Martin Puchner tells the story of political and artistic upheavals through the political manifestos of the 19th and 20th centuries. He argues that the manifesto was the genre through which modern culture articulated its revolutionary ambitions and desires.

This first full-length biography of Anglo- American poet and activist Denise Levertov (1923-1997) brings to life one of the major voices of the second half of the twentieth century, when American poetry was a powerful influence worldwide. Drawing on exhaustive archival research and interviews with 75 friends of Levertov, as well as on Levertov’s entire opus, Donna Krolik Hollenberg’s authoritative biography captures the full complexity of Levertov as both woman and artist, and the dynamic world she inhabited. She charts Levertov’s early life in England as the daughter of a Russian Hasidic father and a Welsh mother, her experience as a nurse in London during WWII, her marriage to an American after the war, and her move to New York City where she became a major figure in the American poetry scene. The author chronicles Levertov’s role as a passionate social activist in volatile times and her importance as a teacher of writing. Finally, Hollenberg shows how the spiritual dimension of Levertov’s poetry deepened toward the end of her life, so that her final volumes link lyric perception with political and religious commitment.

This study of poetry by women in late imperial China examines the metamorphosis of the trope of the "inner chambers" (gui), to which women were confined in traditional Chinese households, and which in literature were both a real and an imaginary place. Originally popularized in sixth-century "palace style" poetry, the inner chambers were used by male writers as a setting in which to celebrate female beauty, to lament the loneliness of abandoned women, and by extension, to serve as a political allegory for the exile of loyal and upright male ministers spurned by the imperial court. Female writers of lyric poetry (ci) soon adopted the theme, beginning its transition from male fantasy to multidimensional representation of women and their place in society, and eventually its manifestation in other poetic genres as well. Emerging from the role of sexual objects within poetry, late imperial women were agents of literary change in their expansion and complication of the boudoir theme. While some take ownership and de-eroticizing its imagery for their own purposes, adding voices of children and older women, and filling the inner chambers with purposeful activity such as conversation, teaching, religious ritual, music, sewing, childcare, and chess-playing, some simply want to escape from their confinement and protest gender restrictions imposed on women. Women's Poetry of Late Imperial China traces this evolution across centuries, providing and analyzing examples of poetic themes, motifs, and imagery associated with the inner chambers, and demonstrating the complication and nuancing of the gui theme by increasingly aware and sophisticated women writers.