Language enables us to represent our world, rendering salient the identities, groups, and categories that constitute social life. Michael Silverstein (1945–2020) was at the forefront of the study of language in culture, and this book unifies a lifetime of his conceptual innovations in a set of seminal lectures. Focusing not just on what people say but how we say it, Silverstein shows how discourse unfolds in interaction. At the same time, he reveals that discourse far exceeds discrete events, stabilizing and transforming societies, politics, and markets through chains of activity. Presenting his magisterial theoretical vision in engaging prose, Silverstein unpacks technical terms through myriad examples – from brilliant readings of Marcel Marceau's pantomime, the class-laced banter of graduate students, and the poetics/politics of wine-tasting, to Fijian gossip and US courtroom talk. He draws on forebears in linguistics and anthropology while offering his distinctive semiotic approach, redefining how we think about language and culture.

This book re-assesses Dickinson's manuscripts, style, and statements to arrive at a historically appropriate conception of poetics. It compares her composition practices, such as variant generation and writing on already-marked scraps, with those of her peers in nineteenth-century American popular manuscript culture, tracing them to the pervasive influence of Scottish Common Sense philosophy, Hume's scepticism, and associationism in philosophy of mind and early neuroscience. The argument consults the archives and considers Dickinson's reading, in and out of school, in philosophy, rhetoric, and semiotic theory, as well as her training in inductive science and her familiarity with ideas about electricity, evolution, emotion, sympathy, and the brain. Combining close readings of poems with contextualizing information about contemporary conflicts in intellectual history, the book contends that Dickinson takes the making of poems to be her philosophical praxis. It depicts a Dickinson committed to thinking about the physical constitution of human consciousness and the historicity and materiality of one of its chief modes, language.