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"The burden of the past" invoked by any discussion of eclecticism is a familiar aspect of modernity, particularly in the history of literature. The Age of Eclecticism: Literature and Culture in Britain, 1815-1885 by Christine Bolus-Reichert aims to reframe that dynamic and to place it in a much broader context by examining the rise of a manifold eclecticism in the nineteenth century. Bolus-Reichert focuses on two broad understandings of eclecticism in the period-one understood as an unreflective embrace of either conflicting beliefs or divergent historical styles, the other a mode of critical engagement that ultimately could lead to a rethinking of the contrast between creation and criticism and of the very idea of the original. She also contributes to the emerging field of transnational Victorian studies and, in doing so, finds a way to talk about a broader, post-Romantic nineteenth-century culture.By reviving eclecticism as a critical term, Bolus-Reichert historicizes the theoretical language available to us for describing how Victorian culture functioned-in order to make the terrain of Victorian scholarship international and comparative and create a place for the Victorians in the genealogy of postmodernism. The Age of Eclecticism gives Victorianists-and other students of nineteenth-century literature and culture-a new perspective on familiar debates that intersect in crucial ways with issues still relevant to literature in an age of multiculturalism and postmodernism.

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.

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.

It has been half a century since a few now-canonical Latin American writers introduced magical realism to the world. In that time, new generations of Latinx writers and artists have used that watershed moment as a springboard into new and bold explorations of speculative and fantasy forms. Collectively, they have found exciting new ways to delve into Latinx identities and cultures across genres. Latinx Rising, the first anthology of science fiction and fantasy by Latinxs living in the United States, exuberantly displays the full range of their art. The new and established voices assembled here (including Kathleen Alcalá, Carmen Maria Machado, Ernest Hogan, and other luminaries) invite us to imagine a Latinx past, present, and future that have not been whitewashed by mainstream perspectives. As in the best mixtapes, this anthology moves satisfyingly through the loud and brash, the quiet and thoughtful. There are ghosts, space aliens, robots-and a grandmother who unwittingly saves the universe through her cooking. The result is a deeply pleasurable read that pushes beyond magical realism and social realism to demonstrate all the thrilling possibilities of what Latinx literature can be.

At 5:30 p.m. on May 6, 1970, an embattled Ohio State University President Novice G. Fawcett took the unprecedented step of closing down the university. Despite the presence of more than 1,500 armed highway patrol officers, Ohio National Guardsmen, deputy sheriffs, and Columbus city police, university and state officials feared they could not maintain order in the face of growing student protests. Students, faculty, and staff were ordered to leave; administrative offices, classrooms, and laboratories were closed. The campus was sealed off. Never in the first one hundred years of the university's existence had such a drastic step been necessary. Just a year earlier the campus seemed immune to such disruptions. President Nixon considered it safe enough to plan an address at commencement. Yet a year later the campus erupted into a spasm of violent protest exceeding even that of traditional hot spots like Berkeley and Wisconsin. How could conditions have changed so dramatically in just a few short months? Using contemporary news stories, long overlooked archival materials, and first-person interviews, The Ohio State University in the Sixties explores how these tensions built up over years, why they converged when they did and how they forever changed the university.

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.

Jordan Peele's Get Out: Political Horror is a collection of sixteen essays devoted to exploring Get Out's roots in the horror tradition and its complex and timely commentary on twenty-first-century US race relations. The first section, "The Politics of Horror," traces the influence of the gothic and horror tradition on Peele's film, from Shakespeare's Othello, through the female gothic and Ira Levin's Rosemary's Baby and The Stepford Wives, to the modern horror film, including the zombie, rural, suburban, and body-swap subgenres of horror. The second section, "The Horror of Politics," takes up Get Out's varied political interventions-notably its portrayal of the continuation of slavery and the deformation of the black body and mind in white, so-called progressive America. Contributors address Peele's film alongside African American figures such as Nat Turner, W. E. B. Du Bois, and James Baldwin. Taken together, the essays illuminate how Get Out stands as both a groundbreaking intervention in the horror tradition as well as a devastating unmasking of racism in the contemporary United States.

In The Ethics of Persuasion: Derrida's Rhetorical Legacies, Brooke Rollins argues that some of the most forceful and utilitarian examples of persuasion involve significant ethical dimensions. Using the work of Jacques Derrida, she draws this ethical imperative out from a series of canonical rhetorical texts that have traditionally been understood as insistent or even guileful instances of persuasion. Her reconsideration of highly determined pieces by Gorgias, Lysias, Isocrates, and Plato encourages readers to inherit the rhetorical tradition differently, and it pinpoints the important rhetorical dimensions of Derrida's own work. Drawing on Derrida's (non)definition of ethics and his pointed accounts of performativity, Rollins argues that this vital ethical component of many ancient theories, practices, and pedagogies of persuasion has been undertheorized for more than two millennia. Through deconstructive readings of some of these texts, she shows us that we are not simply sovereign beings who both wield and guard against linguistic techniques of rule. Our persuasive endeavors, rather, are made possible by an ethics--an always prior encounter with otherness that interrupts self-presence.

Columbus, Ohio, is a place whose identity centers on its supposed lack of identity-an American "every place" that has launched countless chain dining concepts. Enter the contributors to this wide-ranging volume, who are all too happy to fight back against that reputation, even as they recognize it as an inevitable facet of the ever-growing city they call home. "Maybe we're not having trouble designing a definitive identity," writes Amanda Page in her introduction. "Maybe we are a city that is constantly considering what it will become."Race, sports, the endless squeeze of gentrification, the city's booming literary and comics scenes, its reputation as a haven for queer life, the sometimes devastating differences in perspective among black and white, native and transplant residents-and more than one tribute to Buckeye Donuts-make this anthology a challenging and an energizing read. From Hanif Abdurraqib's sparkling and urgent portrait of Columbus's vital immigrant culture as experienced through Crew games to Nick Dekker's insights into breakfast as a vehicle for getting to know a city to the poetry of Maggie Smith and Ruth Awad, the pieces gathered here show us a Columbus far more textured than any test marketer could dream up.

Jordan Peele's Get Out: Political Horror is a collection of sixteen essays devoted to exploring Get Out's roots in the horror tradition and its complex and timely commentary on twenty-first-century US race relations. The first section, "The Politics of Horror," traces the influence of the gothic and horror tradition on Peele's film, from Shakespeare's Othello, through the female gothic and Ira Levin's Rosemary's Baby and The Stepford Wives, to the modern horror film, including the zombie, rural, suburban, and body-swap subgenres of horror. The second section, "The Horror of Politics," takes up Get Out's varied political interventions-notably its portrayal of the continuation of slavery and the deformation of the black body and mind in white, so-called progressive America. Contributors address Peele's film alongside African American figures such as Nat Turner, W. E. B. Du Bois, and James Baldwin. Taken together, the essays illuminate how Get Out stands as both a groundbreaking intervention in the horror tradition as well as a devastating unmasking of racism in the contemporary United States.

The Rust Belt was once the crown of American manufacturing, a symbol of the country's economic prowess. But now it is named for what it has become: a deteriorating stretch of industrial cities left behind by a post-industrial world. In Dayton: The Rise, Decline, and Transition of an Industrial City, Adam A. Millsap turns his focus to his hometown, an archetypal Rust Belt city, to examine its history and discuss its future.Thoroughly researched and engagingly written, Millsap's book explores the economic background of the region made famous by J. D. Vance's Hillbilly Elegy. From early twentieth-century optimism, through the Great Depression and post-WWII manufacturing decline, to Dayton now, with its labor-force problems and opioid crisis, Millsap tracks the underlying forces driving the city's trajectory. Race relations, interstates, suburbanization, climate, crime, geography, and government policies all come into play as Millsap develops a picture of the city, past and present. By examining the past, Millsap proposes a plan for the future, claiming that there is hope for Dayton to thrive again. And if Dayton can rise from its industrial ashes, then perhaps the Rust Belt can shed its stigma and once again become the backbone of American innovation.

The powerful essays in Paul Crenshaw's This One Will Hurt You range in subject matter from the fierce tornadoes that crop up in Tornado Alley every spring and summer to a supposedly haunted one-hundred-year-old tuberculosis sanatorium that he lived on the grounds of as a child. They ruminate on the effects of crystal meth on small southern towns, Maurice Sendak's Where the Wild Things Are, and the ongoing struggle of being a parent in an increasingly disturbing world. They surprise, whether discovering a loved one's secret, an opossum's motivation, or the unexpected decision four beer-guzzling, college-aged men must make. They tell stories of family and the past, the histories of small things such as walls and weather, and the faith it takes to hold together in the face of death. With eloquence, subtle humor, and an urgent poignancy, Crenshaw delivers a powerful and moving collection of nonfiction essays, tied together by place and the violence of the world in which we live.

On the Back of a Turtle is an all-inclusive history of the Huron-Wyandot people-from before the creation of the Great Island, now called North America, to the present day. No other full-length history of the Huron-Wyandot people exists. Presented in a conversational, easy-to-read style, the book is a compelling and informative telling of the story of the Huron-Wyandot people as told by a tribal historian. As characters and tribes emerge in the Huron-Wyandot's oral tradition of creation, and take their respective places upon the Great Island, the author reveals the most difficult element of the Huron-Wyandot's history: how the tribal name was obtained. With the knowledge of how both Huron and Wyandot are relevant names for one tribe of people, the author then shares his tribe's amazing history. The reader will be fascinated to learn how one of the smallest tribes, birthed amid the Iroquois Wars, rose to become one of the most respected and influential tribes of North America.

Sue Eisenfeld is a Yankee by birth, a Virginian by choice, an urbanite who came to love the rural South, a Civil War buff, and a nonobservant Jewish woman. In Wandering Dixie, she travels to nine states, uncovering how the history of Jewish southerners converges with her personal story and the region''s complex, conflicted present. In the process, she discovers the unexpected ways that race, religion, and hidden histories intertwine. From South Carolina to Arkansas, she explores the small towns where Jewish people once lived and thrived. She visits the site of her distant cousin and civil rights activist Andrew Goodman''s murder during 1964''s Freedom Summer. She also talks with the only Jews remaining in some of the "lost" places, from Selma to the Mississippi Delta to Natchitoches, and visits areas with no Jewish community left-except for an old temple or overgrown cemetery. Eisenfeld follows her curiosity about Jewish Confederates and casts an unflinching eye on early southern Jews'' participation in slavery. Her travels become a journey of revelation about our nation''s fraught history and a personal reckoning with the true nature of America. 

Through language both reverent and reckless, Katie Condon''s debut collection renders the body a hymn. Praying Naked is Eden in the midst of the fall, the meat of the apple sweet as sex. In this collection, God is a hopeless and dangerous flirt, mothers die and are resurrected, and disappointing lovers run like hell for the margins. With effortless swagger and confessional candor, Condon lays bare the thrill of lust and its subsequent shame. In poems brimming with "the desire / to be desired" by men, by God, by lovers'' other women, by oneself, she renders a world in which wildflowers are coated in ash and dark bedrooms flicker with the blue light of longing. The speaker implores like an undressed wound: "is it wrong to feel a hurt kind of beautiful?" Ecstatic and incisive, Praying Naked is a daring sexual and spiritual reckoning by a breathtaking new poet.

Exploring the history humans share with gorillas, Voices from the Ape House offers a behind-the-scenes look at the complicated social lives of western lowland gorillas through the eyes of a devoted zookeeper. The memoir traces Beth Armstrong''s love and fascination for animals, from her childhood to her work with captive primates as an adult. Through her eyes, readers sense the awe and privilege of working with these animals at the Columbus Zoo. Individual gorillas there had an enormous effect on her life, shaping and influencing her commitment to improving gorilla husbandry and to involving her zoo in taking an active role to protect gorillas in the wild. Through anecdotal stories, readers get a glimpse into the fascinating lives of gorillas-the familiar gentleness of mothers and fathers toward their infants, power plays and social climbing, the unruly nature of teenagers, the capacity for humor, and the shared sadness by group members as they mourn the death of one of their own. In the end, Armstrong''s conflict with captivity and her lifelong fondness for these animals helped shape a zoo program dedicated to gorilla conservation. 

Finalist for the Publishing Triangle''s Judy Grahn Award for Lesbian NonfictionYou have a history, and a body. You are a history, and a body. Your body has (is) a history, too. As a girl, Julie Marie Wade was uninterested in makeup, boy-watching, and other trappings of conventional girlhood, much to her mother''s disappointment. Grace Kelly and Marilyn Monroe-movie stars immortalized as feminine ideals, even as they both died tragically and young-were lodestars that threw Wade''s own definition of beauty into relief as she stumbled into adulthood.Now, in Just an Ordinary Woman Breathing, Wade traces the intimate story of coming of age in one particular body (as a lesbian, an only child, a Protestant attending Catholic school). She uses the language and tenets of music, math, religion, fairy tales, poetry, and art to reckon with the many facets of embodiment, sexuality, and love in our contemporary world. The diet industry, popular culture, and her own family all provide rich material for what is ultimately a lyrical and unflinching investigation into the questions that prickle deep within the human heart. 

My Private Lennon: Explorations from a Fan Who Never Screamed offers a new point of view from which to consider the Beatles'' impact on society and on the individual. In a series of linked autobiographical essays that explore the musical, cultural, and personal aspects of intense music fandom, Sibbie O''Sullivan dismantles the grand narrative of the fifteen-year-old hysterical female Beatles fan and replaces it with an introspective and often humorous tale about how the band shaped her intellectual and artistic development. My Private Lennon charts the author''s realization that the Beatles, especially John Lennon, were a crucial force in her development. A radical departure from other books written by Beatles fans, My Private Lennon invites its readers to consider subjects not usually found in works about Lennon and the band, such as the constraints of memory, the male body, grief, the female breast, race, cultural issues, and the importance of privacy in our over-mediated world. In pieces that engage cultural issues and historical contexts, My Private Lennon creates a witty and provocative intimacy with readers who value the power of art to change one''s life and who love John Lennon and the Beatles. 

In 2014 Sonya Bilocerkowycz is a tourist at a deadly revolution. At first she is enamored with the Ukrainians'' idealism, which reminds her of her own patriotic family. But when the romantic revolution melts into a war with Russia, she becomes disillusioned, prompting a return home to the US and the diaspora community that raised her. As the daughter of a man who studies Ukrainian dissidents for a living, the granddaughter of war refugees, and the great-granddaughter of a gulag victim, Bilocerkowycz has inherited a legacy of political oppression. But what does it mean when she discovers a missing page from her family''s survival story-one that raises questions about her own guilt?In these linked essays, Bilocerkowycz invites readers to meet a swirling cast of post-Soviet characters, including a Russian intelligence officer who finds Osama bin Laden a few weeks after 9/11; a Ukrainian poet whose nose gets broken by Russian separatists; and a long-lost relative who drives a bus into the heart of Chernobyl. On Our Way Home from the Revolution muddles our easy distinctions between innocence and culpability, agency and fate.

Through a series of variations on the theme of love-unrequited, polyamorous, monogomous, scandalous, adulterous-Desirae Matherly''s Echo''s Fugue explores love in all its failures and delusions. Patterned on the unfinished The Art of Fugue by Johann Sebastian Bach which has been a mystery for centuries, Echo''s Fugue undertakes Bach''s project in prose-the tantalizing numerical correspondences throughout, the repetition of a single theme, the unfinished final piece. Matherly''s essays appear as letters, indexes, narrative, or sentence diagrams, each defying the rules of the blank page. Song lyrics, obsession, Greek mythology, psychology, game theory, and human sexuality form a fragmented narrative about loss and unhealthy attachments. Mimicry of Bach''s fugues leads the author to questions about love, sex, desire, the "Bach or Stravinsky" paradigm in game theory, and relationships considered taboo by mainstream standards.What authority speaks clearest with regard to love, sex, and desire-and is objectivity even possible? The final essay attempts to resolve this question while echoing the puzzle of Bach''s final unfinished fugue.