New Books in Literary Studies

For William Allen White, the ideal Midwestern community was a utopian vision of what America could be: a prosperous, happy community built on equality, opportunity, and neighborly generosity. This anthology collects White’s famous and obscure writings and presents him as the iconic voice of the Midwestern small town.

William Allen White, the editor of The Emporia Gazette in Kansas, was an American institution. When he died in 1944, President Franklin Delano Roosevelt commented that America had lost one of its “wisest and most beloved editors.” White understood the value of his unique brand as “the voice of Main Street,” and would often preach his vision of the kind of nation the United States ought to be.

From his view in Emporia, White’s imagined Midwestern town was a dream for the nation to strive toward. He saw himself as a pioneer sowing the seeds of a great harvest to come, and he believed that the small-town civilization he venerated exemplified what was best in America.

In Heartland Utopia: William Allen White on the Ideal Midwestern Town (UP of Kansas, 2026), Charles Delgadillo and Jason Stacy have gathered nearly twenty-five years of White’s fiction and nonfiction focused on his idealized Midwestern community and how this utopian vision changed over time.

Charles Delgadillo is a lecturer in history at the California State University, Pomona, and the author of Crusader for Democracy: The Political Life of William Allen White, published by Kansas.

Jason Stacy is Distinguished Research Professor of history and social science pedagogy at Southern Illinois University, Edwardsville. His books include Spoon River America: Edgar Lee Masters and the Myth of the American Small Town and Walt Whitman's Selected Journalism. You can hear another interview with him about his Spoon River America here on the New Books Network.

Daniel Moran’s writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, found here on the New Books Network.
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The Philosophy of Translation (Yale UP, 2024) is a fresh, approachable, and convincing account of what translation really is and what translators actually do. As the translator of sixty books from multiple languages, Damion Searls has spent decades grappling with words on the most granular level: nouns and verbs, accents on people’s names, rhymes, rhythm, “untranslatable” cultural nuances. In this book, he connects a wealth of specific examples to larger philosophical issues of reading and perception. Translation, he argues, is fundamentally a way of reading—but reading is much more than taking in information, and translating is far from a mechanical process of converting one word to another. This sharp and inviting exploration of the theory and practice of translation is for anyone who has ever marveled at the beauty, force, and movement of language.

In this episode, Ibrahim Fawzy sat down with Damion Searls to discuss The Philosophy of Translation, exploring what it truly means to read as a translator, how grammar shapes worldview, and where creativity lives in the space between languages.

Damion Searls studied philosophy at Harvard and is a prominent translator from German, Norwegian, French, and Dutch, including books by Nietzsche, Wittgenstein, Rilke, Proust, Kielland, Jelinek, Schwitters, Mann, Modiano, and Fosse. His own books include the novel Analog Days, the poetry volume The Mariner’s Mirror, and The Inkblots, a history of the Rorschach test and biography of its creator.

Ibrahim Fawzy is an Egyptian literary translator and writer. He is the translator of Hassan Akram’s A Plan to Save the World (Sandorf Passage, 2026). His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature.
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My guest today is Eric Weiskott, Professor of English at Boston College. Eric has previously published Meter and Modernity in English Verse, 1350-1650 (U Pennsylvania Press, 2021) and English Alliterative Verse: Poetic Tradition and Literary History (Cambridge University Press, 2016), as well as a chapbook titled Chanties: An American Dream (Bottlecap, 2023). Eric is also a co-editor for the Yearbook of Langland Studies.

Today, we are discussing two of Eric’s recent books that share a connection to the fourteenth-century English poem Piers Plowman. The first is Cycle of Dreams (Punctum, 2024), a poetry collection that uses motifs, literary devices, and themes of William Langland’s surreal poem as a springboard to meditate on the equally surreal experience of political and social life in the twenty-first century. Cycle of Dreams is published by Punctum Books. The second book we are discussing is a new edition of the A-version of Piers Plowman: A New Annotated Edition of the A-Text (U Exeter Press, 2025)
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Reginald Jackson’s inspiring new book takes a transdisciplinary approach to rethinking how we read, how we pay attention, and why that matters deeply in shaping how we understand the past, live in the present, and imagine possible futures. Textures of Mourning: Calligraphy, Mortality, and The Tale of Genji Scrolls (University of Michigan Press, 2018) explores the relationship between reading, dying, and mourning across three central texts: the Heian period The Tale of Genji; the twelfth century Illustrated Handscrolls of the Tale of Genji (or, Genji Scrolls); and the twenty-first century Resurrected Genji Scrolls exhibition. The book’s analysis pivots on some key questions, including: “How does the desire to observe dying bodies potentially damage them?”; and “how do these deteriorating bodies in turn alter the texture of linguistic and visual representation?” The book addresses these questions while helping readers understand and appreciate calligraphy as a “kinetic medium” through which we might “chart the shifting contours of mortality’s link to legibility between terrains of written text and painted image.” In tracing Genji’s decompositional aesthetics across the four major parts of the book – Dying, Decomposing, Mourning, Resurrecting – Jackson’s writing simultaneously helps us to understand how mourning can itself be a kind of reading (and how “dwelling with the dead” can be a critical practice) at the same time that his writing becomes itself a form of mourning. As he reminds us in the book, mourning is not simply about experiencing loss: it can also be a resource for thriving. Textures of Mourning demonstrates what that might look like both when studying the medieval past, and when using it as a resource to inform the contemporary present and its many forms of violence. Ranging across art history, Japanese studies, and performance studies, this is a movingly and gorgeously composed book that should serve as a model for what transdisciplinary scholarship can be, and a reminder of the importance of performing and supporting more work that dances across disciplinary boundaries.

Carla Nappi is the Andrew W. Mellon Chair in the Department of History at the University of Pittsburgh. You can learn more about her and her work here.
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When Virginie Despentes (1969) published her provocative debut novel Baise-moi in 1994, no one could have anticipated how she would gradually become a literary, feminist, and punk icon. This book is the first holistic, interdisciplinary approach to Despentes's novels and evolution as an author. Using feminist, queer, literary, and punk theories, the book examines how Despentes has developed and refined her Grrrl writing in Baise-moi, Les Chiennes savantes, and Les Jolies choses. Michèle Schaal's Grrrl Writing: Virginie Despentes's Authorial Politics (Peter Lang, 2026) specifically illustrates how her unique authorial politics, infused with punk, genre- and genderbending praxes, have provided an acerbic critique of still largely heteropatriarchal French society. Despentes's Grrrl writing denounces how this system engenders and thrives on injustice and social inequities, but also how conventions at play in classic or populist literary genres can perpetuate oppression as well
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