In "Mixed Bloods and Other Crosses," Betsy Erkkila argues that it is through the historical and psychological dramas of blood as a marker of violence, or race, or sex, or kinship that Americans have struggled over the meanings of democracy, citizenship, culture, national belonging, and the idea of America itself as it was constituted and contested in its relations with others and the world. Whether blood is construed as setting up a boundary incapable of being crossed or is perceived as a site of mixing and hybridity, its imagery has saturated the literature of the American republic from the time of the founding. Erkkila moves from a consideration of contests about territorial, sexual, racial, class, national, and aesthetic borders in the Revolutionary period and the nineteenth century to a discussion of recent contests about the boundaries of culture and the disciplines and the relation between aesthetics and politics, identity and difference, nationalism and cosmopolitanism, the local and the global.Erkkila's American literature is a field of cultural and political struggle, one she examines in scenes of mixture and crossing, miscegenation and incest, doubling and hybridity that subvert, alter, or undo the boundary-building imperatives of American history. While she is concerned with the "crosses" of sex, race, class, and blood, she also looks at the ways history and "blood" impinge on the putatively pure realms of culture, literature, and aesthetics in the writings of Thomas Jefferson, Edgar Allan Poe, Emily Dickinson, Herman Melville, and the Caribbean writer C. L. R. James; she explores the ways the hybridity or mixture of social languages becomes a force for resistance and New World transformation in the writings of Phillis Wheatley and Abigail Adams, Walt Whitman and Harriet Jacobs; and she considers the ways modern subjectivity and the Freudian unconscious bear the markings of the dark, savage, sexual, and alien others that were expelled by the disciplinary logic of the Western Enlightenment and its legacy of blood in the Americas.

This book deals, in depth, with Whitman as a political poet. Erkkila's aim is to repair the split between the private and the public, the personal and the political, the poet and the history, that has governed the analysis and evaluation of Whitman's work in the past. She combines a formalist and a historic approach to Whitman's work by reading the poems within the socio-political context of his times.

Breaking Bounds invigorates the study of Whitman and American culture by presenting essays that demonstrate Whitman's centrality to the widest range of social, political, literary, sexual, and cultural discourses of his time and ours. Bringing together a distinguished group of cultural critics working in the fields of literature, American studies, Latin American studies, European studies, art history, and gay/lesbian/queer studies, the volume persistently opens new vistas in the ways we see Whitman and provides a model for the newest and brightest intellectual efforts associated with "cultural studies." Central to the volume is a set of provocative essays in queer studies that break the bounds of decorum that have too long separated Whitman's sexuality from his politics, and his poetry from both. The Whitman that emerges from these collected essays is renewed for a new generation of literary scholars working to define the places and the functions of his poetic words in the world. Taken as a whole, the volume points to the interdisciplinary future of American literary and cultural studies. Breaking Bounds is essential reading for anyone interested in Whitman both inside and outside the academy.

This provocative study of the lives and works of Emily Dickinson, Marianne Moore, Elizabeth Bishop, Adrienne Rich, and Gwendolyn Brooks focuses on the historical struggles and differences among and within women writers and among feminists themselves. Erkkila explores the troubled relations women writers experienced with both masculine and feminine literary cultures, arguing that popular feminist views often romanticize and maternalize women writers and their interrelations in ways that effectively reinforce the very gender stereotypes and polarities which initially grounded women's oppression. Studying the multiple race, class, ethnic, cultural, and other locations of women within a particular social field, Erkkila offers a revisionary model of women's literary history that challenges recent feminist theory and practice along with many of our fundamental assumptions about the woman writer, women's writing, and women's literary history. In contrast to the tendency of earlier feminists to heroize literary foremothers and communities of women, Erkkila focuses on the historical struggles and conflicts that make up the history of women poets. Without discounting the historical power of sisterhood, she seeks to reclaim women's literary history as a site of contention, contingency, and ongoing struggle, rather than a separate space of untroubled and essentially cooperative accord among women. Encompassing the various historical significations of "wickedness" as destructive, powerful, playful, witty, mischievous, and not righteous, The Wicked Sisters explores the power struggles and discord that mark both the history of women poets and the history of feminist criticism.

As the first full treatment of Walt Whitman's French sources and his later impact on French writers, this book revises our image of the poet and challenges many critical assumptions. Originally published in 1980. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

As the first full treatment of Walt Whitman's French sources and his later impact on French writers, this book revises our image of the poet and challenges many critical assumptions.

Originally published in 1980.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Breaking Bounds invigorates the study of Whitman and American culture by presenting essays that demonstrate Whitman's centrality to the widest range of social, political, literary, sexual, and cultural discourses of his time and ours. Bringing together a distinguished group of cultural critics working in the fields of literature, American studies, Latin American studies, European studies, art history, and gay/lesbian/queer studies, the volume persistently opens new vistas in the ways we see Whitman and provides a model for the newest and brightest intellectual efforts associated with "cultural studies." Central to the volume is a set of provocative essays in queer studies that break the bounds of decorum that have too long separated Whitman's sexuality from his politics, and his poetry from both. The Whitman that emerges from these collected essays is renewed for a new generation of literary scholars working to define the places and the functions of his poetic words in the world. Taken as a whole, the volume points to the interdisciplinary future of American literary and cultural studies. Breaking Bounds is essential reading for anyone interested in Whitman both inside and outside the academy.

No one better symbolizes the course of modern literature its triumphs and defeats than Pound. From the dreaminess and aestheticism of his early poems, to his Imagist and Vorticist manifestos, to the formally experimental method and mythic engagement with history in The Cantos, Pound marks the path that modern and postmodern poetry would follow. This collection provides a documentary record of the reviews of Ezra Pound's work in contemporary journals and newspapers, an introduction that traces the public outrage and controversy that characterized Pound's reception, and checklists of all known reviews of Pound's work. Most of the major poets and critics of the twentieth-century reviewed Pound's work, including T. S. Eliot, Ford Maddox Ford, William Carlos Williams and Edmund Wilson. Their multiple, perplexed, and sometimes hostile responses to his work provide a rich record of the struggles that marked the emergence of modern and contemporary poetry and poetics.