The Bread Loaf Anthology Of Contemporary American Essays

Thirty-two of America1s best contemporary authors practice the art of the essay in its varied forms.

The early American legal system permeated the lives of colonists and reflected their sense of what was right and wrong, honorable and dishonorable, moral and immoral. In a compelling book full of the extraordinary stories of ordinary people, Elaine Forman Crane reveals the ways in which early Americans clashed with or conformed to the social norms established by the law. As trials throughout the country reveal, alleged malefactors such as witches, wife beaters, and whores, as well as debtors, rapists, and fornicators, were as much a part of the social landscape as farmers, merchants, and ministers. Ordinary people "made" law by establishing and enforcing informal rules of conduct. Codified by a handshake or over a mug of ale, such agreements became custom and custom became "law." Furthermore, by submitting to formal laws initiated from above, common folk legitimized a government that depended on popular consent to rule with authority. In this book we meet Marretie Joris, a New Amsterdam entrepreneur who sues Gabriel de Haes for calling her a whore; peer cautiously at Christian Stevenson, a Bermudian witch as bad "as any in the world;" and learn that Hannah Dyre feared to be alone with her husband--and subsequently died after a beating. We travel with Comfort Taylor as she crosses Narragansett Bay with Cuff, an enslaved ferry captain, whom she accuses of attempted rape, and watch as Samuel Banister pulls the trigger of a gun that kills the sheriff's deputy who tried to evict Banister from his home. And finally, we consider the promiscuous Marylanders Thomas Harris and Ann Goldsborough, who parented four illegitimate children, ran afoul of inheritance laws, and resolved matters only with the assistance of a ghost. Through the six trials she skillfully reconstructs here, Crane offers a surprising new look at how early American society defined and punished aberrant behavior, even as it defined itself through its legal system.

A galaxy of writers epitomizes the state of American poetry at the century's close.

A dazzling anthology of essays by some of the best writers of the past quarter century—from Barry Lopez and Margo Jefferson to David Sedaris and Samantha Irby—selected by acclaimed essayist Phillip Lopate. The first decades of the twenty-first century have witnessed a blossoming of creative nonfiction. In this extraordinary collection, Phillip Lopate gathers essays by forty-seven of America’s best contemporary writers, mingling long-established eminences with newer voices and making room for a wide variety of perspectives and styles. The Contemporary American Essay is a monument to a remarkably adaptable form and a treat for anyone who loves fantastic writing. Hilton Als • Nicholson Baker • Thomas Beller • Sven Birkerts • Eula Biss • Mary Cappello • Anne Carson • Terry Castle • Alexander Chee • Teju Cole • Bernard Cooper • Sloane Crosley • Charles D’Ambrosio • Meghan Daum • Brian Doyle • Geoff Dyer • Lina Ferreira • Lynn Freed • Rivka Galchen • Ross Gay • Louise Glück • Emily Fox Gordon • Patricia Hampl • Aleksandar Hemon • Samantha Irby • Leslie Jamison • Margo Jefferson • Laura Kipnis • David Lazar • Yiyun Li • Phillip Lopate • Barry Lopez • Thomas Lynch • John McPhee • Ander Monson • Eileen Myles • Maggie Nelson • Meghan O’Gieblyn • Joyce Carol Oates • Darryl Pinckney • Lia Purpura • Karen Russell • David Sedaris • Shifra Sharlin • David Shields • Floyd Skloot • Rebecca Solnit • Clifford Thompson • Wesley Yang An Anchor Original.

A stellar collection celebrates the vitality of American poetry at the turn of the new century. Collier is director of the Bread Loaf Writers' Conference which encourages the most promising new and young writers in America. 59 illustrations.

Contemporary commentators have observed that postmodern America is less a melting pot than a buffet table. In American Identities people of diverse ethnic, religious, social, gender, and sexual backgrounds "refuse to merge but insist on a multiplicity of well-maintained identities," editors Robert Pack and Jay Parini explain. This sixth volume in the popular Bread Loaf Anthology series gathers more than three dozen voices who testify that there is no single American Experience, but instead a multiplicity of experiences. These poems, stories, and essays describe in occasionally stark, sometimes humorous, and often moving terms what it means to be black and American, or gay and American, or Latino and American, or Jewish and American within this society.

This groundbreaking new source of international scope defines the essay as nonfictional prose texts of between one and 50 pages in length. The more than 500 entries by 275 contributors include entries on nationalities, various categories of essays such as generic (such as sermons, aphorisms), individual major works, notable writers, and periodicals that created a market for essays, and particularly famous or significant essays. The preface details the historical development of the essay, and the alphabetically arranged entries usually include biographical sketch, nationality, era, selected writings list, additional readings, and anthologies

In Estranging the Familiar, G. Douglas Atkins addresses the often lamented state of scholarly and critical writing as he argues for a criticism that is at once theoretically informed and personal. The revitalized critical writing he advocates may entail--but is not limited to--a return to the essay, the form critical writing once took and the form that is now enjoying a resurgence of popularity and excellence. Atkins contends that to reach a general audience, criticism must move away from the impersonality of modern criticism and contemporary theory without embracing the old-fashioned essay. "The venerable familiar essay may remain the basis," Atkins writes, "but its conventional openness, receptivity, and capaciousness must extend to theory, philosophy, and the candor that seems to mark the tail-end of the twentieth century." In noting the timeliness, if not the necessity, of a return to the essay, Atkins also considers our culture's parallel "return to the personal." When the essay combines good writing with the concerns of the personal, Atkins says, it becomes a form of criticism that is readable, vital, and potentially attractive to a large readership. Atkins hopes critics will tap into the revitalized interest the essay now enjoys without ignoring the considerable insights and advances of contemporary theory. He argues that despite claims to the contrary there is no inherent incompatibility between the essay and modern theory. As Atkins considers various experiments in critical writing from Plato to the present, notably feminist interest in the personal and autobiographical, he contends that these attempts, although undeniably important, fall short of the desired goal when they emphasize the merely expressive and neglect the artful quality good writing can bring to personal criticism. The final third of the book consists of a series of experiments in critical writing that represent the author's own attempts to bridge the gap between theory and popular criticism, between an academic and a general audience. In essays that illustrate the rhetorical power of the form, Atkins describes the reciprocal relationship between his life experience and a reading of The Odyssey, explains the role that theory has played in his personal development, and chronicles his attempts to find a voice as a writer.

From the country's beginning, essayists in the United States have used their prose to articulate the many ways their individuality has been shaped by the politics, social life, and culture of this place. The Cambridge History of the American Essay offers the fullest account to date of this diverse and complex history. From Puritan writings to essays by Indigenous authors, from Transcendentalist and Pragmatist texts to Harlem Renaissance essays, from New Criticism to New Journalism: The story of the American essay is told here, beginning in the early eighteenth century and ending with the vibrant, heterogeneous scene of contemporary essayistic writing. The essay in the US has taken many forms: nature writing, travel writing, the genteel tradition, literary criticism, hybrid genres such as the essay film and the photo essay. Across genres and identities, this volume offers a stirring account of American essayism into the twenty-first century.