A SCHOLARLY BOOK REPOSITORY372 start with P start with P
Naous’s book offers analyses of Diana Abu-Jaber’s Arabian Jazz and Crescent, Rabih Alameddine’s Koolaids: The Art of War, Laila Halaby’s Once in a Promised Land, and Mohja Kahf’s The Girl in the Tangerine Scarf as ways to answer this question. Naous explores how these novels negotiate queer desire, music, Western and Middle Eastern art, gender, and relationships between other minorities. These poetics enable readers to see the nuance and richness of Arab American experience. Naous ultimately argues that fiction creates crucial spaces for reimagining and redefining intercultural relationships.
Delivered as a three-part lecture series in 1854 at the famous Hibernian Society Hall in Charleston, South Carolina, Simms’s spirited defense of poetry stands in the nobel line of poetic credos from poets such as Sir Philip Sidney and Percy Bysshe Shelley. It is the only full-length work of its kind in American literature, and it has never before been published.
Seventh in the University of Arkansas Press’s Simms Series, Poetry and the Practical is a clear, forceful rebuttal of arguments that would relegate poetry to the margins of life. It proclaims the high calling of poets as spokesmen and romantic visionaries, underscoring their mission to reveal truth and passion, mind and heart and to transcend the limiting bounds of the empirical. In proving poetry’s utility and worth, Simms uses all the tools of persuasion open to him: his wide reading, his considerable knowledge of the history of culture and civilizations, his understanding of the values of place and tradition, and, above all, an oratorical eloquence, which allows his words to leave the page in a rush of inspiration.
These lectures, which still retain their identity as scripts prepared and punctuated for performance, provide profound insight into Simms the poet and into the effects of industrialization, the southern sensibility, and the influence of European thought on southern literature at a critical point in that literature’s development.
Lisa Hollenbach traces the history of Pacifica Radio—founded in 1946, the nation’s first listener-supported public radio network—through the 1970s: from the radical pacifists and poets who founded Pacifica after the war; to the San Francisco Renaissance, Beat, and New York poets who helped define the countercultural sound of Pacifica stations KPFA and WBAI in the 1950s and 1960s; to the feminist poets and activists who seized Pacifica’s frequencies in the 1970s. In the poems and recorded broadcasts of writers like Kenneth Rexroth, Jack Spicer, Allen Ginsberg, Amiri Baraka, Audre Lorde, Pat Parker, Bernadette Mayer, and Susan Howe, one finds a recurring ambivalence about the technics and poetics of reception. Through tropes of static noise, censorship, and inaudibility as well as voice, sound, and signal, these radiopoetic works suggest new ways of listening to the sounds and silences of Cold War American culture.
Poetry in America offers extravagantly formed lyric and narrative poems that function like works of social realism for our times: hard times, wartime, divorce, times of downturn and dissipated resources. Where, in such times, can poetry emerge, the book asks—and answers—again and again. Largely set in rural places and small towns, these poems are politically committed but deeply sensuous, emotionally complex and compassionate. They take up the everyday in meaningful ways, and deliver it with blunt force, yet not without hope or bright humor.
One chapter is devoted to Charles Bukowski, the celebrity face of the city’s poetry. Other chapters discuss the ways that poets explore “Interiors” and “Exteriors” throughout the cityscape. Goldstein also provides ample connections to the novels, films, art, and politics of Southern California. In clear prose, Poetry Los Angeles examines the strategies by which poets make significant places meaningful and memorable to readers of every region of the U.S. and elsewhere.
Published here in full are Ralph Waldo Emerson's nine poetry notebooks, the single greatest source of information about his creative habits in poetry. Emerson kept rough drafts, revised versions, and fair copies of hundreds of poems in these notebooks, so that the genesis and development of poems both famous and obscure can be traced closely. The notebooks have been remarkably little consulted, primarily because their unedited textual condition makes them difficult to use. This edition makes them accessible to scholars by presenting a faithful transcription of each notebook, a detailed analysis of the history of each poem, an introduction, and a cross-referenced index.
For this edition, the editors have followed the high standards of textual practice developed for Harvard University Press's edition of The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson. That editorial approach makes possible a logical, clear presentation of material that Emerson often jotted down in segments or with multiple erasures and insertions.
Because it will allow scholars to examine as never before the many facets of Emerson the poet, The Poetry Notebooks of Ralph Waldo Emerson will be a major impetus to study of the man considered by many to be America's greates thinker.
Editors Benjamin S. Grossberg and Clare Rossini selected poems to reflect broad themes of labor, history and economic forces, social equity, and the environment. In addition, they asked each poet to provide a brief prose comment to introduce their work. Some give broad statements on the nature of wealth in America today; others are intimate, offering insight into how life experiences inform their writing; still others reflect on the art of poetry itself and its unique power to speak to economic pressures of the moment.
Contributors include Mary Jo Bang, Xochiquetzal Candelaria, Alan Chazaro, Mark Doty, Denise Duhamel, Tony Hoagland, Yusef Komunyakaa, Dorianne Laux, Kimiko Hahn, Sharon Olds, George Perreault, Robert Pinsky, Minnie Bruce Pratt, Afaa Michael Weaver, David Wojahn, and others.
of poetic indifference began to emerge.
The Poetry of Indifference analyzes nineteenth-century works by Wordsworth, Keats, Byron, Tennyson, Robert Browning, and Edward FitzGerald, among others—works that do not merely declare themselves to be indifferent but formally enact the indifference they describe. Each poem consciously disregards some aspect of poetry that is usually considered to be crucial or definitive, even at the risk of seeming "indifferent" in the sense of "mediocre." Such gestures discourage critical attention, since the poetry of indifference refuses to make claims for itself.
This is particularly true of FitzGerald's Rubáiyát, one of the most popular poems of the nineteenth century, but one that recent critics have almost entirely ignored. In concentrating on this underexplored mode of poetry, Gray not only traces a major shift in recent literary history, from a Romantic poetics of sympathy to a Modernist poetics of alienation, but also considers how this literature can help us understand the sometimes embarrassing but unavoidable presence of indifference in our lives.
Since then, more than three thousand original contributions by poets and artists from around the globe have been posted to the page. Poetry of Resistance offers a selection of these works, addressing a wide variety of themes, including racial profiling, xenophobia, cultural misunderstanding, violence against refugees, shared identity, and much more. Contributors include distinguished poets such as Francisco Aragón, Devreaux Baker, Sarah Browning, Lorna Dee Cervantes, Susan Deer Cloud, Sharon Dubiago, Martín Espada, Genny Lim, Pam Uschuk, and Alma Luz Villanueva.
Bringing together more than eighty writers, the anthology powerfully articulates the need for change and the primacy of basic human rights. Each poem shows the heartfelt dedication these writers and artists have to justice in a world that has become larger than borders. Poetry of Resistance is a poetic call for tolerance, reflection, reconciliation, and healing.
The poets of the era voiced their opinions on virtually every subject. They wrote about New Deal agencies, they praised and condemned Hoover and Roosevelt. They expressed their views about the Supreme Court, the third term, and the approaching war in Europe. The resulting study, arranged topically rather than chronologically, provides a unique perspective on American popular culture and American politics.
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.
Although best known as a master of the formal lyric poem, Louise Bogan (1897–1970) also published fiction and what would now be called lyrical essays. A Poet’s Prose: Selected Writings of Louise Bogan showcases her devotion to compression, eloquence, and sharp truths.
Louise Bogan was poetry reviewer for the New Yorker for thirty-eight years, and her criticism was remarkable for its range and effect. Bogan was responsible for the revival of interest in Henry James and was one of the first American critics to notice and review W. H. Auden. She remained intellectually and emotionally responsive to writers as different from one another as Caitlin Thomas, Dorothy Richardson, W. B. Yeats, André Gide, and Rainer Maria Rilke.
Bogan’s short stories appeared regularly in magazines during the 1930s, penetrating the social habits of the city as well as the loneliness there. The autobiographical element in her fiction and journals, never entirely confessional, spurred some of her finest writing. The distinguished poet and critic Mary Kinzie provides in A Poet’s Prose a selection of Bogan's best criticism, prose meditations, letters, journal entries, autobiographical essays, and published and unpublished fiction.
Louise Bogan won the Bollingen Prize in 1954 for her collected poems. She is the subject of the Pulitzer Prize-winning biography by Elizabeth Frank, Louise Bogan: A Portrait.
As Bruce Dick's insightful questions reveal, the key threads linking these writers are their connections to their families and communities and their concern for civil rights—believing like Chicana writer Pat Mora that "the work of the poet is for the people." The interviews also reveal diversity among and within the three communities, from Victor Hernández Cruz, who traces Latino collective identity to Africa and claims that all Latinos are "swimming in olive oil," to Cuban writer Gustavo Perez Firmat, who considers nationality more important than ethnicity and says that "the term Latino erases [his] nationality."
The dialogues also offer new insights on the place of Chicano/a writings in the U.S.-Mexico borderlands, on the Puerto Rican/Nuyorican establishment, and on the anti-Castro stand of Cuban-born poets. As these writers answer questions about their work, background, ethnic identity, and political ideology, they provide a wealth of biographical, intellectual, and literary material collected here for the first time. A Poet's Truth is a provocative and revealing book that not only conveys the fire of these writers' passions but also sheds important light on a whole literary movement.Interviews with:
Miguel Algarín
Martín Espada
Sandra María Esteves
Victor Hernández Cruz
Carolina Hospital and Carlos Medina
Demetria Martínez
Pat Mora
Judith Ortiz Cofer
Ricardo Pau-Llosa
Gustavo Pérez Firmat
Leroy Quintana
Aleida Rodríguez
Luis Rodríguez
Benjamin Alire Sáenz
Virgil Suárez
The innocence and Keatsian beauty of Euclid's geometry become poignant from a perspective that encompasses all that is non-Euclidean as well as space, time, and the theory of matter. With rare wit and linguistic daring, Waldner opens resonant channels of communication that show there is indeed more than meets the eye—or the mind—in her poems.
Hand to Mouth (Twist and Shout)
Cold comes slow up out
of the darkness among the leaves
that smell so good when bruised
Do you, too, recognize me
god so soon?
Her First Reckoning
Pour wine into vessels the violet of woods,
wine of the reddening stars.
You are god, you can do it.
Your lover calls you St. John the Conqueror.
I have heard her.
This is the name of a root.
Asperge the thousands and thousands of rooms
in which photosynthesis promises sun
to the acolyte cells. Rain yourself on a leaf.
Birch. The bark is malleable as mushroom flesh.
Show that you know me. Scratch out my name
with this tree. My name of trees.
On the day I arrive at the door of my death,
myself now hard to tell
from the trees that had hid it from me,
I will demand that you love me.
You made me like this.
Why did you make me like this?
Transitive, Intransitive: Extemporary Measures
Two crows above the marsh: sew.
Stitch the seventeen sleek shades of blue
to the shadow-patterned greens below.
See fit to make me a suitable view who
having nowhere to else to go
might as well wear this world well.
Llama necks periscope the view:
yonder, across the water, you
testing the air now a crow
chases a redwing blackbird through.
What can I show you who sees
I don't believe? For now,
what the eye of the needle sees:
through through through:
clouds, birds, me, trees;
soon: in, out, with, to;
something moving, something moved:
a stitch in time's an avenue,
future's sutures' revenue—
“the shining hour” improved.
The collection covers a broad range of subjects and concerns that lie at the intersection of disability and the arts, including fetal alcohol syndrome, education, and identity; representations of disability in the visual arts and the complicated position of the disabled spectator; the impact of cancer on the patient and the caregiver; the similarities between beauty pageants and freak shows; Alzheimer's disease; prosthetic devices; the mechanized disabled body; disability and performance; and profiles of Helen Keller and Annie Sullivan, Christopher Reeve, Franklin Roosevelt, and sado-masochistic performance artist Bob Flanagan.
Points of Contact: Disability, Art, and Culture was originally published as a special double issue of the well regarded literary magazine, the Michigan Quarterly Review. Now available in a single, convenient paperback volume, its broad range of perspectives on disability and its entertaining and engaging selections will appeal to general readers, scholars, and students alike.
Susan Crutchfield is lecturer in English, University of Michigan. Marcy Epstein teaches literature at The Roeper School and women's studies at Henry Ford Community College.
Poison in the Ivy challenges popular beliefs about the importance of cross-racial interactions as an antidote to racism in the increasingly diverse United States. He shows that it is the context and framing of such interactions on college campuses that plays an important role in shaping students’ beliefs about race and inequality in everyday life for the future political and professional leaders of the nation. Poison in the Ivy is an eye-opening look at race on elite college campuses, and offers lessons for anyone involved in modern American higher education.
Bringing fresh insight to a century of writing by Native Americans
The Political Arrays of American Indian Literary History challenges conventional views of the past one hundred years of Native American writing, bringing Native American Renaissance and post-Renaissance writers into conversation with their predecessors. Addressing the political positions such writers have adopted, explored, and debated in their work, James H. Cox counters what he considers a “flattening” of the politics of American Indian literary expression and sets forth a new method of reading Native literature in a vexingly politicized context.
Examining both canonical and lesser-known writers, Cox proposes that scholars approach these texts as “political arrays”: confounding but also generative collisions of conservative, moderate, and progressive ideas that together constitute the rich political landscape of American Indian literary history. Reviewing a broad range of genres including journalism, short fiction, drama, screenplays, personal letters, and detective fiction—by Lynn Riggs, Will Rogers, Sherman Alexie, Thomas King, Leslie Marmon Silko, Louise Erdrich, Winona LaDuke, Carole laFavor, and N. Scott Momaday—he demonstrates that Native texts resist efforts to be read as advocating a particular set of politics
Meticulously researched, The Political Arrays of American Indian Literary History represents a compelling case for reconceptualizing the Native American Renaissance as a literary–historical constellation. By focusing on post-1968 Native writers and texts, argues Cox, critics have often missed how earlier writers were similarly entangled, hopeful, frustrated, contradictory, and unpredictable in their political engagements.
Case studies in this interdisciplinary volume include female mayors in Atlanta, Baltimore, Charlotte, Chicago, Compton, and Washington, DC, among other cities, along with discussion of each official’s political context. Covering mayors from the 1960s to the present, Political Black Girl Magic identifies the most significant obstacles black women have faced as mayors and mayoral candidates, and seeks to understand how race, gender, or the combination of both affected them.
Contributors: Andrea Benjamin, Nadia E. Brown, Pearl K. Dowe, Christina Greer, Precious Hall, Valerie C. Johnson, Yolanda Jones, Lauren King, Angela K. Lewis-Maddox, Minion K.C. Morrison, Marcella Mulholland, Stephanie A. Pink-Harper, Kelly Briana Richardson, Emmitt Y. Riley, III, Ashley Robertson Preston, Taisha Saintil, Jamil Scott, Fatemeh Shafiei, James Lance Taylor, LaRaven Temoney, Linda Trautman, and the editor
What leads us to respond politically to the deaths of some citizens and not others? This is one of the critical questions Heather Pool asks in Political Mourning. Born out of her personal experiences with the trauma of 9/11, Pool’s astute book looks at how death becomes political, and how it can mobilize everyday citizens to argue for political change.
Pool examines four tragedies in American history—the Triangle Shirtwaist Factory Fire, the lynching of Emmett Till, the September 11 attacks, and the Black Lives Matter movement—that offered opportunities to tilt toward justice and democratic inclusion. Some of these opportunities were taken, some were not. However, these watershed moments show, historically, how political identity and political responsibility intersect and how racial identity shapes who is mourned. Political Mourning helps explain why Americans recognize the names of Trayvon Martin and Sandra Bland; activists took those cases public while many similar victims have been ignored by the news media.
Concluding with an afterword on the coronavirus, Pool emphasizes the importance of collective responsibility for justice and why we ought to respond to tragedy in ways that are more politically inclusive.
Among the most influential poets of the Harlem Renaissance, Langston Hughes is perhaps best remembered for the innovative use of jazz rhythms in his writing. While his poetry and essays received much public acclaim and scholarly attention, Hughes’ dramas are relatively unknown. Only five of the sixty-three plays Hughes scripted alone or collaboratively have been published (in 1963).
Published here, for the first time, are four of Hughes’ most poignant, poetic, and political dramas, Scottsboro Limited, Harvest (also known as Blood on the Fields), Angelo Herndon Jones, and De Organizer. Each play reflects Hughes’ remarkable professionalism as a playwright as well as his desire to dramatize the social history of the African American experience, especially in the context of the labor movements of the 1930s and their attempts to attract African American workers. Hughes himself counted prominent members of these leftist groups among his close friends and patrons; he formed a theater group with Whittaker Chambers, prompting an FBI investigation of Hughes and his writing in the 1930s. These plays, while easily read as idealistic propaganda pieces for the left, are nonetheless reflective of Hughes’ other more influential and studied works.
The first scholar to offer a systematic study of Hughes’ plays, Susan Duffy provides an informed introduction as well as a detailed analysis of each of the four plays. Duffy also establishes that De Organizer, a collaboration with noted jazz pianist and composer James P. Johnson (who also wrote its score) was indeed performed by the Labor Stage.
By making these forgotten texts available, and by presenting them within a scholarly discussion of 1930s leftist political movements, Duffy seeks to spark a renewed interest in Langston Hughes as an American playwright and political figure.
Exploring who benefits and who pays when different narratives are accepted as true, Pride offers a step-by-step account of how Mobile's culture changed each time a new and more forceful narrative was used to justify inequality. More than a retelling of Mobile's story of desegregation, The Political Use of Racial Narratives promotes the value of rhetorical and narrative analysis in the social sciences and history.
Pulitzer Prize–winner Steven Hahn’s provocative new book challenges deep-rooted views in the writing of American and African-American history. Moving from slave emancipations of the eighteenth century through slave activity during the Civil War and on to the black power movements of the twentieth century, he asks us to rethink African-American history and politics in bolder, more dynamic terms.
Historians have offered important new perspectives and evidence concerning the geographical expanse of slavery in the United States and the protracted process of abolishing it. They have also uncovered a wealth of new material on the political currents running through black communities from enslavement to the present day. Yet their scholarship has failed to dislodge familiar interpretive frameworks that may no longer make much sense of the past.
Based on the Nathan I. Huggins Lectures at Harvard University, The Political Worlds of Slavery and Freedom asks why this may be so and offers sweeping reassessments. It defines new chronological and spatial boundaries for American and African-American politics during the first half of the nineteenth century. It suggests, with historical comparisons, that we may have missed a massive slave rebellion during the Civil War. And it takes a serious look at the development and appeal of Garveyism and the hidden history of black politics it may help to reveal. Throughout, it presents African Americans as central actors in the arenas of American politics, while emphasizing traditions of self-determination, self-governance, and self-defense among them.
Stewart develops Hurston’s contributions to political theory and philosophy of race by introducing the politics of joy as a refusal of neo-abolitionism, a political tradition that reduces southern Black life to tragedy or social death. To develop the politics of joy, Stewart draws upon Zora Neale Hurston’s essays, Beyoncé’s Lemonade, and figures across several disciplines including Frederick Douglass, W. E. B. Du Bois, Toni Morrison, Angela Davis, Saidiya Hartman, Imani Perry, Eddie Glaude, and Audra Simpson. The politics of joy offers insights that are crucial for forming needed new paths in our current moment. For those interested in examining popular conceptions of Black political agency at the intersection of geography, gender, class, and Black spirituality, The Politics of Black Joy is essential reading.
This anthology of work by three Asian American women playwrights—Wakako Yamauchi, Genny Lim, and Velina Hasu Houston—features pioneering contemporary writers who have made their mark in regional and ethnic theatres throughout the United States. In her introduction, Houston observes that the Asian American woman playwright is compelled "to mine her soul" and express the angst, fear, and rage that oppression has wrought while maintaining her relationship with America as a good citizen.
The plays are rich with cultural and political substance and have a feminist concern about women's spirit, intellect, and lives. They portray Asian and Asian American women who challenge the cultural and sexual stereotypes of the Asian female. Yamauchi's two plays deal with how easily a country can dishonor its citizens. In "12-1-A," a Japanese American family is incarcerated during World War II in an Arizona camp where Yamauchi herself was interned. "The Chairman's Wife" dramatizes the life of Madame Mao Tse Tung through the lens of events at Tien An Men Square in 1989. Lim's "Bitter Cane" is about the exploitation of Chinese laborers who were recruited to work the Hawaiian sugar cane plantations. In "Asa Ga Kimashita" ("Morning Has Broken"), Houston explores a Japanese woman's interracial romance in postwar Japan and the influence of traditional patriarchy on the lives of Japanese women.
These plays will entertain and enlighten, enrage and profoundly move audiences. With honesty, imagination and courage, each grapples with the politics of life.
In the series Asian American History and Culture, edited by Sucheng Chan, David Palumbo-Liu, Michael Omi, K. Scott Wong, and Linda Trinh Võ.
Co-winner, Latino Politics Best Book Award, American Political Science Association
The first book about the Mexican American Legal Defense and Educational Fund, the influential work it has done for the Latina/o community, and the issues stemming from its dependence on large philanthropic organizations.
Founded in 1968, the Mexican American Legal Defense and Educational Fund (MALDEF) is the Latino equivalent to the NAACP: a source of legal defense for the Latina/o community in cases centered on education, state immigration laws, redistricting, employment discrimination, and immigrant rights. Unlike the NAACP, however, MALDEF was founded by Mexican American activists in conjunction with the larger philanthropic structure of the Ford Foundation—a relationship that has opened it up to controversy and criticism.
In the first book to examine this little-known but highly influential organization, Benjamin Márquez explores MALDEF’s history and shows how it has thrived and served as a voice for the Latina/o community throughout its six decades of operation. But he also looks closely at large-scale investments of the Ford Foundation, Rockefeller Foundation, and others, considering how their ties to MALDEF have influenced Mexican American and Latinx politics. Its story crafted from copious research into MALDEF and its benefactors, this book brings to light the influence of outside funding on the articulation of minority identities and the problems that come with creating change through institutional means.
Eils breaks strict disciplinary silos by putting visibility/surveillance studies, ethnic studies, and narrative studies in conversation with one another. Eils also puts texts in the Native, Latinx, and Asian American literary canon in conversation with each other. She focuses on texts by Viet Thanh Nguyen, David Treuer, Monique Truong, Rigoberto González, Nam Le, and Stephen Graham Jones that call into question our positions as readers and critics. In deliberately and self-consciously evading readers through the form of their fiction, these writers seize privacy as a political tool for claiming and wielding power in both representational and material registers.
The book is divided into four parts. Part 1 outlines current and alternative approaches to health, theories of disease causation, the policies and practices that follow from these theories, and issues of equity and access to health care. A chapter of women's health in three African countries illustrates these concepts. Part 2 describes limits to conventional public health, using case histories of plague control, dioxin decontamination, sanitary reform, and smallpox and malaria eradication. In Part 3, Turshen presents case histories of preventive medicine, nutrition and agribusiness, mental health, and AIDS in Africa to suggest new approaches based on an alternative model of social production. Part 4 looks to the future of public health. It examines basic issues in integrating public health research, training, and services, and concludes with an agenda for action.
The book is divided into four parts. Part 1 outlines current and alternative approaches to health, theories of disease causation, the policies and practices that follow from these theories, and issues of equity and access to health care. A chapter of women's health in three African countries illustrates these concepts. Part 2 describes limits to conventional public health, using case histories of plague control, dioxin decontamination, sanitary reform, and smallpox and malaria eradication. In Part 3, Turshen presents case histories of preventive medicine, nutrition and agribusiness, mental health, and AIDS in Africa to suggest new approaches based on an alternative model of social production. Part 4 looks to the future of public health. It examines basic issues in integrating public health research, training, and services, and concludes with an agenda for action.
Since its founding in 1898, the Art Commission of the City of New York (ACNY) has served as the city’s aesthetic gatekeeper, evaluating all works of art intended for display on city property. And over the years, the commission’s domain has expanded dramatically to include everything from parks and courthouses to trash cans and sidewalks. In ThePolitics of Urban Beauty, Michele H. Bogart argues that this unprecedented authority has made the commission host to some complex negotiations—involving artists, architects, business leaders, activists, and politicians—about not only the role of art in urban design, but also the shape and meaning of the city and its public spaces.
A former vice president of the ACNY, Bogart tells its story here from an insider’s perspective, tracing the commission’s history from its origins as an outgrowth of progressive reform to its role in New York’s reconstruction after 9/11. Drawing on archival correspondence, drawings, and photographs from commission collections, Bogart presents bracing examples of works—ranging from New Deal murals to Louis Kahn’s unbuilt Memorial to Six Million Jewish Martyrs—that illuminate the ACNY’s subtle yet powerful role in shaping New York’s identity.
The Politics of Urban Beauty is thus a fascinating history of a New York art world that paralleled—and sometimes unpredictably intersected with—the more familiar realm of prominent architects, painters, galleries, and museums. Bogart’s fresh view adds a critical dimension to our understanding of “the city beautiful” and makes an important and lively contribution to the study of art history, urban design, and New York City itself.
Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.
With a new preface Bill V. Mullen updates his dynamic reappraisal of a critical moment in American cultural history. Mullen's study includes reassessments of the politics of Richard Wright's critical reputation and a provocative reading of class struggle in Gwendolyn Brooks' A Street in Bronzeville. He also takes an in-depth look at the institutions that comprised Chicago's black popular front: the Chicago Defender, the period's leading black newspaper; Negro Story, the first magazine devoted to publishing short stories by and about African Americans; and the WPA-sponsored South Side Community Art Center.
Pfitzer begins by exploring how the emergence of a new literary marketplace in the mid-nineteenth century affected the study of history in America. Publishers of popular works hoped to benefit from economies of scale by selling large numbers of inexpensive books at small profit. They hired authors with substantial literary reputations to make the past accessible to middle-class readers. The ability to write effectively for wide audiences was the only qualification for those who dominated this field. Privileging narration and effusive literary style over dispassionate prose, these artists adapted their favorite fictional and poetic conventions with an ease that suggests the degree to which history was viewed as literary art in the nineteenth century.
Beginning as a small cottage industry, popular histories sold in the hundreds of thousands by the 1890s. In an effort to illuminate the cultural conditions for this boom, Pfitzer focuses on the business of book making and book promotion. He analyzes the subscription sales techniques of book agents as well as the aggressive prepublication advertising campaigns of the publishers, including the pictorial embellishments they employed as marketing devices.
He also examines the reactions of professional historians who rejected the fictionalizing and poetic tendencies of popular history, which they equated with loose and undisciplined scholarship. Pfitzer explains how and why these professionals succeeded in challenging the authority of popular histories, and what the subsequent "unpopularity of popular history" meant for book culture and the study of history in the twentieth century.
After World War II, the concept of borders became unsettled, especially after the rise of subaltern and multicultural studies in the 1980s. Art at the U.S.-Mexico border came to a turning point at the beginning of that decade with the election of U.S. President Ronald Reagan. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century.
Particularly in the world of visual art, borders have come to represent a space of performance rather than a geographical boundary, a cultural terrain meant to be negotiated rather than a physical line. From 1980 forward, Sheren argues, the border became portable through performance and conceptual work. This dematerialization of the physical border after the 1980s worked in two opposite directions—the movement of border thinking to the rest of the world, as well as the importation of ideas to the border itself. Beginning with site-specific conceptual artwork of the 1980s, particularly the performances of the Border Art Workshop/Taller de Arte Fronterizo, Sheren shows how these works reconfigured the border as an active site. Sheren moves on to examine artists such as Guillermo Gómez-Peña, Coco Fusco, and Marcos Ramirez “ERRE.” Although Sheren places emphasis on the Chicano movement and its art production, this groundbreaking book suggests possibilities for the expansion of the concept of portability to contemporary art projects beyond the region.
Tracy Fuad’s second collection of poems, PORTAL, probes the fraught experience of bringing a new life into a world that is both lush and filled with gloom. A baby is born in a brutalist building; the planet shrinks under the new logic of contagion; roses washed up from a shipwreck centuries ago are blooming up and down the cape. PORTAL documents a life that is mediated, even at its most intimate moments, by flattening interfaces of technology and in which language—and even intelligence—is no longer produced only by humans. The voices here are stalked by eco-grief and loneliness, but they also brim with song and ecstasy, reveling in the strangeness of contemporary life while grieving losses that cannot be restored. Through Fuad’s frank, honest poetry, PORTAL vibrates with pleasure and dread.
Peeling back the surfaces of words to reveal their etymologies, Fuad embraces playfulness through her formal range, engaging styles from the tersely lineated to the essayistic as she intertwines topics of replication, reproduction, technology, language, history, and biology.
Sebastián H. Páramo renders a semi-autobiographical collection, utilizing self-portraiture and memory to uncover how his Texan, working-class, Mexican American identity shapes his relationship to his half brother and to his family’s burning desire to become American.
Portrait of Us Burning begins with the humble picture of an immigrant American family. This picture starts to disintegrate—and, ultimately, burns—with the need to understand an inciting event that haunts the family throughout the second half of the collection. As the poems gather force and the picture dissolves further, Páramo asks us again and again: What does it mean to burn while becoming a part of a whole?
Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.
In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.
to say? Your eyes, though, scanning upward in their sockets,
do seem to search memory, but for what may be gone already,
gone to where it goes—wherever it came from—gone as can be imagined,
down into things, in past flesh and bark, marrow and pith, and down,
down into molecule, atom, particle, vanishing into theory.
Through this collection, Sommer takes us to the ocean floor, into the basement, out the front door, through multiverses, and in and out of dreams. Along the way, he considers whether art—the beauty of the map—can provide momentary meaning against a backdrop of oblivion. Drawing on history and myth, the voices in these poems consider what can and cannot be known of the self and the other, of our values, and of what we insist has permanence. These are poems of searching. Like ancient cartographers who lent lavish decoration to their maps, the poems in Portulans illuminate possibilities of beauty in each journey.
2019 Lambda Literary Awards Finalist
Bringing Chicana/o studies into conversation with queer theory and transgender studies, Post-Borderlandia examines why gender variance is such a core theme in contemporary Chicana and Chicanx narratives. It considers how Chicana butch lesbians and Chicanx trans people are not only challenging heteropatriarchal norms, but also departing from mainstream conceptions of queerness and gender identification.
Expanding on Gloria Anzaldúa’s classic formulation of the Chicana as transformer of the “borderlands,” Jackie Cuevas explores how a new generation of Chicanx writers, performers, and filmmakers are imagining a “post-borderlands” subjectivity, where shifting national, racial, class, sexual, and gender identifications produce complex power dynamics. In addition, Cuevas offers fresh archival analysis of the Chicana feminist canon to reveal how queer gender variance has always been crucial to this literary tradition.
Bringing together thirty-seven essays that have helped define the study of colonial and postcolonial cultures, this expansive and thoughtfully organized anthology offers an up-to-date and in-depth overview of this rapidly developing field.
Canonical articles, most unexcerpted, explore postcolonialism’s key themes—power and knowledge—while articles by contemporary scholars expand the discipline to include discussions of the discovery of the New World, Native American and indigenous identities in Latin America and the Pacific, settler colonies in Africa and Australia, English colonialism in Ireland, and feminism in Nigeria and Egypt. The inclusion of a broad sampling of histories and theories attests to multiple, even competing postcolonialisms, while the skillful organization of the volume provides a useful map of the field in terms of recognizable patterns, shared family resemblances, and common genealogies.
The book is divided into nine sections: Ideologies of Imperialism, The Critique of Colonial Discourse, The Politics of Language and Literary Studies, Nationalisms and Nativisms, Hybrid Identities, Gender and Sexualities, Reading the Subaltern, Comparative (Post)colonialisms, and Globalization and Postcoloniality. Detailed introductions to each section serve to develop key themes, encourage debate, and contextualize the wide-ranging voices that contribute to the topic.
The most cogent and teachable collection of postcolonial texts yet compiled, this anthology is equally suitable for undergraduate students and seasoned scholars.
In his thorough examination, Beasley-Murray undoes the dominant narrative of hegemonic projects and counterhegemonic resistance, of civilization and subalternity, to reveal instead a history of failed contracts and unpredicted insurgencies.
In the twenty-first century as an interest in Marxist thought again coincides with the specter of financial inflation, The Post-Modern Aura is timely again.
The first section of essays returns to the category of the “post-modern” and argues for the usefulness of key concepts and themes from postmodernism to the study of contemporary literature, or reevaluates postmodernism in light of recent developments in the field and historical and economic changes in the late twentieth and early twenty-first centuries. These essays take the contemporary abandonments of postmodernism as an occasion to assess the current states of postmodernity. After that, the essays move to address the critical shift away from postmodernism as a description of the present, and toward a new sense of postmodernism as just one category among many that scholars can use to describe the recent past. The final section looks forward and explores the question of what comes after the postwar/postmodern.
Taken together, these essays from leading and emerging scholars on the state of twenty-first-century literary studies provide a number of frameworks for approaching contemporary literature as influenced by, yet distinct from, postmodernism. The result is an indispensable guide that seeks to represent and understand the major overhauling of postwar American literary studies that is currently underway.
In recent decades, Chicana/o literary and cultural productions have dramatically shifted from a nationalist movement that emphasized unity to one that openly celebrates diverse experiences. Charting this transformation, Postnationalism in Chicana/o Literature and Culture looks to the late 1970s, during a resurgence of global culture, as a crucial turning point whose reverberations in twenty-first-century late capitalism have been profound.
Arguing for a postnationalism that documents the radical politics and aesthetic processes of the past while embracing contemporary cultural and sociopolitical expressions among Chicana/o peoples, Hernández links the multiple forces at play in these interactions. Reconfiguring text-based analysis, she looks at the comparative development of movements within women's rights and LGBTQI activist circles. Incorporating economic influences, this unique trajectory leads to a new conception of border studies as well, rethinking the effects of a restructured masculinity as a symbol of national cultural transformation. Ultimately positing that globalization has enhanced the emergence of new Chicana/o identities, Hernández cultivates important new understandings of borderlands identities and postnationalism itself.
Carnegie shows not only that the nation-state is an exhausted form of political organization, but that in the Caribbean the ideological and political reach of the nation-state has always been tenuous at best. Caribbean peoples, he suggests, live continually in breach of the nation-state configuration. Drawing both on his own experiences as a Jamaican-born anthropologist and on the examples provided by those who have always considered national borders as little more than artificial administrative nuisances, Carnegie investigates a fascinating spectrum of individuals, including Marcus Garvey, traders, black albinos, and Caribbean Ba’hais. If these people have not themselves developed a scholarly doctrine of transnationalism, they have, nevertheless, effectively lived its demand and prefigured a postnational life.
Michael Tesler shows how, in the years that followed the 2008 election—a presidential election more polarized by racial attitudes than any other in modern times—racial considerations have come increasingly to influence many aspects of political decision making. These range from people’s evaluations of prominent politicians and the parties to issues seemingly unrelated to race like assessments of public policy or objective economic conditions. Some people even displayed more positive feelings toward Obama’s dog, Bo, when they were told he belonged to Ted Kennedy. More broadly, Tesler argues that the rapidly intensifying influence of race in American politics is driving the polarizing partisan divide and the vitriolic atmosphere that has come to characterize American politics.
One of the most important books on American racial politics in recent years, Post-Racial or Most-Racial? is required reading for anyone wishing to understand what has happened in the United States during Obama’s presidency and how it might shape the country long after he leaves office.
From 1931 to 1945 Pound's poetry took a back seat to his activities as an economic reformer and propagandist for the corporate state. Pound believed he had a simple and practical solution for the economic woes of the world brought on by the Great Depression, and he became increasingly preoccupied with capturing political power for the economic reform he envisioned.
As the world spiraled toward war, Pound's program of economic reform foundered and he gradually succumbed to a paranoid belief in a Jewish conspiracy. Through an incisive analysis of Pound's correspondence and writings, much of it previously unexamined, Surette shows how this belief fostered the virulent anti-Semitism that pervades his work-–both poetry and prose-–from this time forward.
Throughout the correspondence both poets reveal themselves and their beliefs to a remarkable degree. Pound entrusted to Cummings details of his political outlook in the 1930s and 1940s, including his opinions about Mussolini's Italy. The letters to Cummings also shed new light on the question of Pound's sanity after World War II. Although he was diagnosed as mentally unfit, the letters generally show no evidence of paranoia, only of his characteristic eccentricity.
Similarly, these letters should provoke a reevaluation of Cummings. Critics have treated Cummings's political views as either strictly private matters or merely incidental to his art. The letters, however, show that Cummings's radically conservative political opinions are wholly consistent with his poetics, and raise the question of the relation between Cummings's political principles and his enthusiasm for particular forms (and particular stars) of mass entertainment.
In addition to their political revelations, the letters are steeped in the literary climate--and literary gossip--of the times. Pound comments often and candidly on Cummings's poetry and prose; both Pound and Cummings send light verse to each other. And the poets exchange anecdotes about such figures as Henry James, Wyndham Lewis, T. S. Eliot, Edmund Grosse, Max Eastman, and Aldous Huxley, among other writers.
There is much here to interest and delight both fans and foes of Pound and Cummings. The book will be of primary importance to students and scholars of modern poetry, especially those who emphasize the intersection of literary works and political history.
Barry Ahearn is Associate Professor of English, Tulane University.
This book is a dialogue about poverty in North America, especially in Mexico and the United States. Poverty has different roots and different manifestations, and requires different responses, whether in the Mississippi delta, in Native American reservations, among single-parent families in inner cities, or in Mexico’s rural southern states and in its urban areas.
In this book, twelve poverty scholars in Mexico and the United States contribute to the understanding of the roots of poverty and build knowledge about effective policy alleviation strategies. After setting the context of poverty and place in North America, the book focuses on three areas of policy response: macroeconomic policy, education policy, and safety nets. Within each section, the authors explore the dimensions of the poverty problem and alternative responses. A final chapter by the editors—from the United States and from Mexico—raises provocative questions about poverty in North America as a whole.
Thoughtfully bearing what he presented as a volume of Tennyson with a few trifling revisions in the hand of the poet, Powell was embraced by the slavishly Anglophile New York literary establishment, including a young Herman Melville. In two pot-boilers—The Living Authors of England (1849) and The Living Authors of America (1850)—Powell denounced the most revered American author, Washington Irving, for plagiarism; provoked Charles Dickens to vengeful trans-Atlantic outrage and then panic; and capped his insolence by identified Irving and Melville as the two worst “enemies of the American mind.” For almost four more decades he sniped at Dickens, put words in Melville’s mouth, and survived even the most conscientious efforts to expose him. Long fascinated by this incorrigible rogue, Hershel Parker in The Powell Papers uses a few familiar documents and a mass of freshly discovered material (including a devastating portrait of Powell in a serialized novel) to unfold a captivating tale of skullduggery through the words of great artists and then-admired journalists alike.
This important new work is a study of the everyday lives of the inhabitants of São Paulo in the nineteenth century. Full of vivid detail, the book concentrates on the lives of working women--black, white, Indian, mulatta, free, freed, and slaves, and their struggles to survive. Drawing on official statistics, and on the accounts of travelers and judicial records, the author paints a lively picture of the jobs, both legal and illegal, that were performed by women. Her research leads to some surprising discoveries, including the fact that many women were the main providers for their families and that their work was crucial to the running of several urban industries. This book, which is a unique record of women’s lives across social and race strata in a multicultural society, should be of interest to students and researchers in women’s studies, urban studies, historians, geographers, economists, sociologists, and anthropologists.
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.
Combining theory, criticism, and narrative nonfiction, Carrillo Rowe develops a politics of relation that encourages the formation of feminist alliances across racial and other boundaries within academia. Such a politics of relation is founded on her belief that our subjectivities emerge in community; our affective investments inform and even create our political investments. Thus experience, consciousness, and agency must be understood as coalitional rather than individual endeavors. Carrillo Rowe’s conversations with academic feminists reveal that women who restrict their primary allies to women of their same race tend to have limited notions of feminism, whereas women who build transracial alliances cultivate more nuanced, intersectional, and politically transformative feminisms. For Carrillo Rowe, the institutionalization of feminism is not so much an achievement as an ongoing relational process. In Power Lines, she offers a set of critical, practical, and theoretical tools for building and maintaining transracial feminist alliances.
Founded in 1965 and still active today, the Association for the Advancement of Creative Musicians (AACM) is an American institution with an international reputation. George E. Lewis, who joined the collective as a teenager in 1971, establishes the full importance and vitality of the AACM with this communal history, written with a symphonic sweep that draws on a cross-generational chorus of voices and a rich collection of rare images.
Moving from Chicago to New York to Paris, and from founding member Steve McCall’s kitchen table to Carnegie Hall, A Power Stronger Than Itself uncovers a vibrant, multicultural universe and brings to light a major piece of the history of avant-garde music and art.
In The Power to Die, Terri L. Snyder excavates the history of slave suicide, returning it to its central place in early American history. How did people—traders, plantation owners, and, most importantly, enslaved men and women themselves—view and understand these deaths, and how did they affect understandings of the institution of slavery then and now? Snyder draws on ships’ logs, surgeons' journals, judicial and legislative records, newspaper accounts, abolitionist propaganda and slave narratives, and many other sources to build a grim picture of slavery’s toll and detail the ways in which suicide exposed the contradictions of slavery, serving as a powerful indictment that resonated throughout the Anglo-Atlantic world and continues to speak to historians today.
Hayden White borrows the title for The Practical Past from philosopher Michael Oakeshott, who used the term to describe the accessible material and literary-artistic artifacts that individuals and institutions draw on for guidance in quotidian affairs. The Practical Past, then, forms both a summa of White’s work to be drawn upon and a new direction in his thinking about the writing of history.
White’s monumental Metahistory: The Historical Imagination in Nineteenth-Century Europe (1973) challenged many of the commonplaces of professional historical writing and wider assumptions about the ontology of history itself. It formed the basis of his argument that we can never recover “what actually happened”in the past and cannot really access even material culture in context. Forty years on, White sees “professional history" as falling prey to narrow specialization, and he calls upon historians to take seriously the practical past of explicitly “artistic” works, such as novels and dramas, and literary theorists likewise to engage historians.
A pathbreaking work of scholarship that will reshape our understanding of the Harlem Renaissance, The Practice of Diaspora revisits black transnational culture in the 1920s and 1930s, paying particular attention to links between intellectuals in New York and their Francophone counterparts in Paris. Brent Edwards suggests that diaspora is less a historical condition than a set of practices: the claims, correspondences, and collaborations through which black intellectuals pursue a variety of international alliances.
Edwards elucidates the workings of diaspora by tracking the wealth of black transnational print culture between the world wars, exploring the connections and exchanges among New York–based publications (such as Opportunity, The Negro World, and The Crisis) and newspapers in Paris (such as Les Continents, La Voix des Nègres, and L'Etudiant noir). In reading a remarkably diverse archive--the works of writers and editors from Langston Hughes, René Maran, and Claude McKay to Paulette Nardal, Alain Locke, W. E. B. Du Bois, George Padmore, and Tiemoko Garan Kouyaté--The Practice of Diaspora takes account of the highly divergent ways of imagining race beyond the barriers of nation and language. In doing so, it reveals the importance of translation, arguing that the politics of diaspora are legible above all in efforts at negotiating difference among populations of African descent throughout the world.
Burt Green Wilder, a Boston-born, Harvard-educated doctor-in-training, was among the first white officers commissioned to staff the 55th Massachusetts. Like other officers serving in the state's African American units, Wilder was selected for his military experience, his "firm Anti-Slavery principles," and his faith in the value of black troops. From the time he joined the 55th in May 1863 until the regiment was discharged in September 1865, Wilder recorded his experiences and observations. He described the day-to-day activities of a Civil War surgeon, the indignities suffered by black enlisted men at the hands of a War Department that denied them the same treatment offered to white troops, and the role of the regiment in the campaign around Charleston and in Florida.
Service in the southern states also allowed Wilder to indulge a passion for natural science and comparative anatomy, including the collection of unusual species, one of which—the spider known as Nephila wilderi—still bears his name. After the war he completed his medical studies at Harvard and joined the faculty of Cornell University, where he became a distinguished professor of zoology as well as an outspoken advocate of racial equality.
In his introduction to the volume, Richard M. Reid analyzes Burt Wilder's diary and places it within the context of the war, the experience of African American troops, and Wilder's life and career.
Growing up in a Norwegian American community imbued with the customs and foods of the Old Country, Carrie Young recalls how her mother and her neighbors skillfully blended Scandinavian with what they always called the American style of cooking. Young recounts how her mother, Carrine Gafkjen—after homesteading as a single woman in 1904—cooked for a large threshing crew during harvest season. Living and cooking around the clock in a cook car the size of a Pullman kitchen, she delighted the crew with her soda pancakes and her sour cream doughnuts, her fattigman (Poor Man's Cookies) and her fabulous North Dakota Lemon Meringue Pie.
During holidays lutefisk and lefse reigned supreme, but when the Glorified Rice fad swept the country in the thirties women broke new ground with inventive variations. And the short-lived but intensely experienced Three-Day Bun Era (when the buns became so ethereal they were in danger of floating off the plate) kept the Ladies Aid luncheons competitive. Whatever the times, in good years or bad, there was always the solace ofKaffe Tid, the forenoon and afternoon coffee time, when the table was set with smor og brod (butter and bread) and something sweet, like a Whipped Cream Cake or Devil's Food Cake with Rhubarb Sauce.
This book will appeal to those who feel nostalgia for a parent's or grandparent's cooking, to those who have a longing for the heartier fare of times past. The author's daughter, Felicia Young, who has "cooked Scandinavian since she was old enough to hold a lefse stick," has compiled and tested the seventy-two recipes accompanying this joyful memoir.
Wesley writes poetry that moves with her through life, land, and love, seeing with eyes that have witnessed both national and personal tragedy and redemption. Born in Tugbakeh, Liberia and raised in Monrovia, Wesley immigrated to the United States in 1991 to escape the Liberian civil war. In this moving collection, she invites us to join her as she buries loved ones, explores long-distance connections through social media, and sings bittersweet praises of the women around her, of mothers, and of Africa.
Wesley writes poetry that moves with her through life, land, and love, seeing with eyes that have witnessed both national and personal tragedy and redemption. Born in Tugbakeh, Liberia and raised in Monrovia, Wesley immigrated to the United States in 1991 to escape the Liberian civil war. In this moving collection, she invites us to join her as she buries loved ones, explores long-distance connections through social media, and sings bittersweet praises of the women around her, of mothers, and of Africa.
Inspired by ministers and guided by grieving mothers who hold birthday parties for their deceased sons, Prayers for the People traces the emergence of a powerful new African American religious ideal at the intersection of urban life, death, and social and spiritual change. Carter frames this sensitive ethnography within the complex history of structural violence in America—from the legacies of slavery to free but unequal citizenship, from mass incarceration and overpolicing to social abandonment and the unequal distribution of goods and services. And yet Carter offers a vision of restorative kinship by which communities of faith work against the denial of Black personhood as well as the violent severing of social and familial bonds. A timely directive for human relations during a contentious time in America’s history, Prayers for the People is also a hopeful vision of what an inclusive, nonviolent, and just urban society could be.
Browne finds that when asked to identify themselves by race, these immigrants either reject racial identities entirely or draw on belief systems from Mexico and the Dominican Republic that emphasize European-indigenous mixed race identities. When branded as typical Latines in the U.S., Mexican middle-class immigrants emphasize their social class or explain that a typical Latine can be middle-class, while Dominicans simply indicate that they are not Mexican. Rather than blame systemic racism, both Mexican and Dominican middle-class immigrants often attribute misperceptions of their identity to non-Latines’ ignorance or to individual Latines’ lack of effort in trying to assimilate.
But these middle-class Latine immigrants do not simply seek to position themselves on par with the U.S.-born white middle class. Instead, they leverage their cosmopolitanism—for example, their multilingualism or their children’s experiences traveling abroad—to engage in what Browne calls “one-up assimilation,” a strategy that aims to position them above the white middle class, who are often monolingual and unaware of the world outside the United States. Middle-class Latines’ cosmopolitanism and valuing of diversity also lead them to have cordial relations with African Americans, but these immigrants do not see themselves as sharing African Americans’ status as oppressed minorities.
Although the stereotype of the typical Latine has made middle-class Latine immigrants susceptible to stigma, they insist that this stigma does not play a significant role in their lives. In many cases, they view the stereotype as a minor issue, feel that opportunities for upward mobility outweigh any negative experiences, or downplay racism by emphasizing their class privilege. Browne observes that while downplaying racism may help middle-class Latine immigrants maintain their dignity, it also perpetuates inequality by reinforcing the lower status of working-class undocumented immigrants. It is thus imperative, Browne argues, to repeal harsh anti-immigration policies, a move that will not only ease the lives of the undocumented but also send a message about who belongs in the country.
Offering a nuanced exploration of how race, social class, and immigration status intersect, Precarious Privilege provides a complex portrait of middle-class Latine immigrants in the United States today.
WINNER OF THE 2010 AGNES LYNCH STARRETT POETRY PRIZE
“Glenn Shaheen is claiming new ground for American poetry. His poems are about the nightmares of information overload, collapsing infrastructure, ubiquitous violence, and other ills of late empire. The subjects are not happy, but Shaheen's clear vision and crisp—often witty—language offer the pleasures of surprise, discovery, and recognition.”
—Ed Ochester
Finalist, 2023 Lammy Award in Lesbian Poetry
Prelude delineates the gay female experience through a poetic reconstruction of the girlhood of Catherine of Siena, a Catholic saint who lived in 1300s Italy and disobeyed her parents by refusing marriage to devote her life to God. Through a historical lens, Brynne Rebele-Henry examines the erasure of gay women’s lives and offers a perspective of medieval queer girlhood while considering themes such as violence, desire, and the lesbian body.
A Prescription for Adversity makes the revolutionary case that Ambrose Bierce, far from being a bitter misanthrope, was instead both a compassionate and moral author. Berkove, focusing on Bierce's short fiction, establishes the necessity of recognizing the pattern of his intellectual and literary development over the course of his career. The author shows that Bierce, probably the American author with the most extensive experience of the Civil War, turned to classical Stoicism and English and French Enlightenment literature in his postwar search for meaning. Bierce's fiction arose from his ultimately unsatisfying encounters with the philosophies those sources offered, but the moral commitment as well as the literary techniques of heir authors, particularly Jonathan Swift, inspired him. Dating Bierce's fiction, and introducing uncollected journalism, correspondence, and important new literary history and biographical information, Berkove brings new insights to a number of stories, including "A Son of the Gods" and "A Horseman in the Sky," but especially "An Occurrence at Owl Creek Bridge," and presents compelling readings of the Parenticide Club tales and "Moxon's Master." A Prescription for Adversity substantiates how Bierce at his best is one of the few American authors who rises to the level of Mark Twain, and the only one who touches Jonathan Swift.
A work of both biography and literary criticism, this book rescues Ambrose Bierce and his literature from the neglect to which it has been assigned by "ill-founded, obtuse and unproductive approaches based on skewed notions of his personality and forced or facile readings of individual stories."
The focus of Present Past is her life after the Shoah. Rejecting stereotypes of survivors as traumatized or broken, Schieber is stark yet exuberant, formidable yet nuanced. The woman who emerges in Schieber’s Present Past is a multifaceted, heterogeneous figure—poet, artist, and survivor. In it, she plays the passionate observer who dispassionately curates the kaleidoscopic memories of her tumultuous personal and professional life in Belgrade, Prague, Tel Aviv, New York, and Chicago.
Organized into thirteen chapters, each a blend of images, poems, and narrative, this moving new work offers myriad points of entry to readers of these genres, those fascinated in the relationship between the Holocaust and art, as well as readers interested in memory and survivorship.
In The Presidents We Imagine, Jeff Smith examines the presidency’s ever-changing place in the American imagination. Ranging across different media and analyzing works of many kinds, some familiar and some never before studied, he explores the evolution of presidential fictions, their central themes, the impact on them of new and emerging media, and their largely unexamined role in the nation’s real politics.
Smith traces fictions of the presidency from the plays and polemics of the eighteenth century—when the new office was born in what Alexander Hamilton called “the regions of fiction”—to the digital products of the twenty-first century, with their seemingly limitless user-defined ways of imagining the world’s most important political figure. Students of American culture and politics, as well as readers interested in political fiction and film, will find here a colorful, indispensable guide to the many surprising ways Americans have been “representing” presidents even as those presidents have represented them.
“Especially timely in an era when media image-mongering increasingly shapes presidential politics.”—Paul S. Boyer, series editor
“Smith's understanding of the sociopolitical realities of US history is impressive; likewise his interpretations of works of literature and popular culture. . . .In addition to presenting thoughtful analysis, the book is also fun. Readers will enjoy encounters with, for example, The Beggar's Opera, Duck Soup, Edward Bellamy's Looking Backward, Philip Roth's Plot against America, the comedic campaigns of W. C. Fields for President and Pogo for President, and presidential fictions that continue up to the last President Bush. . . . His writing is fluid and conversational, but every page reveals deep understanding and focus. Summing Up: Highly recommended. All readers.”—CHOICE
Press, Platform, Pulpit examines how early black feminism goes public by sheding new light on some of the major figures of early black feminism as well as bringing forward some lesser-known individuals who helped shape various reform movements. With a perspective unlike many other studies of black feminism, Teresa Zackodnik considers these activists as central, rather than marginal, to the politics of their day, and argues that black feminism reached critical mass well before the club movement’s national federation at the turn into the twentieth century . Throughout, she shifts the way in which major figures of early black feminism have been understood.
The first three chapters trace the varied speaking styles and appeals of black women in the church, abolition, and women’s rights, highlighting audience and location as mediating factors in the public address and politics of figures such as Jarena Lee, Zilpha Elaw, Amanda Berry Smith, Ellen Craft, Sarah Parker Remond and Sojourner Truth. The next chapter focuses on Ida B. Wells’s anti-lynching tours as working within “New Abolition” and influenced by black feminists before her. The final chapter examines feminist black nationalism as it developed in the periodical press by considering Maria Stewart’s social and feminist gospel; Mary Shadd Cary’s linking of abolition, emigration, and woman suffrage; and late-nineteenth-century black feminist journalism addressing black women’s migration and labor. Early black feminists working in reforms such as abolition and women’s rights opened new public arenas, such as the press, to the voices of black women. The book concludes by focusing on the 1891 National Council of Women, Frances Harper, and Anna Julia Cooper, which together mark a generational shift in black feminism, and by exploring the possibilities of taking black feminism public through forging coalitions among women of color.
Press, Platform, Pulpit goes far in deepening our understanding of early black feminism, its position in reform, and the varied publics it created for its politics. It not only moves historically from black feminist work in the church early in the nineteenth century to black feminism in the press at its close, but also explores the connections between black feminist politics across the century and specific reforms.
In this volume, scholars from a variety of disciplines explore the myriad ways print was used in the Cold War. Looking at materials ranging from textbooks and cookbooks to art catalogs, newspaper comics, and travel guides, they analyze not only the content of printed matter but also the material circumstances of its production, the people and institutions that disseminated it, and the audiences that consumed it. Among the topics discussed are the infiltration of book publishing by propagandists East and West; the distribution of pro-American printed matter in postwar Japan through libraries, schools, and consulates; and the collaboration of foundations, academia, and the government in the promotion of high culture as evidence of the superiority of Western values.
At the same time, many of the qualities that made print the preferred medium of official propaganda also made it an effective instrument for challenging Cold War orthodoxies at home and abroad. Because printed materials were relatively easy to transport, to copy, and to share, they could just as well be used to bridge differences among people and cultures as to exploit them. They also provided a vehicle for disseminating satire and other expressions of dissent.
In addition to the volume editors, contributors include Ed Brunner, Russell Cobb, Laura Jane Gifford, Patricia Hills, Christian Kanig, Scott Laderman, Amanda Laugesen, Martin Manning, Kristin Matthews, Hiromi Ochi, Amy Reddinger, and James Smith. Together their essays move beyond traditional Cold War narratives to gauge the role of a crucial cultural medium in the ideological battle between the superpowers and their surrogates.
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