Joshua L. Miller is Associate Professor of English at the University of Michigan where he teaches courses in twentieth-century U.S. literature and visual culture. He has written broadly on language politics, transnational modernism, and photography. He is currently at work on a book on twentieth-century photo-text collaborations and a collection of essays on translation, new media, global English, and cultural critique.

• SERIES EDITORS' FOREWORD; INTRODUCTION: "EVERY KIND OF MIXING"; LANGUAGE, HYGIENE, AND NATIONAL SECURITY; MENCKEN AND THE CULTURAL WORK OF POLEMICAL PHILOLOGY; CONTEMPORARY "AMERICAN" AS STANDARD VERNACULAR; "A STANDARDIZATION NOT IMPOSED BUT VOLUNTARILY ACCEPTED"; THE MAKING OF AMERICANS' SPEECH: STEIN'S AURAL "ENGLISH"; MULTILINGUAL FUSION AND THE LIMITS OF COSMOPOLITAN EXPRESSION: DOS PASSOS'S U.S.A; LOCUTIONS OF DISLOCATION AND THE POLITICAL USES OF DESPAIR; "FLESH OF THEIR LANGUAGE"; "BEEN SHAPIN WORDS T FIT M SOUL": TOOMER'S CANE; "KENT'CHA TUCK ENGLITCH?": LINGUISTIC DISSONANCE IN CALL IT SLEEP; "THE PURPOSE OF JEWISH LIFE IS CULTURAL, IS IT NOT?": THE POLITICS OF TRILLING'S STYLE; THE RETURN OF THE DEPRESSED; U.S. EMPIRE AND IMPOSED SYNTAX; "BORN A FOREIGNER IN HIS NATIVE LAND": PAREDES AND BINATIONAL SPEECH; "CITIZENSHIP, THEN, IS THE BASIS OF ALL THIS MISUNDERSTANDING?": BULOSAN'S AMERICA; IDIOMS OF ANNEXATION; CONCLUSION: "SAY SOMETHING AMERICAN IF YOU DARE"

this book is absolutely indispensable for any future consideration of how the experimental languages of American modernism negotiated and helped shape the complex language politics of the early twentieth century. Its combination of lucid and scholarly cultural historicism and agile close readings of verbal texture is exemplary. I can foresee using this in graduate seminars for years to come.

Joshua L. Miller is Associate Professor of English at the University of Michigan where he teaches courses in twentieth-century U.S. literature and visual culture. He has written broadly on language politics, transnational modernism, and photography. He is currently at work on a book on twentieth-century photo-text collaborations and a collection of essays on translation, new media, global English, and cultural critique.

• SERIES EDITORS' FOREWORD; INTRODUCTION: "EVERY KIND OF MIXING"; LANGUAGE, HYGIENE, AND NATIONAL SECURITY; MENCKEN AND THE CULTURAL WORK OF POLEMICAL PHILOLOGY; CONTEMPORARY "AMERICAN" AS STANDARD VERNACULAR; "A STANDARDIZATION NOT IMPOSED BUT VOLUNTARILY ACCEPTED"; THE MAKING OF AMERICANS' SPEECH: STEIN'S AURAL "ENGLISH"; MULTILINGUAL FUSION AND THE LIMITS OF COSMOPOLITAN EXPRESSION: DOS PASSOS'S U.S.A; LOCUTIONS OF DISLOCATION AND THE POLITICAL USES OF DESPAIR; "FLESH OF THEIR LANGUAGE"; "BEEN SHAPIN WORDS T FIT M SOUL": TOOMER'S CANE; "KENT'CHA TUCK ENGLITCH?": LINGUISTIC DISSONANCE IN CALL IT SLEEP; "THE PURPOSE OF JEWISH LIFE IS CULTURAL, IS IT NOT?": THE POLITICS OF TRILLING'S STYLE; THE RETURN OF THE DEPRESSED; U.S. EMPIRE AND IMPOSED SYNTAX; "BORN A FOREIGNER IN HIS NATIVE LAND": PAREDES AND BINATIONAL SPEECH; "CITIZENSHIP, THEN, IS THE BASIS OF ALL THIS MISUNDERSTANDING?": BULOSAN'S AMERICA; IDIOMS OF ANNEXATION; CONCLUSION: "SAY SOMETHING AMERICAN IF YOU DARE"

this book is absolutely indispensable for any future consideration of how the experimental languages of American modernism negotiated and helped shape the complex language politics of the early twentieth century. Its combination of lucid and scholarly cultural historicism and agile close readings of verbal texture is exemplary. I can foresee using this in graduate seminars for years to come.

Joshua L. Miller is Associate Professor of English at the University of Michigan where he teaches courses in twentieth-century U.S. literature and visual culture. He has written broadly on language politics, transnational modernism, and photography. He is currently at work on a book on twentieth-century photo-text collaborations and a collection of essays on translation, new media, global English, and cultural critique.

• SERIES EDITORS' FOREWORD; INTRODUCTION: "EVERY KIND OF MIXING"; LANGUAGE, HYGIENE, AND NATIONAL SECURITY; MENCKEN AND THE CULTURAL WORK OF POLEMICAL PHILOLOGY; CONTEMPORARY "AMERICAN" AS STANDARD VERNACULAR; "A STANDARDIZATION NOT IMPOSED BUT VOLUNTARILY ACCEPTED"; THE MAKING OF AMERICANS' SPEECH: STEIN'S AURAL "ENGLISH"; MULTILINGUAL FUSION AND THE LIMITS OF COSMOPOLITAN EXPRESSION: DOS PASSOS'S U.S.A; LOCUTIONS OF DISLOCATION AND THE POLITICAL USES OF DESPAIR; "FLESH OF THEIR LANGUAGE"; "BEEN SHAPIN WORDS T FIT M SOUL": TOOMER'S CANE; "KENT'CHA TUCK ENGLITCH?": LINGUISTIC DISSONANCE IN CALL IT SLEEP; "THE PURPOSE OF JEWISH LIFE IS CULTURAL, IS IT NOT?": THE POLITICS OF TRILLING'S STYLE; THE RETURN OF THE DEPRESSED; U.S. EMPIRE AND IMPOSED SYNTAX; "BORN A FOREIGNER IN HIS NATIVE LAND": PAREDES AND BINATIONAL SPEECH; "CITIZENSHIP, THEN, IS THE BASIS OF ALL THIS MISUNDERSTANDING?": BULOSAN'S AMERICA; IDIOMS OF ANNEXATION; CONCLUSION: "SAY SOMETHING AMERICAN IF YOU DARE"

this book is absolutely indispensable for any future consideration of how the experimental languages of American modernism negotiated and helped shape the complex language politics of the early twentieth century. Its combination of lucid and scholarly cultural historicism and agile close readings of verbal texture is exemplary. I can foresee using this in graduate seminars for years to come.