In the arena of poetry and poetics over the past century, no idea has been more alive and contentious than the idea of form, and no aspect of form has more emphatically sponsored this marked formal concern than the line. But what, exactly, is the line? Emily Rosko and Anton Vander Zee’s anthology gives seventy original answers that lead us deeper into the world of poetry, but also far out into the world at large: its people, its politics, its ecology. The authors included here, emerging and established alike, write from a range of perspectives, in terms of both aesthetics and identity. Together, they offer a dynamic hybrid collection that captures a broad spectrum of poetic practice in the twenty-first century.
Dancing out of Line transports readers back to the 1840s, when the craze for social and stage dancing forced Victorians into a complex relationship with the moving body in its most voluble, volatile form.
By partnering cultural discourses with representations of the dance and the dancer in novels such as Jane Eyre, Bleak House, and Daniel Deronda, Molly Engelhardt makes explicit many of the ironies underlying Victorian practices that up to this time have gone unnoticed in critical circles. She analyzes the role of the illustrious dance master, who created and disseminated the manners and moves expected of fashionable society, despite his position as a social outsider of nebulous origins. She describes how the daughters of the social elite were expected to “come out” to society in the ballroom, the most potent space in the cultural imagination for licentious behavior and temptation. These incongruities generated new, progressive ideas about the body, subjectivity, sexuality, and health.
Engelhardt challenges our assumptions about Victorian sensibilities and attitudes toward the sexual/social roles of men and women by bringing together historical voices from various fields to demonstrate the versatility of the dance, not only as a social practice but also as a forum for Victorians to engage in debate about the body and its pleasures and pathologies.
While politicians and pundits endlessly debate immigration policy, U.S. Border Patrol agents put their lives on the line to enforce immigration law. In a day's work, agents may catch a load of narcotics, apprehend groups of people entering the country illegally, and intercept a potential terrorist. Their days often include rescuing aliens from death by thirst or murder by border bandits, preventing neighborhood assaults and burglaries, and administering first aid to accident victims, and may involve delivering an untimely baby or helping stranded motorists. As Bill Broyles and Mark Haynes sum it up, "Border Patrol is a hero job," one that too often goes unrecognized by the public.
Desert Duty puts a human face on the Border Patrol. It features interviews with nineteen active-duty and retired agents who have worked at the Wellton, Arizona, station that watches over what is arguably the most perilous crossing along the border—a sparsely populated region of the Sonoran Desert with little water and summer temperatures that routinely top 110°F. The agents candidly discuss the rewards and frustrations of holding the line against illegal immigrants, smugglers, and other criminals—while often having to help the very people they are trying to thwart when they get into trouble in the desert. As one agent explains, "The thrill is tracking 'em up before they die. It's a rough ol' way to go—run outta water in this desert."
If baseball is the sport of nostalgic prose, basketball’s movement, myths, and culture are truly at home in verse. In this extraordinary collection of essays, poets meditate on what basketball means to them: how it has changed their perspective on the craft of poetry; how it informs their sense of language, the body, and human connectedness; how their love of the sport made a difference in the creation of their poems and in the lives they live beyond the margins. Walt Whitman saw the origins of poetry as communal, oral myth making. The same could be said of basketball, which is the beating heart of so many neighborhoods and communities in this country and around the world. On the court and on the page, this “poetry in motion” can be a force of change and inspiration, leaving devoted fans wonderstruck.
With a full range of narrative techniques, the fourteen stories in this volume explore the arcs people trace as they make their way in the world. Miles Wilson's compelling narrative presents characters at crucial moments in their trajectories, when the nature and outcome of their lives can be illuminated. Though built out of the texture of ordinary life, these stories concentrate their focus where the luminous intersects the commonplace.
Many of the stories are set in the American West, which often rises out of the background, virtually assuming the role of another character. In "Outsider," a fable of the artist and society is played out as a metaphysical western. "Wyoming" portrays a college professor, his career hanging by a thread, who meets an uncanny woman on a strange journey through a Wyoming blizzard. And in "Fire Season," a U.S. Forest Service firefighter undergoes an apocalyptic Santa Ana fire that takes him to the bewildering margins of the human and natural worlds.
For three decades, Paul Arthur has been a leading observer and critic as well as a direct participant in America’s avant-garde cinema. In A Line of Sight, he provides a sweeping new account of the extravagant energies of American experimental cinema since 1965.
Balancing close analysis of both major and lesser-known films with detailed examinations of their production, distribution, and exhibition, Arthur addresses the avant-garde’s cultural significance while offering a timely reconsideration of accepted critical categories and artistic options. Rather than treating American avant-garde cinema as a series of successive artistic breakthroughs, A Line of Sight emphasizes the importance of social and institutional networks, material exchanges, and historical disruptions and continuities. Throughout, Arthur pays close attention to themes and visual practices neglected or underrepresented in previous studies, scrutinizing portraiture as a vehicle for projecting dissident identities, highlighting the essay film and the contemporary city symphony, and assessing the contributions of regional and African American filmmaking to the avant-garde. He also explores thematic and formal questions that have been central to the avant-garde achievement: experimental film's relationship with mainstream narrative cinema and postwar American painting as well as the legacy of sixties’s counterculture; the uses and theoretical implications of found footage and the allegorizing of technology; and the schism between a poetic, expressive cinema and the antisubjective, rationalist bias of structural filmmaking.
Amid the current resurgence of experimental filmmakers and the emergence of a new audience for their work, A Line of Sight reaffirms the extraordinary breadth and diversity of the avant-garde tradition in America.
Winner of the Richard P. McCormick 2003 Prize for Scholarly Publication, given by the New Jersey Historical Commission
For three weeks in 1970 and for eleven weeks in 1971, the schools in Newark, New Jersey, were paralyzed as the teachers went on strike. In the wake of the 1971 strike, almost two hundred were arrested and jailed. The Newark Teachers Union said their members wanted improved education for students. The Board of Education claimed the teachers primarily desired more money. After interviewing more than fifty teachers who were on the front lines during these strikes, historian Steve Golin concludes that another, equally important agenda was on the table, and has been ignored until now. These professionals wanted power, to be allowed a voice in the educational agenda.
Through these oral histories, Golin examines the hopes of the teachers as they picketed, risking arrest and imprisonment. Why did they strike? How did the union represent them? How did their action—and incarceration—change them? Did they continue to teach in impoverished schools? Golin also discusses the tensions arising during that period. These include differences in attitudes toward unions among black, Jewish, and Italian teachers; different organizing strategies of men and women; and conflict between teachers’ professional and working-class identities.
The first part of the book sets the stage by exploring the experience of teachers in Newark from World War II to the 1970 strike. After covering both strikes, Golin brings the story up to 1995 in the epilogue, which traces the connection between educational reform and union democracy. Teacher Power enhances our understanding of what has worked and what hasn’t worked in attempts at reforming urban schools. Equally importantly, the teachers’ vivid words and the author’s perceptive analysis enables us to view the struggles of not just Newark, but the entire United States during a turbulent time.
Full-tilt, hardcore, down-home, and groundbreaking, the women of country music speak volumes with every song. From Maybelle Carter to Dolly Parton, k.d. lang to Taylor Swift—these artists provided pivot points, truths, and doses of courage for women writers at every stage of their lives. Whether it’s Rosanne Cash eulogizing June Carter Cash or a seventeen-year-old Taylor Swift considering the golden glimmer of another precocious superstar, Brenda Lee, it’s the humanity beneath the music that resonates.
Here are deeply personal essays from award-winning writers on femme fatales, feminists, groundbreakers, and truth tellers. Acclaimed historian Holly George Warren captures the spark of the rockabilly sensation Wanda Jackson; Entertainment Weekly’s Madison Vain considers Loretta Lynn’s girl-power anthem “The Pill”; and rocker Grace Potter embraces Linda Ronstadt’s unabashed visual and musical influence. Patty Griffin acts like a balm on a post-9/11 survivor on the run; Emmylou Harris offers a gateway through paralyzing grief; and Lucinda Williams proves that greatness is where you find it.
Part history, part confessional, and part celebration of country, Americana, and bluegrass and the women who make them, Woman Walk the Line is a very personal collection of essays from some of America’s most intriguing women writers. It speaks to the ways in which artists mark our lives at different ages and in various states of grace and imperfection—and ultimately how music transforms not just the person making it, but also the listener.
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