Suzanne Manizza Roszak – författare

Examines literary expressions of allyship between Italian America and other diasporic communities in modern and contemporary US fiction.Intersecting Diasporas examines literary expressions of allyship between Italian America and other diasporic communities in modern and contemporary US fiction. Rewriting the Anglo-American genre of the "Italian novel," authors like James Baldwin, Bernard Malamud, Carolina De Robertis, and Chang-rae Lee have disrupted misconceptions of Italian and Italian American identity while confronting Italians' own complicity with white racism. Likewise, Italian American authors from John Fante to Tina De Rosa have written in solidarity with Black, Chicanx, Filipinx, Jewish, Romani, and Irish diasporic communities on US shores, unsettling stereotypes and dissecting Italian America's history of flawed allyship across diasporas. Suzanne Manizza Roszak traces these gestures of literary solidarity; considers how they relate to the writers' critiques of toxic masculinity, antiqueerness, and socioeconomic injustice; and proposes interdiasporic allyship as a practice of reconciliation and healing.

Examines literary expressions of allyship between Italian America and other diasporic communities in modern and contemporary US fiction.Intersecting Diasporas examines literary expressions of allyship between Italian America and other diasporic communities in modern and contemporary US fiction. Rewriting the Anglo-American genre of the "Italian novel," authors like James Baldwin, Bernard Malamud, Carolina De Robertis, and Chang-rae Lee have disrupted misconceptions of Italian and Italian American identity while confronting Italians' own complicity with white racism. Likewise, Italian American authors from John Fante to Tina De Rosa have written in solidarity with Black, Chicanx, Filipinx, Jewish, Romani, and Irish diasporic communities on US shores, unsettling stereotypes and dissecting Italian America's history of flawed allyship across diasporas. Suzanne Manizza Roszak traces these gestures of literary solidarity; considers how they relate to the writers' critiques of toxic masculinity, antiqueerness, and socioeconomic injustice; and proposes interdiasporic allyship as a practice of reconciliation and healing.

Outside the world of children’s literature studies, children’s books by authors of well-known texts "for adults" are often forgotten or marginalized. Although many adults today read contemporary children’s and young adult fiction for pleasure, others continue to see such texts as unsuitable for older audiences, and they are unlikely to cross-read children’s books that were themselves cross-written by authors like Chinua Achebe, Anita Desai, Joy Harjo, or Amy Tan. Meanwhile, these literary voices have produced politically vital works of children’s literature whose complex themes persist across boundaries of expected audience. These works form part of a larger body of activist writing "for children" that has long challenged preconceived notions about the seriousness of such books and ideas about who, in fact, should read them.They Also Write for Kids: Cross-Writing, Activism, and Children’s Literature seeks to draw these cross-writing projects together and bring them to the attention of readers. In doing so, this book invites readers to place children’s literature in conversation with works more typically understood as being for adult audiences, read multiethnic US literature alongside texts by global writers, consider children’s poetry and nonfiction as well as fiction, and read diachronically as well as cross-culturally. These ways of reading offer points of entry into a world of books that refuse to exclude young audiences in scrutinizing topics that range from US settler colonialism and linguistic prejudice to intersectional forms of gender inequality. The authors included here also employ an intricate array of writing strategies that challenge lingering stereotypes of children’s literature as artistically as well as intellectually simplistic. They subversively repurpose tropes and conventions from canonical children’s books; embrace an epistemology of children’s literature that emphasizes ambiguity and complexity; invite readers to participate in redefining concepts such as "civilization" and cultural belonging; engage in intricate acts of cross-cultural representation; and re-envision their own earlier works in new forms tailored explicitly to younger audiences. Too often disregarded by skeptical adults, these texts offer rich rewards to readers of all ages, and here they are brought to the fore.

Outside the world of children’s literature studies, children’s books by authors of well-known texts "for adults" are often forgotten or marginalized. Although many adults today read contemporary children’s and young adult fiction for pleasure, others continue to see such texts as unsuitable for older audiences, and they are unlikely to cross-read children’s books that were themselves cross-written by authors like Chinua Achebe, Anita Desai, Joy Harjo, or Amy Tan. Meanwhile, these literary voices have produced politically vital works of children’s literature whose complex themes persist across boundaries of expected audience. These works form part of a larger body of activist writing "for children" that has long challenged preconceived notions about the seriousness of such books and ideas about who, in fact, should read them.They Also Write for Kids: Cross-Writing, Activism, and Children’s Literature seeks to draw these cross-writing projects together and bring them to the attention of readers. In doing so, this book invites readers to place children’s literature in conversation with works more typically understood as being for adult audiences, read multiethnic US literature alongside texts by global writers, consider children’s poetry and nonfiction as well as fiction, and read diachronically as well as cross-culturally. These ways of reading offer points of entry into a world of books that refuse to exclude young audiences in scrutinizing topics that range from US settler colonialism and linguistic prejudice to intersectional forms of gender inequality. The authors included here also employ an intricate array of writing strategies that challenge lingering stereotypes of children’s literature as artistically as well as intellectually simplistic. They subversively repurpose tropes and conventions from canonical children’s books; embrace an epistemology of children’s literature that emphasizes ambiguity and complexity; invite readers to participate in redefining concepts such as "civilization" and cultural belonging; engage in intricate acts of cross-cultural representation; and re-envision their own earlier works in new forms tailored explicitly to younger audiences. Too often disregarded by skeptical adults, these texts offer rich rewards to readers of all ages, and here they are brought to the fore.

Outside the world of children’s literature studies, children’s books by authors of well-known texts “for adults” are often forgotten or marginalized. Although many adults today read contemporary children’s and young adult fiction for pleasure, others continue to see such texts as unsuitable for older audiences, and they are unlikely to cross-read children’s books that were themselves cross-written by authors like Chinua Achebe, Anita Desai, Joy Harjo, or Amy Tan. Meanwhile, these literary voices have produced politically vital works of children’s literature whose complex themes persist across boundaries of expected audience. These works form part of a larger body of activist writing “for children” that has long challenged preconceived notions about the seriousness of such books and ideas about who, in fact, should read them. They Also Write for Kids: Cross-Writing, Activism, and Children’s Literature seeks to draw these cross-writing projects together and bring them to the attention of readers. In doing so, this book invites readers to place children’s literature in conversation with works more typically understood as being for adult audiences, read multiethnic US literature alongside texts by global writers, consider children’s poetry and nonfiction as well as fiction, and read diachronically as well as cross-culturally. These ways of reading offer points of entry into a world of books that refuse to exclude young audiences in scrutinizing topics that range from US settler colonialism and linguistic prejudice to intersectional forms of gender inequality. The authors included here also employ an intricate array of writing strategies that challenge lingering stereotypes of children’s literature as artistically as well as intellectually simplistic. They subversively repurpose tropes and conventions from canonical children’s books; embrace an epistemology of children’s literature that emphasizes ambiguity and complexity; invite readers to participate in redefining concepts such as “civilization” and cultural belonging; engage in intricate acts of cross-cultural representation; and re-envision their own earlier works in new forms tailored explicitly to younger audiences. Too often disregarded by skeptical adults, these texts offer rich rewards to readers of all ages, and here they are brought to the fore.

Outside the world of children’s literature studies, children’s books by authors of well-known texts “for adults” are often forgotten or marginalized. Although many adults today read contemporary children’s and young adult fiction for pleasure, others continue to see such texts as unsuitable for older audiences, and they are unlikely to cross-read children’s books that were themselves cross-written by authors like Chinua Achebe, Anita Desai, Joy Harjo, or Amy Tan. Meanwhile, these literary voices have produced politically vital works of children’s literature whose complex themes persist across boundaries of expected audience. These works form part of a larger body of activist writing “for children” that has long challenged preconceived notions about the seriousness of such books and ideas about who, in fact, should read them. They Also Write for Kids: Cross-Writing, Activism, and Children’s Literature seeks to draw these cross-writing projects together and bring them to the attention of readers. In doing so, this book invites readers to place children’s literature in conversation with works more typically understood as being for adult audiences, read multiethnic US literature alongside texts by global writers, consider children’s poetry and nonfiction as well as fiction, and read diachronically as well as cross-culturally. These ways of reading offer points of entry into a world of books that refuse to exclude young audiences in scrutinizing topics that range from US settler colonialism and linguistic prejudice to intersectional forms of gender inequality. The authors included here also employ an intricate array of writing strategies that challenge lingering stereotypes of children’s literature as artistically as well as intellectually simplistic. They subversively repurpose tropes and conventions from canonical children’s books; embrace an epistemology of children’s literature that emphasizes ambiguity and complexity; invite readers to participate in redefining concepts such as “civilization” and cultural belonging; engage in intricate acts of cross-cultural representation; and re-envision their own earlier works in new forms tailored explicitly to younger audiences. Too often disregarded by skeptical adults, these texts offer rich rewards to readers of all ages, and here they are brought to the fore.

Within the Euro-American literary tradition, Gothic stories of childhood and adolescence have often served as a tool for cultural propaganda, advancing colonialist, white supremacist and patriarchal ideologies. This book turns our attention to modern and contemporary Gothic texts by hemispheric American writers who have refigured uncanny youth in ways that invert these cultural scripts. In the hands of authors ranging from Octavio Paz and Maryse Conde to N. Scott Momaday and Carmen Maria Machado, Gothic conventions become a means of critiquing pathological structures of power in the space of the Americas. As fictional children and adolescents confront persisting colonial and neo-imperialist architectures, grapple with the everyday ramifications of white supremacist thinking, navigate rigged systems of socioeconomic power, and attempt to frustrate patterns of gendered, anti-queer violence, the uncanny and the nightmarish in their lives force readers to reckon affectively as well as intellectually with these intersecting forms of injustice.

A handbook for students of literature with particular attention to all those who have ever been made to feel like outsiders in our field, The Imposter's Guide to Writing About Literature democratizes access to the knowledge necessary for successful professionalization—and especially publication—within literary studies.