Between 1967 and 1972, a previously obscure group of authors entered the US cultural spotlight. During this five-year period, at least thirty anthologies of poetry and prose by African American, Latinx, Asian American, and Native American children came out of adult-led workshops, classrooms, and sites of juvenile incarceration. Mass-market publishers, independent imprinters, and local mimeograph machines produced volumes with titles such as I Am Somebody! and The Me Nobody Knows: Children’s Voices from the Ghetto. These young writers actively participated in the Black Arts Movement, and some collaborated with well-known adult authors, most prominently June Jordan. Their anthologies gained national media coverage, occasionally became bestsellers, were quoted by James Baldwin, and even inspired a hit Broadway musical. While writings by children had long attracted adult attention, this flurry of youth writing and publishing was distinguished by the widespread belief that children of color from poor and working-class neighborhoods were uniquely able to speak truth about American racism and inequality.
Focusing on Black and Latinx youth authorship within New York City, and using deep archival research and elegant close readings, Amy Fish examines child-authored texts of this era within the context of their literary production and reception. These young writers were often supervised and edited by white adults, raising concerns about the authenticity and agency of their voices. Fish contends that young authors themselves shared these concerns and that they employed savvy rhetorical strategies of address, temporality, and trope to self-consciously interrogate the perils and possibilities of their adult-influenced work. Young writers thus contributed to the era’s important debates about the nature of authorship and readership within a racist society, while also using their writing as an intimate occasion of self-discovery.
Literary journalism’s origins can be traced to the nineteenth century, when it developed alongside the era’s sentimental literature. Combining fact-based reporting with the sentimentality of popular fiction, literary journalism encouraged readers to empathize with subjects by presenting more nuanced and engaging stories than typical news coverage. While women writers were central to the formation and ongoing significance of the genre, literary journalism scholarship has largely ignored their contributions.
How the News Feels re-centers the work of a range of writers who were active from the nineteenth century until today, including Catharine Williams, Margaret Fuller, Nellie Bly, Winifred Black, Zora Neale Hurston, Joan Didion, Adrian Nicole LeBlanc, and Alexis Okeowo. Offering intimate access to their subjects’ thoughts, motivations, and yearnings, these journalists encouraged readers to empathize with society’s outcasts, from asylum inmates and murder suspects to “fallen women” and the working poor. As this carefully researched study shows, these writers succeeded in defining and developing the genre of literary journalism, with stories that inspire action, engender empathy, and narrow the gap between writer, subject, and audience.
Paul Cuffe is best understood as a member of the Black founding fathers—a group of pre-eminent African Americans who built institutions and movements during the first decades of the United States. While he is known amongst scholars, his astounding life story deserves a much wider audience. Jeffrey A. Fortin has crafted a beautiful, moving portrait of this important maritime figure that will appeal to anyone interested in early American history and who loves great story telling.
Born on Cuttyhunk Island, Massachusetts in 1759 to a formerly enslaved African father and a Wampanoag Indian mother, Cuffe emerged from anonymity to become the most celebrated African-American sea captain during the Age of Sail. An abolitionist, veteran, and community activist, celebrity followed Cuffe as he built a shipping empire that traded both in American coastal waters and across the wider Atlantic Ocean. Cuffe and his Black crews shook the foundations of systemic racism, challenging norms by sailing into Charleston and other ports where slavery was legal, and thus demonstrating that business and profits were more powerful than social limitations. He founded America’s first racially integrated school in Westport, Massachusetts, and is considered the leader of the nation’s first back-to-Africa movement. Newspapers in England, the United States, and the Caribbean reported his whereabouts and adventures, and abolitionists hailed him for his Quaker beliefs, sobriety, and commitment to advancing opportunities for persons of African descent.
Drawing on pamphlets, letters, and other documents, and painstakingly reconstructing his genealogy, Fortin vividly describes Cuffe’s experiences and places them within the broader history of the Early Republic to help reveal the central role of African Americans in the founding of the United States. Unlike previous biographies, Fortin situates Cuffe within an Atlantic world where race and identity were fluid, and Africans and African Americans sought to build and govern a free Black nation in West Africa.
When health authorities quarantined guests aboard the Diamond Princess on February 5, 2020, the cruise ship abruptly shifted from a dream vacation vessel to a public health nightmare. Over the next three weeks, 712 passengers tested positive for coronavirus, with fourteen deaths, and the ship outbreak quickly became the largest cluster of cases outside of China. Guests began to routinely share quarantine updates on social media, ranging from the quality of the ship’s food to their sense of imprisonment. These Facebook, Twitter, Instagram, YouTube, and TikTok accounts became a key source of information for news outlets like the Associated Press, and they helped to set the tone for how the media would cover and frame the pandemic for the next several years.
Unlike past outbreaks, epidemics, and pandemics, COVID-19 emerged in a 21st-century digital landscape of instant communication and abundant online platforms, with older models of news and entertainment media mingling with new types of citizen-produced content. In Capturing COVID, Katherine A. Foss makes sense of how this contemporary media landscape shaped the public’s knowledge and perceptions of the new pandemic. The book focuses on crucial media moments, including the initial reporting from Wuhan; news and social media content on the Diamond Princess quarantine; stories of inequality, stigma, and injustice; narratives of the vaccine rollout; and representations of pandemic life in popular culture. Drawing on press releases, interviews, websites, blogs, social media posts, and other publicly available materials, and guided by critical media analysis, Foss illuminates how this new digital era profoundly shaped the progression of the pandemic. This media landscape kept people informed and connected, but also led to the politicization of the virus, rampant mis/disinformation, and stigmatizing messaging that contributed to public distrust and division. Capturing COVID deftly helps make sense of the entire affair.
For over half a century, the Vietnamese people have endured the harmful legacies of Agent Orange, the toxic herbicide used by the American military as a type of chemical warfare. While scientists and politicians continue to debate how to best address its human and environmental consequences, the nearly three million Vietnamese whose lives have been shaped by its lingering effects have been largely left out of the conversation.
To understand how Agent Orange has impacted the lives and livelihoods of everyday Vietnamese people, Diane Niblack Fox interviewed families and individuals living with its aftereffects across the northern, central, and southern regions of the country. In powerfully written prose, Fox shares the personal accounts of villagers, as they describe caring for loved ones with chronic illnesses and disabilities and their attempts to secure medical and financial assistance. Living with Agent Orange also chronicles the moving stories of rebuilt lives, of family and community support, and of the overriding power of the human spirit.
New England politics can, at first blush, appear monochromatic. After all, only one member of the entire region’s delegation to the US Congress is a Republican, and citizens have elected few Republicans to the US House or Senate in the last decade. But this has not always been the case. In 1948, only two states in the region–Rhode Island and Connecticut–had Democratic senators. Yet a closer examination of the region today reveals fascinating political variation. Liberal policies, greater diversity, and engaged political movements are reshaping stereotypical Yankee tendencies of close-fisted government, whiteness, and laconic discourse.
This collection of new essays captures both the political history and contemporary moment in this region and exposes the surprisingly varied political landscape. It examines historical shifts, regional developments, and the politics of its states to argue that New England has been and continues to be an important part of the national political puzzle, from demonstrating democratic principles in early America to producing major contemporary figures such as Elizabeth Warren, Ayanna Pressley, and Susan Collins. The political shifts at work in New England mirror the South’s transformation, but have received much less attention. This volume corrects that omission by profiling political movements and candidates, political rhetoric from activists to pundits, and demographics and voting in each state as well as the region as a whole.
In addition to material by the editors, this important collection includes contributions from Rachael V. Cobb, Jerold Duquette, Christopher J. Galdieri, Jane JaKyung Han, Douglas B. Harris, Luis Jiménez, Scott McLean, James Melcher, Maureen Moakley, Paul Petterson, and Dante J. Scala.
On July 22, 2011, a white supremacist killed eight people at Oslo’s Government Center in Norway and then terrorized the idyllic island of Utøya, where he executed sixty-nine more people, mostly teenagers. The country had never suffered such a massacre, and in the aftermath, the entire population was reeling.
Utøya, the Norwegian Labor Party’s summer camp for youth, a beloved place where many Norwegians learned about democratic values and processes, made lifelong friendships, and developed a vision for a just society, became mired in grief and discord. When Jørgen Watne Frydnes took on the daunting task of rebuilding the island and charting its future, he had to figure out a compassionate and just way forward. He made a radical decision: he set out to talk with each family of a murdered person, seeking to understand their needs and their hopes so that the future of the island could include their wishes and concerns. This emotionally grueling work, which was never considered in the scholarly literature on commemoration, led to a true renewal of Utøya, resulting in a meaningful memorial to those who were lost as well as beautiful surroundings for campers who come there to study democracy and peace.
Frydnes’s narrative, originally published in Norwegian, is structured around the seasons of the year and the landscape of the island, and tracks one person’s account of learning how to remember, commemorate, and honor the dead, and acknowledge a mass tragedy, and yet also create a nurturing, aspirational space for hope.
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