This expansive volume traces the rhetoric of reform across American history, examining such pivotal periods as the American Revolution, slavery, McCarthyism, and today's gay liberation movement. At a time when social movements led by religious leaders, from Louis Farrakhan to Pat Buchanan, are playing a central role in American politics, James Darsey connects this radical tradition with its prophetic roots. Public discourse in the West is derived from the Greek principles of civility, diplomacy, compromise, and negotiation. On this model, radical speech is often taken to be a sympton of social disorder. Not so, contends Darsey, who argues that the rhetoric of reform in America represents the continuation of a tradition separate from the commonly accepted principles of the Greeks. Though the links have gone unrecognized, the American radical tradition stems not from Aristotle, he maintains, but from the prophets of the Hebrew Bible.

American women have created an especially vigorous and innovative poetry, beginning in 1632 when Anne Bradstreet set aside her needle and picked up her "poet's pen." The topics of American women poets have been various, their images their own, and their modes of expression original. Emily Stipes Watts does not imply that the work of American men and that of American women are two different kinds of poetry, although they have been treated as such in the past. It is her aim, rather, to delineate and define the poetic tradition of women as crucial to the understanding of American poetry as a whole. By 1850, American women of all colors, religions, and social classes were writing and publishing poetry. Within the critical category of "female poetry," developed from 1800 to 1850, these women experimented boldly and prepared the way for the achievement of such women as Emily Dickinson in the second half of the nineteenth century. Indeed at times—for example from 1860 through 1910—it was women who were at the outer edge of prosodic experimentation and innovation in American poetry. Moving chronologically, Professor Watts broadly characterizes the state of American poetry for each period, citing the dominant male poets; she then focuses on women contemporaries, singling out and analyzing their best work. This volume not only brings to light several important women poets but also represents the discovery of a tradition of women writers. This is a unique and invaluable contribution to the history of American literature.

This Companion is the first critical collection of its kind devoted solely to American poetry of the nineteenth century. It covers a wide variety of authors, many of whom are currently being rediscovered. A number of anthologies in the recent past have been devoted to the verse of groups such as Native Americans, African-Americans and women. This volume offers essays covering these groups as well as more familiar figures such as Dickinson, Whitman, Longfellow and Melville. The contents are divided between broad topics of concern such as the poetry of the Civil War or the development of the 'poetess' role and articles featuring specific authors such as Edgar Allan Poe or Sarah Piatt. In the past two decades a growing body of scholarship has been engaged in reconceptualizing and re-evaluating this largely neglected area of study in US literary history - this Companion reflects and advances this spirit of revisionism.

This biography of American poet Frederick Goddard Tuckerman focuses on his development as both a "Romantic," whose work was influenced by Keats, Emerson, and Tennyson, and as an "anti-Romantic," in the mold of Hawthorne, Melville, and Dickinson. Using previously unexamined letters, family records, and notes by Tuckerman, Eugene England traces the poet's unique combination of Anglican rationalism, legal training, and skill in natural observation (under the tutelage of his brother Edward, a noted botanist), all of which caused him to depart from the orthodox Emersonian Romanticism in unusual and instructive ways. England examines Tuckerman's challenging resolution to basic aesthetic and epistemological dilemmas posed by Romanticism and demonstrates that his poems are a first-rate artistic achievement of continuing value. Beyond Romanticism includes a general bibliography as well as a complete bibliography of Tuckerman's writings and works about him and his poetry.