Faculty Books
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The Thing About Florida: Exploring a Misunderstood State
Tyler Gillespie
The memes. “Because Florida” jokes. “Florida Man” stories. Tyler Gillespie was once embarrassed to call Florida home, concocting fantasies he’d been born somewhere else. In The Thing about Florida, Gillespie faces his Florida denial and takes readers on an exuberant search for the state behind the caricatures, cutting through the media storm with curiosity and humor. Gillespie’s journey leads him into unexpected places such as halfway houses, gator pits, rattlesnake rooms, and clothing-optional campgrounds, where he meets eclectic and unconventional Floridians. He interviews storm chasers, Civil War reenactors, cattle ranchers, drag queens, python hunters, and pet smugglers. His conversations delve into serious issues such as addiction, Florida’s racist past, and care options for the state’s LGBTQ senior citizens. With perspective and empathy derived from his background as a gay man raised Southern Baptist, Gillespie shows how important it is to understand the diversity and complexity of Florida today. “It’s dangerous to meet our fears with fear,” he says as he confronts his own as well as the state’s monsters—invasive species, hurricanes, environmental destruction. He reminds us that Florida’s people and problems are vital parts of the nation’s future. A fresh and engaging voice, Gillespie captivates with a snappy pace, sly wit, and crisp observations. As he weaves his childhood memories and personal experiences alongside the stories of the individuals he encounters, Gillespie reconciles with his home state. He finds Florida’s humanity, a beautiful mix of hopes, dreams, and second chances. Tyler Gillespie, a fifth-generation Floridian, is a poet and award-winning journalist. He has written for GQ, the Guardian, the Nation, VICE, and Salon. He is the author of Florida Man: Poems and coeditor of The Awkward Phase: The Uplifting Tales of Those Weird Kids You Went to School With.
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Heritage and Hate: Old South Rhetoric at Southern Universities
Stephen Monroe
The US South is a rhetorical landscape that pulsates with division, a place where words and symbols rooted in a deeply problematic past litter the ground and contaminate the soil. Stephen M. Monroe’s provocative study focuses on predominantly white southern universities where Old South rhetoric still reverberates, where rebel flags cast a shadow over attempts at racial harmony, school cheers to reinforce racial barriers, and student yearbooks to create and protect an oppressive culture of exclusion. Across the region, in college towns like Oxford, Mississippi; Athens, Georgia; and Tuscaloosa, Alabama—communities remain locked in a difficult, recursive, and inherently rhetorical struggle that wrestles with this troubling legacy. Words, images, and symbols are not merely passive artifacts of southern history, Monroe argues, but formative agents that influence human behavior and shape historical events. Drawing on research from many disciplines, including rhetoric, southern studies, history, sociology, and African American studies, Monroe develops the concept of confederate rhetoric: the collection of Old South words and symbols that have been and remain central to the identity conflicts of the South. He charts examples of such rhetoric at work in southern universities from Reconstruction to the present day. Tracing the long life and legacy of Old South words and symbols at southern universities, this book provides close and nuanced analysis of the rhetorical conflicts that have resulted at places like the University of Mississippi and the University of Missouri. Some conflicts erupted during the civil rights movement, when the first African American students sought admission to all-white southern universities and colleges, and others are brewing now, as African Americans (and their progressive white peers) begin to cement genuine agency and voice in these communities. Tensions have been, and remain, high. Ultimately, Monroe offers hope and optimism, contending that if words and symbols can be used to damage and divide, then words and symbols can also be used to heal and unify. Racist rhetoric can be replaced by antiracist rhetoric. The old South can become new. While resisting naïve or facile arguments, Heritage and Hate ultimately finds the promise of progress within the tremendous power of language.
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City of Margins
William Boyle
In City of Margins, the lives of several lost souls intersect in Southern Brooklyn in the early 1990s. There’s Donnie Parascandolo, a disgraced ex-cop with blood on his hands; Ava Bifulco, a widow whose daily work grind is her whole life; Nick, Ava’s son, a grubby high school teacher who dreams of a shortcut to success; Mikey Baldini, a college dropout who’s returned to the old neighborhood, purposeless and drifting; Donna Rotante, Donnie’s ex-wife, still reeling from the suicide of their teenage son; Mikey’s mother, Rosemarie, also a widow, who hopes Mikey won’t fall into the trap of strong arm work; and Antonina Divino, a high school girl with designs on breaking free from Brooklyn. Uniting them are the dead: Mikey’s old man, killed over a gambling debt, and Donnie and Donna’s poor son, Gabe. These characters cross paths in unexpected ways, guided by coincidence and the pull of blood. There are new things to be found in the rubble of their lives, too. The promise of something different beyond the barriers that have been set out for them. This is a story of revenge and retribution, of facing down the ghosts of the past, of untold desires, of yearning and forgiveness and synchronicity, of the great distance of lives lived in dangerous proximity to each other. City of Margins is a Technicolor noir melodrama pieced together in broken glass.
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Snapshots: A Collection of Short Stories
Eliot Parker
Each story within Snapshots places the characters in situations where their past behaviors will be changed in a moment that is like a snapshot picture: freezing in time who they are in a moment but facing new challenges that will alter that snapshot and create a new reality. Eudora Welty's quote "A good snapshot keeps a moment from going away" is a theme that permeates all of the stories in Eliot Parker's collection of short stories, Snapshots. These stories are set in West Virginia, Ohio, and Kentucky. In the plots of the stories, the makeup of the characters is more interesting and important than the circumstances that the characters find themselves trying to manage. Each protagonist finds themselves in a complicated set of personal and professional relationships. By their nature, relationships are complicated. The protagonists in these stories are shaped by their backgrounds, life experiences, and expectations of other people. Conflicts arise for these protagonists when decisions and choices made by others alter the expectations and circumstances expected by the protagonists. In each of these stories, the lives, values, and beliefs held by the characters are deconstructed and each of them face a new reality brought on by an experience or situation that forces them to reexamine who they are and who they need to become. Each of these characters occupy a variety of professional spaces: cops, a rich, successful couple, convicted criminals, and others grieving the loss of a loved one and grieving the absence of love.
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A Friend is a Gift You Give Yourself: A Novel
William Boyle
Goodfellas meets Thelma and Louise when an unlikely trio of women in New York find themselves banding together to escape the clutches of violent figures from their pasts. After Brooklyn mob widow Rena Ruggiero hits her eighty-year-old neighbor Enzio in the head with an ashtray when he makes an unwanted move on her, she embarks on a bizarre adventure. Taking off in Enzio’s ’62 Impala, she retreats to the Bronx home of her estranged daughter, Adrienne, and her granddaughter, Lucia, only to be turned away by Adrienne at the door. Their neighbor, Lacey “Wolfie” Wolfstein, a one-time Golden Age porn star and retired Florida Suncoast grifter, takes Rena in and befriends her. When Lucia discovers that Adrienne is planning to hit the road with her ex-boyfriend Richie, she figures Rena’s her only way out of a life on the run with a mother she can’t stand. But Richie has massacred a few members of the Brancaccio crime family for a big payday, and he drags even more trouble into the mix in the form of an unhinged enforcer named Crea. The stage is set for an explosion that will propel Rena, Wolfie, and Lucia down a strange path, each woman running from something and unsure what comes next. A Friend Is a Gift You Give Yourself is a screwball noir about finding friendship and family where you least expect it, in which William Boyle again draws readers into the familiar—and sometimes frightening—world in the shadows at the edges of New York’s neighborhoods.
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Gravesend: A Novel
William Boyle
In this masterful work of neo-noir, William Boyle expertly captures the grit and desperation of a neighborhood in flux, and spotlights the neighbors who find themselves caught up in the crimes of the past. Some worship him and some want him dead, but either way, tensions run high when “Ray Boy” Calabrese is released from prison. It’s been sixteen years since Ray Boy’s actions led to the death of a young man. The victim's brother, Conway D'Innocenzio, is a 29-year-old Brooklynite wasting away at a local Rite Aid, stuck in the past and drawn into a darker side of himself when he hears of Ray Boy’s freedom. But even with the perfect plan in place, Conway can’t bring himself to take the ultimate revenge on Ray Boy, which sends him into a spiral of self-loathing and soul-searching. Meanwhile, Alessandra, a failed actress, returns to her native Gravesend after the death of her cancer-stricken mother, torn between the desperate need to escape back to Los Angeles as quickly as possible and the ease with which she could sink back into neighborhood life. Alessandra and Conway are walking eerily similar paths—staring down the rest of their lives, caring for their aging fathers, lost in the youths they squandered—and each must decide what comes next. In the tradition of American noir authors like Dennis Lehane and James Ellroy, William Boyle’s Gravesend brings the titular neighborhood to life in this story of revenge, desperation, and escape.
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Chase Us: Stories
Sean Ennis
Ennis’s debut collection provides glimpses into the lives of a cohort of boys from the outskirts of Philadelphia, who grow older but never really grow up. In most of the stories, the boys are adolescent—shooting bows and arrows, playing suicide against a wall with a tennis ball, drinking their first beers—and Ennis nails the spite, tenderness, and trepidation in the voice of both an 11-year-old boy and the man he becomes. Regarding the nun who is the boys’ teacher, the nameless narrator thinks, “She smiled when she explained to our class that she was married to Christ, but we knew it was really us she was bound to.” Whether he’s portraying a teenage war between skaters and “guidos” or the vulnerability of a father holding a newborn baby, the author presents the raw messiness of fear and confusion through a lyric cadence. Though some of the stories feel repetitive, it’s clear by the end of the book that Ennis has crafted a beautiful, hard-hitting collection.