In The Program Era, Mark McGurl offers a fundamental reinterpretation of postwar American fiction, asserting that it can be properly understood only in relation to the rise of mass higher education and the creative writing program. McGurl asks both how the patronage of the university has reorganized American literature and—even more important—how the increasing intimacy of writing and schooling can be brought to bear on a reading of this literature. McGurl argues that far from occasioning a decline in the quality or interest of American writing, the rise of the creative writing program has instead generated a complex and evolving constellation of aesthetic problems that have been explored with energy and at times brilliance by authors ranging from Flannery O’Connor to Vladimir Nabokov, Philip Roth, Raymond Carver, Joyce Carol Oates, and Toni Morrison. Through transformative readings of these and many other writers, The Program Era becomes a meditation on systematic creativity—an idea that until recently would have seemed a contradiction in terms, but which in our time has become central to cultural production both within and beyond the university. An engaging and stylishly written examination of an era we thought we knew, The Program Era will be at the center of debates about postwar literature and culture for years to come.

Raw, scorned, and finally free from my disastrous marriage, I flee the lies, humiliation, and manipulation of my old life like a bat out of hell, leaving it all in my rearview mirror. Seduced by the sunny, diverse, laid-back Denver, Colorado, I settle in and set up a new life. New job. New house. New friends… Freedom. ​ The idea was to start over. Fresh. Anew. But I didn’t anticipate starting over with my twenty-year-old student. ​Nero Gunnar might be twelve years my junior, but he’s the manliest man I’ve ever met. He has his sights set on me and he’s not letting up. It’s wrong. Forbidden. A disaster waiting to happen. But sinful wrongs have never tasted so, so sweet. KEYWORDS: student teacher romance, age-gap romance, older woman younger man romance, black woman white man, MC romance, motorcycle romance, biker bad boy, bwwm, multicultural romance, interracial romance,

Members of the Lost Generation, American writers and artists who lived in Paris during the 1920s, continue to occupy an important place in our literary history. Rebelling against increased commercialism and the ebb of cosmopolitan society in early twentieth-century America, they rejected the culture of what Ernest Hemingway called a place of “broad lawns and narrow minds.” Much of what we know about these iconic literary figures comes from their own published letters and essays, revealing how adroitly they developed their own reputations by controlling the reception of their work. Surprisingly the literary world has paid less attention to their autobiographies. In Writing the Lost Generation, Craig Monk unlocks a series of neglected texts while reinvigorating our reading of more familiar ones. Well-known autobiographies by Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined here by works from a variety of lesser-known—but still important—expatriate American writers, including Sylvia Beach, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. By bringing together the self-reflective works of the Lost Generation and probing the ways the writers portrayed themselves, Monk provides an exciting and comprehensive overview of modernist expatriates from the United States.

Pauline Elizabeth Hopkins (1859–1930), African American novelist, editor, journalist, playwright, historian, and public intellectual, used fiction to explore and intervene in the social, racial, and political challenges of her era. Her particular form of cultural activism was groundbreaking for its time and continues to influence and inspire authors and scholars today. This collection of essays constitutes a new phase in the full historical and literary recovery of her work. JoAnn Pavletich argues that considered from the broadest of perspectives, Hopkins’s life work occupies itself with the critique and creation of epistemologies that control racialized knowledge and experience. Whether in representations of a critical contemporary problem such as lynching, imperialism, or pan-African unity or in representations of African American women’s voices, Hopkins’s texts create new knowledge and new frames for understanding it. The essays in this collection engage this knowledge, articulating nuanced understandings of Hopkins’s era and her innovative writing practices, opening new doors for the next generation of Hopkins scholarship. With contributions from well-established Hopkins scholars such as John Gruesser (editor of The Unruly Voice) and Hanna Wallinger (author of Pauline E. Hopkins: A Literary Biography), the collection also includes important new scholars on Hopkins such as Elizabeth Cali, Edlie Wong, and others.