During the long, dark night of a volcanic winter, a young man clashes with his father over the fate of five desperate survivors who have arrived outside the gates of the family compound. Yet he soon discovers true darkness lies within.

<p><i>She Will Be: Literary Authorship and the Coming Woman in the Postbellum United States </i>argues that postbellum women writers deployed the figure of the Coming Woman, an archetype for the nation’s improved female future, to articulate expanded sociopolitical opportunities for women, interrogate prevailing standards of literary art, and validate their own literary pursuits. During the final decades of the nineteenth century, the American reading public became increasingly fascinated with identifying who the Coming Woman would be, what qualities she would possess, and how her arrival would alter the nation’s future. Such questions flooded US print culture in the decades between 1865 and 1900, demonstrating that the Coming Woman not only occupied a space between the antebellum True Woman and fin de siècle New Woman but also that she was a major feminine archetype in her own right.</p><p><br></p><p>Even so, existing scholarship on the Coming Woman tends either to identify the Coming Woman anachronistically as an early iteration of the New Woman or, when naming her directly, to overlook her complex function as both a harbinger and manifestation of manifold sociopolitical changes. These limited examinations elide the Coming Woman’s ubiquitous influence on postbellum literary culture, particularly in terms of the complex links Susan Coultrap-McQuin and Lawrence W. Levine have traced between middlebrow culture and postbellum national identity. <i>She Will Be</i> builds on recent scholarship by demonstrating how the American Coming Woman helped reshape notions of women’s literary authorship, modernity, and national identity in the late nineteenth century. By examining her literary life through four key middlebrow genres (<i>Bildungsroman</i>, sentimentality, utopianism, and regionalism), <i>She Will Be</i> reveals how female authors used the Coming Woman figure to imagine—and, indeed, write into being—an expanded vision for the US’s female future.</p>

Magister Theologiae - MTh / Although there were various small Pentecostal experiences (like baptismsin the Holy Spirit accompanied by glossolalia utterances) just before and after the beginning of the twentieth century, the origin of the Pentecostals is generally traced back to two incidents very early in this century (Frodsham 1946:15-17; Kendrick 1961 :34-36). Some writers prefer to linkthe origin of the Pentecostal Movement to Charles Parham's Bible Collegeat Topeka (Kansas) (Nichol 1966: 26). Others prefer to link thisMovement's origin to the Azusa Street revival of William J.Seymour (Nichol 1966: 32).

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Punch-Drunk, a collection of 43 poems, deals with themes involving masculinity, violence, family, religion, and the apocalypse. As such, the collection shows an array of relationships the speaker has with various men, family members, religious figures, and forces of nature, thereby revealing the ways in which humans navigate loss and come to accept hard truths. Therefore, this collection shows the ways in which humans are not static creatures, but instead beings that are continually changing and achieving some kind of growth. By the end, the speakers have gone on personal journeys in which they learn the fact that love is not always constant, figuring out and coming to terms with your gay identity is a complicated ordeal, familial relationships are not always stable, and the world will sometimes crumble at your feet. / MFA

This study uses a constructivist grounded theory approach to investigate the meaning of “coming out” for LGBQ individuals. Analysis of open-ended interviews with 30 LGBQ persons revealed three main themes. First, coming out does not have a universal meaning among LGBQ persons; rather, it varies on the basis of an individual’s experiences, social environment, and personal beliefs and values. Coming out is a transformative process, and an important element in identity formation and maintenance. Second, despite being attracted only to members of the same sex, ten interviewees engaged in a queer apologetic, a kind of identity compromise whereby individuals disclose a bisexual identity that they believe satisfies their personal attractions for only members of the same sex and society’s expectation that they be attracted to members of the opposite sex. Third, both gender conformity (e.g., female=feminine) and gender non-conformity (e.g., female=masculine) present unique challenges to coming out. Because they are assumed to be straight, gender conformists must make a more concerted effort to come out. Gender non-conformists may experience greater ease coming out broadly because they are “assumed gay,” but they also experience greater opposition from family and friends who resist gender non-conformity. This study provides important insight into the meaning of coming out as well the influences of heteronormativity and gender presentation on coming out. Implication and recommendations for future research are included.

After being dumped by the love of her life, a woman hopes to spite her ex and her commandeering mother by ‘ending it all’ - but each attempt to kill herself gets thwarted by her inability to do it right.

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