Jahna: True Kin

True Kin

Ric Jahna

Ranging from the clay roads of Central Florida to the American Desert Southwest, the stories of True Kin foreground a cast of recurring characters engaged in battles both public and private, epic and mundane. The lead-off story, “Independence Day, 1983,” winner of an AWP Intro Award, introduces a lakeside family barbeque, where class tensions and long-held grudges threaten to burst forth with dangerous consequences. In “Making Weight,” a jumbo-sized high school wrestler struggles against his unpredictable body to lose six very important pounds. In “Release Statement,” a troubled young woman attempts to make sense of her longtime obsession with Bob Barker of The Price Is Right fame. An unsuspecting adjunct professor, in “Hurricane Party, 2002,” finds himself thrust suddenly into a violent confrontation with his former student. Rendered in meticulously crafted prose, these nine stories and one novella are grounded soundly in the dramatic moment, while probing deeply into the larger mysteries of the human condition. Seekers all, Jahna’s characters brave the often absurd trials of contemporary life in an ongoing search for community, meaning, and love.

http://www.ohiostatepress.org

Barr, ed.: Afro-Future Females

Afro-Future Females

Black Writers Chart Science Fiction’s Newest New-Wave Trajectory

Edited by Marleen S. Barr

Afro-Future Females: Black Writers Chart Science Fiction’s Newest New-Wave Trajectory, edited by Marleen S. Barr, is the first combined science fiction critical anthology and short story collection to focus upon black women via written and visual texts. The volume creates a dialogue with existing theories of Afro-Futurism in order to generate fresh ideas about how to apply race to science fiction studies in terms of gender. The contributors, including Hortense Spillers, Samuel R. Delany, Octavia E. Butler, and Steven Barnes, formulate a woman-centered Afro-Futurism by repositioning previously excluded fiction to redefine science fiction as a broader fantastic endeavor. They articulate a platform for scholars to mount a vigorous argument in favor of redefining science fiction to encompass varieties of fantastic writing and, therefore, to include a range of black women’s writing that would otherwise be excluded.

Afro-Future Females builds upon Barr’s previous work in black science fiction and fills a gap in the literature. It is the first critical anthology to address the “blackness” of outer space fiction in terms of feminism, emphasizing that it is necessary to revise the very nature of a genre that has been constructed in such a way as to exclude its new black participants. Black science fiction writers alter genre conventions to change how we read and define science fiction itself. The work’s main point: black science fiction is the most exciting literature of the nascent twenty-first century.

http://www.ohiostatepress.org

O’Brien: Crime in Verse

Crime in Verse

The Poetics of Murder in the Victorian Era

Ellen L. O’Brien

Over the last few decades, Victorian scholars have produced many nuanced studies connecting the politics of crime to the generic developments of the novel—and vice versa. Ellen L. O’Brien’s Crime in Verse grants the same attention and status to poetic representations of crime. Considering the literary achievements and cultural engagements of poetry while historicizing murder’s entanglement in legal fictions, punitive practices, medical theories, class conflicts, and gender codes, O’Brien argues that shifting approaches to poetry and conflicted understandings of murder allowed poets to align problems of legal and literary interpretation in provocative, disruptive, and innovative ways.

Developing focused analyses of generic and discursive meanings, individual chapters examine the classed politics of crime and punishment in the broadside ballad, the epistemological tensions of homicidal lunacy and criminal responsibility in the dramatic monologue, and the legal and ideological frictions of domestic violence in the verse novel and verse drama. Their juxtaposition of the rhymes of anonymous street balladeers, the underexamined verse of “minor” poets, and the familiar poems of canonical figures suggests the interactive and intertextual relationships informing poetic agendas and political arguments. As it simultaneously reconsiders the institutional and ideological status of murder and the aesthetic and political interests of poetry, Crime in Verse offers new ways of thinking about Victorian poetry’s contents and contexts.

http://www.ohiostatepress.org