“As much a manifesto as it is a book of poems, Scald is Denise Duhamel’s great feminist statement—by way of pantoums and villanelles, of course. But more than a feminist, I would say that Duhamel is a humanitarian. Her words dignify the disenfranchised. Glory to Denise Duhamel for her formal ingenuity and her gleeful political imagination.”—David Trinidad
“She is the last woman of her line. Her new poems end and begin with A. Phillip Randolph and Pullman Porters, her enjambments are Ma Rainey and Lawdy Miz Clawdy, her leading men are the last Black men on the planet named Isom, her major planets are porches and backroads. She is still the master storyteller to the 60 million of the Passage. When I didn’t know how to be a poet, I first read Colleen McElroy to slowly walk the path to how.”—Nikky Finney
“With a delicate balance of cleverness and emotion, the sixteen stories in Pietrzyk’s collection explore the event of her husband’s sudden death at the breakfast table in 1997. . . . The author’s wit, clarity, and literary inventiveness dance circles around the omnipresent sadness, making this book a prime example of the furious creative energy that can explode from the collision of grief with talent and craftsmanship. . . . [This Angel on My Chest] is the winner of the distinguished Drue Heinz Literature Prize, upholding its tradition of excellence in short fiction. Like Magic Rocks in a fishbowl, these stories turn the stones of grief into something bright, crystalline, mesmerizing.”—Kirkus Reviews (starred review)
“A brilliant example of scholarship that explores the difficult yet absolutely necessary effort of being present within the mainstream while maintaining cultural integrity.”—Choice
“A beautifully crafted homage to those editors and to the American literary aesthetic they created. . . . an ‘insider view’ that enriches our understanding of women editors in creating an American literature that otherwise wouldn’t have existed. . . . Eldred opens up fascinating new territory for understanding the inner workings of a magazine that was widely regarded as a woman’s magazine at this time.” —American Journalism
“To Know Her Own History gives new texture to composition and rhetoric’s history in documenting the processes of curricular reform in a state-supported normal school for women post–World War II. This study enriches our understanding of women’s rhetorical education within a rich multigenre writing curriculum and shows the effects of feminization of writing program administration as the women’s normal school model was abandoned in the unique political and social context of the South.”
—Joy S. Ritchie, University of Nebraska-Lincoln
“Lisa Shaver argues that American Methodist publications in the first half of the nineteenth century rhetorically constructed women’s roles in the home, in the church, in the community, and as writers—and in so doing gave women places ‘beyond the pulpit’ from which to be rhetorically effective. Her argument is well supported by attention to primary texts and to theoretical and scholarly sources. Shaver’s book offers a focus on ordinary and unnamed women, rather than on the usual heroes of feminism and/or rhetorical history.”
—Beth Daniell, Kennesaw State University
“The essays in Rhetorica in Motion constitute collectively an insightful framework for thinking reflectively and reflexively about theories, practices, and pedagogies that have been well informed by various intersections of feminisms and rhetorics as a relatively new field of inquiry. This volume demonstrates that we are accumulating now quite a full range of scholarly habits, knowledge, and wisdom using these perspectives, and it offers us, therefore, an excellent resource for seeing this work, as the editors say, ‘in motion.’ Kudos to Eileen Schell and K. J. Rawson for their leadership in pushing forward three decades of scholarship and teaching in our field with clarity and critical insight.”
—Jacqueline Jones Royster, Georgia Institute of Technology
Scald
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