{"id":1272,"date":"2022-12-01T23:28:51","date_gmt":"2022-12-02T07:28:51","guid":{"rendered":"https:\/\/dornsife.usc.edu\/engl\/?page_id=1272"},"modified":"2025-08-11T15:54:05","modified_gmt":"2025-08-11T22:54:05","slug":"publications","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/","title":{"rendered":"Faculty Publications"},"content":{"rendered":"\n\n \n \n\n\n\n\n\n\n\n
\n\n \n \n
\n\n \n

Explore Faculty Publications<\/h3>\n

See below for a selection of our faculty’s numerous published works. For more comprehensive information about faculty members and their publications, please visit our\u00a0Faculty Profiles<\/a>\u00a0page.<\/p>\n

You are currently viewing these books chronologically, with the most recent publications first.<\/p>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n\n\n\n\n \n \n\n\n\n\n\n\n\n

\n\n \n \n
\n\n \n \n\n\n\n\n\n\n\n\n\n\n
\n
<\/h6>\n
\"\"<\/h6>\n
Susan McCabe
\nH.D. & Bryher: An Untold Love Story of Modernism<\/em>
\nOxford University, 2221<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Percival Everett
\nThe Trees<\/em>
\nGraywolf Press, 2021<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Maggie Nelson
\nOn Freedom: Four Songs of Care and Constraint<\/em>
\nGraywolf Press, 2021<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Heather James
\nOvid and the Liberty of Speech in Shakespeare’s England<\/em>
\nCambridge University Press, 2021<\/h6>\n<\/td>\n<\/tr>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Geoff Dyer
\nSee\/Saw: Looking at Photographs<\/em>
\nGraywolf, 2021<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Viet Nguyen
\nThe Committed<\/em>
\nGrove Press, 2021<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Ashley Cohen
\nThe Global Indies: British Imperial Culture and the Reshaping of the World, 1756-1815<\/em>
\nYale University Press, 2021<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Ellen Wayland-Smith
\nThe Angel in the Marketplace<\/em>
\nYale, 2020<\/h6>\n<\/td>\n<\/tr>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Aimee Bender
\nThe Butterfly Lampshade<\/em>
\nDoubleday, 2020<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Chris Freeman
\nIsherwood in Transit<\/em>
\nU of Minnesota Press, 2020<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Zakiyyah Jackson
\nBecoming Human: Matter and Meaning in an Antiblack World<\/em>
\nNYU Press, 2020<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Percival Everett
\nTelephone: A Novel<\/em>
\nGraywolf Press, 2020<\/h6>\n<\/td>\n<\/tr>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Sarah Sligar
\nTake Me Apart<\/em>
\nMCD, 2020<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Melissa Daniels-Rauterkus
\nAfro-Realism and the Romances of Race: Rethinking Blackness in the African American Novel<\/em>
\nLSU Press, 2020<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Viet Nguyen
\nFight of the Century: Writers Reflect on 100 Years of Landmark ACLU Cases<\/em>
\nSimon & Schuster, 2020<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Enrique Martinez-Celaya
\nCollected Writings and Interviews, 2010-2017<\/em>
\nU of Nebraska Press, 2020<\/h6>\n<\/td>\n<\/tr>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Geoff Dyer
\nLife with a Capital L: D.H. Lawrence<\/em>
\nPenguin Classics, 2019<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Viet Nguyen
\nChicken of the Sea<\/i>
\nMcSweeney’s, 2019<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Geoff Dyer
\nThe Bad Side of Books: Selected<\/span>\u00a0Essays of D.H. Lawerence<\/em>
\nNYRB Classics, 2019<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Dana Johnson
\nTrailblazer<\/em>
\nClockshop, 2019<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Karen Tongson
\nWhy Karen Tongson Matters<\/em>
\nUniversity of Texas Press, 2019<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David Treuer
\nThe Heartbeat of Wounded Knee<\/em>
\nPenguin Random House, 2019<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Marci Vogel
\nDeath and Other Holidays<\/em>
\nMelville House, 2018<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Sarah Kessler
\nVocal Projections: Voices in Documentary<\/em>
\nBloomsbury Publishing In, 2018<\/h6>\n<\/td>\n<\/tr>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Emily Anderson
\nShakespeare and the Legacy of Loss<\/em>
\nUniversity of Michigan Press, 2018<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Devin Griffiths
\nThe Cambridge Companion to Literature and Science<\/em>
\nCambridge University Press, 2018<\/h6>\n<\/td>\n
\n
\u00a0\"\"<\/h6>\n
Viet Nguyen
\nThe Displaced: Refugee Writers on Refugee Lives<\/em>
\nAbrams Press, 2018<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Geoff Dyer
\nBroadsword Calling Danny Boy: On Where Eagles Dare<\/em>
\nPenguin UK, 2018<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Rebecca Lemon
\nKing Richard III: Language and Writing<\/em>
\nArden Bloomsbury, 2018<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Rebecca Lemon
\nAddiction and Devotion in Early Modern English<\/em>
\nUniversity of Pennsylvania Press, 2018<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Thea Tomaini
\nDealing With The Dead <\/em>
\nBrill, 2018<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Elda Maria Roman
\nAmerican Literature in Transition, 2000-2010<\/em>
\nCambridge University Press, 2017<\/h6>\n<\/td>\n<\/tr>\n
\n
<\/h6>\n
\"\"<\/h6>\n
David Rollo
\nTimely Voices: Romantic Writing in English Literature<\/i>
\nMcGill-Queen University Press, 2017<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
M.G. Lord
\nWe Wear the Mask: 15 True Stories of Passing in America<\/em>
\nBeacon Press, 2017<\/h6>\n

 <\/td>\n

\n
<\/h6>\n
\"\"<\/h6>\n
Robin Coste Lewis
\nRobert Rauschenberg: Thirty-Four Illustrations for Dante’s Inferno<\/em>
\nMoMA New York, 2017<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Mark Irwin
\nMonster: Distortion, Abstraction, and Originality in Contemporary\u00a0American Poetry <\/em>
\nPeter Lang Inc., 2017<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n\n\n\n\n \n \n\n\n\n\n\n\n\n
\n\n \n \n
\n\n \n \n\n\n\n\n\n\n\n\n\n\n\n
\n
\"A<\/h5>\n
Percival Everett<\/h6>\n
So Much Blue<\/em><\/h6>\n
Graywolf, 2017<\/h6>\n<\/td>\n
\n
\"Plush<\/h5>\n
Mark Irwin<\/h6>\n
A Passion According to Green<\/em><\/h6>\n
New Issues Poetry & Prose, 2017<\/h6>\n<\/td>\n
\n
\"A<\/h5>\n
Anna Journey<\/h6>\n
An Arrangement of Skin<\/em><\/h6>\n
Counterpoint, 2017<\/h6>\n<\/td>\n
\n
\"At<\/h5>\n
<\/h5>\n
Anna Journey<\/h6>\n
The Atheist Wore Goat Silk<\/em><\/h6>\n
Counterpoint, 2017<\/h6>\n<\/td>\n<\/tr>\n
\n
\"The<\/h6>\n
Viet Nguyen
\nThe Refugees<\/em>
\nGrove, 2017<\/h6>\n<\/td>\n
\n
\"The<\/h6>\n
Elda Mar\u00eda Rom\u00e1n
\nRace and Upward Mobility<\/em>
\nStanford, 2017<\/h6>\n<\/td>\n
\n
\"The<\/h6>\n
Danzy Senna
\nNew People<\/em>
\nRiverhead Books, 2017<\/h6>\n<\/td>\n
\n
\"A<\/h6>\n
David St. John
\nThe Last Troubadour<\/em>
\nEcco, 2017<\/h6>\n<\/td>\n<\/tr>\n
\n
\"The<\/h6>\n
Thea Tomaini
\nThe Corpse as Text <\/em>
\nBoydell, 2017<\/h6>\n<\/td>\n
\n
\"A<\/h6>\n
Molly Bendall
\nWatchful <\/em>
\nOmnidawn, 2016<\/h6>\n<\/td>\n
\n
\"Illustration<\/h6>\n
T.C. Boyle
\nThe Terranauts<\/em>
\nEcco, 2016<\/h6>\n<\/td>\n
\n
\"The<\/h6>\n
Leo Braudy
\nHaunted<\/em>
\nYale, 2016<\/h6>\n<\/td>\n<\/tr>\n
\n
\"The<\/h6>\n
Geoff Dyer
\nWhite Sands<\/em>
\nPantheon, 2016<\/h6>\n<\/td>\n
\n
\"The<\/h6>\n
Devin Griffiths
\nThe Age of Analogy <\/em>
\nJohn Hopkins, 2016<\/h6>\n<\/td>\n
\n
\"A<\/h6>\n
Dana Johnson
\nIn The Not Quite Dark<\/em>
\nCounterpoint, 2016<\/h6>\n<\/td>\n
\n
\"An<\/h6>\n
Viet Nguyen
\nNothing Ever Dies<\/em>
\nHarvard, 2016<\/h6>\n<\/td>\n<\/tr>\n
\n
\"A<\/h6>\n
Viet Nguyen
\nThe Sympathizer <\/em>
\nGrove, 2016<\/h6>\n<\/td>\n
\n
\"The<\/h6>\n
Daniel Tiffany
\nThe Work-Shy <\/em>
\nWesleyan, 2016<\/h6>\n<\/td>\n
\n
\"Rushing<\/h6>\n
Thea Tomaini
\nThings from the Sea<\/em>
\nPunctum Books, 2016<\/h6>\n<\/td>\n
\n
\"The<\/h6>\n
David Treuer
\nPrudence<\/em>
\nRiverhead Books, 2016<\/h6>\n<\/td>\n<\/tr>\n
\n
\"An<\/h6>\n
Joseph Boone
\nThe Homoerotics of Orientalism <\/em>
\nColumbia, 2015<\/h6>\n<\/td>\n
\n
\"The<\/h6>\n
T.C. Boyle
\nThe Harder They Come\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/em>Ecco, 2015\u00a0<\/em><\/h6>\n<\/td>\n
\n
\"An<\/h6>\n
Geoff Dyer
\nAnother Great Day at Sea<\/em>
\nVintage, 2015<\/h6>\n<\/td>\n
\n
\"A<\/h6>\n
Percival Everett
\nHalf an Inch of Water<\/em>
\nGraywolf, 2015<\/h6>\n<\/td>\n<\/tr>\n
\n
\"A<\/h6>\n
Christopher Freeman
\nThe American Isherwood<\/em>
\nUniversity of Minnesota, 2015<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Mark Irwin
\nAmerican Urn <\/em>
\nAshland Poetry, 2015<\/h6>\n<\/td>\n
\n
\"A<\/h6>\n
Robin Coste Lewis
\nVoyage of the Sable Venus<\/em>
\nKnopf Doubleday, 2015<\/h6>\n<\/td>\n
\n
\"The<\/h6>\n
Maggie Nelson
\nThe Argonauts<\/em>
\nGraywolf, 2015<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Andrew Stott
\nThe Poet and the Vampyre <\/em>
\nPegasus, 2015<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David L. Ulin
\nSidewalking<\/em>
\nUniversity of California, 2015<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Daniel Tiffany
\nMy Silver Planet<\/em>
\nJohns Hopkins, 2014<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Aimee Bender
\nThe Color Master<\/em>
\nDoubleday, 2013<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
T.C. Boyle
\nStories II<\/em>
\nViking, 2013<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Leo Braudy
\nTrying to Be Cool <\/em>
\nAsahina & Wallace, 2013<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Joseph Dane
\nBlind Impressions<\/em>
\nUniversity of Pennsylvania, 2013<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Percival Everett
\nPercival Everett by Virgil Russell<\/em>
\nGraywolf, 2013<\/h6>\n<\/td>\n<\/tr>\n
 <\/p>\n
\"\"<\/h6>\n
Mark Irwin
\nLarge White House Speaking <\/em>
\nNew Issues Poetry & Prose, 2013<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Anna Journey
\nVulgar Remedies<\/em>
\nLouisiana State, 2013<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
M.G. Lord
\nThe Accidental Feminist <\/em>
\nWalker Books, 2013<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Hilary Schor
\nCurious Subjects <\/em>
\nOxford, 2013<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n\n\n\n\n \n \n\n\n\n\n\n\n\n
\n\n \n \n
\n\n \n \n\n\n\n\n\n\n\n\n\n\n\n
\n
\"\"<\/h6>\n
Daniel Tiffany
\nIn the Poisonous Candy Factory \u00a0<\/em>
\nCapsule Editions, 2013<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Daniel Tiffany
\nNeptune Park<\/em>
\nOmnidawn, 2013<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
T.C. Boyle
\nSan Miguel <\/em>
\nViking, 2012<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Joseph Dane
\nWhat is a Book? <\/em>
\nUniversity of Notre Dame, 2012<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Kate Flint
\nThe Cambridge History of Victorian Literature<\/em>
\nCambridge, 2012<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Dana Gioia
\nLiterature for Life <\/em>
\nLongman, 2012<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Dana Gioia
\nPity the Beautiful <\/em>
\nGraywolf, 2012<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Dana Johnson
\nElsewhere, California <\/em>
\nCounterpoint, 2012<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Rebecca Lemon
\nThe Encyclopedia of English Renaissance Literature<\/em>
\nWiley-Blackwell, 2012<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David St. John
\nThe Auroras <\/em>
\nHarperCollins, 2012<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Andrew Stott
\nThe Pantomime Life of Joseph Grimaldi<\/em>
\nCanongate Books, 2012<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David Treuer
\nRez Life <\/em>
\nAtlantic Monthly, 2012<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h5>\n
Emily Anderson
\nEighteenth-Century Authorship and the Play of Fiction<\/em>
\nRoutledge, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h5>\n
T.C. Boyle
\nWhen the Killing\u2019s Done \u00a0<\/em>
\nViking, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Leo Braudy
\nThe Hollywood Sign<\/em>
\nYale, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Joseph Dane
\nDogfish Memory<\/em>
\nCountryman, 2011<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Percival Everett
\nAssumption<\/em>
\nGraywolf, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Percival Everett
\nSwimming Swimmers Swimming \u00a0<\/em>
\nRed Hen, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
William Handley
\nThe Brokeback Book<\/em>
\nUniversity of Nebraska, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Carol Muske-Dukes
\nCrossing State Lines<\/em>
\nFarrar, Straus and Giroux, 2011<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Carol Muske-Dukes
\nTwin Cities<\/em>
\nPenguin Books, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Maggie Nelson
\nThe Art of Cruelty \u00a0<\/em>
\nW. W. Norton& Co., 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David Rollo
\nKiss My Relics<\/em>
\nUniversity of Chicago, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
John Rowe
\nAfterlives of Modernism<\/em>
\nDartmouth, 2011<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Danzy Senna
\nYou are Free<\/em>
\nRiverhead Books, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Thea Tomaini
\nSworn Bond in Tudor England \u00a0<\/em>
\nMcFarland, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Karen Tongson
\nRelocations<\/em>
\nNew York University, 2011<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Aimee Bender
\nThe Particular Sadness of Lemon Cake<\/em>
\nDoubleday, 2010<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
T.C. Boyle
\nWild Child <\/em>
\nViking, 2010<\/h6>\n<\/td>\n
\n
<\/h6>\n

 <\/p>\n

\"\"<\/h6>\n
Joseph Dane
\nOut of Sorts<\/em>
\nUniversity of Pennsylvania, 2010<\/h6>\n
\u00a0<\/em><\/h5>\n<\/td>\n
\n
\"\"<\/h6>\n
Joseph Dane
\nThe Long and the Short of it<\/em>
\nUniversity of Notre Dame, 2010<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Geoff Dyer
\nParis Trance<\/em>
\nPicador, 2010<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Alice Echols
\nHot Stuff<\/em>
\nW. W. Norton & 10., 2010<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Danzy Senna
\nWhere did you sleep last night?<\/em>
\nPicador, 2010<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Bruce Smith
\nPhenomenal Shakespeare<\/em>
\nWiley-Blackwell, 2010<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Daniel Tiffany
\nPrivado<\/em>
\nAction Books, 2010<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Daniel Tiffany
\nThe Dandelion Clock<\/em>
\nTinfish Press, 2010<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David L. Ulin
\nThe Lost Art of Reading <\/em>
\nSasquatch Books, 2010<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Molly Bendall
\nBling and Fringe<\/em>
\nWhat Books, 2009<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Molly Bendall
\nUnder the Quick<\/em>
\nParlor, 2009\u00a0<\/span><\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n\n\n\n\n \n \n\n\n\n\n\n\n\n
\n\n \n \n
\n\n \n \n\n\n\n\n\n\n\n\n\n\n\n
\n
\"\"<\/h6>\n
William Handley
\nMarriage, Violence, and the Nation in the American Literary West<\/em>
\nCambridge, 2009<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Anna Journey
\nIf Birds Gather Your Hair for Nesting<\/em>
\nUniversity of Georgia, 2009<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Rebecca Lemon
\nThe Blackwell Companion to the Bible in English Literature<\/em>
\nWiley-Blackwell, 2009<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Leo Braudy
\nOn the Waterfront<\/em>
\nPalgrave MacMillian, 2008<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Kate Flint
\nThe Transatlantic Indian<\/em>
\nPrinceton, 2008<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Kate Flint
\nThe Victorians and the Visual Imagination<\/em>
\nCambridge, 2008<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Christopher Freeman
\nLove, West Hollywood <\/em>
\nAlyson Books, 2008<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Mark Irwin
\nTall If<\/em>
\nNew Issues Poetry and Prose, 2008<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Susan McCabe
\nDescartes\u2019 Nightmare<\/em>
\nUniversity of Utah, 2008<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Carol Muske-Dukes
\nChanneling Mark Twain<\/em>
\nRandom House, 2008<\/h6>\n<\/td>\n
\n
\"\"<\/h5>\n
Bruce Smith
\nThe Key of Green <\/em>
\nUniversity of Chicago, 2008<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Heather James
\nShakespeare\u2019s Troy<\/em>
\nCambridge, 2007<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Maggie Nelson
\nThe Red Parts<\/em>
\nGraywolf, 2007<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Marianne Wiggins
\nThe Shadow Catcher<\/em>
\nSimon & Schuster, 2007<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Rebecca Lemon
\nTreason by Words <\/em>
\nCornell, 2006<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
M.G. Lord
\nAstroturf<\/em>
\nWalker Books, 2006<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Margaret Russett
\nFictions and Fakes<\/em>
\nCambridge, 2006<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David Treuer
\nNative American Fiction<\/em>
\nGraywolf, 2006<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
David Treuer
\nThe Translation of Dr. Apelles <\/em>
\nGraywolf, 2006<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Aimee Bender
\nWillful Creatures<\/em>
\nDoubleday, 2005<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Heather James
\nThe Norton Anthology of Western Literature<\/em>
\nW. W. Norton & Co., 2005<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Susan McCabe
\nCinematic Modernism<\/em>
\nCambridge, 2005<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David Rom\u00e1n
\nPerformance in America<\/em>
\nDuke, 2005<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
William Handley
\nTrue West<\/em>
\nUniversity of Nebraska, 2004<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Mark Irwin<\/h6>\n
Bright Hunger<\/em><\/h6>\n
BOA Editions, 2004<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Brighde Mullins<\/h6>\n
Water Stories<\/em><\/h6>\n
Slapering Hol, 2004<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David St. John
\nThe Face<\/em>
\nHarperCollins, 2004<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Leo Braudy
\nFrom Chivalry to Terrorism<\/em>
\nKnopf Doubleday, 2003<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Susan McCabe
\nSwirl<\/em>
\nRed Hen, 2003<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Marianne Wiggins
\nEvidence of Things Unseen <\/em>
\nSimon & Schuster, 2003<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Alice Echols
\nShaky Ground <\/em>
\nColumbia, 2002<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Viet Nguyen
\nRace and Resistance<\/em>
\nOxford, 2002<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
David St. John
\nPrism<\/em>
\nArctos, 2002<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David L. Ulin
\nWriting Los Angeles <\/em>
\nLibrary of America, 2002<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Dana Johnson
\nBreak Any Woman Down \u00a0<\/em>
\nUniversity of Georgia, 2001<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Tania Modleski
\nShow and Tell<\/em>
\nUniversity of Michigan, 2001<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Susan Segal
\nAria<\/em>
\nBridge Works, 2001<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Bruce Smith
\nTwelfth Night \u2013 Texts and Contexts \u00a0<\/em>
\nPalgrave Macmillian, 2001<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Aimee Bender
\nAn Invisible Sign of My Own \u00a0\u00a0<\/em>
\nAnchor, 2000<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Joseph Boone
\nQueer Frontiers<\/em>
\nUniversity of Wisconsin, 2000<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n\n\n\n\n \n \n\n\n\n\n\n\n\n
\n\n \n \n
\n\n \n \n\n\n\n\n\n\n\n
\n
\"\"<\/h6>\n
David Rollo
\nGlamorous Sorcery<\/em>
\nUniversity of Minnesota, 2000<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
John Rowe
\nLiterary Culture and U.S. Imperialism<\/em>
\nOxford, 2000<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
John Rowe
\nPost-Nationalist American Studies <\/em>
\nUniversity of California, 2000<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Hilary Schor
\nDickens and the Daughter of the House<\/em>
\nCambridge, 2000<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Daniel Tiffany
\nToy Medium<\/em>
\nUniversity of California, 2000<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Alice Echols
\nScars of Sweet Paradise<\/em>
\nHenry Holt, 1999<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Brighde Mullins
\nFire Eater <\/em>
\nTristan Bates Theatre, 1999<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Aimee Bender
\nThe Girl in the Flammable Skirt<\/em>
\nAnchor, 1998<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Joseph Boone
\nLibidinal Currents<\/em>
\nUniversity of Chicago, 1998<\/h6>\n<\/td>\n
\n
<\/h6>\n
\"\"<\/h6>\n
Tania Modleski
\nOld Wives\u2019 Tales and Other Women\u2019s Stories <\/em>
\nNew York University, 1999<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David Rom\u00e1n
\nActs of Intervention<\/em>
\nIndiana, 1998<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
David Rom\u00e1n
\nO Solo Homo<\/em>
\nGrove, 1998<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Margaret Russett
\nDe Quincey\u2019s Romanticism<\/em>
\nCambridge, 1998<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Alice Gambrell
\nWomen Intellectuals, Modernism, and Difference<\/em>
\nCambridge, 1997<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
M.G. Lord
\nForever Barbie<\/em>
\nWilliam Morrow, 1994<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Thomas Gustafson
\nRepresentative Words<\/em>
\nCambridge, 1993<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
John Rowe
\nThe Vietnam War and American Culture<\/em>
\nColumbia, 1992<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Joseph Boone
\nEngendering Men <\/em>
\nRoutledge, 1990<\/h6>\n
<\/h5>\n<\/td>\n
\n
\"\"<\/h6>\n
Anthony Kemp
\nThe Estrangement of the Past<\/em>
\nOxford, 1990<\/h6>\n<\/td>\n
\n
\"\"<\/h6>\n
Marianne Wiggins
\nJohn Dollar<\/em>
\nHarperCollins, 1989<\/h6>\n<\/td>\n<\/tr>\n
\n
\"\"<\/h6>\n
Tania Modleski
\nThe Women Who Knew Too Much<\/em>
\nRoutledge, 1988<\/h6>\n<\/td>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n\n\n \n \n\n\n\n\n\n\n\n

\n\n \n\n <\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":100,"featured_media":0,"parent":3918,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-content-detail.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1272","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nFaculty Publications - Department of English<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Faculty Publications - Department of English\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/\" \/>\n<meta property=\"og:site_name\" content=\"Department of English\" \/>\n<meta property=\"article:modified_time\" content=\"2025-08-11T22:54:05+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/\",\"url\":\"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/\",\"name\":\"Faculty Publications - Department of English\",\"isPartOf\":{\"@id\":\"https:\/\/live-usc-dornsife.pantheonsite.io\/engl\/#website\"},\"datePublished\":\"2022-12-02T07:28:51+00:00\",\"dateModified\":\"2025-08-11T22:54:05+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/dornsife.usc.edu\/engl\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Faculty\",\"item\":\"https:\/\/dornsife.usc.edu\/engl\/faculty\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Faculty Publications\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/live-usc-dornsife.pantheonsite.io\/engl\/#website\",\"url\":\"https:\/\/live-usc-dornsife.pantheonsite.io\/engl\/\",\"name\":\"Department of English\",\"description\":\"USC Dornsife Department of English\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/live-usc-dornsife.pantheonsite.io\/engl\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Faculty Publications - Department of English","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/","og_locale":"en_US","og_type":"article","og_title":"Faculty Publications - Department of English","og_url":"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/","og_site_name":"Department of English","article_modified_time":"2025-08-11T22:54:05+00:00","twitter_card":"summary_large_image","schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/","url":"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/","name":"Faculty Publications - Department of English","isPartOf":{"@id":"https:\/\/live-usc-dornsife.pantheonsite.io\/engl\/#website"},"datePublished":"2022-12-02T07:28:51+00:00","dateModified":"2025-08-11T22:54:05+00:00","breadcrumb":{"@id":"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/dornsife.usc.edu\/engl\/faculty\/publications\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/dornsife.usc.edu\/engl\/"},{"@type":"ListItem","position":2,"name":"Faculty","item":"https:\/\/dornsife.usc.edu\/engl\/faculty\/"},{"@type":"ListItem","position":3,"name":"Faculty Publications"}]},{"@type":"WebSite","@id":"https:\/\/live-usc-dornsife.pantheonsite.io\/engl\/#website","url":"https:\/\/live-usc-dornsife.pantheonsite.io\/engl\/","name":"Department of English","description":"USC Dornsife Department of English","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/live-usc-dornsife.pantheonsite.io\/engl\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/pages\/1272","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/users\/100"}],"replies":[{"embeddable":true,"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/comments?post=1272"}],"version-history":[{"count":402,"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/pages\/1272\/revisions"}],"predecessor-version":[{"id":7183,"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/pages\/1272\/revisions\/7183"}],"up":[{"embeddable":true,"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/pages\/3918"}],"wp:attachment":[{"href":"https:\/\/dornsife.usc.edu\/engl\/wp-json\/wp\/v2\/media?parent=1272"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}