New Books in Literary Studies

Today’s guest, Matthew Ritger, is the author of Houses of Correction: Carceral Institutions and Humanist Culture in Early Modern England (U Pennsylvania Press, 2026). This book delves into the archival records of Bridewell, Europe’s first house of correction, which was overseen by the humanist reformer Richard Grafton. It makes the case that the Bridewell prison and workhouse were central to the history of humanism in ways that both challenge idealized notions of European humanism and illustrate its commitments to civic and Christian reform. The book explores Bridewell’s mission to discipline the poor and the “idle” through hard labor, vocational training, and basic education, while also exposing its coercive and exploitative practices, which included whippings, forced labor, and the infliction of fear.

Houses of Correction also explores how Bridewell contributed to a broader humanist culture of correction, which united textual methods with practical forms of knowledge, and which extended to rhetorical and textual forms, as well as literary productions. The book’s five chapters connect the history and influence of Bridewell to a range of literary texts, including Thomas More’s Utopia, Shakespeare’s Henry VIII, Measure for Measure, and The Tempest, and Milton’s Of Educationand Samson Agonistes.

Through its interrogation of the logic of carceral humanism, Houses of Correction demonstrates the crucial role that Bridewell played in cultivating a culture of correction that pervaded humanist education, textual practices, and literary representations.

Jane Hwang Degenhardt is Professor English at the University of Massachusetts Amherst. She is the author of Globalizing Fortune on the Early Modern Stage (Oxford UP, 2022) and Islamic Conversion and Christian Resistance on the Early Modern Stage (Edinburgh UP, 2012). She is also a co-editor of the academic journal English Literary Renaissance.
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From disability metaphors to narratives structured around bodies presented as aberrant, early medieval English thoughtworlds conveyed the promise of resurrection and the hope of salvation through crip and disabled bodies. Light of the Everlasting Life: Disability and Crip Eschatology in Old English Literature (U Michigan Press, 2025) argues that early medieval Christian eschatology, as manifested in Old English literary texts, was a crip eschatology: a theology of the afterlife that relied upon disabled bodies and concepts related to disability in order to convey promises of resurrection and salvation. In addition to demonstrating how literature manifested theological approaches to the afterlife, Leah Pope Parker articulates the ways of thinking about bodies and disability that were available to ordinary early medieval people, many of whom experienced their bodies in ways that resonate with what we call disability today, but who rarely appear in the historical record.

By analyzing Old English texts, including Alfredian translations, Ælfric's saints' lives, and poetry from the Exeter and Vercelli Books, Parker introduces novel ways of characterizing disability's effects in literature. "Spiritual prosthesis" reveals rhetorical, narrative, and theological reliance upon disability to convey the promise of a Christian afterlife. "Systems of aberrance" emerge as a result, in which bodies marked as deviant--including disabled, monstrous, heroic, saintly, and dead bodies--form a network of embodiments that reinforce the narratives they inhabit and that of Christian salvation history. Locating crip eschatology in early medieval literature, Light of the Everlasting Life rewrites standard histories of disability, of the body, and of medieval Christian eschatology.
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What happens when performance defies social and political boundaries? Performing Transgression: Crowds and Bodies in Heian Japan (Harvard University Press, 2026) offers
a new cultural history of non-elite spectacle in Heian Japan
(794–1185), uncovering how performances on the margins—boisterous
dengaku music and dance, daring sangaku acrobatics, and the infectious
lyrics of imayō songs—challenged and fascinated the aristocracy.

Ashton Lazarus reveals how these unruly arts were documented by the
very elites they unsettled, appearing in historical chronicles, diaries,
prose, poetry, and illustrated scrolls. More than mere precursors to
later forms like noh and kyōgen, these performances formed a dynamic
cultural force with real political impact. By tracing their influence
through literary studies, performance studies, and historiography,
Lazarus rethinks the interplay between politics, class, and culture in
Heian Japan.

Performing Transgression illuminates how acts of defiance
and creative expression resonate across time, offering fresh insights
into the ways performance bridges the vanished past and the present.
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Camille’s Lakou (Vanderbilt UP, 2025), a novel by Guadeloupean writer and educator Marie Léticée, tells the story of Camille, a young Caribbean girl living with her single‑parent mother in a 1960s urbanized zone at the edge of Pointe‑à‑Pitre, Guadeloupe, following her through her adult life as a Caribbean migrant in Florida. Léticée explores neocolonial culture clash and identity conflict themes that will be familiar to readers of the Francophone Caribbean coming‑of‑age novel and its revisions by women writers such as Capécia, Lacrosil, Manicom, Schwarz‑Bart, Condé, Pineau, and others. Léticée makes it her own by fleshing out a time and place not well‑represented in Guadeloupean literature. While previous bildungsromanefrom the writers mentioned here typically focus on rural peasant or urban bourgeois settings, Camille’s Lakoushifts location to an impoverished urban environment. “Lakou” is translated as “courtyard” or, more colloquially, “yard.” The author explores the culture and politics of lakou society while raising the issue of how this social dynamic is transformed through the impact of globalization and dispersal into a diasporic experience outside the island milieu of Camille’s childhood.In a collaborative translation effort between the author and Kevin Meehan, Camille’s Lakou will bring the realities and joys of Léticée’s Guadeloupe to an English audience for the first time.
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In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic.

Middlemen rewrites
literary history from the perspective of one of its most important but
least visible figures: the literary agent. Chronicling the story of
agents in the United States from the 1950s to today, Laura McGrath
uncovers their critical role in the making of American literature. From
the famed three-martini lunch to the Frankfurt Book Fair, Middlemen
takes readers behind the scenes to show how agents influence what we
read. Along the way, it explains why many debut novelists never publish
another book, why agents champion short story collections even though
they sell poorly, how agents advocate for writers of color in a system
that values whiteness, and why there are so many New York novels.

Weaving
together original archival research, data analysis, and interviews with
scores of agents and other publishing professionals, Middlemen demonstrates
that agents—eighty percent of whom are in fact women—are much more than
“middlemen.” As intermediaries between author and publisher, agents act
as advocates, matchmakers, negotiators, and tastemakers, and they must
balance artistic values with the commercial imperatives of publishing
conglomerates. The book describes the decisive role agents have played
in celebrated novels—from Jack Kerouac’s On the Road to Colson Whitehead’s The Intuitionist—but
also in the creation of entire literary categories like the debut
novel, the story collection, postmodernism, multiethnic fiction, and
world literature.

Featuring profiles of agents past and present
such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and
Andrew Wylie, along with perspectives from agents at all stages of their
careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made.
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