Butch Geography

In her Los Angeles Review of Books essay “Who Is Who: Pronouns, Gender, and Merging Selves,” Dana Levin describes Stacey Waite’s fusion of gender identities: “Pseudonyms, heteronyms, personae, all the ventriloquizing literary arts; point of view and tonal shifts: these are tools for speakers and speaking. But the sentence too has a voice: ‘i will not be the kind of boy who can not bear the memory of her body’ ... This is [Waite’s] genius ... to take innocuous syntactical phrasing and change the players mid-sentence — to get around English’s pronominal either/or by creating a syntactical both/and...” “In this arresting collection, Stacey Waite is a pathfinder, charting with disarming honesty, humor, pathos and willful perplexity the uncertain terrain of gender in ways that shatter assumptions, unsettle easy presumptions, and yet, through the sheer grace of her craft and deft language, that open us to the beauty of our strange human enterprise.” — Kwame Dawes

With the tomboy figure currently operating in a liminal space between extinction and resurgence, this collection is an unabashed celebration of her rebellious, independent, and pioneering spirit. Reclaiming the Tomboy: The Body, Identity, and Representation pays tribute to tomboys of the past, present, and (hopefully) future.

Beloved and inventive poet Denise Duhamel selects the poems for the 2013 edition of The Best American Poetry,“a ‘best’ anthology that really lives up to its title” (Chicago Tribune). Over the last twenty-five years, the Best American Poetry series has become an annual rite of autumn, eagerly awaited and hotly debated: “an essential purchase” (The Washington Post). This year, guest editor Denise Duhamel brings her wit and enthusiasm and her commitment to poetry in all its wide variety to bear on her choices for The Best American Poetry 2013. These acts of imagination—from known stars and exciting newcomers—testify to the vitality of an art form that continues to endure and flourish, defying dour predictions of its demise, in the digital age. This edition of the most important poetry anthology in the United States opens with David Lehman’s incisive “state of the art” essay and Denise Duhamel’s engagingly candid discussion of the seventy-five poems that made her final cut. Reflecting the vibrant state of our country’s contemporary poetry scene, The Best American Poetry 2013 includes such eminences as John Ashbery, Louise Gluck, James Tate, and Richard Wilbur, as well as the fast-rising hot poets Sherman Alexie, Nin Andrews, Anna Maria Hong, Timothy Donnelly, Mary Ruefle, and Major Jackson.

The Best of the Independent Rhetoric and Composition Journals 2011 represents the result of a nationwide conversation—beginning with journal editors, but expanding to teachers, scholars and workers across the discipline of Rhetoric and Composition—to select essays that showcase the innovative and transformative work now being published in the field’s independent journals.

A leader of the transcendentalist movement and one of the country's first public intellectuals, Ralph Waldo Emerson has been a long-standing presence in American literature courses. Today he is remembered for his essays, but in the nineteenth century he was also known as a poet and orator who engaged with issues such as religion, nature, education, and abolition. This volume presents strategies for placing Emerson in the context of his time, for illuminating his rhetorical techniques, and for tracing his influence into the present day and around the world. Part 1, "Materials," offers guidance for selecting classroom editions and information on Emerson's life, contexts, and reception. Part 2, "Approaches," provides suggestions for teaching Emerson's works in a variety of courses, not only literature but also creative writing, religion, digital humanities, media studies, and environmental studies. The essays in this section address Emerson's most frequently anthologized works, such as Nature and "Self-Reliance," along with other texts including sermons, lectures, journals, and poems.

Afterwards is a book about the things that come after trauma. It encompasses the different kinds of grief— primarily the loss of a friend to suicide, but also the loss of an important relationship, and dealing with some loss related to family. There are frank discussions of mental illness and the spectrum of emotions that come with moving forward.

“The achievement of ‘Poverty Creek Journal’ is precisely that it does retrace that kind of wandering—and, in so doing, makes something lovely and meaningful of a difficult year. Gardner does not go in for pat analogies; he does not claim, as Camus once did about soccer, that running taught him everything about death. Nor does he go in for pat consolation. His journal does not so much end as stop, as if he has simply not yet risen for the next morning’s run.” — Kathryn Schulz, New Yorker “This is one of the most beautifully rendered pieces about running I’ve encountered under fifty pages. On the surface, Poverty Creek Journal is a daily running log in lyric prose, but it soon offers a meditation on the articulable nature of the human experience. After the narrator suddenly loses his brother, we follow his thoughts through nature, his mind wandering to integrate the strength and frailty of the body as he runs. Gardner’s luminous insights on running are often breathtaking. He likens running to ‘half sleep, when you’re awake in a way, but aware of dreams passing in a kind of un-retraceable wandering….the turning colors passing through me… no real way to put any of this into numbers, mile after mile streaming through me.’ We escape with Gardner away, from the finitude of miles and the illusion of stasis through his will to observe and gradually integrate loss into his body.” — Jaclyn Gilbert, LitHub “[E]ach year I turned my attention again to Poverty Creek Journal, listening closely to Gardner’s prose to understand better what I was striving for in my own work. Only recently did I start to realize that what he’d achieved in his writing didn’t mean I was an inadequate writer, but rather that I’d found a partner of sorts, someone whose work I could converse with through my own work.” —Joe Demes, Meter Magazine Thomas Gardner lives and teaches in Blacksburg, Virginia, on the edge of the Jefferson National Forest.

This book redefines ethos--classically thought of as character or credibility--as ecological and feminist, negotiated and renegotiated, and implicated in shifting power dynamics. Building on previous feminist and rhetorical scholarship, it discusses the unique methods by which women's ethos is constructed and transformed.