President Theodore Roosevelt called himself a “book lover” and for good reason. From his boyhood days in the 1860s to the very end of his life in 1919, Roosevelt had a deep-seated passion for reading books. Wherever he went, he brought books with him. Whether he was rounding up cattle on a ranch in North Dakota, giving campaign speeches from the back of a train, governing the nation from the White House, or exploring an uncharted tributary of the Amazon River, he always made time to read books. Theodore Roosevelt and His Library at Sagamore Hill includes an overview of Roosevelt’s life as a reader, a discussion of the role that reading particular books played in shaping his life and career, and a short history of his personal library. The book also provides researchers and others interested in Roosevelt’s life with a complete list of Roosevelt’s books that are currently located at Sagamore Hill, his home in Oyster Bay, New York. The books in his personal library reflect his love of classic works of literature, his interest in history, and his fascination with the natural sciences. Theodore Roosevelt and His Library at Sagamore Hill concludes with an essay that Roosevelt wrote near the end of his life in which he reflected on his reading habits and commented on some of his favorite books.

Throughout the 19th century, American poetry was a profoundly populist literary form. It circulated in New England magazines and Southern newspapers; it was read aloud in taverns, homes, and schools across the country. Antebellum reviewers envisioned poetry as the touchstone democratic genre, and their Civil War–era counterparts celebrated its motivating power, singing poems on battlefields. Following the war, however, as criticism grew more professionalized and American literature emerged as an academic subject, reviewers increasingly elevated difficult, dispassionate writing and elite readers over their supposedly common counterparts, thereby separating “authentic” poetry for intellectuals from “popular” poetry for everyone else.\ Conceptually and methodologically unique among studies of 19th-century American poetry, Who Killed American Poetry? not only charts changing attitudes toward American poetry, but also applies these ideas to the work of representative individual poets. Closely analyzing hundreds of reviews and critical essays, Karen L. Kilcup tracks the century’s developing aesthetic standards and highlights the different criteria reviewers used to assess poetry based on poets’ class, gender, ethnicity, and location. She shows that, as early as the 1820s, critics began to marginalize some kinds of emotional American poetry, a shift many scholars have attributed primarily to the late-century emergence of affectively restrained modernist ideals. Mapping this literary critical history enables us to more readily apprehend poetry’s status in American culture—both in the past and present—and encourages us to scrutinize the standards of academic criticism that underwrite contemporary aesthetics and continue to constrain poetry’s appeal. Who American Killed Poetry? enlarges our understanding of American culture over the past two hundred years and will interest scholars in literary studies, historical poetics, American studies, gender studies, canon criticism, genre studies, the history of criticism, and affect studies. It will also appeal to poetry readers and those who enjoy reading about American cultural history.