Paracritical Hinge is a collection of varied yet interrelated pieces highlighting Nathaniel Mackey’s multifaceted work as writer and critic. It embraces topics ranging from Walt Whitman’s interest in phrenology to the marginalization of African American experimental writing; from Kamau Brathwaite’s “calibanistic” language practices to Federico García Lorca’s flamenco aesthetic of duende and its continuing repercussions; from H. D.’s desert measure and coastal way of knowing to the altered spatial disposition of Miles Davis’s trumpet sound; from Robert Duncan’s serial poetics to diasporic syncretism; from the lyric poem’s present-day predicaments to gnosticism. Offering illuminating commentary on these and other artists including Amiri Baraka, Mississippi Fred McDowell, Wilson Harris, Jack Spicer, John Coltrane, Jay Wright, and Bob Kaufman, Paracritical Hinge also sheds light on Mackey’s own work as a poet, fiction writer, and editor.
Artist and critic Victor Burgin’s visual and written works span four decades, and Parallel Texts presents a compilation of essays, interviews, and extracts that evidence the interconnectedness throughout his career of his vast artistic oeuvre exhibited around the world and his influential critical and theoretical writings on art.
Organized chronologically, Parallel Texts includes Burgin’s take on the emergence of conceptual art in the early 1970s, his explorations on the theoretical foundations for a post-conceptualist socialist art practice in such non-Western precedents as Maoism and Russian Formalism, and essays on the issues of gender politics and sexuality as they came to the fore in psychoanalytic criticism. In addition, excerpts from The End of Art Theory record his observations on an art world turning toward fashion and gaining unusual wealth. His later works, influenced by his experiences teaching cultural theory at the University of California, look at art theory from within an environment almost unrecognizably transformed by cultural, political, and economic globalization, as well as unprecedented forms of technology and violence.
An extensive selection of works from a long and influential artistic career, Parallel Texts will be invaluable to admirers of Burgin’s art and writing as well as those readers with an interest in contemporary art and art theory.
Books on writing generally offer prescriptions and proscriptions about this "craft so hard to learn" instead of evidence. But in A Piece of Work Woodruff's incisive questions guide five writers—Tobias Wolff, Tess Gallagher, Robert Coles, Joyce Carol Oates, and Donald Hall—through specific examples that enable the reader to see how good writing becomes better. From the first draft through various revisions and finally to the printed version of a single piece of each author's work, Woodruff traces the full course of the revision process.
Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.
Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)
Out to see America and satisfy his travel bug, W. T. Pfefferle resigned from his position as director of the writing program at Johns Hopkins University and hit the road to interview sixty-two poets about the significance of place in their work. The lively conversations that resulted may surprise with the potential meanings of a seemingly simple concept. This gathering of voices and ideas is illustrated with photo and word portraits from the road and represented with suitable poems.
The poets are James Harms, David Citino, Martha Collins, Linda Gregerson, Richard Tillinghast, Orlando Ricardo Menes, Mark Strand, Karen Volkman, Lisa Samuels, Marvin Bell, Michael Dennis Browne, David Allan Evans, David Romtvedt, Sandra Alcosser, Robert Wrigley, Nance Van Winckel, Christopher Howell, Mark Halperin, Jana Harris, Sam Hamill, Barbara Drake, Floyd Skloot, Ralph Angel, Carol Muske-Dukes, David St. John, Sharon Bryan, Donald Revell, Claudia Keelan, Alberto Rios, Richard Shelton, Jane Miller, William Wenthe, Naomi Shihab Nye, Peter Cooley, Miller Williams, Beth Ann Fennelly, Natasha Trethewey, Denise Duhamel, Campbell McGrath, Terrance Hayes, Alan Shapiro, Nikki Giovanni, Charles Wright, Rita Dove, Henry Taylor, Dave Smith, Nicole Cooley, David Lehman, Lucie Brock-Broido, Michael S. Harper, C. D. Wright, Mark Wunderlich, James Cummins, Frederick Smock, Mark Jarman, Carl Phillips, Scott Cairns, Elizabeth Dodd, Jonathan Holden, Bin Ramke, Kenneth Brewer, and Paisley Rekdal.
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.
Elizabeth Alexander is considered one of the country's most gifted contemporary poets, and the publication of her essays in The Black Interior in 2004 established her as an astute critic and cultural commentator as well. Arnold Rampersad has called Alexander "one of the brightest stars in our literary sky . . . a superb, invaluable commentator on the American scene." In this new collection of her essays, reviews, and interviews, Alexander again focuses on African American artistic production, particularly poetry, and the cultural contexts in which it is created and experienced.
The book's first section, "Black Arts 101," takes up the poetry of Paul Laurence Dunbar, Sterling Brown, Lucille Clifton, Gwendolyn Brooks, and Rita Dove (among others); artist Romare Bearden; dancer Bill T. Jones; and dramatist August Wilson. A second section, "Black Feminist Thinking," provides engaging meditations ranging from "My Grandmother's Hair" and "A Very Short History of Black Women and Food" to essays on the legacies of Toni Cade, Audre Lorde, and June Jordan. The collection's final section, "Talking," includes interviews, a commencement address---"Black Graduation"---and the essay "Africa and the World."
Elizabeth Alexander received a B.A. from Yale University, an M.A. from Boston University, and a Ph.D. in English from the University of Pennsylvania. She has published four books of poems: The Venus Hottentot (1990); Body of Life (1996); Antebellum Dream Book (2001); and, most recently, American Sublime (2005), which was one of three finalists for the Pulitzer Prize. Her play, Diva Studies, was produced at the Yale School of Drama. She is presently Professor of American and African American Studies at Yale University.
A revealing oral history collection, Profiles in Diversity contains in-depth interviews of twenty-six women in South Africa from different racial, class, and age backgrounds. Conducted in Johannesburg, Pretoria, Bloemfontein, Vryburg, Cape Town, Port Elizabeth, Grahamstown, Durban, and a rural section of Kwa-Zulu Natal, these life histories encompass diverse experiences ranging from a squatter in a township outside Cape Town to an ANC activist in Port Elizabeth, who lost three sons to the struggle for democracy and who herself was imprisoned several times during what many in South Africa now refer to as the "civil war."
Nearly all of these women describe their formative years spent growing up in South Africa's segregated society. Three young black students discuss the hardships they experienced in an unequal educational system as well as aspects of segregation in their childhood. They are joined in their memories and hopes for the future by two mature women—one now a high court judge in Durban and the other a linguist at the University of South Africa in Pretoria—both of whom studied at Harvard in the United States. Nancy Charton, the first woman ordained as an Anglican priest in South Africa, speaks about her past and what led her, in her early seventies, to a vocation in the church.
Three Afrikaner women, including one in her late twenties, speak about growing up in South Africa and articulate their concerns for a future that, in some respects, differs from the predictions of their English-speaking or black sisters. Two now-deceased members of the South African Communist Party provide disparate accounts of what led them to lives of active opposition to the discrimination that marked the lives of people of color, long before apartheid became embedded in South Africa's legal system. Also included is an account by Dr. Goonam, an Indian woman who grew up in relative comfort in the then province of Natal, while Ray Alexander discusses how she witnessed the tyranny visited on the Jews of her native Latvia before immigrating to the Cape.
The first in-depth look at white people’s activism in fighting racism during the past fifty years.
Not since the Civil Rights Movement of the 1950s and 1960s, when many white college students went south to fight against Jim Crow laws, has white antiracist activity held the public’s attention. Yet there have always been white people involved in fighting racism. In this passionate work, Becky Thompson looks at white Americans who have struggled against racism, offering examples of both successes and failures, inspirations, practical philosophies, and a way ahead.
A Promise and a Way of Life weaves an account of the past half-century based on the life histories of thirty-nine people who have placed antiracist activism at the center of their lives. Through a rich and fascinating narrative that links individual experiences with social and political history, Thompson shows the ways, both public and personal, in which whites have opposed racism during several social movements: the Civil Rights and Black Power movements, multiracial feminism, the Central American peace movement, the struggle for antiracist education, and activism against the prison industry. Beginning with the diverse catalysts that started these activists on their journeys, this book demonstrates the contributions and limitations of white antiracism in key social justice movements.
Through these stories, crucial questions are raised: Does antiracist work require a repudiation of one’s whiteness or can that identity be transformed through political commitment and alliances? What do white people need to do to undermine white privilege? What would it take to build a multiracial movement in which white people are responsible for creating antiracist alliances while not co-opting people of color?
Unique in its depth and thoroughness, A Promise and a Way of Life is essential for anyone currently fighting racism or wondering how to do so. Through its demonstration of the extraordinary personal and social transformations ordinary people can make, it provides a new paradigm for movement activity, one that will help to incite and guide future antiracist activism.
For thousands of years, political leaders have unified communities by aligning them against common enemies. However, today more than ever, the search for “common” enemies results in anything but unanimity. Scapegoats like Saddam Hussein, for example, led to a stark polarization in the United States. Renowned neuropsychiatrist and psychologist Jean-Michel Oughourlian proposes that the only authentic enemy is the one responsible for both everyday frustrations and global dangers, such as climate change—ourselves. Oughourlian, who pioneered an “interdividual” psychology with René Girard, reveals how all people are bound together in a dynamic, contingent process of imitation, and shows that the same patterns of irrational mimetic desire that bring individuals together and push them apart also explain the behavior of nations.
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