The dissertation includes a critical essay on Jorie Graham's "The Guardian Angel of the Little Utopia and a full-length collection of poetry entitled Moonlight in Quota. The essay is a critical examination which argues that Graham's poems question Western anthropocentric thought through her constant arrangement of particular images (flowers, yellow sky, leaves) and her subsequent questioning of such intellectual and linguistic arrangements. Graham grapples with ideas of perception, questions the historical concepts of truth and knowledge, and engages in linguistic play both musically and imagistically. Each section is tied together by some overriding theme or persistent image: 1.) forgetting, Mexican-American border scenes 2.) poverty and faith shown through images of marginalized characters 3.) Artistic creation as a means for the survival for the "other."

The dissertation begins with an introductory chapter that examines the short story cycle as a specific genre, outlines tendencies found in minimalist fiction, and discusses proposed definitions of the short story genre. The introduction examines the problems that short story theorists encounter when they try to.define the short story genre in general. Part of the problem results from the lack of a definition of the short story in the Aristotelian sense of a definition. A looser, less traditional definition of literary genres helps solve some of the problem. Minimalist fiction and the short story cycle are discussed as particular forms of the short story. Sixteen short stories follow the introduction.

Anatomy of Loss contains a foreword, which discusses the place of autobiography in fiction, and five original short stories.

In this collection of poems and essays, the author demonstrates two different methods for examining the same theme: the notion of "home"—how to get there, how to remain there and bear articulate witness to the forces which drive that author to write. The introduction sets forth an explanation for the use of the specific form chosen for expression, with an analysis of the intent behind that form. In these essays and poems, the author accounts for her years on the Texas Panhandle, in Montana, and a year spent teaching in Prague, Czechoslovakia. These locations furnish the moments and incidents of conflict and resolution that make up the dramatic incidents of the included material.

Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a …

The dissertation is a collection of eighteen short stories. These stories relate the life experiences of the first-person narrator and chronicle a period of twenty years. They are arranged in five thematic groups: Expectations, Questions, Lighter Moments, Answers, and Separation. The focus of each one represents the narrator's experiences with his father, as the narrator attempts to understand a man who exerts such control over his life. Expectations contains three stories, with the first depicting the narrator's earliest association with his father. The other two represent significant growth experiences. The five stories in the Questions portion focus on the youthful narrator as he tries to understand the reasons behind his father's values and moral lessons. In the section, Lighter Moments, there are four stories in which the narrator is in his late teens and recalls four incidents that lacked the usual serious undertones prevalent in most of his experiences with his father. Answers is composed of three stories in which the narrator, nearing manhood, struggles with feelings of disillusionment with the life his father has planned for him, as well as the realization that his father controls every aspect of his life. The final section of three stories, Separation, depicts …

This comic romantic novel engages the question of how the Christianity of the southern, fundamentalist world of the Texas bible belt, finding its primary cultural assumptions about human existence challenged by the more confusing elements of a modern sensibility, a sensibility over-laden with strange-attractors, mechanistic psychologies, relativistic physics and ethics, evolutionary premises, newly proclaimed rights and freedoms, a deterioration in cultural political naivete, and the advent of an increasingly incomprehensible set of technologies, can survive. The "central" character is a young, slightly deformed man raised by his ostensibly "Christian" grandparents who, through a rather odd set of legal circumstances and physical events, not only become wealthy, but somewhat powerful in their immediate community. He finds himself involved with a young woman, raised in an equally "Christian" household, but, as is true of any romantic plot, the relationship between the two is destined, by virtue of circumstance and the meddling of other characters, to struggle and mishap. In the end, the text, in its own fashion, asserts that the Christian impulse can survive the modern era by virtue of one of its central tenets: faith, in the Christian world, is very much the same as life itself, a process of waiting …

Ways of Pulling A Person Out of the Water contains a preface, which discusses the writing process as well as a discussion of the short story form, ten original short stories, and two chapters of a novel-in-progress. A number of the short stories explore issues such as eating disorders, sexual violence, and artistic choice in the specialized context of the dance community. The novel chapters further develop one of the short stories, "When You Are the Camera and the Camera Is You." The narrator, Diane, explores her life coping with agoraphobia and her family's car accident.

In "Discourse in the Novel," Mikhail Bakhtin tells us that "Every discourse presupposes a special conception of the listener, of his apperceptive background and the degree of his responsiveness." My study of Wallace Stevens's poetry examines Stevens's "conception of the listener"—in the form of his intratextual readers, their responsiveness, and the shapes that responsiveness takes—and attempts to formulate out of that examination Stevens's theory of reading embodied in his canon of poems.

Written in the tradition of the classic spy novels of Ian Fleming and the detective novels of Raymond Chandler, The Agolmirth Conspiracy represents the return to the thriller of its traditional elements of romanticism, humanism, fast-moving action, and taut suspense, and a move away from its cynicism and dehumanization as currently practiced by authors such as John Le Carre' and Tom Clancy. Stanford Torrance, an ex-cop raised on "old-fashioned" notions of uncompromising good and naked evil and largely ignorant of computer systems and high-tech ordinance, finds himself lost in a "modern" world of shadowy operatives, hidden agendas, and numerous double-crosses. He is nevertheless able to triumph over that world when he puts his own honor, his own dignity, and his very life on the line, proving to himself and to his adversaries that such things can still make things easier to see amid today's swirling moral fog.