A collection of poetic responses to loss both consolation and inspiration to any reader. Death has always served as one of the most powerful catalysts for poetry. Whether with Dylan Thomas, counseling readers to "Rage, rage against the dying of the light," or with Walt Whitman, taking comfort in the serene arrival "sooner or later" of "delicate death," poets throughout history have faced the mortal losses that all of us inevitably encounter."

Forty years after their first ground breaking work of feminist literary theory, The Madwoman in the Attic, award-winning collaborators Sandra M. Gilbert and Susan Gubar map the literary history of feminism's second wave. From its stirrings in the midcentury-when Sylvia Plath, Betty Friedan and Joan Didion found their voices and Diane di Prima, Lorraine Hansberry and Audre Lorde discovered community in rebellion-to a resurgence in the new millennium in the writings of Alison Bechdel, Claudia Rankine and N. K. Jemisin, Gilbert and Gubar trace the evolution of feminist literature. They offer lucid, compassionate and piercing readings of major works by these writers and others, including Adrienne Rich, Ursula K. Le Guin, Maxine Hong Kingston, Susan Sontag, Gloria Anzaldua and Toni Morrison. Activists and theorists like Nina Simone, Gloria Steinem, Andrea Dworkin, Eve Kosofsky Sedgwick and Judith Butler also populate these pages as Gilbert and Gubar examine the overlapping terrain of literature and politics in a comprehensive portrait of an expanding movement. As Gilbert and Gubar chart feminist gains-including creative new forms of protests and changing attitudes toward gender and sexuality-they show how the legacies of second wave feminists and the misogynistic culture they fought, extend to the present. In doing so, they celebrate the diversity and urgency of women who have turned passionate rage into powerful writing.

Eating Words gathers food writing of literary distinction and historical sweep into one splendid volume. Beginning with the taboos of the Old Testament and the tastes of ancient Rome, and including travel essays, polemics, memoirs and poems, the book is divided into sections such as "Kitchen Practices"; "Food Memory: Identity, Family, Ethnicity"; "Eating: Delight, Disgust, Hunger, Horror" and "Food Politics". Selections by Julia Child, Anthony Bourdain, Bill Buford, Michael Pollan, Molly O'Neill, Calvin Trillin and Adam Gopnik, along with authors not usually associated with gastronomy-Maxine Hong Kingston, Henry Louis Gates Jr, Hemingway, Chekhov and David Foster Wallace-enliven and enrich this comprehensive anthology.

The Essential Essays gathers twenty-five of Adrienne Rich's most renowned essays, demonstrating the lasting brilliance of her voice and her prophetic vision. Her thoughts on feminism, poetry, race, homosexuality and identity are still powerful and relevant today. Discussing everything from her fearless poetic vision to her revolutionary views on social justice, Rich's essays unite the political, personal and poetical. Included are Rich's landmark essays "Motherhood as Experience and Institution"; "What Is Found There"; "Why I Refused the National Medal for the Arts" and "Compulsory Heterosexuality and the Lesbian Existence". As Sandra Gilbert writes, "To re-read and to re-think Rich's prose as a complete oeuvre is to encounter a major public intellectual..."

Now, the much-anticipated Third Edition responds to the wealth of writing by women across the globe with the inclusion of 61 new authors (219 in all) whose diverse works span six centuries. A more flexible two-volume format and a versatile new companion reader make the Third Edition an even better teaching tool. "As diversity itself has shaped the evolution of feminist criticism, from its early preoccupation with women's shared experiences to its more recent absorption in the complex issues and assumptions informing English-language texts by women writers of diverse geographical, cultural, racial, sexual, religious, and class origins and influences, so diversity has shaped the revisions of this anthology." From the Preface"

Forty years after their first groundbreaking work of feminist literary theory, The Madwoman in the Attic, award-winning collaborators Sandra M. Gilbert and Susan Gubar map the literary history of feminism's second wave. In Still Mad, they offer lively readings of major works by such writers as Sylvia Plath, Lorraine Hansberry, Adrienne Rich, Ursula K. Le Guin, Maxine Hong Kingston, Gloria Anzaldua and Toni Morrison. To address shifting social attitudes over seven decades, they discuss polemics by thinkers from Kate Millett and Susan Sontag to Audre Lorde, Andrea Dworkin and Judith Butler. As Gilbert and Gubar chart feminist gains-including creative new forms of protests and changing attitudes toward gender and sexuality-they show how the legacies of second wave feminists, and the misogynistic culture they fought, extend to the present. In doing so, they celebrate the diversity and urgency of women who have turned passionate rage into powerful writing.

The Essential Essays gathers twenty-five of Adrienne Rich’s most renowned essays, demonstrating the lasting brilliance of her voice and her prophetic vision. Her thoughts on feminism, poetry, race, homosexuality and identity are still powerful and relevant today. Discussing everything from her fearless poetic vision to her revolutionary views on social justice, Rich’s essays unite the political, personal and poetical. Included are Rich’s landmark essays “Motherhood as Experience and Institution”; “What Is Found There”; “Why I Refused the National Medal for the Arts” and “Compulsory Heterosexuality and the Lesbian Existence”. As Sandra Gilbert writes, “To re-read and to re-think Rich’s prose as a complete oeuvre is to encounter a major public intellectual...”

In this stunning and important work, the prominent critic, poet, and memoirist Sandra M. Gilbert explores our relationship with food and eating through discussions of literature, art, and popular culture. Focusing on contemporary practices, The Culinary Imagination traces the social, aesthetic, and political history of food from myth to modernity, from ancient sources to our current wave of food mania.

What does it mean to transform raw stuff into cooked dishes, which then become part of our own bodies; to savor festive meals yet resolve to renounce gluttony; to act as predators where in another life we might have become prey? Do the rituals of the kitchen have different meanings for men and women, for professional chefs and home cooks? Why, today, do so many of us turn so passionately toward table topics, on the page, online, and on screen? What are the philosophical implications of the food chain on which we all find ourselves?

In The Culinary Imagination, Gilbert addresses these powerful questions through meditations on myths and memoirs, children s books, novels, poems, food blogs, paintings, TV shows, and movies. Discussing figures from Rex Stout to Julia Child and Andy Warhol, from M. F. K. Fisher and Sylvia Plath to Alice Waters and Peter Singer, she analyzes the politics and poetics of our daily bread, investigating our complex self-definitions as producers, consumers, and connoisseurs of food. The result is an ambitious, lively, and learned examination of the ways in which our culture s artists have represented food across a range of genres."

Cultural Writing. Introduction by Lawrence DiStasi. 1942, the first full year of World War II for the United States, was a time of fear and uncertainty for Americans of Italian descent. Wartime regulations required that 600,000 Italian "resident aliens" carry photo-identity cards, restricted their freedom of movement, and forced an estimated 10,000 along the West Coast to relocate. Local police searched homes for guns, cameras, and shortwave radios. Within six months after war was declared, 1,500 Italian resident aliens were arrested for curfew, travel, and contraband violations, and some 250 were imprisoned in military camps for up to two years. Even some naturalized citizens had to leave their homes and businesses because the military decided that they were too dangerous to remain in strategic areas. All but forgotten in the post-war years, obscured by the story of the Japanese-American internment, officially denied, and simply repressed as a disturbing and shameful memory, this secret stor

Eating Words gathers food writing of literary distinction and historical sweep into one splendid volume. Beginning with the taboos of the Old Testament and the tastes of ancient Rome, and including travel essays, polemics, memoirs and poems, the book is divided into sections such as "Kitchen Practices"; "Food Memory: Identity, Family, Ethnicity"; "Eating: Delight, Disgust, Hunger, Horror" and "Food Politics". Selections by Julia Child, Anthony Bourdain, Bill Buford, Michael Pollan, Molly O'Neill, Calvin Trillin and Adam Gopnik, along with authors not usually associated with gastronomy-Maxine Hong Kingston, Henry Louis Gates Jr, Hemingway, Chekhov and David Foster Wallace-enliven and enrich this comprehensive anthology.

..". the best collection of feminist essays on women poets now available." Spokeswoman Review

" The essays] form a satisfying whole, stunningly enlightening, important for literature and women s studies.... " Library Journal

The essays in this landmark volume highlight the achievements of "Shakespeare s sisters," including Emily Bronte, Emily Dickinson, Elizabeth Barrett Browning, Christina Rossetti, and others."

An ambitious, intricately wrought corona of sonnets ponders the nature of belonging in every sense of the word.
Belongings as possessions, as the history and furnishings of a life, and as the places in which life itself happens are the preoccupations at the heart of this affecting collection. Moving from memories of a childhood apartment to mourning for the poet's mother, Belongings explores the question: "Where, how, and to what do you belong?

"A feminist classic."-Judith Shulevitz, New York Times Book Review "A pivotal book, one of those after which we will never think the same again."-Carolyn G. Heilbrun, Washington Post Book World A pathbreaking book of literary criticism is now reissued with a new introduction by Lisa Appignanesi that speaks to how The Madwoman in the Attic set the groundwork for subsequent generations of scholars writing about women writers, and why the book still feels fresh some four decades later.

This stunning new collection, winner of the American Book Award, documents some thirty years of Sandra Gilbert's career as a poet, from her sometimes fearful, sometimes exuberant early visions, through her feminist awakenings and the explorations of memory and desire, to a range of recent poems mapping the many meanings of grief, survival, and even regeneration.

"The range of this new collection is exciting. Gilbert travels along the shifting boundaries of past and present with wonderful deftness, making Jackson Heights into a magic kingdom. I love this rich ethnic mix."--Maxine Kumin

A Memoir

"A wrenching tale of medical mistakes, death, shock, grief, and frustration, told with love and anger."--Kirkus Reviews (starred review)

"An enduring contribution to the literature of grief."--New York Times Book Review

Sandra Gilbert's husband, Elliot, underwent surgery for prostate cancer at a major medical center, and then inexplicably died hours later in the recovery room. To this day, no one from the hospital has told his family how or why he died.

"The memoir recounts the events preceding Elliot's death and leading up to and beyond the legal resolution. But its power lies in the writers anger and her grief, and in her all-consuming determination: her book is a moving and extended meditation on moral obsession."--Publishers Weekly (starred review)

"Detail by detail, like a good murder mystery, Wrongful Death gains momentum steadily and barrels to a satisfying conclusion."--Cleveland Plain Dealer

"Wrongful Death is, most of all, an unwavering, impassioned inquest as Gilbert attempts to determine the immediate cause of her husbands medical termination. "--Los Angeles Times

Sandra Gilbert is a poet and critic and co-editor with Susan Gubar of The Norton Anthology of Literature by Women. She is professor of English at the University of California, Davis.

"Widow's Walk," the book's centerpiece, charts the poet's journey through the stages of grief, from bleak moments of desolation to tenuous instants of acceptance. Gilbert seeks both to elegize her husband and to understand his death in public, political, and philosophical contexts. Ghost Volcano is a tender, courageous, loving, and ultimately universal account of how we endure grief.

How do writers and their readers imagine the future in a turbulent time of sex war and sex change? And how have transformations of gender and genre affected literary representations of "woman," "man," "family," and "society"? This final volume in Gilbert and Gubar's landmark three-part No Man's Land: The Place of the Woman Writer in the Twentieth Century argues that throughout the twentieth century women of letters have found themselves on a confusing cultural front and that most, increasingly aware of the artifice of gender, have dispatched missives recording some form of the "future shock" associated with profound changes in the roles and rules governing sexuality. Divided into two parts, Letters from the Front is chronological in organization, with the first section focusing on such writers of the modernist period as Virginia Woolf, Zora Neale Hurston, Edna St. Vincent Millay, Marianne Moore, and H.D., and the second devoted to authors who came to prominence after the Second World War, including Gwendolyn Brooks, Sylvia Plath, Margaret Atwood, Toni Morrison, and A.S. Byatt. Embroiled in the sex antagonism that Gilbert and Gubar traced in The War of the Words and in the sexual experimentations that they studied in Sexchanges, all these artists struggled to envision the inscription of hitherto untold stories on what H.D. called "the blank pages/of the unwritten volume of the new." Through the works of the first group, Gilbert and Gubar focus in particular on the demise of any single normative definition of the feminine and the rise of masquerades of "femininity" amounting to "female female impersonation." In the writings of the second group, the critics pay special attention to proliferating revisions of the family romance-revisions significantly inflected by differences in race, class, and ethnicity-and to the rise of masquerades of masculinity, or "male male impersonation." Throughout, Gilbert and Gubar discuss the impact on literature of such crucial historical events as the Harlem Renaissance, the Second World War, and the "sexual revolution" of the sixties. What kind of future might such a past engender? Their book concludes with a fantasia on "The Further Adventures of Snow White" in which their bravura retellings of the Grimm fairy tale illustrate ways in which future writing about gender might develop.

The first book in a landmark three-volume work that brings feminist theory to bear on modern literature in English. Focusing on both male and female writers, Gilbert and Gubar here survey social, literary, and linguistic conflicts between the sexes as revealed in texts by nineteenth- and twentieth-century writers from Tennyson to Woolf, from Hemingway to Plath. "An exciting and ground-breaking work."-Carolyn Heilbrun, Columbia University "Fast, funny, profound in its theoretical assertions, and deliciously irreverent in its asides. Male readers and critics will ignore it at their own peril."-Joyce Carol Oates "Should be welcomed both by contemporary women readers and by anyone who has had the experience of modernism but wondered about its meanings."-Christine Froula, New York Times Book Review "No Man's Land will surely rewrite the history of modernism."-Maureen Corrigan, Village Voice "No Man's Land promises to be as crucial for our understanding of 20th-century literature as The Madwoman in the Attic has been for our understanding of 19th-century literature."-Clare Hanson, Times Higher Education Supplement

What is the daily bread of women? In these splendid poems, Sandra Gilbert imagines spiritual regeneration through the tradition pioneered by the two Emilys--Emily Dickinson and Emily Bronte--who are her emblematic foremothers. At the same time, she sees the perils as well as the possibilities of change. The "loved walls" might fall, some "animal goddess in her skull" might destroy what is cherished along with what is oppressive. Tracing the anxieties of history, this book captures the female "daguerreotypes" that persist today and the "still lives" of many women. In so doing, the poet has created a wide variety of voices, including confessional accounts of her own experiences and visionary encounters: little vials of mother's blood in a bureau, a refrigerator that hums blessings like a "complicitous mother," a dressmaker's dummy sailing forward into a mirror--images that invoke vivid, revealing meditations on myth and domesticity. Yet these poems also celebrate the joys that should endure: love and friendship, "haloes of desire," a piece of Emily Dickinson's black cake. Of this book, Frank Bidart has said, "These are poems of self-definition that heal rather than exacerbate the dramas of gender none of us can escape. They reflect Sandra Gilbert's characteristic subtlety, freshness of invention and insight, generosity of spirit. I enthusiastically recommend this book."