Christopher Looby - Böcker

How is a nation brought into being? In a detailed examination of crucial texts of 18th-century American literature, Christopher Looby argues that the United States was self-consciously enacted through the spoken word. Historical material informs and animates theoretical texts by Derrida, Lacan, and others as Looby unravels the texts of Benjamin Franklin, Charles Brockden Brown, and Hugh Henry Brackenridge and connects them to nation-building, political discourse, and self-creation. Correcting the strong emphasis on the importance of print culture in 18th-century America, "Voicing America" uncovers the complex process of early American writers articulating their new nation, and reveals a body of literature and a political discourse thoroughly concerned with the power of vocal language.

Rethinking the category of aesthetics in light of recent developments in literary theory and social criticism, the contributors to this volume showcase the interpretive possibilities available to those who bring politics, culture, ideology, and conceptions of identity into their critiques. Essays combine close readings of individual works and authors with more theoretical discussions of aesthetic theory and its relation to American literature. In their introduction, Weinstein and Looby argue that aesthetics never left American literary critique. Instead, the essay casts the current "return to aesthetics" as the natural consequence of shortcomings in deconstruction and new historicism, which led to a reconfiguration of aesthetics. Subsequent essays demonstrate the value and versatility of aesthetic considerations in literature, from eighteenth-century poetry to twentieth-century popular music. Organized into four groups-politics, form, gender, and theory-contributors revisit the canonical works of Henry James, Nathaniel Hawthorne, and Stephen Crane, introduce the overlooked texts of Constance Fenimore Woolson and Earl Lind, and unpack the complexities of the music of The Carpenters.Deeply rooted in an American context, these essays explore literature's aesthetic dimensions in connection to American liberty and the formation of political selfhood. Contributors include Edward Cahill, Ivy G. Wilson, June Ellison, Dorri Beam, Christopher Castiglia, Christopher Looby, Wendy Steiner, Cindy Weinstein, Trish Loughran, Jonathan Freedman, Elisa New, Dorothy Hale, Mary Esteve, Eric Lott, Sianne Ngai

Rethinking the category of aesthetics in light of recent developments in literary theory and social criticism, the contributors to this volume showcase the interpretive possibilities available to those who bring politics, culture, ideology, and conceptions of identity into their critiques. Essays combine close readings of individual works and authors with more theoretical discussions of aesthetic theory and its relation to American literature. In their introduction, Weinstein and Looby argue that aesthetics never left American literary critique. Instead, the essay casts the current "return to aesthetics" as the natural consequence of shortcomings in deconstruction and new historicism, which led to a reconfiguration of aesthetics. Subsequent essays demonstrate the value and versatility of aesthetic considerations in literature, from eighteenth-century poetry to twentieth-century popular music. Organized into four groups-politics, form, gender, and theory-contributors revisit the canonical works of Henry James, Nathaniel Hawthorne, and Stephen Crane, introduce the overlooked texts of Constance Fenimore Woolson and Earl Lind, and unpack the complexities of the music of The Carpenters.Deeply rooted in an American context, these essays explore literature's aesthetic dimensions in connection to American liberty and the formation of political selfhood. Contributors include Edward Cahill, Ivy G. Wilson, June Ellison, Dorri Beam, Christopher Castiglia, Christopher Looby, Wendy Steiner, Cindy Weinstein, Trish Loughran, Jonathan Freedman, Elisa New, Dorothy Hale, Mary Esteve, Eric Lott, Sianne Ngai

"Heterosexuality, this novel forthrightly claims, is a poor substitute for passionate love between men-and heterosexuality's historical emergence in the nineteenth century is consequently, Cecil Dreeme laments, a grave misfortune."-Christopher Looby, from the IntroductionFreshly returned to New York City from his studies abroad, unmoored by news of the apparent suicide of his accomplished childhood friend Clara Denman, and drawn in spite of himself toward the sinister man-about-town Densdeth, Robert Byng is unsettlingly adrift in the city of his birth. Things take an even stranger turn once he finds lodgings in the Gothic halls of Chrysalis College in lower Manhattan. There he meets the mysteriously reclusive Cecil Dreeme, brilliant artist and creature of the night. In Dreeme, Byng finds a friend unlike any he has known before. But is Cecil the man he claims to be, and can their friendship survive the dangers they will soon face together?Issued posthumously in 1861, Cecil Dreeme was the first published novel of Theodore Winthrop, who has the unfortunate distinction of being one of the first Union officers killed in the line of duty during the Civil War. Newly edited by Christopher Looby, it is a very queer book indeed.

"Perhaps it is no coincidence that the nineteenth century-the century when, it has been said, sexuality as such (and various taxonomized sexual identities) were invented-is the period when American short stories were invented, and when they were the queerest."-Christopher Looby, from the IntroductionA man in small-town America wears the clothing of his wife and sisters; satisfied at last that he has "a perfect suit of garments appropriate for my sex," he commits suicide, asking only that he be buried dressed as a woman. A country maid has a passionate summer relationship with an heiress, the memory of which sustains her for the next forty years. A girl is carried by a strong wind to a place where she discovers that everything is made of candy, including the "queer people," whom she licks and eats. If these are not the kinds of stories we expect to find in nineteenth-century American literature, it is perhaps because we have been looking in the wrong places.The stories gathered here are written by a diverse assortment of writers-women and men, obscure and famous: Herman Melville, Willa Cather, and Louisa May Alcott, among others. Exploring the vagaries of gender identity, erotic desire, and affectional attachments that do not map easily onto present categories of sex and gender, they celebrate, mourn, and question the different modes of embodiment and forgotten styles of pleasure of nineteenth-century America.

In a series of lengthy letters, the unsettled and unruly Ethel Sutherland writes to an initially unnamed and ungendered correspondent, and patiently discloses the troubled history of her past romantic attachments to both men and women. Not until the third letter does she reveal that her correspondent is Ernest, the man to whom she is engaged to be married. Wanting to make him understand how all of her past loves are included and sublimated in her love for him, she especially wants to explain how "women often love each other with as much fervor and excitement as they do men"; and although this love is curiously "freed from all the grosser elements of passion, as it exists between sexes," nevertheless it "retains its energy, its abandonment, its flush, its eagerness, its palpitation, and its rapture."Margaret Jane Mussey Sweat (1823-1908), a native of Portland, Maine, and wife of a United States congressman, published Ethel's Love-Life in 1859. The book is sometimes credited as an early-even the first-"lesbian" American novel, but such a label, Christopher Looby observes in his Introduction, somewhat misrepresents what is distinctive and surprising about the book. Ethel's Love-Life confounds our received binary distinctions between the spiritual and the carnal and, indeed, between the sexual and the nonsexual-the boundaries between such categories being not nearly as well-policed at the time as they later became. It is here reprinted, along with Sweat's Verses (1890) and five of her published essays, on Charlotte BrontË, George Sand, the contemporary novel, and the friendships of women.

Queer Natures, Queer Mythologies collects in two parts the scholarly work—both published and unpublished—that Sam See had completed as of his death in 2013.In Part I, in a thorough reading of Darwin, See argues that nature is constantly and aimlessly variable, and that nature itself might be considered queer. In Part II, See proposes that, understood as queer in this way, nature might be made the foundational myth for the building of queer communities.With essays by Scott Herring, Heather Love, and Wendy Moffat.

Queer Natures, Queer Mythologies collects in two parts the scholarly work—both published and unpublished—that Sam See had completed as of his death in 2013.In Part I, in a thorough reading of Darwin, See argues that nature is constantly and aimlessly variable, and that nature itself might be considered queer. In Part II, See proposes that, understood as queer in this way, nature might be made the foundational myth for the building of queer communities.With essays by Scott Herring, Heather Love, and Wendy Moffat.

Charles Warren Stoddard (1843–1909) was, during his life, an acclaimed and prolific writer in multiple genres: poetry, travel sketches, personal memoir, and conversion narrative. His most popular works were dispatches primarily from the South Sea Islands but also extended into Palestine, Egypt, and what would become known as Hawai'i, most of which were published in the San Francisco Chronicle and then collected into books.For the Pleasure of His Company: An Affair of the Misty City, Thrice Told (1903) is Stoddard's only novel. This new edition, as with other works in Penn Press's series Q19: The Queer American Nineteenth Century, returns and reframes an important queer literary text to print. Set mostly in and around San Francisco in the late nineteenth century, the novel features a protagonist, Paul Clitheroe, who is an aspiring writer living among the Bohemian artistic circles of that place and time—the same circles Stoddard himself inhabited. The novel is both formally experimental and largely autobiographical. Thus Paul comes into contact, as Stoddard did, with writers, artists, actors, directors, priests, adventurers, and many others as he attempts to begin his career. Bohemian artistic life and erotic experimentation go hand in hand here: Paul has multiple relationships with other men even as he writes a novel that features similar liaisons. At the very end of the story, while on a cruise in the Pacific, Paul impulsively leaves his ship and disappears in a canoe with some young Hawaiian men. This parallels Stoddard's life too: he spent many long periods of his life in Hawai'i, where he found the local homoerotic customs to his liking.This Q19 volume also includes three of Stoddard's Hawaiian travel sketches, which chronicle his intimate personal relationship with a Hawaiian youth he calls Kána-Aná. The volume contains a full critical introduction as well as extensive annotations explaining textual references of various kinds and identifying parallels with Stoddard's own life.