This remarkable account of gays in Cuba links the treatment of male homosexuality under Castro with prejudices and preconceptions prevalent in Cuban society before the Revolution. Ian Lumsden argues that much of the present discussion does not acknowledge the significant improvements that have occurred in the last decade. As an antidote to what he considers wide-spread misinformation, Lumsden locates the current issues surrounding homosexual identity within the broad context of Cuban culture, history, and social policy and makes revealing comparisons to the experience of homosexuals in other Latin American countries.
Lumsden explores the historic roots of the oppression of homosexuals through such issues as race, religion, and gender. He considers the cultural history and current erosion of traditional "machismo," the correlation between traditional women's roles and the relationships between gay men, and homosexuality as defined by the law and as presented in typical sexual education. He addresses the international controversy over state-imposed sanatoriums for HIV/AIDS patients, and details the social scene, the varying ideals among different generations of gay Cubans, gay life and family ties, and the difference between being publicly and privately gay in Cuba.
Lumsden's involvement over the years in gay culture in Cuba, his interviews with gay Cuban men, and his formidable scholarship produce a strikingly honest, accurate portrayal of the changes in homosexual life.
Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with main-stream and experimental film, and the interactions of all of these with American society and the culture of the 1950s. Sterritt balances the Beat countercultural goal of rebellion through both artistic creation and everyday behavior against the mainstream values of conformity and conservatism, growing worry over cold-war hostilities, and the "rat race" toward material success.
After an introductory overview of the Beat Generation, its history, its antecedents, and its influences, Sterritt shows the importance of "visual thinking" in the lives and works of major Beat authors, most notably Jack Kerouac, Allen Ginsberg, and William S. Burroughs. He turns to Mikhail Bakhtin's dialogic theory to portray the Beat writers-who were inspired by jazz and other liberating influences-as carnivalesque rebels against what they perceived as a rigid and stifling social order.
Showing the Beats as social critics, Sterritt looks at the work of 1950s photographers Robert Frank and William Klein; the attack against Beat culture in the pictures and prose of Life magazine; and the counterattack in Frank's film Pull My Daisy, featuring key Beat personalities. He further explores expressions of rebelliousness in film noir, the melodramas of director Douglas Sirk, and other Hollywood films.
Finally, Sterritt shows the changing attitudes toward the Beat sensibility in Beat-related Hollywood movies like A Bucket of Blood and The Beat Generation; television programs like Route 66 and The Many Loves of Dobie Gillis; nonstudio films like John Cassavetes's improvisational Shadows and Shirley Clarke's experimental The Connection; and radically avant-garde works by such doggedly independent screen artists as Stan Brakhage, Ron Rice, Bruce Connor, and Ken Jacobs, drawing connections between their achievements and the most subversive products of their Beat contemporaries.
A BookRiot Most Anticipated Travel Book of 2023
Italian beef and hot dogs get the headlines. Cutting-edge cuisine and big-name chefs get the Michelin stars. But Chicago food shows its true depth in classic dishes conceived in the kitchens of immigrant innovators, neighborhood entrepreneurs, and mom-and-pop visionaries.
Monica Eng and David Hammond draw on decades of exploring the city’s food landscape to serve up thirty can’t-miss eats found in all corners of Chicago. From Mild Sauce to the Jibarito and from Taffy Grapes to Steak and Lemonade, Eng and Hammond present stories of the people and places behind each dish while illuminating how these local favorites reflect the multifaceted history of the city and the people who live there. Each entry provides all the information you need to track down whatever sounds good and selected recipes even let you prepare your own Flaming Saganaki or Akutagawa.
Generously illustrated with full-color photos, Made in Chicago provides locals and visitors alike with loving profiles of a great food city’s defining dishes.
Winner, 2017 Etel Adnan Poetry Prize
In the magic my body becomes, Jess Rizkallah seeks a vernacular for the inescapable middle ground of being Arab American—a space that she finds, at times, to be too Arab for America and too American for her Lebanese elders.
These poems freely assert gender, sexuality, and religious beliefs while at the same time respecting a generational divide: the younger’s privilege gained by the sacrifice of the older, the impossibility of separating what is wholly hers from what is hers secondhand.
In exploring family history, civil war, trauma, and Lebanon itself, Rizkallah draws from the spirits of canonical Arab and Middle Eastern poets. As a result of her conjuring, the reader feels these spirits begin to exorcise the grief of those who are still alive. Throughout, there is the body, a reclamation and pushback against cultures that simultaneously sexualize and shame women. And there is a softness as inherent as rage, a resisting of stereotypes that too often speak louder than the complexities of a resilient cultural identity.
The magic my body becomes is an exciting new book from an exciting young poet, a love letter to a people as well as a fist in the air.
In Main Street and Empire, Ryan Poll addresses this need, arguing that the small town, as evoked by the image of “Main Street,” is not a relic of the past but rather a metaphorical screen upon which America’s “everyday” stories and subjects are projected on both a national and global scale.
Bringing together a broad selection of texts—from Thornton Wilder’s Our Town, Grace Metalious’s Peyton Place, and Peter Weir’s The Truman Show to the speeches of William McKinley, Ronald Reagan, Sarah Palin, and Barack Obama—Poll examines how the small town is used to imagine and reproduce the nation throughout the twentieth- and into the twenty-first century. He contends that the dominant small town, despite its innocent, nostalgic appearance, is central to the development of the U.S. empire and global capitalism.
During the nineteenth century, Americans celebrated their towns and cities through printed landscapes. In Maine, lithographs were commissioned from such leading artists as Fitz Henry Lane and talented, lesser known local artists, such as Esteria Butler. This book reproduces many of these works and provides insights into how these growing centers of commerce and industry viewed themselves and wished to be viewed by others.
It’s the perfect book for those who love Maine, both full-time residents and those who make it a beloved summer destination.
Published in association with the Bowdoin College Museum of Art on the occasion of the bicentennial of Maine statehood.
The decades of the 1960s, ’70s, and ’80s were a time of growth and change in producing, marketing, and collecting Native American artwork and craftwork. During this time William R. Wright amassed a collection notable for its broad representation of twentieth-century Native American products. Focusing on the Southwest, he included contemporary Pueblo ceramics, Navajo and Hopi textiles, Navajo, Hopi, and Zuni jewelry, and baskets from some forty different Native American groups. The objects Wright gathered, which are now part of the collections of the Peabody Museum of Archaeology and Ethnology, reflect developments in the intersecting worlds of makers, markets, and collectors, including the challenges faced by makers to successfully balance tradition and innovation in their work and their lives.
This volume examines selected objects from the Wright collection to explore the market-influenced environment of modern Native American makers and their work, from what some consider the low end of tourist art multiples to the high end of unique, signed fine art objects.
Based on more than a decade of research, Making a Global Immigrant Neighborhood charts the evolution of Sunset Park--with a densely concentrated working-poor and racially diverse immigrant population--from the late 1960s to its current status as one of New York City's most vibrant neighborhoods.
Tarry Hum shows how processes of globalization, such as shifts in low-wage labor markets and immigration patterns, shaped the neighborhood. She explains why Sunset Park's future now depends on Asian and Latino immigrant collaborations in advancing common interests in community building, civic engagement, entrepreneurialism, and sustainability planning. She shows, too, how residents' responses to urban development policies and projects and the capital represented by local institutions and banks foster community activism.
Hum pays close attention to the complex social, political, and spatial dynamics that forge a community and create new models of leadership as well as coalitions. The evolution of Sunset Park so astutely depicted in this book suggests new avenues for studying urban change and community development.
Making a Promised Land examines the interconnected histories of African American representation, urban life, and citizenship as documented in still and moving images of Harlem over the last century. Paula J. Massood analyzes how photography and film have been used over time to make African American culture visible to itself and to a wider audience and charts the ways in which the “Mecca of the New Negro” became a battleground in the struggle to define American politics, aesthetics, and citizenship. Visual media were first used as tools for uplift and education. With Harlem’s downturn in fortunes through the 1930s, narratives of black urban criminality became common in sociological tracts, photojournalism, and film. These narratives were particularly embodied in the gangster film, which was adapted to include stories of achievement, economic success, and, later in the century, a nostalgic return to the past. Among the films discussed are Fights of Nations (1907), Dark Manhattan (1937), The Cool World (1963), Black Caesar (1974), Malcolm X (1992), and American Gangster (2007). Massood asserts that the history of photography and film in Harlem provides the keys to understanding the neighborhood’s symbolic resonance in African American and American life, especially in light of recent urban redevelopment that has redefined many of its physical and demographic contours.
Americans have access to some of the best science education in the world, but too often black students are excluded from these opportunities. This essential book by leading voices in the field of education reform offers an inspiring vision of how America’s universities can guide a new generation of African Americans to success in science.
Educators, research scientists, and college administrators have all called for a new commitment to diversity in the sciences, but most universities struggle to truly support black students in these fields. Historically black colleges and universities (HBCUs) are different, though. Marybeth Gasman, widely celebrated as an education-reform visionary, and Thai-Huy Nguyen show that many HBCUs have proven adept at helping their students achieve in the sciences. There is a lot we can learn from these exemplary schools.
Gasman and Nguyen explore ten innovative schools that have increased the number of black students studying science and improved those students’ performance. Educators on these campuses have a keen sense of their students’ backgrounds and circumstances, familiarity that helps their science departments avoid the high rates of attrition that plague departments elsewhere. The most effective science programs at HBCUs emphasize teaching when considering whom to hire and promote, encourage students to collaborate rather than compete, and offer more opportunities for black students to find role models among both professors and peers.
Making Black Scientists reveals the secrets to these institutions’ striking successes and shows how other colleges and universities can follow their lead. The result is a bold new agenda for institutions that want to better serve African American students.
Kent not only analyzes how texts represent queer erotics, but also theorizes how texts might produce them in readers. She describes the ways postbellum sentimental literature such as that written by Harriet Beecher Stowe, Louisa May Alcott, and Emma D. Kelley eroticizes, reacts against, and even, in its own efforts to shape girls’ selves, contributes to the production of queer female identifications and identities. Tracing how these identifications are engaged and critiqued in the early twentieth century, she considers works by Djuna Barnes, Gertrude Stein, Marianne Moore, and Elizabeth Bishop, as well as in the queer subject-forming effects of another modern invention, the Girl Scouts. Making Girls into Women ultimately reveals that modern lesbian identity marks an extension of, rather than a break from, nineteenth-century women’s culture.
Havana is a city that rarely fails to captivate. But much of the unique beauty and culture of this historic city is rapidly disappearing. As Cuban society finds itself at a crossroads, Havana is more than ever a city on the edge, for although frozen in time as a consequence of Fidel Castro’s revolution, it has certainly not been well preserved. Time, climate, and neglect have eroded a rare architectural legacy, making the need to document this heritage even more pressing than ever before.
Making Home in Havana is an elegant book of photographs and testimonies, recording, questioning, and evoking the meaning of place — in particular, the meaning of home. The combination of fine photography and the words of residents of former palaces, humble apartments, and other dwellings offer us an irresistible portrait of Havana that might otherwise be lost forever.Out of the “lemons” handed to Mexican American workers in Corona, California--low pay, segregated schooling, inadequate housing, and racial discrimination--Mexican men and women made “lemonade” by transforming leisure spaces such as baseball games, parades, festivals, and churches into politicized spaces where workers voiced their grievances, debated strategies for advancement, and built solidarity. Using oral history interviews, extensive citrus company records, and his own experiences in Corona, José Alamillo argues that Mexican Americans helped lay the groundwork for civil rights struggles and electoral campaigns in the post-World War II era.
Contributors. Joseph A. Alvarez, Lawrence I. Berkove, Anthony J. Berret, S.J., Wesley Britton, Louis J. Budd, James E. Caron, Everett Carter, Jocelyn Chadwick-Joshua, Pascal Covici Jr., Beverly R. David, Victor Doyno, Dennis W. Eddings, Shelley Fisher Fishkin, S. D. Kapoor, Michael J. Kiskis, James S. Leonard, Victoria Thorpe Miller, Stan Poole, Tom Reigstad, David E. E. Sloane, David Tomlinson
The Making of Chicana/o Studies traces the philosophy and historical development of the field of Chicana/o studies from precursor movements to the Civil Rights era to today, focusing its lens on the political machinations in higher education that sought to destroy the discipline. As a renowned leader, activist, scholar, and founding member of the movement to establish this curriculum in the California State University system, which serves as a model for the rest of the country, Rodolfo F. Acuña has, for more than forty years, battled the trend in academia to deprive this group of its academic presence.
The book assesses the development of Chicana/o studies (an area of studies that has even more value today than at its inception)--myths about its epistemological foundations have remained uncontested. Acuña sets the record straight, challenging those in the academy who would fold the discipline into Latino studies, shadow it under the dubious umbrella of ethnic studies, or eliminate it altogether.
Building the largest Chicana/o studies program in the nation was no easy feat, especially in an atmosphere of academic contention. In this remarkable account, Acuña reveals how California State University, Northridge, was instrumental in developing an area of study that offers more than 166 sections per semester, taught by 26 tenured and 45 part-time instructors. He provides vignettes of successful programs across the country and offers contemporary educators and students a game plan--the mechanics for creating a successful Chicana/o studies discipline--and a comprehensive index of current Chicana/o studies programs nationwide.
Latinas/os, of which Mexican Americans are nearly seventy percent, comprise a complex sector of society projected to be just shy of thirty percent of the nation's population by 2050. The Making of Chicana/o Studies identifies what went wrong in the history of Chicana/o studies and offers tangible solutions for the future.
The Making of the New Negro examines black masculinity in the period of the Harlem Renaissance, a cultural movement that spanned the 1920s and 1930s in America and was marked by an outpouring of African American art, music, theater and literature. The Harlem Renaissance, or New Negro Movement, began attracting extensive academic attention in the 1990s as scholars discovered how complex, significant, and fascinating it was.
A Choice Outstanding Academic Title for 2023
Large numbers of Latino migrants began to arrive in Grand Rapids, Michigan, in the 1950s. They joined a small but established Spanish-speaking community of people from Texas, Mexico, and Puerto Rico. Delia Fernández-Jones merges storytelling with historical analysis to recapture the placemaking practices that these Mexicans, Tejanos, and Puerto Ricans used to create a new home for themselves. Faced with entrenched white racism and hostility, Latinos of different backgrounds formed powerful relationships to better secure material needs like houses and jobs and to recreate community cultural practices. Their pan-Latino solidarity crossed ethnic and racial boundaries and shaped activist efforts that emphasized working within the system to advocate for social change. In time, this interethnic Latino alliance exploited cracks in both overt and structural racism and attracted white and Black partners to fight for equality in social welfare programs, policing, and education.
Groundbreaking and revelatory, Making the MexiRican City details how disparate Latino communities came together to respond to social, racial, and economic challenges.
The West, especially the Intermountain states, ranks among the whitest places in America, but this fact obscures the more complicated history of racial diversity in the region. In Making the White Man’s West, author Jason E. Pierce argues that since the time of the Louisiana Purchase, the American West has been a racially contested space. Using a nuanced theory of historical “whiteness,” he examines why and how Anglo-Americans dominated the region for a 120-year period.
In the early nineteenth century, critics like Zebulon Pike and Washington Irving viewed the West as a “dumping ground” for free blacks and Native Americans, a place where they could be segregated from the white communities east of the Mississippi River. But as immigrant populations and industrialization took hold in the East, white Americans began to view the West as a “refuge for real whites.” The West had the most diverse population in the nation with substantial numbers of American Indians, Hispanics, and Asians, but Anglo-Americans could control these mostly disenfranchised peoples and enjoy the privileges of power while celebrating their presence as providing a unique regional character. From this came the belief in a White Man’s West, a place ideally suited for “real” Americans in the face of changing world.
The first comprehensive study to examine the construction of white racial identity in the West, Making the White Man’s West shows how these two visions of the West—as a racially diverse holding cell and a white refuge—shaped the history of the region and influenced a variety of contemporary social issues in the West today.
Mal Goode (1908–1995) became network news’s first African American correspondent when ABC News hired him in 1962. Raised in Homestead and Pittsburgh, he worked in the mills, graduated from the University of Pittsburgh, and went on to become a journalist for the Pittsburgh Courier and later for local radio. With his basso profundo voice resonating on the airwaves, Goode challenged the police, politicians, and segregation, while providing Black listeners a voice that captured their experience. Race prevented him from breaking into television until Jackie Robinson dared ABC to give him a chance. Goode was uncompromising in his belief that network news needed Black voices and perspectives if it were to authentically reflect the nation’s complexities. His success at ABC initiated the slow integration of network news. Goode’s life and work are remarkable in their own right, but his struggles and achievements also speak to larger issues of American life and the African American experience.
Pinho explores how Bahian cultural production influences and is influenced by black diasporic cultures and the idealization of Africa—to the extent that Bahia draws African American tourists wanting to learn about their heritage. Analyzing the conceptions of blackness produced by the blocos afro, she describes how Africa is re-inscribed on the body through clothes, hairstyles, and jewelry; once demeaned, blackness is reclaimed as a source of beauty and pride. Turning to the body’s interior, Pinho explains that the myth of Mama Africa implies that black appearances have corresponding black essences. Musical and dance abilities are seen as naturally belonging to black people, and these traits are often believed to be transmitted by blood. Pinho argues that such essentialized ideas of blackness render black culture increasingly vulnerable to exploitation by the state and commercial interests. She contends that the myth of Mama Africa, while informing oppositional black identities, overlaps with a constraining notion of Bahianness promoted by the government and the tourist industry.
"In this insightful analysis of representations of mammy, Wallace-Sanders skillfully illustrates how this core icon of Black womanhood has figured prominently in upholding hierarchies of race, gender, and class in the United States. Far from being a timeless, natural, benign image of domesticity, the idealized mammy figure was repeatedly reworked to accommodate varying configurations of racial rule. No one reading this book will be able to see Gone with the Wind in the same way ever again."
---Patricia Hill Collins, University of Maryland
"Kimberly Wallace-Sanders' interdisciplinary approach is first-rate. This expansive and engaging book should appeal to students and scholars in American studies, African American studies, and women's studies."
---Thadious Davis, The University of Pennsylvania
Her cheerful smile and bright eyes gaze out from the covers of old cookbooks, song sheets, syrup bottles, salt and pepper shakers, and cookie jars, and she has long been a prominent figure in fiction, film, television, and folk art. She is Mammy, a figure whose provocative hold on the American psyche has persisted since before the Civil War.
But who is Mammy, and where did she come from? Her large, dark body and her round smiling face tower over our imaginations to such an extent that more accurate representations of African American women wither in her shadow. Mammy's stereotypical attributes---a sonorous and soothing voice, raucous laugh, infinite patience, self-deprecating wit, and implicit acceptance of her own inferiority and her devotion to white children---all point to a long-lasting and troubled confluence of racism, sexism, and southern nostalgia.
This groundbreaking book traces the mammy figure and what it has symbolized at various historical moments that are linked to phases in America's racial consciousness. The author shows how representations of Mammy have loomed over the American literary and cultural imagination, an influence so pervasive that only a comprehensive and integrated approach of this kind can do it justice.
The book's many illustrations trace representations of the mammy figure from the nineteenth century to the present, as she has been depicted in advertising, book illustrations, kitchen figurines, and dolls. The author also surveys the rich and previously unmined history of the responses of African American artists to the black mammy stereotype, including contemporary reframings by artists Betye Saar, Michael Ray Charles, and Joyce Scott.
Kimberly Wallace-Sanders is Associate Professor of the Graduate Institute of Liberal Arts and Women's Studies at Emory University. She is editor of Skin Deep, Spirit Strong: The Black Female Body in American Culture.
Gene Logsdon’s The Man Who Created Paradise is a message of hope at a time when the very concept of earth stewardship is under attack. The fable, inspired by a true story, tells how Wally Spero looked at one of the bleakest places in America—a raw and barren strip-mined landscape—and saw in it his escape from the drudgery of his factory job. He bought an old bulldozer and used the machine to carve patiently, acre by acre, a beautiful little farm out of a seemingly worthless wasteland.
Wally’s story is a charming distillation of the themes that the late, beloved Gene Logsdon returned to again and again in his many books and hundreds of articles. Environmental restoration is the task of our time. The work of healing our land begins in our own backyards and farms, in our neighborhoods and our regions. Humans can turn the earth into a veritable paradise—if they really want to.
Noted photographer Gregory Spaid retraced the trail that Logsdon traveled when he was inspired to write The Man Who Created Paradise. His photographs evoke the same yearning for wholeness, for ties to land and community, that infuses the fable’s poetic prose.
2020 National Association for Chicana and Chicano Studies (NACCS) Book Award Winner
Honorable Mention, Ramirez Family Award for Most Significant Scholarly Book, Texas Institute of Letters, 2019
Managed Migrations examines the concurrent development of a border agricultural industry and changing methods of border enforcement in the Rio Grande Valley of Texas during the past century.
Needed at one moment, scorned at others, Mexican agricultural workers have moved back and forth across the US–Mexico border for the past century. In South Texas, Anglo growers’ dreams of creating a modern agricultural empire depended on continuous access to Mexican workers. While this access was officially regulated by immigration laws and policy promulgated in Washington, DC, in practice the migration of Mexican labor involved daily, on-the-ground negotiations among growers, workers, and the US Border Patrol. In a very real sense, these groups set the parameters of border enforcement policy.
Managed Migrations examines the relationship between immigration laws and policy and the agricultural labor relations of growers and workers in South Texas and El Paso during the 1940s and 1950s. Cristina Salinas argues that immigration law was mainly enacted not in embassies or the halls of Congress but on the ground, as a result of daily decisions by the Border Patrol that growers and workers negotiated and contested. She describes how the INS devised techniques to facilitate high-volume yearly deportations and shows how the agency used these enforcement practices to manage the seasonal agricultural labor migration across the border. Her pioneering research reveals the great extent to which immigration policy was made at the local level, as well as the agency of Mexican farmworkers who managed to maintain their mobility and kinship networks despite the constraints of grower paternalism and enforcement actions by the Border Patrol.
In Managing Motherhood, Managing Risk, Denise Roth Allen persuasively argues that development interventions in the Third World often have unintended and unacknowledged consequences. Based on twenty-two months of fieldwork in the Shinyanga Region of west central Tanzania, this rich and engaging ethnography of women's fertility-related experiences highlights the processes by which a set of seemingly well-intentioned international maternal health policy recommendations go awry when implemented at the local level.
An exploration of how threats to maternal health have been defined and addressed at the global, national, and local levels, Managing Motherhood, Managing Risk presents two contrasting, and oftentimes competing, definitions of risk: those that form the basis of international recommendations and national maternal health policies and those that do not. The effect that these contrasting definitions of risk have on women's fertility-related experiences at the local level are explored throughout the book.
This study employs an innovative approach to the analysis of maternal health risk, one that situates rural Tanzanian women's fertility-related experiences within a broader historical and sociocultural context. Beginning with an examination of how maternal health risk was defined and addressed during the early years of British colonial rule in Tanganyika and moving to a discussion of an internationally conceived maternal health initiative that was launched on the world stage in the late 1980s, the author explores the similarities in the language used and solutions proposed by health development experts over time.
This set of "official" maternal health risks is then compared to an alternative set of risks that emerge when attention is focused on women's experiences of pregnancy and childbirth at the local level. Although some of these latter risks are often spoken about as deriving from spiritual or supernatural causes, the case studies presented throughout the second half of the book reveal that the concept of risk in the context of pregnancy and childbirth is much more complex, involving the interplay of spiritual, physical, and economic aspects of everyday life.
An important investigation of hip hop as a movement of racial consciousness, Manifest Technique shows how the genre has inspired Filipino Americans to envision and enact new ideas of their bodies, their history, and their dignity.
The modern idea of Victorians is that they were emotionless prudes, imprisoned by sexual repression and suffocating social constraints; they expressed love and affection only within the bounds of matrimony—if at all. And yet, a wealth of evidence contradicting this idea has been hiding in plain sight for close to a century. In Manly Love, Axel Nissen turns to the novels and short stories of Victorian America to uncover the widely overlooked phenomenon of passionate friendships between men.
Nissen’s examination of the literature of the period brings to light a forgotten genre: the fiction of romantic friendship. Delving into works by Mark Twain, Henry James, William Dean Howells, and others, Nissen identifies the genre’s unique features and explores the connections between romantic friendships in literature and in real life. Situating love between men at the heart of Victorian culture, Nissen radically alters our understanding of the American literary canon. And with its deep insights into the emotional and intellectual life of the period, Manly Love also offers a fresh perspective on nineteenth-century America’s attitudes toward love, friendship, marriage, and sex.
The Before Columbus Foundation 2018 Winner of the AMERICAN BOOK AWARD
Tommy J. Curry’s provocative book The Man-Not is a justification for Black Male Studies. He posits that we should conceptualize the Black male as a victim, oppressed by his sex. The Man-Not, therefore,is a corrective of sorts, offering a concept of Black males that could challenge the existing accounts of Black men and boys desiring the power of white men who oppress them that has been proliferated throughout academic research across disciplines.
Curry argues that Black men struggle with death and suicide, as well as abuse and rape, and their genred existence deserves study and theorization. This book offers intellectual, historical, sociological, and psychological evidence that the analysis of patriarchy offered by mainstream feminism (including Black feminism) does not yet fully understand the role that homoeroticism, sexual violence, and vulnerability play in the deaths and lives of Black males. Curry challenges how we think of and perceive the conditions that actually affect all Black males.
Here for the first time is the poetry of Emily Dickinson as she herself “published” it in the privacy of her upstairs room in the house in Amherst.
She invented her own form of bookmaking. Her first drafts, jotted on odd scraps of paper, were discarded when transcribed. Completed poems were neatly copied in ink on sheets of folded stationery which she arranged in groups, usually of sixteen to twenty-four pages, and sewed together into packets or fascicles. These manuscript books were her private mode of publication, a substitute perhaps for the public mode that, for reasons unexplained, she denied herself. In recent years there has been increasing interest in the fascicles as artistic gathering, intrarelated by theme, imagery, or emotional movement. But no edition in the past, not even the variorum, or has arranged the poems in the sequence in which they appear in the manuscript books.
Emily Dickinson’s poems, more than those of any other poet, resist translation into the medium of print. Since she never saw a manuscript through the press, we cannot tell how she would have adapted for print her unusual capitalization, punctuation, line and stanza divisions, and alternate readings. The feather-light punctuation, in particular, is misrepresented when converted to conventional stop or even to dashes.
This elegant edition presents all of Emily Dickinson’s manuscript books and unsewn fascicle sheets—1,148 poems on 1,250 pages—restored insofar as possible to their original order, as they were when her sister found them after her death. The manuscripts are reproduced with startling fidelity in 300-line screen. Every detail is preserved: the bosses on the stationery, the sewing holes and tears, and poet’s alternate reading and penciled revisions, ink spots and other stains offset onto adjacent leaves, and later markings by Susan Dickinson, Mabel Todd, and others. The experience of reading these facsimile pages is virtually the same as reading the manuscripts themselves. Supplementary information is provided in introductions, notes, and appendices.
When William James died in 1910 he left a large body of manuscript material that has never appeared in print. Much of it is of biographical interest only, but the largest part is concerned with James's work. The present volume, the first of two that will bring The Works of William James to completion, includes the manuscripts devoted to work in progress on philosophical and psychological subjects. The last volume will bring together the manuscripts relating to James's public lectures and teaching.
The most important of these manuscripts are those of the years 1903 and 1904 called "The Many and the One." This was material for the book that James hoped would be the full technical exposition of his philosophy of radical empiricism. It contains discussions of problems and concepts that are not found in his published work. Closely related to this are his responses to the so-called Miller-Bode objections, which charged that his philosophy of pure experience could not solve the problem of the many and the one or the question "How can two minds know the same thing?" James's notes record his offers to work his way out of the impasse, which eventually led to his formulation of radical empiricism and his total rejection of the mind-body dualism that had dominated Western philosophy since Descartes.
The manuscripts in the rest of the volume contain James's reflections over a period of forty years in the form of drafts, memoranda, and notebook entries. The diverse subjects are arranged under the headings of Philosophy, Psychology, Aesthetics, Ethics, and Religion. Of special interest are the early notes in which James began to work out his own philosophical point of view.
This final volume of The Works of William James provides a full record of James's teaching career at Harvard from 1872 to 1907. It includes extensive working notes for lectures in more than twenty courses. Some of the notes contain summary statements of views of James's that have never been published before, such as his treatment of the question of proof in ethics, in the only course he ever taught in that subject; others reflect contemporary controversies in philosophy, notably the famous debate on Idealism and the nature of the Absolute; still others illuminate early stages of James's thinking on crucial problems in what was to become his philosophy of radical empiricism. Often the notes yield information about his sources that is not to be found in the published writings. Because James's teaching was so closely involved with the development of his thought, this unpublished material adds a new dimension to our understanding of his philosophy.
James's public lectures gained him world renown, and most of them were subsequently published. There are, however, several sets of notes for and drafts of important lectures that he never wrote out for publication; these are included in the present volume. Among them are his two series of lectures in 1878 on the physiology of the brain and its relation to the mind; the Lowell Lectures of 1896 on exceptional mental states; and the lectures of 1902 on intellect and feeling in religions, which were designed to supplement Varieties of Religious Experience and were intended to be his last word on the psychology of religion.
Today most Americans, black and white, identify slavery with cotton, the deep South, and the African-American church. But at the beginning of the nineteenth century, after almost two hundred years of African-American life in mainland North America, few slaves grew cotton, lived in the deep South, or embraced Christianity. Many Thousands Gone traces the evolution of black society from the first arrivals in the early seventeenth century through the Revolution. In telling their story, Ira Berlin, a leading historian of southern and African-American life, reintegrates slaves into the history of the American working class and into the tapestry of our nation.
Laboring as field hands on tobacco and rice plantations, as skilled artisans in port cities, or soldiers along the frontier, generation after generation of African Americans struggled to create a world of their own in circumstances not of their own making. In a panoramic view that stretches from the North to the Chesapeake Bay and Carolina lowcountry to the Mississippi Valley, Many Thousands Gone reveals the diverse forms that slavery and freedom assumed before cotton was king. We witness the transformation that occurred as the first generations of creole slaves—who worked alongside their owners, free blacks, and indentured whites—gave way to the plantation generations, whose back-breaking labor was the sole engine of their society and whose physical and linguistic isolation sustained African traditions on American soil.
As the nature of the slaves’ labor changed with place and time, so did the relationship between slave and master, and between slave and society. In this fresh and vivid interpretation, Berlin demonstrates that the meaning of slavery and of race itself was continually renegotiated and redefined, as the nation lurched toward political and economic independence and grappled with the Enlightenment ideals that had inspired its birth.
The first international anthology to explore women’s human rights from a literary perspective.
More than half a century after the United Nations Declaration of Human Rights, women throughout the world still struggle for social and political justice. Many fight back with the only tools of resistance they possess—words. A Map of Hope presents a collection of 77 extraordinary literary works documenting the ways women writers have spoken out about human rights issues.
Writers young and old, known and unknown, explore the dimensions of terror, the unspeakable atrocities of war, and the possibilities of resistance and refusal against all odds. Their poems, essays, memoirs, and brief histories examine issues that affect the condition of women in war, prison camps, exile, and as victims of domestic and political violence.
A Map of Hope presents diverse women writers who have created a literature of global consciousness and justice. Their works give a face, an image, and a human dimension to the dehumanization of human rights violations. The collection allows readers to hear voices that have decided to make a difference. It goes beyond geography and ethnic groups; writers from around the globe are united by the universal dimensions of horror and deprivation, as well as the unique common struggle for justice and solidarity.
The first international anthology to explore women’s human rights from a literary perspective.
More than half a century after the United Nations Declaration of Human Rights, women throughout the world still struggle for social and political justice. Many fight back with the only tools of resistance they possess—words. A Map of Hope presents a collection of 77 extraordinary literary works documenting the ways women writers have spoken out about human rights issues.
Writers young and old, known and unknown, explore the dimensions of terror, the unspeakable atrocities of war, and the possibilities of resistance and refusal against all odds. Their poems, essays, memoirs, and brief histories examine issues that affect the condition of women in war, prison camps, exile, and as victims of domestic and political violence.
A Map of Hope presents diverse women writers who have created a literature of global consciousness and justice. Their works give a face, an image, and a human dimension to the dehumanization of human rights violations. The collection allows readers to hear voices that have decided to make a difference. It goes beyond geography and ethnic groups; writers from around the globe are united by the universal dimensions of horror and deprivation, as well as the unique common struggle for justice and solidarity.
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