Intended as a reader for writing and critical thinking courses, this volume presents a collection of writings promoting cultural diversity, encouraging readers to grapple with the real differences in perspectives that arise in our complex society.

After retiring from a lifetime of teaching literature, Patricia Meyer Spacks embarked on a year-long project of rereading dozens of novels: childhood favorites, fiction first encountered in young adulthood and never before revisited, books frequently reread, canonical works of literature she was supposed to have liked but didn’t, guilty pleasures (books she oughtn’t to have liked but did), and stories reread for fun vs. those read for the classroom. On Rereading records the sometimes surprising, always fascinating, results of her personal experiment. Spacks addresses a number of intriguing questions raised by the purposeful act of rereading: Why do we reread novels when, in many instances, we can remember the plot? Why, for example, do some lovers of Jane Austen’s fiction reread her novels every year (or oftener)? Why do young children love to hear the same story read aloud every night at bedtime? And why, as adults, do we return to childhood favorites such as The Hobbit, Alice in Wonderland, and the Harry Potter novels? What pleasures does rereading bring? What psychological needs does it answer? What guilt does it induce when life is short and there are so many other things to do (and so many other books to read)? Rereading, Spacks discovers, helps us to make sense of ourselves. It brings us sharply in contact with how we, like the books we reread, have both changed and remained the same.

Rereading America remains the most widely adopted book of its kind because of its unique approach to the issue of cultural diversity. Unlike other multicultural composition readers that settle for representing the plurality of American voices and cultures, Rereading America encourages students to grapple with the real differences in perspectives that arise in our complex society. With extensive editorial apparatus that puts readings from the mainstream into conversation with readings from the margins, Rereading America provokes students to explore the foundations and contradictions of our dominant cultural myths.

This indispensable text reader provides a broad-ranging and thoughtfully organized feminist introduction to the ongoing controversies of development in Latin America and the Caribbean. Designed for use in a variety of college courses, the volume collects an influential group of essays first published in Latin American Perspectives--a theoretical and scholarly journal focused on the political economy of capitalism, imperialism, and socialism in the Americas. The reader is organized into thematic sections that focus on work, politics, and culture, and each section includes substantive introductions that identify key issues, trends, and debates in the scholarly literature on women and gender in the region. Demonstrating the rich and multidisciplinary nature of Latin American studies, this collection of timely, empirical studies promotes critical thinking about women's place and power; about theory and research strategies; and about contemporary economic, political, and social conditions in Latin America and the Caribbean. Valuable as both a supplementary or primary text, Rereading Women makes a convincing claim for a materialist feminist analysis. It convincingly shows why women have become an increasingly important subject of research, acknowledges their gains and struggles over time, and explores the contributions that feminist theory has made toward the recognition of gender as a relevant--indeed essential--category for analyzing the political economy of development.

From bawdy talk to evangelical sermons, and from celebrations of free love to prosecutions for obscenity, nineteenth-century America encompassed a far broader range of sexual attitudes and ideas than the Victorian stereotype would have us believe. In Rereading Sex, Helen Lefkowitz Horowitz lets us listen to the national conversation about sex in the nineteenth century and hear voices that resonate in our own time. Probing court records, pamphlets, and “sporting men’s” magazines, Horowitz shows us a many-voiced America in which an earthy acceptance of desire and sexual expression collided with prohibitions broadcast from the pulpit. We encounter fascinating reformers like Victoria Woodhull, who advocated free love and became the first woman to run for president; faddists like Sylvester Graham, who obsessed about the dangers of masturbation; and moral crusaders like Anthony Comstock, who succeeded in banning sexual subject matter from the mails. We also see how newspapers like the Sunday Flash treated prostitutes like celebrities and how the National Police Gazette found a legal way to write about explicity about sex through crime reports that read like gossip columns. Employing an encyclopedic knowledge artfully rendered, Horowitz brings to the fore a wide spectrum of attitudes and a debate echoed in the culture wars of today.

Arguing that the contemporary commitment to the importance of cultural identity has renovated rather than replaced an earlier commitment to racial identity, Walter Benn Michaels asserts that the idea of culture, far from constituting a challenge to racism, is actually a form of racism. Our America offers both a provocative reinterpretation of the role of identity in modernism and a sustained critique of the role of identity in postmodernism. "We have a great desire to be supremely American," Calvin Coolidge wrote in 1924. That desire, Michaels tells us, is at the very heart of American modernism, giving form and substance to a cultural movement that would in turn redefine America's cultural and collective identity--ultimately along racial lines. A provocative reinterpretation of American modernism, Our America also offers a new way of understanding current debates over the meaning of race, identity, multiculturalism, and pluralism. Michaels contends that the aesthetic movement of modernism and the social movement of nativism came together in the 1920s in their commitment to resolve the meaning of identity--linguistic, national, cultural, and racial. Just as the Johnson Immigration Act of 1924, which excluded aliens, and the Indian Citizenship Act of the same year, which honored the truly native, reconceptualized national identity, so the major texts of American writers such as Cather, Faulkner, Hurston, and Williams reinvented identity as an object of pathos--something that can be lost or found, defended or betrayed. Our America is both a history and a critique of this invention, tracing its development from the white supremacism of the Progressive period through the cultural pluralism of the Twenties. Michaels's sustained rereading of the texts of the period--the canonical, the popular, and the less familiar--exposes recurring concerns such as the reconception of the image of the Indian as a symbol of racial purity and national origins, the relation between World War I and race, contradictory appeals to the family as a model for the nation, and anxieties about reproduction that subliminally tie whiteness and national identity to incest, sterility, and impotence.