The goal is to record most books written or edited by the Department of English faculty, instructors, and students. We will start by entering the most recent publications first and work our way back to older books. There is a WMU Authors section in Waldo Library, where most of these books can be found.
With a few exceptions, we do not have the rights to put the full text of the book online, so there will be a link to a place where you can purchase the book.
If you are a faculty member and have a book you would like to include in the WMU book list, please contact firstname.lastname@example.org/
Brian Gogan, Eman Sari Al-Drous, Josh Scheidler, and Savannah Xaver
In How Other People Make Love, Thisbe Nissen chronicles the lives and choices of people questioning the heteronormative institution of marriage. Not best-served by established conventions and conventional mores, these people-young, old, gay, straight, midwestern, coastal-are finding their own paths in learning who they are and how they want to love and be loved, even when those paths must be blazed through the unknown. Concerning husbands and wives, lovers and leavers, Nissen's stories explore our search for connection and all the ways we undercut it, unwittingly and intentionally, when we do find it. How do we hold ourselves together-to function, work, and survive-while endlessly yearning to be undone, unraveled, and laid bare, however untenable and excruciating? How Other People Make Love contains nine stories. "Win's Girl" features a single woman who works at an Iowa slaughterhouse and uses the insurance money from a car accident to update the electric system in her dead parents' old house, only to be unwittingly embroiled with a shady electrician who ultimately forces her to stand up for herself. In "Home Is Where the Heart Gives Out and We Arouse the Grass," a young woman flees after cheating on her husband and winds up at a Nebraska roadside motel populated by participants in a regional dog show who help her decide what to do next. In "Unity Brought Them Together," a young man heads to his favorite New York coffee shop intending to finish the Christmas cards his vacationing fiancée insists on sending, but winds up meeting another displaced young midwestern man there and going home with him instead. All these stories explore the question, "how do we love?" as well as the answers we find, discard, follow, banish, and cling to in all our humanness and desperation. How Other People Make Love asserts that there aren't right and wrong ways to love; there are only our very complicated and contradictory human hearts, minds, bodies, and desires-all searching for something, whether we know what that is or not. These are stories for anyone who has ever loved or been loved.
Brian Gogan, Samantha Atkins, Ireland Atkinson, Kate Mitchell, Beth Spinner, and Savannah Xaver
Chronicling success -- Constructing success -- Reflecting on projects -- Tracing an equity event -- Proposing projects -- Building a position -- Reworking a position -- Narrating a reflection.
Gwen Athene Tarbox and Derek Parker Royal
A complete critical guide to the history, form and contexts of the genre, Children's and Young Adult Comics helps readers explore how comics have engaged with one of their most crucial audiences.
In an accessible and easy-to-navigate format, the book covers such topics as:
- The history of comics for children and young adults, from early cartoon strips to the rise of comics as mainstream children's literature
- Cultural contexts – from the Comics Code Authority to graphic novel adaptations of popular children's texts such as Neil Gaiman's Coraline
- Key texts – from familiar favourites like Peanuts and Archie Comics to YA graphic novels such as Gene Luen Yang's American Born Chinese and hybrid works including the Diary of a Wimpy Kid series
- Important theoretical and critical approaches to studying children's and young adult comics
Children's and Young Adult Comics includes a glossary of crucial critical terms and a lengthy resources section to help students and readers develop their understanding of these genres and pursue independent study.
Erin Hult and Alan Farmer
In Erin's second poetry collection, she continues to use writing as a way to express her thoughts and feelings. Erin navigates controversial and emotional topics in a relatable, original way. Paving a path for young women like her, she encourages her readers to seek help for mental illnesses, step away from unhealthy relationships, and learn to love themselves. As Erin approaches her early twenties, she is just figuring out love and the other intricacies of life, allowing her readers to follow her along the way.
In her collection, Shelter in Place, Catherine Kyle offers unapologetic mirrors and terrifying prophecies; these graceful, imaginative poems are not afraid to look into the deep dark--within and without--into the places we often close our eyes against. Refusing retreat, spurning sanctuary, Kyle's poetry is interrogatory, seeking answers: if we advocate awareness as a "balm," especially now "in the age of the image," how can we stare into the faces of suffering and do nothing? She goes on to ask: "if this world is a story, / what is its moral," an answer that relies on our acceptance of responsibility as "the sovereign or the heir." Will we be parent or legacy, liberator or disciple? Kyle reminds us that although we often give in--make deals with crossroads demons, relinquish our "hands" for "gloves," the "softest kid skin," take the easy outs--through it all we have a choice; we can choose to be museums, to "make shelters of / our bodies," to "carry the ghosts / of what is lost." We can "become custom jobs," play our parts, save empathy, create change. Even as Kyle's poetry terrifies and punctures us with worry, it rebels, refusing to relinquish hope, goading us into bravery. Shelter in Place is a warning, a slap in the face, a kick in the ass, a pre-apocalyptic prayer, a guide to action where "agency" equals "lullaby elegy power." Kara Dorris, author of Night Ride Home and Untitled Film Still Museum.
Change is constant and learning new skills teaches us communication techniques. Staying encouraged is capable of being included in existance. Living comfortably comes with being able to express one self in ways that will heal the soul and record the moments. Spontaneity also helps keep this life refreshed. A relationship with art is one without waiting, sometimes.
Staci M. Perryman-Clark and Collin Lamont Craig
Editors Staci M. Perryman-Clark and Collin Lamont Craig have made a space for WPAs of color to cultivate antiracist responses within an Afrocentric framework and to enact socially responsible approaches to program building. This framework also positions WPAs of color to build relationships with allies and create contexts for students and faculty to imagine rhetorics that speak truth to oppressive and divisive ideologies within and beyond the academy, but especially within writing programs.
Contributors share not just experiences of racist microaggressions, but also the successes of black WPAs and WPAs whose work represents a strong commitment to students of color. Together they work to foster stronger alliance building among white allies in the discipline, and, most importantly, to develop concrete, specific models for taking action to confront and resist racist microaggressions. As a whole, this collection works to shift the focus from race more broadly toward perspectives on blackness in writing program administration.
Thomas Bailey and Katherine Joslin
Of all the many biographies of Theodore Roosevelt, none has presented the twenty-sixth president as he saw himself: as a man of letters. This fascinating account traces Roosevelt’s lifelong engagement with books and discusses his writings from childhood journals to his final editorial, finished just hours before his death. His most famous book, The Rough Riders—part memoir, part war adventure—barely begins to suggest the dynamism of his literary output. Roosevelt read widely and deeply, and worked tirelessly on his writing. Along with speeches, essays, reviews, and letters, he wrote history, autobiography, and tales of exploration and discovery. In this thoroughly original biography, Roosevelt is revealed at his most vulnerable—and his most human.
As funding for basic scientific research becomes increasingly difficult to secure, public support becomes essential. Because of its promise for captivating nonexpert publics, the practice of merging art and imagery with science has been gaining traction in the scientific community. While images have been used with greater frequency in recent years, their value is often viewed as largely superficial. To the contrary, Maria E. Gigante posits in Introducing Science through Images, the value of imagery goes far beyond mere aesthetics--visual elements are powerful communication vehicles. The images examined in this volume, drawn from a wide range of historical periods, serve an introductory function--that is, they appear in a position of primacy relative to text and, like the introduction to a speech, have the potential to make audiences attentive and receptive to the forthcoming content. Gigante calls them "portal" images and explicates their utility in science communication, both to popularize and mystify science in the public eye. Gigante analyzes how science has been represented by various types of portal images: frontispieces, portraits of scientists, popular science magazine covers, and award-winning scientific images from Internet visualization competitions. Using theories of rhetoric and visual communication, she addresses the weak connection between scientific communities and the public and explores how visual elements can best be employed to garner public support for research.
This poetry collection was written over the span of two years. It touches on some of the hardest situations women of all ages are dealing with. The author writes about her own experiences with mental illness, unhealthy relationships, and more in a way that makes it relatable for her readers. She uses poetry as therapy, in hopes readers can identify with her words and use them as a healing experience, as she did.
Edward Jayne and Elaine Anderson Jayne
An Archaeology of Disbelief traces the origin of secular philosophy to pre-Socratic Greek philosophers who proposed a physical universe without supernatural intervention. Some mentioned the Homeric gods, but others did not. Atomists and Sophists identified themselves as agnostics if not outright atheists, and in reaction Plato featured transcendent spiritual authority. However, Aristotle offered a physical cosmology justified by evidence from a variety of scientific fields. He also revisited many pre-Socratic assumptions by proposing that existence consists of mass in motion without temporal or spatial boundaries. In many ways his analysis anticipated Newton's concept of gravity, Darwin's concept of evolution, and Einstein's concept of relativity. Aristotle's follower Strato invented scientific experimentation. He also inspired the pursuit of science and advocated the rejection of all beliefs unconfirmed by science. Carneades in turn distorted Aristotelian logic to ridicule the god concept, and Lucretius proposed a grand secular cosmology in his epic De Rerum Natura. In the two dialogues, Academica and De Natura Deorum, Cicero provided a useful retrospective assessment of this entire movement. The Roman Empire and advent of Christianity effectively terminated Greek philosophy except for Platonism reinvented as stoicism. Widespread destruction of libraries eliminated most early secular texts, and the Inquisition played a major role in preventing secular inquiry. Aquinas later justified Aristotle in light of Christian doctrine, and secularism's revival was postponed until the seventeenth century's paradoxical reaction against his interpretation of Aristotle. Today it nevertheless remains possible to trace western civilization's remarkable secular achievement to its initial breakthrough in ancient Greece. The purpose of this book is accordingly to trace the origin and development of its secular thought through close examination of texts that still exist today in light of Aristotle's writings.
Poetry that provides sensation through rhythmic intrigue.
Jean Baudrillard has been studied as sociologist, philosopher, cultural theorist, political commentator, and photographer. Brian Gogan establishes him as a rhetorician, demonstrating how the histories, traditions, and practices of rhetoric prove central to his use of language. In addition to Baudrillard’s standard works, Gogan examines many of the scholar’s lesser-known writings that have never been analyzed by rhetoricians, and this more comprehensive approach presents fresh perspectives on Baudrillard’s work as a whole.
Gogan examines both the theorist and his rhetoric, combining these two lines of inquiry in ways that allow for provocative insights. Part one of the book explains Baudrillard’s theory as compatible with the histories and traditions of rhetoric, outlining his novel understanding of rhetorical invention as involving thought, discourse, and perception. Part two evaluates Baudrillard’s work in terms of a perception of him—as an aphorist, an illusionist, an ignoramus, and an ironist. A biographical sketch and a critical review of the literature on Baudrillard and rhetoric round out the study.
This book makes the French theorist’s complex concepts understandable and relates them to the work of important thinkers, providing a thorough and accessible introduction to Baudrillard’s ideas.
This book addresses portrayals of children in a wide array of Chaucerian works. Situated within a larger discourse on childhood, Ages of Man theories, and debates about the status of the child in the late fourteenth century, Chaucer’s literary children―from infant to adolescent―offer a means by which to hear the voices of youth not prominently treated in social history. The readings in this study urge our attention to literary children, encouraging us to think more thoroughly about the Chaucerian collection from their perspectives. Eve Salisbury argues that the child is neither missing in the late Middle Ages nor in Chaucer’s work, but is,rather, fundamental to the institutions of the time and central to the poet’s concerns.
In Swastika into Lotus, Richard Katrovas, a "punk formalist," casts a wary eye on poetry, poetry readings, higher education, the UFO cottage industry, organized religion, fine dining, climate change denial, and national right-wing politics. The book's humor is dark, by turns self-deprecating and fierce, and yet many of the poems are unabashed in their assertions of both filial and romantic love. Heaving traditionally "formal" verse through a looking glass, Katrovas has produced a book that is not for the passive-aggressively "sensitive."
In Hitchcock's Appetites, Casey McKittrick offers the first book-length study of the relationship between Hitchcock's body size and his cinema. Whereas most critics and biographers of the great director are content to consign his large figure and larger appetite to colorful anecdotes of his private life, McKittrick argues that our understanding of Hitchcock's films, his creative process, and his artistic mind are incomplete without considering his lived experience as a fat man.
Using archival research of his publicity, script collaboration, and personal communications with his producers, in tandem with close textual readings of his films, feminist critique, and theories of embodiment, Hitchcock's Appetites produces a new and compelling profile of Hitchcock's creative life, and a fuller, more nuanced account of his auteurism.
“What are the three parts of powder? Anger. Nostalgia. Love.” These are what drive Thomas Percy, a Catholic Englishman chafing under the rule of the Scotsman James I in the first decade of the seventeenth century. Percy’s passions, fueled by an obsession with the medieval-history plays staged at Shakespeare’s Globe playhouse, erupt at last in a wild plan to save the soul of a kingdom – by killing its Protestant king.
Katherine Joslin and Daneen Wardrop
Crossings in Text and Textile explores the diverse range of transatlantic representations of clothing in nineteenth- and early twentieth-century literature. This collection of essays demonstrates that fashion history and literary history, when examined together, prompt fresh understandings of the complexities of race, class, and sexual identity. By bridging material culture and discourse, Crossings establishes the significance of fashion--while neglecting none of its aesthetic appeal--to offer historicized readings on a variety of topics, from Jane Austen's nuanced display of social interactions through the economics of muslin to the 1871 Park and Boulton cross-dressing trial and Jessie Fauset's selection of apparel to express racial power. The geographic span of textiles from different economic areas around the globe includes Asia, Africa, Europe, and North America. By making use of transatlantic texts to consider the political and social positioning of both workers and consumers, the collection further expands upon the emerging cross-disciplinary study of reading dress. A true "state of the field" work, Crossings in Text and Textiles charts new scholarly ground at the nexus between fashion, textiles, and literature, appealing to a broad interdisciplinary audience of scholars and students.
Judith A. Rypma
Once again Rypma weaves words into poetic patterns that explore everything from the forbidden fruits to the healing gems of our lives. In this latest book, Amber Notes, she also “transports us across a lifetime and around the globe,” as Atlanta Review editor Dan Veach puts it. Richard Katrovas, author of 14 books, concurs, adding that “an insect in amber is the perfect emblem for this dance.”
In a stunning cycle of persona poems, Daneen Wardrop offers us a panoramic view of the inner lives of those forgotten among the violence and strife of the American Civil War: the nurse and the woman soldier, the child and the draftee, the prostitute, the black slave, and the Native American soldier. Each one speaks out to be seen and heard, bearing witness to the mundanity of suffering experienced by those whose presence was ubiquitous yet erased in the official histories of the War Between the States. Cyclorama takes its name from the theater-sized, in-the-round oil paintings popular in the late nineteenth century, and with each poem, Wardrop adds a panel to her expansive, engrossing portrait of the bloodshed and tears, the tedium and fear experienced by the Civil War living and the dying. With pathos and lyric force, she brings sharply into focus perspectives on an unfathomable experience we thought we already knew and understood.
Daneen Leigh Wardrop
Civil War Nurse Narratives, 1863–1870, examines the first wave of autobiographical narratives written by northern female nurses and published during the war and shortly thereafter, ranging from the well-known Louisa May Alcott to lesser-known figures such as Elvira Powers and Julia Wheelock. From the hospitals of Washington, DC, and Philadelphia, to the field at Gettysburg in the aftermath of the battle, to the camps bordering front lines during active combat, these nurse narrators reported on what they saw and experienced for an American audience hungry for tales of individual experience in the war.
As a subgenre of war literature, the Civil War nurse narrative offered realistic reportage of medical experiences and declined to engage with military strategies or Congressional politics. Instead, nurse narrators chronicled the details of attending wounded soldiers in the hospital, where a kind of microcosm of US democracy-in-progress emerged. As the war reshaped the social and political ideologies of the republic, nurses labored in a workplace that reflected cultural changes in ideas about gender, race, and class. Through interactions with surgeons and other officials they tested women’s rights convictions, and through interactions with formerly enslaved workers they wrestled with the need to live up to their own often abolitionist convictions and support social equality.
By putting these accounts in conversation with each other, Civil War Nurse Narratives productively explores a developing genre of war literature that has rarely been given its due and that offers refreshing insights into women’s contributions to the war effort. Taken together, these stories offer an impressive and important addition to the literary history of the Civil War.
Ready! Aim! On command the firing squad aims at the man backed against a full-length mirror. The mirror once hung in a bedroom, but now it's cracked and propped against a Dumpster in an alley. The condemned man has refused the customary last cigarette but accepted as a hood the black slip that was carelessly tossed over a corner of the mirror's frame. The slip still smells faintly of a familiar fragrance. So begins "Tosca," the first in this vivid collection of Stuart Dybek's love stories. Operatically dramatic and intimately lyrical, grittily urban and impressionistically natural, the varied fictions in Paper Lantern all focus on the turmoil of love as only Dybek can portray it. An execution triggers the recollection of a theatrical romance; then a social worker falls for his own client; and lovers part as giddily, perhaps as hopelessly, as a kid trying to hang on to a boisterous kite. A flaming laboratory evokes a steamy midnight drive across terrain both familiar and strange, and an eerily ringing phone becomes the telltale signature of a dark betrayal. Each story is marked with contagious desire, spontaneous revelation, and, ultimately, resigned courage. As one woman whispers when she sets a notebook filled with her sketches drifting out to sea, "Someone will find you."nbsp;nbsp;nbsp;nbsp; Some of Dybek's characters recur in these stories, while others appear only briefly. Throughout, they-and we-are confronted with vaguely familiar scents and images, reminiscent of love but strangely disconcerting, so that we might wonder whether we are looking in a mirror or down the barrel of a gun. "After the ragged discharge," Dybek writes, "when the smoke has cleared, who will be left standing and who will be shattered into shards?" Paper Lantern brims with the intoxicating elixirs known to every love-struck, lovelorn heart, and it marks the magnificent return of one of America's most important fiction writers at the height of his powers.
Hiromi Ito and Jeffrey Angles
Poetry. Asian & Asian American Studies. Women's Studies. Translated from the Japanese by Jeffrey Angles. Set simultaneously in the California desert and her native Japan, tracking migrant children who may or may not be human, or alive, Hiromi Itō's WILD GRASS ON THE RIVERBANK will plunge you into dreamlike landscapes of volatile proliferation: shape-shifting mothers, living father-corpses, and pervasively odd vegetation. At once grotesque and vertiginous, Itō interweaves mythologies, language, sexuality, and place into a genre-busting narrative of what it is to be a migrant.
A provocative collection of personal and political essays by an American writer, Raising Girls in Bohemia chronicles the life of a father raising three perfectly bilingual, culturally bifurcated, Czech-American daughters. While tracing what fatherhood has taught him about the world, Katrovas delves into a range of intricately related yet far-flung subjects including fine dining, sexual epithets, gender identity, racism, poetry, and education, tracing the contours of his ignorance about all things. Through the course of these fine essays, Katrovas unveils what it means to be an American and to be a man, and especially what it means to be a father of three daughters, born in Prague, in what we can only hope is the twilight of patriarchy.