Bøger udgivet af The Ohio State University Press

A Ms. Magazine "Most Anticipated Feminist Book of 2023"After a less-than-positive experience giving birth as a Black woman in the 1970s, Linda Janet Holmes launched a lifetime of work as an activist dedicated to learning about and honoring alternative birth traditions and the Black women behind them. Safe in a Midwife's Hands brings together what Holmes has gleaned from the countless midwives who have shared with her their experiences, at a time when their knowledge and holistic approaches are essential counterbalances to a medical system that routinely fails Black mothers and babies. Building on work she began in the 1980s, when she interviewed traditional Black midwives in Alabama and Virginia, Holmes traveled to Ghana, Ethiopia, and Kenya to visit midwives there. In detailing their work, from massage to the uses of medicinal plants to naming ceremonies, she links their voices to those of midwives and doulas in the US. She thus illuminates parallels between birthing traditions that have survived hundreds of years of colonialism, enslavement, Jim Crow, and ongoing medical racism to persist as vital cultural practices that promote healthy outcomes for mothers and babies during pregnancy, birth, and beyond.

"As an adult, [Imperial] attempted what no one else had done: translating ['The White Man's Burden'] into Tagalog. These efforts led Imperial to reflect on her many (often disorienting) moves between the U.S. and the Philippines as well as the pain that translating the poem, alongside her own fractured experiences, represented....Kipling's 'burden,' Imperial suggests, is far more nuanced than many believe....An intriguing and provocative book."-KirkusBorn in postcolonial Philippines into a family-and country-with a complicated history, Christine Imperial learns from a lifetime of experiences that there is no easy path to understanding or belonging. Setting out to renew her relationship to Tagalog, the language she had previously distanced herself from, she contends with the meaning of her dual Philippine/US citizenship along with the conditions surrounding it, reflecting on imperialist and class systems and the history of her birth country. Beginning with an attempt to translate into Tagalog Rudyard Kipling's "The White Man's Burden"-Kipling's ode to American imperialism after the US takeover of the Philippines-Imperial reflects on and writes against Kipling's poem as she unspools her fractured family's story. Reckoning with both the anguish and promise of hybridity, Mistaken for an Empire expands into an exploration of the author's relationship to English and Tagalog, history, family and state, origin and belonging. By interrogating the many intricacies of individual and national identity and the legacies that shape them, Imperial grapples with the tangled nature of allegiance, whether it be to family, to country, or to self.

Post-Postmodernist Fiction and the Rise of Digital Epitexts explores new dynamics created by the intersection of digital media and contemporary fiction, arguing that these synergies are part of the cultural context in which the post-postmodernist novel emerges. Virginia Pignagnoli introduces a rhetorical theory of paratexts meant to reshape traditional views of paratextuality, providing categories, functions, and properties able to accommodate new digital practices, such as those of digital epitexts (authors' social media posts and novels' websites, for example), that widen the space for authorial creation and narrative exchange beyond the print novel. Focusing on the effects digital epitexts have on audiences, Pignagnoli presents an analysis of contemporary novels-by Michael Chabon, Jennifer Egan, Catherine Lacey, Meg Wolitzer, and Dave Eggers-that display a post-postmodern sensitivity in dialogue with some of the ways digital epitexts are currently employed. Ultimately, in showing how twenty-first-century novels and digital epitexts are co-constitutive, Pignagnoli offers a vision of a new post-postmodernism interested in sincerity, relationality, and intersubjectivity.

The Necromantics dwells on the literal afterlives of history. Reading the reanimated corpses-monstrous, metaphorical, and occasionally electrified-that Mary Shelley, Robert Browning, Charles Dickens, W.¿B. Yeats, Bram Stoker, and others bring to life, Renée Fox argues that these undead figures embody the present's desire to remake the past in its own image. Fox positions "necromantic literature" at a nineteenth-century intersection between sentimental historiography, medical electricity, imperial gothic monsters, and the Irish Literary Revival, contending that these unghostly bodies resist critical assumptions about the always-haunting power of history.By considering Irish Revival texts within the broader scope of nineteenth-century necromantic works, The Necromantics challenges Victorian studies' tendency to merge Irish and English national traditions into a single British whole, as well as Irish studies' postcolonial efforts to cordon off a distinct Irish canon. Fox thus forges new connections between conflicting political, formal, and historical traditions. In doing so, she proposes necromantic literature as a model for a contemporary reparative reading practice that can reanimate nineteenth-century texts with new aesthetic affinities, demonstrating that any effective act of reading will always be an effort of reanimation.

"A dauntless and harrowing indictment of patriarchal violence." -Publishers WeeklyIn Everything I Never Wanted to Know, Christine Hume confronts the stigma and vulnerability of women's bodies in the US. She explores bodily autonomy and sexual assault alongside the National Sex Offender Registry in order to invoke not solutions but a willingness to complicate our ideas of justice and defend every human's right to be treated like a member of the community. Feminist autobiography threads into historical narrative and cultural criticism about the Victorian-era Frozen Charlotte doll; the Nylon Riots of the 1940s; the movie Halloween; Larry Nassar, who practiced in Hume's home state of Michigan; and other material. In these reflections on sexuality, gender, criminality, and violence, Hume asks readers to reconsider what we have collectively normalized and how we are each complicit, writing through the darkness of what we don't want to see, what we'd rather not believe, and what some of us have long tried to forget.

In Improbability, Chance, and the Nineteenth-Century Realist Novel, Adam Grener advances a new approach to evaluating realism in fiction by arguing that nineteenth-century literary realism shifted attention to the historical and social dimensions of probability in the period's literature. In an era in which probability was increasingly defined by statistical concepts of aggregation and abstraction, the realist writers discussed here turned to chance and improbability to address representational problems of contingency, difference, and scale. Contemporary thinking about probability came to recognize the variability and even randomness of the world while also discovering how patterns and order reemerge at scale. Reading chance as a tension between randomness and order, Grener shows how novels by Jane Austen, Sir Walter Scott, Charles Dickens, Anthony Trollope, and Thomas Hardy resist the demands of probabilistic representation and develop strategies for capturing cultural particularity and historical transformation. These authors served their visions of realism by tactically embracing improbability in the form of coincidences, fatalism, supernaturalism, and luck. Understanding this strategy helps us to appreciate how realist novels work to historicize the social worlds and experiences they represent and asks us to rethink the very foundation of realism.

"This bewitching debut delivers everything the title promises and more." -Electric LiteratureIn SEX DEPRESSION ANIMALS, Mag Gabbert redefines the bestiary in fiery, insistent, and resistant terms. These poems recast the traumas of her adolescence while charting new paths toward linguistic and bodily autonomy as an adult. Using dreamlike, shimmering imagery, she pieces together a fractured portrait of femininity-one that electrifies the confessional mode with its formal play and rich curiosity. Gabbert examines the origin of shame, the role of inheritance, and what counts as a myth, asking, "What's the opposite of a man? / A woman? A wound? The devil's image?"

How did Mary Shelley's Frankenstein give rise to the iconic green monster everyone knows today? In 1823, only five years after publication, Shelley herself saw the Creature come to life on stage, and this performance shaped the story's future. Suddenly, thousands of people who had never read Shelley's novel were participating in its cultural animation. Similarly, early adaptations magnified the reception and renown of all manner of nineteenth-century literary creations, from Byron and Keats to Dickens and Tennyson and beyond. Yet, until now, adaptation has been seen as a largely modern phenomenon. In Transmedia Adaptation in the Nineteenth Century, Lissette Lopez Szwydky convincingly historicizes the practice of adaptation, drawing on multiple disciplines to illustrate narrative mobility across time, culture, and geography. Case studies from stage plays, literature, painting, illustration, chapbooks, and toy theaters position adaptation as a central force in literary history that ensures continued cultural relevance, accessibility, and survival. The history of these forms helps to inform and put into context our contemporary obsessions with popular media. Finally, in upending a traditional understanding of canon by arguing that adaptation creates canon and not the other way around, Szwydky provides crucial bridges between nineteenth-century literary scholarship, adaptation studies, and media studies, thus identifying new stakes for all.

Missionary Cosmopolitanism in Nineteenth-Century British Literature explores the notion that missionaries, often perceived as only evangelically motivated in the British imperial project, were also spurred on by cosmopolitan ideals. Winter Jade Werner makes this surprising connection in order to write against standard understandings of missionary work as well as typical understandings of cosmopolitanism as a deeply secular project.Missionary Cosmopolitanism identifies the nineteenth-century novel as thematically and formally attuned to the tension between missionaries' cosmopolitan values and the moral impoverishment of their imperialist and expansionist practices. Werner's chapters interact with canonical works such as Charlotte Brontë's Jane Eyre and Charles Dickens's Bleak House, along with lesser-known works by Robert Southey and Sydney Owenson. Ultimately, Missionary Cosmopolitanism demonstrates that nineteenth-century literature both illustrated and helped define missionary discourses regarding cosmopolitan ideas, showing how global evangelicalism continues to tap into the "new cosmopolitanisms" of today.

Eternalized Fragments explores the implications of treating literature as art-examining the evolving nature of aesthetic inquiry in literary studies, with an eye to how twentieth- and twenty-first-century world fiction challenges our understandings of form, pleasure, ethics, and other critical concepts traditionally associated with the study of aesthetics. Since postmodern and contemporary fiction tend to be dominated by disjunctures, paradoxes, and incongruities, this book offers an account of how and why readers choose to engage regardless, articulating the cognitive rewards such difficulties offer. By putting narrative and philosophical approaches in conversation with evolutionary psychology and contemporary neuroscience, W. Michelle Wang examines the value of attending to aesthetic experiences when we read literature and effectively demonstrates that despite the aesthetic's stumble in time, our ongoing love affair with fiction is grounded in our cognitive engagements with the text's aesthetic dimensions. Drawing on a diverse range of works by Gabriel García Márquez, Kazuo Ishiguro, Arundhati Roy,Cormac McCarthy, Jeanette Winterson, Jennifer Egan, Italo Calvino, Flann O'Brien, and Alasdair Gray, Eternalized Fragments lucidly renders the aesthetic energies at work in the novels' rich potentialities of play, the sublime's invitation to affective renegotiations, and beauty's polysemy in shaping readerly capacities for nuance.

The 1963 publication of Thomas Pynchon's V. changed the landscape of American fiction. Becoming Pynchon: Genetic Narratology and V. offers a detailed examination of the dramatic transformations that took place as Pynchon's foundational novel went from typescript to published work. Luc Herman and John M. Krafft develop and deploy a rich theory of genetic narratology to examine the performance of genre in the novel. Pushing back against the current dominance of cognitive narratology, they discuss focalization, character construction, and evocation of consciousness as clues to Pynchon's developing narratology of historical fiction. Their theoretical interventions offer an important and timely corrective to the field of narratology with a method that brings the author back into the analytical frame. Herman and Krafft use as their guide the typescript of V. that surfaced in 2001, when it was acquired by the Harry Ransom Humanities Research Center, as well as Pynchon's editorial correspondence with Corlies Smith, his first editor at J.¿B. Lippincott. Becoming Pynchon assembles a comprehensive and unequaled picture of Pynchon's writing process that will appeal both to Pynchonians and to postmodernism scholars more broadly.

While critical discourse about falconry metaphors in premodern literature is dominated by depictions of women as unruly birds in need of taming, women in the Middle Ages claimed the symbol of a hawking woman on their personal seals, trained and flew hawks, and wrote and read poetic texts featuring female falconers. Sara Petrosillo's Hawking Women demonstrates how cultural literacy in the art of falconry mapped, for medieval readers, onto poetry and challenged patriarchal control. Examining texts written by, for, or about women, Hawking Women uncovers literary forms that arise from representations of avian and female bodies. Readings from Sir Orfeo, Chrétien de Troyes, Guillaume de Machaut, Chaucer's Troilus and Criseyde, and hawking manuals, among others, show how female characters are paired with their hawks not to assert dominance over the animal but instead to recraft the stand-in of falcon for woman as falcon with woman. In the avian hierarchy female hawks have always been the default, the dominant, and thus these medieval interspecies models contain lessons about how women resisted a culture of training and control through a feminist poetics of the falconry practice.

In Playing at Narratology Daniel Punday bridges the worlds of digital media studies and narrative studies by arguing that digital media allows us to see unresolved tensions, ambiguities, and gaps in core narrative concepts. Rather than developing new terms to account for web-based storytelling, Punday uses established narrative forms to better understand how digital media exposes faulty gaps in narrative theory. Punday's Playing at Narratology shows that artists, video game developers, and narrative theorists are ultimately playing the same game. Returning to terms such as narrator, setting, event, character, and world, Playing at Narratology reveals new ways of thinking about these basic narrative concepts-concepts that are not so basic when applied to games and web-based narratives. What are thought of as narrative innovations in these digital forms are a product of technological ability and tied to how we physically interact with a medium, creating new and complicated questions: Is the game designer the implied author or the narrator? Is the space on the screen simply the story's setting? Playing at Narratology guides us through the evolution of narrative in new media without abandoning the field's theoretical foundations.