A selection of my print and digital scholarly work is listed below.  For my online essays from the 1990s to the present, including those on my blog, see the Publications menu subheading (above) and the blog’s “recent posts” and “archives” (to the right).   For a fuller list of downloadable essays, from referred academic journals and otherwise, see my page on

Thanks for your interest!  —PS

Review-essay of William Carlos Williams’ By Word of Mouth: Poems from the Spanish, 1916-1959, edited by Jonathan Cohen (NY: New Directions, 2011).   This is a slightly longer version of my essay, with more analysis on 1) the role of little magazines in the modernist movement, and 2) how this volume should deepen our understanding of the importance of Latin American poetry in Spanish to the development of U.S. English-language poetry in the 20th century.   The slightly shorter print version of the essay may be found in The William Carlos Williams Review, Spring 2013.   Thanks to Ian Copestake for his editing work and for permission to publish the longer version here.

“Truth so mazed”: Faulkner and U.S. Plantation Fiction

On Eros Crossing the Color-Line in William Faulkner and Margaret Mitchell

Rembrandt and the Face of Jesus

The “Raftsmen’s Passage,” Huck’s Crisis of Whiteness, and Huckleberry Finn in U.S. Literary History

• Tolentino, Cable, and Tourgée Confront the New South and the New Imperialism

On Optimists’ Sons and Daughters: Eudora Welty’s The Optimist’s Daughter and Peter Taylor’s A Summons to Memphis

•  Peter Schmidt’s Books and Selected Articles (Print Scholarship)

•  Making and Unmaking Whiteness in Early New South Literature (an e-book essay)

This essay—a work of literary criticism and critical race studies written to be accessible to non-specialists—examines how popular fiction contributed to and contested new forms of white racial dominance, collectively known as Jim Crow or the “color-line,” in the U.S. in the 1880s and after.  I focus in particular on the cultural work undertaken by the “command performance” scene in these texts, in which a black person was asked to tell a story or otherwise give a performance that was supposed to affirm the affection and respect “good” blacks held for whites. Yet what begins to emerge again and again in such “command performance” scenes, even sometimes against the author’s efforts to downplay them, are suggestions of coercion, duplicity, and instability in power hierarchies and racial identities. White supremacy is demonstrably not a given here; it is imperfectly produced, or at least reaffirmed under stress, in a way that locally conditions any power that whiteness may claim. And if a white person’s sense of entitlement was so dependent upon the performance of another, to what degree could such a sense of self be threatened or even unmade in such encounters? 

Making and Unmaking Whiteness surveys a broad range of black and white authors but gives special attention to the fictions of four—Joel Chandler Harris, Paul Laurence Dunbar, Kate Chopin, and Pauline Hopkins—who in the early Jim Crow era both dissected the contradictions in white supremacy and imagined alternatives.