental policy and environmental history.

This book draws on applied linguistics and literary studies to offer concrete means of engaging with vernacular language and literature in secondary and college classrooms. The authors embrace a language-as-resource orientation, countering the popular narrative of vernaculars as problems in schools. The book is divided into two parts, with the first half of the book providing linguistic and pedagogical background, and the second half offering literary case studies for teaching. Part I examines the historical and continued devaluing of vernaculars in schools, incorporating clear, usable explanations of relevant theories. This section also outlines the central myths and paradoxes surrounding vernacular languages and literatures, includes productive ways for teachers to address those myths and paradoxes, and explores challenges and possibilities for vernacular language pedagogy. In Part II, the authors provide pedagogical case studies using literary texts written in vernacular Englishes from around the world. Each chapter examines a vernacular-related topic, and concludes with discussion questions and writing assignments; an appendix contains the poems and short stories discussed, and other teaching resources. The book provides a model of interdisciplinary inquiry that can be beneficial to scholars and practitioners in composition, literature, and applied linguistics, as well as students of all linguistic backgrounds.

This edited collection will turn a critical spotlight on the set of texts that has constituted the high school canon of literature for decades. By employing a set of fresh, vibrant critical lenses—such as youth studies and disabilities studies— that are often unfamiliar to advanced students and scholars of secondary English, this book provides divergent approaches to traditional readings and pedagogical practices surrounding these familiar works. By introducing and applying these interpretive frames to the field of secondary English education, this book demonstrates that there is more to say about these texts, ways to productively problematize them, and to reconfigure how they may be read and used in the classroom.

Examining how the discourses of youth, race, poverty and identity take shape when Push is adapted to the big screen, this book brings together valuable research to delve into representations of African-American girlhood. The book draws attention to how Black girlhood takes shape in the film under the dominant White discourses that racialise non-White bodies, and examines how these discourses inform a critical reception of the film and Precious, as a Black girl. Through a consideration of Black culture and heritage, it questions what narratives of girlhood, growth and development are afforded to the main character, in a film that is informed by neoliberal and colour-blind discourses. Highlighting the social context in which Precious was received, the book draws attention to how a discussion of Precious in the critical press gives insight into the racial politics that were dominant at the time of the film’s release. It considers whether race impacts how the film engages with, reflects and moves beyond conventions within the genre of youth film. Concise and engaging, this vital book sheds light on underrepresented areas of film studies that make it an invaluable resource for students and scholars of film, race and youth cultures.