Women's contribution to rhetoric throughout Western history, like so many other aspects of women's experience, has yet to be fully explored. In pathbreaking discussions ranging from ancient Greece, though the Middle Ages and the Renaissance, to modern times, sixteen closely coordinated essays examine how women have used language to reflect their vision of themselves and their age; how they have used traditional rhetoric and applied it to women\u2019s discourse; and how women have contributed to rhetorical theory. Language specialists, feminists, and all those interested in rhetoric, composition, and communication, will benefit from the fresh and stimulating cross-disciplinary insights they offer.

Although Kathleen Norris’s best-selling Dakota: A Spiritual Geography has brought her to the attention of many thousands of readers, she is first and last a poet. Like Robert Frost, another poet identified with a particular landscape, she can reveal the miraculous in the ordinary, and she writes with clarity, humor, and deep sympathy for her subjects.

City of Salt, Gregory Orr’s sixth book of poems, is largely autobiographical and presents moments of intense emotion which are anchored in clearly dramatized events. These are poems of elegy and celebration, and of occasions where the two modes fuse in acts of redemptive imagination.

First published in 1934 and revised in 1962, this book gathers journalist and historian Joel Augustus Rogers' columns from the syndicated newspaper feature titled Your History. Patterned after the look of Ripley's popular Believe It or Not the multiple vignettes in each episode recount short items from Rogers's research. The feature began in the Pittsburgh Courier in November 1934 and ran through the 1960s.

Powerful meditations on the nature and limits of human understanding.

"Weaver's life studies and lyrics are imbued with a vivid sense of language, a vivid sense of the world, a vivid sense of their inseparability. And his tonal range—from unabashed passion to the subtlest velleity—is impressive indeed. This is a singular talent. "—Henry Louis Gates, Jr.

"You see, some folks has albums to put folks' pictures in to remember them by, and some folks has a book and lorites down the things that happen every day so they won't forget them; but, honey, these quilts is my albums and my diaries."Aunt Jane is a fictional character well known for her gentle folk wisdom and her vivid descriptions of a picturesque and almost vanished way of life in the rural South of the last century. Her words recall lavish Sunday dinners, courtships, quilting bees, church meetings, and county fair competitions. Yet Aunt Jane of Kentucky is more than a collection of reminiscences about the region of Western Kentucky where Eliza Caroline Obenchain (who published under the name Eliza Calvert Hall) was born and raised. She writes about strong women and the ways in which they make their voices heard. Obenchain was a dedicated suffragist who worked to win rights for women in the areas of property ownership and divorce, and her interest in the social condition of women is evident throughout her fictional work. In one of the most popular stories in the collection, "Sally Ann's Experience," Sally Ann refuses to agree that women should be silent in church; she tells her male audience, "Now it's my time to talk and yours to listen."Aunt Jane of Kentucky, first published in 1907, is a delightful example of regional fiction that will also serve as a valuable document for those interested in the history of women's issues.

Joan Retallack offers a book of forms, like the medieval Book of Hours, intended to draw readers into a meditative experience of time, space, language, the many humors of chance and design, as they intersect and leave their traces on the page. All of civilization to date, all of history is after all aftermath, afterthought, afterimage. The language graphics of AFTERRIMAGES lay claim to the fragility-the gift, the terror, and the whimsy-of the remnant that all images are. Their playful nature is born of the conviction that the present tense-tense, tensile with immanent futurity-must extend itself toward the unintelligible and unknown. This is the frontier where the image hovers on the edge of its own transfiguration, the threshold where poetry can take place.

Expansive, lyrical, and groundbreaking poetry by Ruth Stone, winner of the National Book Award and the National Book Critics Circle Award

A striking interplay of content and style makes this book-length narrative poem a wrenching, compelling tale. Mose is incarcerated in a Texas prison for a crime whose circumstances slowly unfold as he numbers the days of his sentence and fantasizes about a woman inexorably tied to his fate. As the harshness of prison life begins to close in and distort Mose's consciousness, he is increasingly obsessed with the truth of what happened. In the end, that inquiry reveals to him "another world underneath / this one" where everything "is backwards / to what we want." The journey to that world is a suspenseful and powerful study of a man's character and the trap it sets for him.

This first collection of poems enacts the struggle of a young black gay man in his search for identity. Many voices haunt these poems: black and white, male and female, the oppressor’s voice as well as the oppressed. The poet’s aim, finally, is to rescue some portion of the drowned and the drowning.

Over the past two decades, sweeping political changes and burgeoning new technologies have resulted in communities being increasingly defined in global as well as regional and national terms. Although the intellectual terra nova of world cultures remains largely uncharted, this anthology of sixty-two stories from around the non-Euro-American world provides what Elisabeth Young-Bruehl calls "an introductory map to the great wealth of literary works now being produced in, at once, the particular settings of the writers' experiences and the global setting."Young-Bruehl finds that while the cultural diversity the stories exemplify is amazing, so too is the similarity in thematic terms of the concerns that this diversity presents. Thus she organized Global Cultures thematically to highlight and clarify how these worldwide cultures both converge and diverge. A comprehensive general introduction outlines forces behind the transnational approach to literary study and chapter introductions contextualize each story. Stories from India, Cuba, South Africa, and Uruguay are connected by the theme of exile and immigration; tales from Nigeria, Guatemala, Cameroon, and Egypt share a theme of political violence and civil uprisings; works from Taiwan, Chile, Jamaica, and Syria describe commonalities of women facing effects of modernization, prejudice, war, and immigration.Global Cultures contributes to the fast-growing body of contemporary short fictions newly available in English and is an invaluable resource to meet the need for multicultural literature.

The life of a human community rests on common experience. Yet in modem life there is an experience common to all that threatens the very basis of community -- the experience of exile. No one in the modem world has been spared the encounter with homelessness. Refugees and fugitives, the disillusioned and disenfranchised grow in number every day. Why does it happen? What does it mean? And how are we implicated?David Patterson responds to these and related questions by examining exile, a primary motif in Russian thought over the last century and a half. By "exile" he means not only a form of punishment but an existential condition.Drawing on texts by such familiar figures as Dostoevsky, Tolstoy, Solzhenitsyn, and Brodsky, as well as less thoroughly examined figures, including Florensky, Shestov, Tertz, and Gendelev, Patterson moves beyond the political and geographical fact of exile to explore its spiritual, metaphysical, and linguistic aspects. Thus he pursues the connections between exile and identity, identity and meaning, meaning and language.Patterson shows that the problem of meaning in human life is a problem of homelessness, that the effort to return from exile is an effort to return meaning to the word, and that the exile of the word is an exile of the human being. By making heard voices from the Russian wilderness, Patterson makes visible the wilderness of the world.

Visitors to Lima today may wonder what has happened to the native music of Peru. While the music of Brazil and Chile have spread across to other countries, Peru has been left behind. A notable exception to this statement is the immense popularity of the lambada . Today, Peru's record industry and radio are concerned almost exclusively with salsa and rock both of which have acquired uniquely Peruvian forms.

The Prussian School of History first predicted and advocated, then celebrated and defended, the unification of Germany by Prussia. Experts in German historiography and the history of German liberalism have often complained about the lack of a book, in any language, that traces the origins and explains the ideas of this school of history. Here is that book. Robert Southard finds that, for the Prussian School, history had an agenda. These historians generally expected history to complete its main tasks in their own time and country. The outcome of their politics was, really, an "end of history" -- not a cessation to historical occurrences, but a cessation of onward historical movement because the historical process had already achieved its long-term, beneficent purposes.Leading us through the intricacies of important but untranslated works of J. G. Droysen, Max Duncker, Rudolph Hayn, and Heinrich von Sybel, Southard demonstrates their belief that the historical sequence was a continual unfolding of God's plan. Indispensable for those interested in the history of German historical writing, this book also has major implications for understanding the history of political liberalism.

In choosing Cathy Song’s first book for the Yale Series of Younger Poets, Richard Hugo said that her poems are “bouquets to those moments in life that seemed minor but in retrospect count the most.”In this, Song’s third book, the poems are like the school figures an ice skater etches onto the ice - the pen moving silently and deliberately across a white expanse of paper and experience, bringing maximum pressure to bear upon the blade of language to unlock “the invisible fire beneath the ice.”