In a time of increasing mass incarceration, US prisons and jails are becoming a major source of literary production. Prisoners write for themselves, fellow prisoners, family members, and teachers. However, too few write for college credit. In the dearth of well-organized higher education in US prisons, noncredit programs established by colleges and universities have served as a leading means of informal learning in these settings. Thousands of teachers have entered prisons, many teaching writing or relying on writing practices when teaching other subjects. Yet these teachers have few pedagogical resources. This groundbreaking collection of essays provides such a resource and establishes a framework upon which to develop prison writing programs. Prison Pedagogies does not champion any one prescriptive approach to writing education but instead recognizes a wide range of possibilities. Essay subjects include working-class consciousness and prison education; community and literature writing at different security levels in prisons; organized writing classes in jails and juvenile halls; cultural resistance through writing education; prison newspapers and writing archives as pedagogical resources; dialogical approaches to teaching prison writing classes; and more. The contributors within this volume share a belief that writing represents a form of intellectual and expressive self-development in prison, one whose pursuit has transformative potential.

Louis Owens: Writing Land and Legacy explores the wide-ranging oeuvre of this seminal author, examining Owens's work and his importance in literature and Native studies. Of Choctaw, Cherokee, and Irish American descent, Owens's work includes mysteries, novels, literary scholarship, and autobiographical essays. Louis Owens offers a critical introduction and thirteen essays arranged into three sections: "Owens and the World," "Owens and California," and "The Novels." The essays present an excellent assessment of Owens's literary legacy, noting his contributions to American literature, ethnic literature, and Native American literature and highlighting his contributions to a variety of theories and genres. The collection concludes with a coda of personal poetic reflections on Owens by Diane Glancy and Kimberly Blaeser. Libraries, students, scholars, and the general public interested in Native American literature and the landscape of contemporary US literature will welcome this reflective volume that analyzes a vast range of Louis Owens's imaginative fictions, personal accounts, and critical work.

The Iraq war has produced profound changes within the United States, changes manifested by popular discontent with the war. On one hand, U.S. culture finds its own ideological reflection in the Iraq war; on the other hand, U.S. media repeatedly critique the social and political forces that produce the war. These multiple and contradictory assessments have been characterized by intensified imagery and narratives, an escalation that is in part a function of the new communications technologies used to generate them. This book examines the images and stories emerging from the Iraq war, from video games that retell its battles, the representations of Arab people in American film history, and U.S. war documentaries, to parody and memoir and photographs from Abu Ghraib.

Cultures of War in Graphic Novels examines the representation of small-scale and often less acknowledged conflicts from around the world and throughout history. The contributors look at an array of graphic novels about conflicts such as the Boxer Rebellion (1899-1901), the Irish struggle for national independence (1916-1998), the Falkland War (1982), the Bosnian War (1992-1995), the Rwandan genocide (1994), the Israel-Lebanon War (2006), and the War on Terror (2001-). The book explores the multi-layered relation between the graphic novel as a popular medium and war as a pivotal recurring experience in human history. The focus on largely overlooked small-scale conflicts contributes not only to advance our understanding of graphic novels about war and the cultural aspects of war as reflected in graphic novels, but also our sense of the early twenty-first century, in which popular media and limited conflicts have become closely interrelated.

"The first lick from Mr. Peterkin laid my back open. I writhed, I wrestled; but blow after blow descended, each harder than the preceding one. I shrieked, I screamed, I pleaded, I prayed, but here no mercy shown me. Mr. Peterkin having fully gratified and quenched his spleen, turned to Mr. Jones and said 'Now is yer turn; you can beat her as much as you please, only jist leave a bit o'life in her, is all I cares for.' " In the pages of this putative autobiography the author poses as a slave for the purpose of bringing attention to the injustice of slavery. The actual author Mattie Griffith, passing as a black, wanted her book to horrify and shame the nation.Identifying herself as Ann, a former servant woman, she recalls her protected youth and good education as a nearly-white child. She tells that at twelve she was sold to a brutal master named Peterkin. On his Kentucky plantation she witnessed and experienced the cruelty of slave life. After his death one of his daughters took Ann to the city as her servant. Ann found new friendships there and fell in love with Henry, a slave who killed himself after being cheated out of his self-purchase. After being sold to an elderly Bostonian who emancipated her, Ann finishes her story as a schoolteacher for black children. Pseudo-slave narratives like Griffith's appeared over the course of the abolitionist movement, and this is the only one now in print. Born in Kentucky, Griffith was by inheritance the owner of six slaves. As a young woman she went north because she loathed the "peculiar institution." Living in poverty in Philadelphia, Griffith wrote Autobiography of a Female Slave to help finance her effort to emancipate her slaves and resettle them in free territory. She professed a keen knowledge of a slave's daily life and the brutal incidents a slave experienced. From this material she created her fictional story. The novel failed commercially, although it was hailed within the abolitionist movement. The American Anti-Slavery Society soon afterward gave Griffith the funds to return to Kentucky in order to free and resettle her slaves.

Mattie Griffith (c.1826A 1906) has disappeared from American literary history. She remained a lifelong activist, first for abolition, and then for women's suffrage and for temperance. Joe Lockard is a doctoral candidate at the University of California, Berkeley."