A SCHOLARLY BOOK REPOSITORY597 start with S start with S
What were the catalysts that motivated Mexican American youth to enlist or readily accept their draft notices in World War II, Korea, or Vietnam? In Soldados Razos at War, historian and veteran Steven Rosales chronicles the experiences of Chicano servicemen who fought for the United States, explaining why these men served, how they served, and the impact of their service on their identity and political consciousness.
As a social space imbued with its own martial and masculine ethos, the U.S. military offers an ideal way to study the aspirations and behaviors that carried over into the civilian lives of these young men. A tradition of martial citizenship forms the core of the book. Using rich oral histories and archival research, Rosales investigates the military’s transformative potential with a particular focus on socioeconomic mobility, masculinity, and postwar political activism across three generations.
The national collective effort characteristic of World War II and Korea differed sharply from the highly divisive nature of American involvement in Vietnam. Thus, for Mexican Americans, military service produced a wide range of ideological reactions, with the ideals of each often in opposition to the others. Yet a critical thread connecting these diverse outcomes was a redefined sense of self and a willingness to engage in individual and collective action to secure first-class citizenship.
Hemingway, Salter, and O’Brien form the core of Soldiers Once and Still because each represents a different warring generation of twentieth-century America: World War I with Hemingway, World War II and Korea with Salter, and Vietnam with O’Brien. Each author also represents a different literary voice of the twentieth century, from modern to mid-century to postmodern, and each presents a different battlefield experience: Hemingway as noncombatant, Salter as air force fighter pilot, and O’Brien as army grunt.
War’s pervasive influence on the individual means that, for veterans-turned-writers like Hemingway, Salter, and O’Brien, the war experience infiltrates their entire body of writing—their works can be seen not only as war literature but also as veterans’ literature. As such, their entire postwar oeuvre, regardless of whether an individual work explicitly addresses the war or the military, is open to Vernon’s exploration of war, society, gender, and literary history.
Vernon’s own experiences as a soldier, a veteran, a writer, and a critic inform this enlightening critique of American literature, offering students and scholars of American literature and war studies an invaluable tool for understanding war’s effects on the veteran writer and his society.
Grounded in ecofeminist theory, this literary analysis examines Walker’s evolving views on animals in relation to her discussions of other oppressed groups. Pamela B. June argues that Walker’s fiction can help readers understand and perhaps challenge American culture’s mistreatment of nonhuman animals. Walker has withstood criticism for her decision to abandon vegetarianism, and this book also problematizes the slippery territory of viewing writers as moral guides. Solidarity with the Other Beings on the Planet will appeal to readers in literary studies, ecofeminist studies, African American studies, and critical animal studies.
Soluble Fish transports readers to a place of discovery, exploring issues of borders, familial and love relationships, and other aspects of being human. Mary Jo Firth Gillett layers her poems in rich metaphor as she searches for meaning in everyday life. Contemplating a range of topics from teaching poetry to watching her father filet a fish, Gillett’s humorous and playful collection celebrates language and life.
In Solving for X, his award-winning collection of new poems, Robert B. Shaw probes the familiar and encounters the unexpected; in the apparently random he discerns a hidden order. Throughout, Shaw ponders the human frailties and strengths that continue to characterize us, with glances at the stresses of these millennial times that now test our mettle and jar our complacency. Often touched with humor, his perceptions are grounded in devoted observation of the changing world.
As in his previous collections, Shaw in these poems unites conversational vigor with finely crafted metrical lines. Final judge Rachel Hadas says it best: “Solving for X is droll and puzzled, elegiac and satirical in equal measure. Shaw’s attention alights on a variety of more and less tangible things—a seed catalog, a shirt, a bad book, a request for a letter of recommendation, an irritating colleagues’s death—which his masterfully packed lines then proceed to light up with deliberate and unforgettable authority.”
Some Girls Survive on Their Sorcery Alone sees Renisha McBride, Sandra Bland, Korrynn Gaines, and others not as ornamental nor does the book attempt to canonize the dead women as saints. The poems see them as they are: play-cousins, home-girls, the mirror. Line to line, there is an obsession with keeping all of the women in the poems safe and perhaps resurrectable. The black girl who is alive here lives to switch her waistline to a reggae beat. She is in the middle of the dance floor with a suicide note in her purse as a means of warding off bad juju. Always, she is chasing joy head-on, at warp speed.
Some Girls Survive on Their Sorcery Alone is a celebration that the black girl will always dance, in the church basement, a grandmother’s funeral repast—she dances until she hits the floor, in her joy . . . and her grief.
Some Jazz a While, the eagerly anticipated collected poems of one of America's best-loved poets, gathers Miller Williams's most representative work and adds some new pieces as well.
This generous collection welcomes newcomers as well as longtime admirers of Williams's trademark style: a compact and straightforward language, a masterful command of form, and an unsentimental approach to his subject matter. Williams treats the mundane interchanges, the lingering uncertainties, the missed opportunities, and the familiar sense of loss that mark daily life with the surgeon's deft touch.
An American original, Miller Williams involves the reader's emotions and imagination with an effective illusion of plain talk, continually rediscovering what is vital and musical in the language we speak and by which we imagine.
At first glance these poems (which read like one long odyssey) seem sweet and peaceful—like taking a walk in the woods. But then, things turn darker: a storm blows in—and with it some Aliens, Ghost and Ghoul, the Hanging Man. Luckily, Carlyle has a few good friends such as Ruth, the Hag, the Boy, who are staunch and true and faithful. A whistling-in-the-dark suspense alternately stimulates and enervates the witness.
“Carlyle is spore, and mild. / He is swoon &sherbet.” Endearing and kind, if not actually cruel, he is also cold and strange. He shapeshifts, transforming into Magician and Jester, Surgeon and Scientist, Cloud; he studies fire and mirrors and bores holes in his own skull, looking for heaven. Throughout his many adventures, which range from the ludicrous to the life-threatening, he flies into the light and carries the reader with him on his perplexing and fanciful journey.
The third book in Charles Bowden’s “accidental trilogy” that began with Blood Orchid and Blues for Cannibals, Some of the Dead Are Still Breathing attempts to resolve the overarching question: “How can a person live a moral life in a culture of death?” As humanity moves further into the twenty-first century, Bowden continues to interrogate our roles in creating the ravaged landscapes and accumulated death that still surround us, as well as his own childhood isolation, his lust for alcohol and women, and his waning hope for a future. We witness post-Katrina New Orleans and terrorist-bombed Bali; we encounter our shared actions with the animal world and the desirous need for consumption; we see the clash and erosion of our physical and figurative borders, the savagery of our own civilization. A man of his time and out of time, Bowden seeks acceptance and a will to endure what may lie ahead.
(Include contributors if space allows) Contributors: Tony Bolden, Jeremy Glick, William J. Harris, Benjamin Lee, Aidan Levy, John Lowney, Jean-Philippe Marcoux, Kim McMillon, Fred Moten, Michael New, Aldon Lynn Nielsen, Amy Abugo Ongiri, Gregory Pierrot, Howard Rambsy II, Emily Ruth Rutter, Anthony Reed, Lauri Scheyer, Kathy Lou Schultz, Michael Simanga, James Smethurst, Laura Vrana, Tyrone Williams, Kalamu ya Salaam.
In doing so, he offers new readings of a wide range of narratives from Jane Austen’s Pride and Prejudice to Joan Didion’s The Year of Magical Thinking, from Joseph Conrad’s Lord Jim to George V. Higgins’s The Friends of Eddie Coyle, from Franz Kafka’s “Das Urteil” to Toni Morrison’s “Recitatif,” from David Small’s Stitches to Jhumpa Lahiri’s “Third and Final Continent,” from John O’Hara’s “Appearances” to Ian McEwan’s Enduring Love. Phelan contends that the standard view of narrative as a synthesis of story and discourse is inadequate to handle the complexities of narrative communication, and he demonstrates the greater explanatory power of his rhetorical view. Furthermore, Phelan gives new prominence to the presence and activity of the “somebody else,” as he shows that an audience’s unfolding responses to a narrative often influence its very construction.
Carr’s essays push past familiar boundaries between the personal/confessional and experimental/conceptual strains in American poetry. Pressing philosophical inquiries into the nature of gender, motherhood, fear, the body, and violence up against readings of twentieth- and twenty-first-century poets, she asks us to consider the political and affective work of poetry in a range of contexts. Carr reports on her own practices, examining her concerns for research and narrative against her investment in lyric, as well as her history as a dancer and her work as curator and publisher. Carr’s breadth of inquiry moves well beyond the page, yet remains grounded in languages possibilities.
The forty-six pieces documented here include thirteen works that span the career of the great Romare Bearden, from his 1941 gouache painting Serenade to the important collages of the 1980s. Hill’s fascination with artists’ depiction of women is represented in Elizabeth Catlett’s lithographs, many of them from the 1992 series “For My People,” and her sculptures in stone, bronze, and onyx. In addition to these two giants of twentieth-century art, the Hill Collection features pieces by Phoebe Beasley, Arthello Beck Jr., John Biggers, Malcolm Brown, John Coleman, Edward Jackson, and Hughie Lee Smith.
Hill began collecting art in the early 1990s after learning from his parents to appreciate artworks not only as objects of beauty but as expressions of heritage and culture. According to the internationally known curator Alvia J. Wardlaw, he is part of an emerging group of young African American collectors who have “raised the bar for others.” Hill writes, “Getting to know yourself means understanding your background and appreciating those who have come before you. My father has a saying he uses in speeches: ‘To be ignorant of your past is to remain a boy. ‘The interest in my heritage as an African American is reflected in this collection.”
Something All Our Own features Wardlaw’s essay on the history of African American collecting. It also features articles about Bearden and Catlett by the scholars Elizabeth Alexander and Beverly Guy-Sheftall and reflections about Hill by the historian John Hope Franklin, Duke’s basketball coach Mike Krzyzewski, and the sportswriter William C. Rhoden. Hill and his father, the NFL great Calvin Hill, contribute a dialogue that explores their motivations for collecting art.
At the heart of the book are the exquisite color photographs of the forty-six artworks included in the exhibition, with commentary by Wardlaw and by Hill himself.
As a star athlete, Grant Hill is well aware that African Americans who excel in sports and entertainment are more broadly recognized than their counterparts in artistic fields. He strives to inspire young people to explore their heritage and broaden their concept of excellence by learning more about African American art. By sharing his artworks with collectors and fans, Hill reminds us that while the jump shot is ephemeral, art is enduring.
John Neary shows that the theological dichotomy of via negativa (which posits the authentic experience of God as absence, darkness, silence) and via affirmativa (which emphasizes presence, images, and the sounds of the earth) is an overlooked key to examining and comparing the works of John Fowles and John Updike.
Drawing on his extensive knowledge of both Christian and secular existentialism within the modern theology of Barth and Levinas and the contemporary critical theory of Derrida and J. Hillis Miller, Neary demonstrates the ultimate affinity of these authors who at first appear such opposites. He makes clear that Fowles’s postmodernist, metafictional experiments reflect the stark existentialism of Camus and Sartre while Updike’s social realism recalls Kierkegaard’s empirical faith in a generous God within a kind of Christian deconstructionism.
Neary’s perception of uncanny similarities between the two authors—whose respective careers are marked by a series of novels that structurally and thematically parallel each other—and the authors’ shared long-term interest in existentialism and theology support both his critical comparison and his argument that neither author is "philosophically more sophisticated nor aesthetically more daring."
Working with brevity and compression, Andrew Michael Roberts first imagines how small he can go with a poem and still maintain some sort of emotional or imagistic center. Then, released from this limitation, the rest of his playful, unexpected poems expand to fill a world with imagery, emotion, and sound.
What Roberts calls “simply a book of small poems” grew out of his obsessions with time and catastrophe and love and abandonment—what is always possible, almost attained, but lost at the last minute. When something ends or when everything ends, something else must always happen next—what will it be, and who will be there to name and love and destroy it?
Mura's writings recently have been at the center of various debates concerning race and literary standards. In this book, he argues the need for a more complicated and diverse set of literary standards than the canon has previously allowed, an opening up to the many voices that are "great within us." He contends that, when placed against a gathering awareness of a world literature, particularly in the so-called Third World, the boundaries of the traditional Anglo-American canon and its present-day proponents like Harold Bloom come to be seen as too narrow and parochial, reenacting the "tribal" label that many throw now at the advocates of multiculturalism.
Beyond its theoretical underpinnings, Song for Uncle Tom, Tonto, and Mr. Moto charts the wayward course of Mura's own development as a poet. In three interviews, Mura provides readings of his own work and discusses various issues of technique and form.
David Mura is a poet, memoirist, essayist, playwright, writer of fiction, performance artist, and literary critic. He is author of The Colors of Desire, After We Lost Our Way, and Turning Japanese: Memoirs of a Sansei.
In the midst of a crisis of democracy, we have much to learn from Walt Whitman’s journey toward egalitarian selfhood.
Walt Whitman knew a great deal about democracy that we don’t. Most of that knowledge is concentrated in one stunning poem, Song of Myself.
Esteemed cultural and literary thinker Mark Edmundson offers a bold reading of the 1855 poem, included here in its entirety. He finds in the poem the genesis and development of a democratic spirit, for the individual and the nation. Whitman broke from past literature that he saw as “feudal”: obsessed with the noble and great. He wanted instead to celebrate the common and everyday. Song of Myself does this, setting the terms for democratic identity and culture in America. The work captures the drama of becoming an egalitarian individual, as the poet ascends to knowledge and happiness by confronting and overcoming the major obstacles to democratic selfhood. In the course of his journey, the poet addresses God and Jesus, body and soul, the love of kings, the fear of the poor, and the fear of death. The poet’s consciousness enlarges; he can see more, comprehend more, and he has more to teach.
In Edmundson’s account, Whitman’s great poem does not end with its last line. Seven years after the poem was published, Whitman went to work in hospitals, where he attended to the Civil War’s wounded, sick, and dying. He thus became in life the democratic individual he had prophesied in art. Even now, that prophecy gives us words, thoughts, and feelings to feed the democratic spirit of self and nation.
Hailed by critics as a distinctive and powerful presence in contemporary American poetry, Michael S. Harper is an artist and a truth teller who tempers his astonishing technical virtuosity with a compassionate and healing vision. A keen observer and a potent commentator, Harper calls a complacent society vigorously to account while cradling the wounded and remembering the lost.
Calling Harper "one of the finest poets of our time . . . [and] one of the most human and humane,"
George Cuomo of the San Francisco Examiner and Chronicle observed, "Harper's poetry has drawn its vitality from the incredible energy of his language and the honesty of his perceptions." Songlines in Michaeltree is a magnificent celebration of Harper's continuing, unstinting gifts.
Martin's quest took her to ranches, mining towns, and cities throughout southern Arizona, for she sought to document as varied an experience of the contributions of Mexican American women as possible. The interviews covered family history and genealogy, childhood memories, secular and religious traditions, education, work and leisure, environment and living conditions, rites of passage, and personal values. Each of the ten oral histories reflects not only the spontaneity of the interview and personality of each individual, but also the friendship that grew between Martin and her subjects.
Songs My Mother Sang to Me collects voices not often heard and brings to print accounts of social change never previously recorded. These women document more than the details of their own lives; in relating the histories of their ancestors and communities, they add to our knowledge of the culture and contributions of Mexican American people in the Southwest.
"Rowden has wedded ethnomusicology and disability studies to offer a fresh approach to the study of African American popular music. The Songs of Blind Folk undermines many of the defining mythologies and tropes of blind musicians, including the perception that they are successful because they compensate for the loss of vision."
---Mark Anthony Neal, Duke University
"Illuminates how the enduring phenomenon of blind African American musicians emerged from brutal conditions, how these musicians were deployed in the burgeoning American iconography of race and 'freakdom,' and how they negotiated this hazardous cultural terrain . . . the book is timely, well-historicized, and rich in insight."
---Kari Winter, University at Buffalo
The Songs of Blind Folk explores the ways that the lives and careers of blind and visually impaired African American musicians and singers have mirrored the changes in America's image of African Americans and the social positioning and possibilities of the entire black community. The book offers a historically grounded consideration of African American performers and their audiences, and the ways that blindness, like blackness, has affected the way the music has been produced and received. Author Terry Rowden considers the controversial nineteenth-century prodigy Blind Tom Bethune; blues singers and songwriters such as Blind Lemon Jefferson, who achieved an unprecedented degree of visibility and acceptance in the 1920s and '30s; spiritual and gospel musicians such as the Blind Boys of Alabama; celebrated jazz and rhythm and blues artists Art Tatum, Rahsaan Roland Kirk, and Ray Charles; and finally, perhaps the best known of all blind performers, Stevie Wonder.
Terry Rowden is Assistant Professor of English at the City University of New York, Staten Island. He is coeditor of Transnational Cinema: The Film Reader.
Listen to a short interview with Joan Shelley RubinHost: Chris Gondek | Producer: Heron & Crane
In the years between 1880 and 1950, Americans recited poetry at family gatherings, school assemblies, church services, camp outings, and civic affairs. As they did so, they invested poems--and the figure of the poet--with the beliefs, values, and emotions that they experienced in those settings.
Reciting a poem together with others joined the individual to the community in a special and memorable way. In a strikingly original and rich portrait of the uses of verse in America, Joan Shelley Rubin shows how the sites and practices of reciting poetry influenced readers' lives and helped them to find meaning in a poet's words.
Emphasizing the cultural circumstances that influenced the production and reception of poets and poetry in this country, Rubin recovers the experiences of ordinary people reading poems in public places. We see the recent immigrant seeking acceptance, the schoolchild eager to be integrated into the class, the mourner sharing grief at a funeral, the grandparent trying to bridge the generation gap--all instances of readers remaking texts to meet social and personal needs. Preserving the moral, romantic, and sentimental legacies of the nineteenth century, the act of reading poems offered cultural continuity, spiritual comfort, and pleasure.
Songs of Ourselves is a unique history of literary texts as lived experience. By blurring the boundaries between "high" and "popular" poetry as well as between modern and traditional, it creates a fuller, more democratic way of studying our poetic language and ourselves.
The Vietnamese refugee experience calls attention to issues commonly raised by migration: the redefinition of group relations, the reformulation of identity, and the reconstruction of social and musical life in resettlement. Fifteen years ago, Adelaida Reyes began doing fieldwork on the musical activities of Vietnamese refugees. She entered the emotion-driven world of forced migrants through expressive culture; learned to see the lives of refugee-resettlers through the music they made and enjoyed; and, in turn, gained a deeper understanding of their music through knowledge of their lives.
In Songs of the Caged, Songs of the Free, Reyes brings history, politics, and decades of research to her study of four resettlement communities, including refugee centers in Palawan and Bataan; the early refugee community in New Jersey; and the largest of all Vietnamese communities -- Little Saigon, in southern California's Orange County.
Looking closely at diasporic Vietnamese in each location, Reyes demonstrates that expressive culture provides a valuable window into the refugee experience. Showing that Vietnamese immigrants deal with more than simply a new country and culture in these communities, Reyes considers such issues as ethnicity, socio-economic class, and differing generations. She considers in her study music of all kinds -- performed and recorded, public and private -- and looks at music as listened to and performed by all age groups, including church music, club music, and music used in cultural festivals. Moving from traditional folk music to elite and modern music and from the recording industry to pirated tapes. Reyes looks at how Vietnamese in exile struggled, in different ways, to hold onto a part of their home culture and to assimilate into their new, most frequently American, culture.
Songs of the Caged, Songs of the Free will attract the attention of readers in Asian American studies, Asian studies, music, and ethnomusicology.
Both literary anthology and hands-on field guide, The Sonoran Desert is a groundbreaking book that melds art and science. It captures the stunning biodiversity of the world’s most verdant desert through words and images. More than fifty poets and writers—including Christopher Cokinos, Alison Hawthorne Deming, Ken Lamberton, Eric Magrane, Jane Miller, Gary Paul Nabhan, Alberto Ríos, Ofelia Zepeda, and many others—have composed responses to key species of this striking desert. Each creative contribution is joined by an illustration by award-winning artist Paul Mirocha and scientific information about the creature or plant authored by the book’s editors.
From the saguaro to the mountain lion, from the black-tailed jackrabbit to the mesquite, the species represented here have evoked compelling and creative responses from each contributor. Just as writers such as Edward Abbey and Ellen Meloy have memorialized the desert, this collection is sure to become a new classic, offering up the next generation of voices of this special and beautiful place, the Sonoran Desert.
As Pop grappled with the systemic racism towards Asians during the exclusion era, Wong wistfully depicts Pop’s efforts to establish a family business and build a life for his family in segregated Oakland. As the exclusion law ended in 1943, young William was assimilating into American life and developing his path as a journalist. Writing for the Wall Street Journal, Oakland Tribune, and Asian American periodicals, Wong chronicled Asian American experiences while honoring Chinese American history and identity, but he too faced discrimination.
Sons of Chinatown poignantly weaves these father and son stories together with admiration and righteous anger. Through the mirrored lens of his father, Wong reflects on the hardships Asian Americans endured—and continue to face—with American exceptionalism. Wong’s inspiring memoir provides a personal history that also raises the question of whether America welcomes or repels immigrants.
Many of the movement's leading artists, including Ed Bullins, Nikki Giovanni, Woodie King, Haki Madhubuti, Sonia Sanchez, Askia Touré, and Val Gray Ward remain artistically productive today. Its influence can also be seen in the work of later artists, from the writers Toni Morrison, John Edgar Wideman, and August Wilson to actors Avery Brooks, Danny Glover, and Samuel L. Jackson, to hip hop artists Mos Def, Talib Kweli, and Chuck D.
SOS—Calling All Black People includes works of fiction, poetry, and drama in addition to critical writings on issues of politics, aesthetics, and gender. It covers topics ranging from the legacy of Malcolm X and the impact of John Coltrane's jazz to the tenets of the Black Panther Party and the music of Motown. The editors have provided a substantial introduction outlining the nature, history, and legacy of the Black Arts Movement as well as the principles by which the anthology was assembled.
Winner of the Frederick Jackson Turner Award
Winner of the John Hope Franklin Prize
Winner of the Avery O. Craven Award
Soul by Soul tells the story of slavery in antebellum America by moving away from the cotton plantations and into the slave market itself, the heart of the domestic slave trade. Taking us inside the New Orleans slave market, the largest in the nation, where 100,000 men, women, and children were packaged, priced, and sold, Walter Johnson transforms the statistics of this chilling trade into the human drama of traders, buyers, and slaves, negotiating sales that would alter the life of each. What emerges is not only the brutal economics of trading but the vast and surprising interdependencies among the actors involved.
Using recently discovered court records, slaveholders’ letters, nineteenth-century narratives of former slaves, and the financial documentation of the trade itself, Johnson reveals the tenuous shifts of power that occurred in the market’s slave coffles and showrooms. Traders packaged their slaves by “feeding them up,” dressing them well, and oiling their bodies, but they ultimately relied on the slaves to play their part as valuable commodities. Slave buyers stripped the slaves and questioned their pasts, seeking more honest answers than they could get from the traders. In turn, these examinations provided information that the slaves could utilize, sometimes even shaping a sale to their own advantage.
Johnson depicts the subtle interrelation of capitalism, paternalism, class consciousness, racism, and resistance in the slave market, to help us understand the centrality of the “peculiar institution” in the lives of slaves and slaveholders alike. His pioneering history is in no small measure the story of antebellum slavery.
The jazz musician-composer-arranger Mary Lou Williams spent her sixty-year career working in—and stretching beyond—a dizzying range of musical styles. Her integration of classical music into her works helped expand jazz's compositional language. Her generosity made her a valued friend and mentor to the likes of Thelonious Monk, Charlie Parker, and Dizzy Gillespie. Her late-in-life flowering of faith saw her embrace a spiritual jazz oriented toward advancing the civil rights struggle and helping wounded souls.
Tammy L. Kernodle details Williams's life in music against the backdrop of controversies over women's place in jazz and bitter arguments over the music's evolution. Williams repeatedly asserted her artistic and personal independence to carve out a place despite widespread bafflement that a woman exhibited such genius. Embracing Williams's contradictions and complexities, Kernodle also explores a personal life troubled by lukewarm professional acceptance, loneliness, relentless poverty, bad business deals, and difficult marriages.
In-depth and epic in scope, Soul on Soul restores a pioneering African American woman to her rightful place in jazz history.
Gonzalez shows his profound respect for other people, species, places, elements, and histories. Illusions to religious imagery knock against those of the natural world—feathers and rocks—creating a complex tableau of objects and feelings. Employing the image-driven approach for which he is renowned, in this collection Gonzalez is taut, using poetics that are fully formed. Even as the poems weave together highly intellectual, refined subject matter, the language remains accessible.
The book is divided into three parts. The first section offers Gonzalez’s most personal work yet, meditating on aging, forgetting, and the reader. The next section is more outward looking, as Gonzalez takes on great artists from both Old World and New World traditions. Finally, in the last section, Gonzalez opens himself up, reflecting in very personal ways on the everyday, such as a return from a hospital stay or a visit to the doctor.
Soul Over Lightning weaves together elements of Native American and Chicano/a narratives, inspired by the landscape of the desert Southwest and the experience of living on the border. It offers a new supernarrative that lifts spirits and yet remains grounded in a timeless search for home and truth.
Young analyzes a range of U.S. figures and organizations, examining how each deployed Third World discourse toward various cultural and political ends. She considers a trip that LeRoi Jones, Harold Cruse, and Robert F. Williams made to Cuba in 1960; traces key intellectual influences on Angela Y. Davis’s writing; and reveals the early history of the hospital workers’ 1199 union as a model of U.S. Third World activism. She investigates Newsreel, a late 1960s activist documentary film movement, and its successor, Third World Newsreel, which produced a seminal 1972 film on the Attica prison rebellion. She also considers the L.A. Rebellion, a group of African and African American artists who made films about conditions in the Watts neighborhood of Los Angeles. By demonstrating the breadth, vitality, and legacy of the work of U.S. Third World Leftists, Soul Power firmly establishes their crucial place in the history of twentieth-century American struggles for social change.
Join Professor Helen Vendler in her course lecture on the Yeats poem "Among School Children". View her insightful and passionate analysis along with a condensed reading and student comments on the course.
To know the poetry of our time, to look through its lenses and filters, is to see our lives illuminated. In these eloquent essays on recent American, British, and Irish poetry, Helen Vendler shows us contemporary life and culture captured in lyric form by some of our most celebrated poets. An incomparable reader of poetry, Vendler explains its power; it is, she says, the voice of the soul rather than the socially marked self speaking directly to us through the stylization of verse. "Soul Says," the title of a poem by Jorie Graham, is thus the name of this collection. In essays on Seamus Heaney, Donald Davie, Allen Ginsberg, John Ashbery, Rita Dove, Jorie Graham, and others, Vendler makes difficult poetry accessible. She reveals the idiosyncratic nature of lyric form, and points out the artistic choices present in even the simplest texts. Vendler examines the use of abstraction in lyric poems; considers what readers seek and receive from verse; describes the role of such stylistic devices as compression, structural dynamics, and syntactic ordering; and renders a wide variety of poetic styles meaningful. Through her perceptive eyes we see how lyric poetry, speaking with natural musicality and rhythm, can by arrangement, pacing, metaphor, and tone create symbol from fact-and fill us with new understanding. In these direct and engaged commentaries, she explores the force, beauty, and intellectual complexity of contemporary lyric verse.
During the 1950s, when less than 20 percent of American high school graduates attended college, a group of ambitious young African Americans enrolled at Ohio University, a predominantly white school in Athens, Ohio. Because they were a tiny, barely tolerated minority, they banded together, supported each other, and formed lasting bonds. Years later, at a series of “Soulful Reunions,” they recalled the joys and challenges of living on a white campus before the civil rights era, and eighteen of them decided to share their stories.
The authors of the eighteen autobiographical sketches in Soulful Bobcats were a diverse group. They were athletes, rhetoricians, musicians, and actresses; they aspired to professions in the military, business, education, government, architecture, and the arts. Some grew up in poor families, while others enjoyed the comforts of the middle class. But they had several things in common. They all came from families that believed education was important. They had been taught to avoid trouble, to persist despite setbacks, and to expect to encounter prejudice and even discrimination.
The authors vividly describe instances in which they were humiliated—by other students, by professors, or by townspeople—as well as the few occasions when violence seemed inevitable. In addition, they describe their “first,” including becoming the first African American students at Ohio University to be awarded scholarships for their prowess in football, basketball, track, and tennis; the first to compete for titles such as “Mr. Fraternity” or “Queen of the Military Ball”; the first to appear in theatrical performances alongside their white schoolmates. They also tell of their success in providing a social life for themselves by organizing two Greek letter fraternities and one sorority, holding their own off-campus dances, and joining the few campus organizations that were open to them. Above all, their stories speak to a resilience that allowed these “Soulful Bobcats” to learn from their experiences at Ohio University, to engage in meaningful careers, and to lead rich, fulfilling lives.
Unlike Du Bois's more scholarly work, Souls blends narrative and autobiographical essays, and it continues to reach a wide domestic and international readership. This moving homage to black life and culture and its sharp economic and historical critique are more important than ever, resonating with today's unequivocal demand that Black Lives Matter in the twenty-first century.
Poet, critic, and editor Robert McDowell has updated this classic text in the light of the poetic and critical developments of the last three decades. Segments on Dickinson, Robinson, Frost, Jeffers, and Lowell, among other poets, have been greatly expanded, and Ashbery, Creeley, Ginsberg, Hall, Kees, Kumin, Levertov, Levine, O'Hara, Plath, Rich, Simpson, and Wilbur added, among others. The epilogue discusses a new generation of poets whose works will likely be read well into the next century-- among others, Thomas M. Disch, Rita Dove, Dana Gioia, Emily Grosholz, Mark Jarman, Molly Peacock, Gjertrud Schnackenberg, Timothy Steele, Mary Swander, and Marilyn Nelson Waniek.
Over the last ten years, the most inspiring topic of conversation and argument among poets and their readers has been the resurgence of narrative and traditional forms. The new Sound and Form in Modern Poetry is a seminal text in this discussion, examining not only this movement but all of the important developments (Dadaism, Surrealism, Imagism, Language Poetry, and the Confessional School) that have defined our poetry in the twentieth century and have set the stage for poetry's continued life in the twenty-first. The original Sound and Form in Modern Poetry enjoyed extensive classroom use as a text; the revised version promises to be even more accessible, and more essential, for years to come.
The late Harvey Gross was Professor of Comparative Literature, State University of New York at Stony Brook.
Robert McDowell is publisher and editor of Story Line Press, and is also poet, critic, translator, fiction writer, and essayist.
Featuring twenty-one new and fifty-seven selected poems from her earlier volumes—The Apollonia Poems, The Water Books, Reactor, The Door Open to the Fire, and Level Green—The Sound Boat reveals Vollmer’s devotion to examining place and space to uncover poetry that touches emotions related to wandering physical and emotional realms: some familial and deeply personal, some unknowable.
down in the street, between the turtle fountain and the iron head
the party shouts and sings, sweats and snakes, swells into a throb
or momentum of sound.
—Excerpt from “The Sound Boat”
Founded on Chicago’s South Side in 1965 and still thriving today, the Association for the Advancement of Creative Musicians (AACM) is the most influential collective organization in jazz and experimental music. In Sound Experiments, Paul Steinbeck offers an in-depth historical and musical investigation of the collective, analyzing individual performances and formal innovations in captivating detail. He pays particular attention to compositions by Muhal Richard Abrams and Roscoe Mitchell, the Association’s leading figures, as well as Anthony Braxton, George Lewis (and his famous computer-music experiment, Voyager), Wadada Leo Smith, and Henry Threadgill, along with younger AACM members such as Mike Reed, Tomeka Reid, and Nicole Mitchell.
Sound Experiments represents a sonic history, spanning six decades, that affords insight not only into the individuals who created this music but also into an astonishing collective aesthetic. This aesthetic was uniquely grounded in nurturing communal ties across generations, as well as a commitment to experimentalism. The AACM’s compositions broke down the barriers between jazz and experimental music and made essential contributions to African American expression more broadly. Steinbeck shows how the creators of these extraordinary pieces pioneered novel approaches to instrumentation, notation, conducting, musical form, and technology, creating new soundscapes in contemporary music.
Chávez analyzes NPR as a historical product that has evolved alongside significant changes in technology, industry practice, and demography. In The Sound of Exclusion, Chávez asks these pressing questions: What kind of news organization was NPR intended to be? What has it become over time? In what ways is it evolving to meet the needs of a nation, in which U.S. Latinxs are becoming an increasingly larger portion of the American public that NPR serves? Informed by more than fifty in-depth interviews conducted with public radio practitioners from all aspects of the business, Chávez addresses how power is enacted in everyday broadcast practices. By interrogating industry practices, we might begin to reimagine NPR as a public good that serves the broad and diverse spectrum of the American public.
Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.
Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.
When Shawn Doubiago graduated from high school, she and her mother Sharon, embarked on a journey through Colombia, Ecuador, and Peru. In Cuzco, Peru, standing before an alter where the Incas had sacrifced their female virgins, the daughter asked, “Are there any good men?” South American Mi Hija is Sharon Doubiago’s reply.
Set amidst the mysteries and tragedies of South American culture, this book-length narrative poem is both an account of their journey and a feminist exploration of the struggle between the sexes.
In an age of global anxiety and suspicion, South Asian immigrants juggle multiple cultural and literate traditions in Mid-South America. In this study Iswari P. Pandey looks deeply into this community to track the migration of literacies, showing how different meaning-making practices are adapted and reconfigured for cross-language relations and cross-cultural understanding at sites as varied as a Hindu school, a Hindu women’s reading group, Muslim men’s and women’s discussion groups formed soon after 9/11, and cross-cultural presentations by these immigrants to the host communities and law enforcement agencies. Through more than seventy interviews, he reveals the migratory nature of literacies and the community work required to make these practices meaningful.
Pandey addresses critical questions about language and cultural identity at a time of profound change. He examines how symbolic resources are invented and reinvented and circulated and recirculated within and across communities; the impact of English and new technologies on teaching, learning, and practicing ancestral languages; and how gender and religious identifications shape these practices. Overall, the book offers a thorough examination of the ways individuals use interpretive powers for agency within their own communities and for cross-cultural understanding in a globalizing world and what these practices mean for our understanding of that world.
An interdisciplinary study of Katherine Anne Porter’s troubled relationship to her Texas origins and southern roots, South by Southwest offers a fresh look at this ever-relevant author.
Today, more than thirty years after her death, Katherine Anne Porter remains a fascinating figure. Critics and biographers have portrayed her as a strikingly glamorous woman whose photographs appeared in society magazines. They have emphasized, of course, her writing— particularly the novel Ship of Fools, which was made into an award-winning film, and her collection Pale Horse, Pale Rider, which cemented her role as a significant and original literary modernist. They have highlighted her dramatic, sad, and fragmented personal life. Few, however, have addressed her uneasy relationship to her childhood in rural Texas.
Janis P. Stout argues that throughout Porter’s life she remained preoccupied with the twin conundrums of how she felt about being a woman and how she felt about her Texas origins. Her construction of herself as a beautiful but unhappy southerner sprung from a plantation aristocracy of reduced fortunes meant she construed Texas as the Old South. The Texas Porter knew and re-created in her fiction had been settled by southerners like her grandparents, who brought slaves with them. As she wrote of this Texas, she also enhanced and mythologized it, exaggerating its beauty, fertility, and gracious ways as much as the disaffection that drove her to leave. Her feelings toward Texas ran to both extremes, and she was never able to reconcile them.
Stout examines the author and her works within the historical and cultural context from which she emerged. In particular, Stout emphasizes four main themes in the history of Texas that she believes are of the greatest importance in understanding Porter: its geography and border location (expressed in Porter’s lifelong fascination with marginality, indeterminacy, and escape); its violence (the brutality of her first marriage as well as the lawlessness that pervaded her hometown); its racism (lynchings were prevalent throughout her upbringing); and its marginalization of women (Stout draws a connection between Porter’s references to the burning sun and oppressive heat of Texas and her life with her first husband).
In South of Pico Kellie Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists' relationships with gallery and museum culture and the establishment of black-owned arts spaces. With South of Pico, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond.
The contributors represent a new generation of scholars, some of whom are themselves migrants and refugees, who seek to reinvent the study of displaced populations and their diasporas. One essay considers the historical production of the refugee soldier during the “secret wars” of Laos. An ethnography of Southeast Asian American youth protests post-9/11 reveals how neoliberal rationalization of “personal responsibility” created a context for both deportation and the youth movement against it. Several contributions explore concepts of exile, belonging, and the nation-state via media representations of masculinity and the erotic, including the Hmong actors who appear in Clint Eastwood’s film Gran Torino, campy pan-Asian boy bands, and Vietnam Idol, a reality show that, like its British and American counterparts, illustrates specific cultural imagination and national ambitions.
Fiona I. B. Ngô and Mimi Thi Nguyen are both assistant professors of gender and women’s studies and Asian American studies at the University of Illinois, Urbana-Champaign. Nguyen is the author of The Gift of Freedom: War, Debt, and Other Refugee Passages and a co-editor of Alien Encounters: Popular Culture in Asian America, both also published by Duke University Press.
Contributors: Diem-My T. Bui, Long Bui, Thang Dao, Ly Chong Thong Jalao, Soo Ah Kwon, Mariam B. Lam, Viet Le, Fiona I.B. Ngô, Mimi Thi Nguyen, Viet Thanh Nguyen,
Louisa Schein, Cathy J. Schlund-Vials, Va-Megn Thoj, Khatharya Um, Julie Thi Underhill, Bee Vang, Ma Vang
Part cookbook and part memoir, Southern Appalachian Farm Cooking blends staples of farm-fresh, Appalachian cuisine with stories of life on a large farm in East Tennessee, where homemade biscuits and harvest vegetables were the fruits of hard work and meager earnings. Robert G. Netherland begins with the family farm: a sprawling sixty acres of fertile, rolling hills located in the small town of Surgoinsville, Tennessee, situated between bends in the Holston River. From there, Netherland guides the reader through threshing wheat, churning butter, sharecroppers and country doctors, hunting and hog killing, and all the while sharing updated versions of his family’s recipes for authentic farm-to-table food.
From biscuits to cornbread, freshly shelled beans to red-ripe tomatoes, and savory meats to the sweetest cherry pies, Southern Appalachian Farm Cooking provides the home cook with recipes and historical asides to turn any trip to the farmer’s market into a delicious family affair. In sharing his experiences, Netherland reminds us of a time when prepackaged and plastic-wrapped food didn’t line our counters and fill our cabinets, but in its place were baskets of seasonal fruit, canned vegetables, fresh baked breads, and hot-from-the-oven cobblers. Southern Appalachian Farm Cooking is more than just a nostalgic memoir of farming and food, it’s also filled with healthy, simple, everyday eats for the modern cook.
“Daniel Cross Turner has made a key contribution to the critical study and appreciation of the diverse field of contemporary Southern poetics. “Southern Crossings” crosses a gulf in contemporary poetry criticism while using the idea—or ideas, many and contrary—of “Southernness” to appraise poetries created from the profuse, tangled histories of the region. Turner’s close readings are dynamic, even lyrical. He offers a new understanding of rhythm’s central place in contemporary poetry while considering the work of fifteen poets. Through his focus on varied yet interwoven forms of cultural memory, Turner also shows that memory is not, in fact, passé. The way we remember has as much to say about our present as our past: memory is living, shifting, culturally formed and framed. This is a valuable and important book that entwines new visions of poetic forms with forms of regional remembrance and identity.”—Natasha Trethewey, Pulitzer Prize winner and author of Native Guard: Poems
Offering new perspectives on a diversity of recent and still-practicing southern poets, from Robert Penn Warren and James Dickey to Betty Adcock, Charles Wright, Yusef Komunyakaa, Natasha Trethewey, and others, this study brilliantly illustrates poetry’s value as a genre well suited to investigating historical conditions and the ways in which they are culturally assimilated and remembered.
Daniel Cross Turner sets the stage for his wide-ranging explorations with an introductory discussion of the famous Fugitive poets John Crowe Ransom, Allen Tate, and Donald Davidson and their vision of a “constant southerness” that included an emphasis on community and kinship, remembrance of the Civil War and its glorified pathos of defeat, and a distinctively southern (white) voice. Combining poetic theory with memory studies, he then shows how later poets, with their own unique forms of cultural remembrance, have reimagined and critiqued the idealized view of the South offered by the Fugitives. This more recent work reflects not just trauma and nostalgia but makes equally trenchant uses of the past, including historiophoty (the recording of history through visual images) and countermemory (resistant strains of cultural memory that disrupt official historical accounts). As Turner demonstrates, the range of poetries produced within and about the American South from the 1950s to the present helps us to recalibrate theories of collective remembrance on regional, national, and even transnational levels.
With its array of new insights on poets of considerable reputation—six of the writers discussed here have won at least one Pulitzer Prize for poetry—Southern Crossings makes a signal contribution to the study of not only modern poetics and literary theory but also of the U.S. South and its place in the larger world.
Daniel Cross Turner is an assistant professor of English at Coastal Carolina University. His articles, which focus on regional definition in national and global contexts and on aesthetic forms’ potential to record historical transitions, appear in edited collections as well as journals including Genre, Mosaic, the Southern Literary Journal, the Southern Quarterly, and the Mississippi Quarterly.
An incomparably rich source of period information, the second volume of The Southern Debate over Slavery offers a representative and extraordinary sampling of the thousands of petitions about issues of race and slavery that southerners submitted to county courts between the American Revolution and Civil War. These petitions, filed by slaveholders and nonslaveholders, slaves and free blacks, women and men, abolitionists and staunch defenders of slavery, constitute a uniquely important primary source. The collection records with great immediacy and minute detail the dynamics and legal restrictions that shaped southern society.
Winner of the Charles S. Sydnor Award, given by the Southern Historical Association, 1994. Winner of the James A. Rawley Prize given by the Organization of American Historians, 1994. Winner of the Herbert G. Gutman Award for an outstanding book in American social history.
Southern out-migration drew millions of southern workers to the steel mills, automobile factories, and even agricultural fields and orchards of Ohio, Indiana, Michigan, and Illinois. Through vivid oral histories, Chad Berry explores the conflict between migrants' economic success and their "spiritual exile" in the North. He documents the tension between factory owners who welcomed cheap, naive southern laborers and local "native" workers who greeted migrants with suspicion and hostility. He examines the phenomenon of "shuttle migration," in which migrants came north to work during the winter and returned home to plant spring crops on their southern farms. He also explores the impact of southern traditions--especially the southern evangelical church and "hillbilly" music--brought north by migrants.
Berry argues that in spite of being scorned by midwesterners for violence, fecundity, intoxication, laziness, and squalor, the vast majority of southern whites who moved to the Midwest found the economic prosperity they were seeking. By allowing southern migrants to assess their own experiences and tell their own stories, Southern Migrants, Northern Exiles refutes persistent stereotypes about migrants' clannishness, life-style, work ethic, and success in the North.
Since the Civil War whites and blacks have struggled over the meanings and uses of the Southern past. Indeed, today’s controversies over flying the Confederate flag, renaming schools and streets, and commemorating the Civil War and the civil rights movement are only the latest examples of this ongoing divisive contest over issues of regional identity and heritage. The Southern Past argues that these battles are ultimately about who has the power to determine what we remember of the past, and whether that remembrance will honor all Southerners or only select groups.
For more than a century after the Civil War, elite white Southerners systematically refined a version of the past that sanctioned their racial privilege and power. In the process, they filled public spaces with museums and monuments that made their version of the past sacrosanct. Yet, even as segregation and racial discrimination worsened, blacks contested the white version of Southern history and demanded inclusion. Streets became sites for elaborate commemorations of emancipation and schools became centers for the study of black history. This counter-memory surged forth, and became a potent inspiration for the civil rights movement and the black struggle to share a common Southern past rather than a divided one.
W. Fitzhugh Brundage’s searing exploration of how those who have the political power to represent the past simultaneously shape the present and determine the future is a valuable lesson as we confront our national past to meet the challenge of current realities.
Shields’s turf is the southern Lowcountry, from the peanut patches of Wilmington, North Carolina to the sugarcane fields of the Georgia Sea Islands and the citrus groves of Amelia Island, Florida. He takes us on a historical excursion to this region, drawing connections among plants, farms, growers, seed brokers, vendors, cooks, and consumers over time. Shields begins by looking at how professional chefs during the nineteenth century set standards of taste that elevated southern cooking to the level of cuisine. He then turns to the role of food markets in creating demand for ingredients and enabling conversation between producers and preparers. Next, his focus shifts to the field, showing how the key ingredients—rice, sugarcane, sorghum, benne, cottonseed, peanuts, and citrus—emerged and went on to play a significant role in commerce and consumption. Shields concludes with a look at the challenges of reclaiming both farming and cooking traditions.
From Carolina Gold rice to white flint corn, the ingredients of authentic southern cooking are returning to fields and dinner plates, and with Shields as our guide, we can satisfy our hunger both for the most flavorful regional dishes and their history.
By focusing on cultures that lived in the Southwest and by analyzing ways in which they described the land, David Teague persuasively argues against the destructive approach that Americans currently take to the region. Included are Native American legends and Spanish and Hispanic literature. However, the bulk of the study concentrates on Anglo American views of the Southwest, which have been generally at odds with the ecology of the deserts.
Ranging from oral traditions of the Navajo, Zuñi, and Hopi Indians to travel journals, fiction, and visual art, Teague examines the work of nearly thirty writers, artists, and explorers, including Alvar Núñez Cabeza de Vaca, Mary Austin, John Wesley Powell, and Frederic Remington. As he traces ideas about the desert over time, the author shows how American literature and art have come to represent the Southwest as a landscape to be sustained rather than transformed.
Bound to gain a prominent place in ecological criticism and in literature of the Southwest, this book offers important insights for scholars and students of literature, environmental studies, history, anthropology, and Native American studies. Its originality and vigor will also appeal to general readers with an interest in the landscape—and the future—of the American Southwest.
American mariners made more than 175 voyages to the Northwest Coast during the half-century after the ships Columbia and Washington pioneered the route from Boston in 1787. Although obtaining sea otter pelts for the China trade was the original purpose of the voyages, the art and culture of Northwest Coast Indians so intrigued and fascinated American sailors that the collecting of ethnographic artifacts became an important secondary trade. The Indians traded masks, hats, paddles, pipes, fishhooks, spoons, clothing, and canoe models from their canoes to the decks of Yankee vessels.
In this act of exchange, the artifacts moved from one world to another—first to shipboard, and later to the “cabinets of curiosities” of learned societies in Massachusetts, where many of them found homes. The objects were the first examples of Northwest Coast Indian material culture to enter American museums, and they influenced perceptions of Northwest Coast Indian people and their complex cultures.
By carefully researching the records of ten institutions and the shipboard journals of more than a dozen mariners, Mary Malloy has brought details about these early collections together for the first time. From utilitarian objects to artistic masterpieces, these souvenirs tell a story of commerce and cultural exchange that reached across the continent during the period when Americans were first beginning to look westward.
This landmark collection strives to reflect the complexity of identities within Native Gay, Lesbian, Bisexual, Transgender, Queer, and Two-Spirit (GLBTQ2) communities. Gathering together the work of established writers and talented new voices, this anthology spans genres (fiction, nonfiction, poetry, and essay) and themes (memory, history, sexuality, indigeneity, friendship, family, love, and loss) and represents a watershed moment in Native American and Indigenous literatures, Queer studies, and the intersections between the two.
Collaboratively, the pieces in Sovereign Erotics demonstrate not only the radical diversity among the voices of today’s Indigenous GLBTQ2 writers but also the beauty, strength, and resilience of Indigenous GLBTQ2 people in the twenty-first century.
Contributors: Indira Allegra, Louise Esme Cruz, Paula Gunn Allen, Qwo-Li Driskill, Laura Furlan, Janice Gould, Carrie House, Daniel Heath Justice, Maurice Kenny, Michael Koby, M. Carmen Lane, Jaynie Lara, Chip Livingston, Luna Maia, Janet McAdams, Deborah Miranda, Daniel David Moses, D. M. O’Brien, Malea Powell, Cheryl Savageau, Kim Shuck, Sarah Tsigeyu Sharp, James Thomas Stevens, Dan Taulapapa McMullin, William Raymond Taylor, Joel Waters, and Craig Womack
Sovereignty unfolds over two parallel timelines. In present-day Oklahoma, a young Cherokee lawyer, Sarah Ridge Polson, and her colleague Jim Ross defend the inherent jurisdiction of Cherokee Nation in the U.S. Supreme Court when a non-Indian defendant challenges the Nation’s authority to prosecute non-Indian perpetrators of domestic violence. Their collaboration is juxtaposed with scenes from 1835, when Cherokee Nation was eight hundred miles to the east in the southern Appalachians. That year, Sarah’s and Jim’s ancestors, historic Cherokee rivals, were bitterly divided over a proposed treaty with the administration of Andrew Jackson, the Treaty of New Echota, which led to the nation’s removal to Oklahoma on the infamous Trail of Tears.
A direct descendant of nineteenth-century Cherokee leaders John Ridge and Major Ridge, Mary Kathryn Nagle has penned a play that twists and turns from violent outbursts to healing monologues, illuminating a provocative double meaning for the sovereignty of both tribal territory and women’s bodies. Taking as its point of departure the story of one lawyer’s passionate defense of the rights of her people to prosecute non-natives who commit crimes on reservations, Sovereignty opens up into an expansive exploration of the circular continuity of history, human memory, and the power of human relationships.
The book revisits such iconic moments as Tommie Smith and John Carlos’s protest at the 1968 Mexico City Olympics and Elizabeth Alexander’s reading at the 2009 inauguration of Barack Obama. Quashie also examines such landmark texts as Gwendolyn Brooks’s Maud Martha, James Baldwin’s The Fire Next Time, and Toni Morrison’s Sula to move beyond the emphasis on resistance, and to suggest that concepts like surrender, dreaming, and waiting can remind us of the wealth of black humanity.
"We are struck by the generosity of a voice that manages to bridge the gap between a personal and a world view, a balance that reveals a narrator who is of the world yet not overwhelmed by it."
—Prairie Schooner
In The Spaces of Violence, James R. Giles examines ten contemporary American novels for the unique ways in which they explore violence and space as interrelated phenomena. These texts are Russell Banks’s Affliction, Cormac McCarthy’s Outer Dark and Child of God, Lewis Nordan’s Wolf Whistle, Dorothy Allison’s Bastard Out of Carolina, Don DeLillo’s End Zone, Denis Johnson’s Angels, Sherman Alexie’s Indian Killer, Robert Stone’s Dog Soldiers, and Bret Easton Ellis’s American Psycho. A concluding chapter extends the focus to texts by Jane Smiley, Toni Morrison, Edwidge Danticat, and Chuck Palahniuk, who treat the destructive effects of violence on family structures.
A geographic study of race and gender, Spatializing Blackness casts light upon the ubiquitous--and ordinary--ways carceral power functions in places where African Americans live. Moving from the kitchenette to the prison cell, and mining forgotten facts from sources as diverse as maps and memoirs, Rashad Shabazz explores the myriad architectures of confinement, policing, surveillance, urban planning, and incarceration. In particular, he investigates how the ongoing carceral effort oriented and imbued black male bodies and gender performance from the Progressive Era to the present. The result is an essential interdisciplinary study that highlights the racialization of space, the role of containment in subordinating African Americans, the politics of mobility under conditions of alleged freedom, and the ways black men cope with--and resist--spacial containment.
A timely response to the massive upswing in carceral forms within society, Spatializing Blackness examines how these mechanisms came to exist, why society aimed them against African Americans, and the consequences for black communities and black masculinity both historically and today.
Part 1. Reconstruction: Language Varieties, Language Use, and Language Attitudes
1. Crossing Social and Cultural Borders: The Road to Language Hybridity, María Dolores Gonzales
2. Fighting Words: Latina Girls, Gangs, and Language Attitudes, Norma Mendoza-Denton
Part 2. Reflection: Testimonios
3. Speaking as a Chicana: Tracing Cultural Heritage through Silence and Betrayal, Jacqueline M. Martínez
4. The Power of Language: From the Back of the Bus to the Ivory Tower, Christine Marín
5. Challenging Tradition: Opening the Headgate, Ida M. Luján
6. Mexican Blood Runs through My Veins, Aurora E. Orozco
Part 3. Innovation: Speaking Creatively/Creatively Speaking
7. Searching for a Voice: Ambiguities and Possibilities, Erlinda Gonzales-Berry
8. Sacred Cults, Subversive Icons: Chicanas and the Pictorial Language of Catholicism, Charlene Villaseñor Black
9. Caló and Taboo Language Use among Chicanas: A Description of Linguistic Appropriation and Innovation, D. Letticia Galindo
10. Máscaras, Trenzas, y Greñas: Un/Masking the Self While Un/Braiding Latina Stories and Legal Discourse, Margaret E. Montoya
Here are stories of Latinas living with conditions common to many: hypertension, breast cancer, obesity, diabetes, depression, osteoarthritis, rheumatoid arthritis, dementia, Parkinson’s, lupus, and hyper/hypothyroidism. By bringing these narratives out from the shadows of private lives, they demonstrate how such ailments form part of the larger whole of Latina lives that encompasses family, community, the medical profession, and society. They show how personal identity and community intersect to affect the interpretation of illness, compliance with treatment, and the utilization of allopathic medicine, alternative therapies, and traditional healing practices. The book also includes a retrospective analysis of the narratives and a discussion of Latina health issues and policy recommendations.
These Latina cultural narratives illustrate important aspects of the social contexts and real-world family relationships crucial to understanding illness. Speaking from the Body is a trailblazing collection of personal testimonies that integrates professional and personal perspectives and shows that our understanding of health remains incomplete if Latina cultural narratives are not included.
Drawing upon detailed observations and in-depth interviews, Chepp tells the story of a diverse group of young adults from Washington, D.C. who use spoken word to create a more just and equitable world. Outlining the contours of this approach, she interrogates spoken word activism’s emphasis on personal storytelling and “truth,” the strategic uses of aesthetics and emotions to politically engage across difference, and the significance of healing in sustainable movements for change. Weaving together their poetry and personally told stories, Chepp shows how poets tap into the beautiful, emotional, personal, and therapeutic features of spoken word to empathically connect with others, advance intersectional and systemic analyses of inequality, and make social justice messages relatable across a diverse public. By creating allies and forging connections based on friendship, professional commitments, lived experiences, emotions, artistic kinship, and political views, this activist approach is highly integrated into the everyday lives of its practitioners, online and face-to-face.
Chepp argues that spoken word activism is a product of, and a call to action against, the neoliberal era in which poets have come of age, characterized by widening structural inequalities and increasing economic and social vulnerability. She illustrates how this deeply personal and intimate activist approach borrows from, builds upon, and diverges from previous social movement paradigms. Spotlighting the complexity and mutual influence of modern-day activism and the world in which it unfolds, Speaking Truths contributes to our understanding of contemporary social change-making and how neoliberalism has shaped this political generation’s experiences with social injustice.
To pursue this argument, Goldsby traces lynching's history by taking up select mob murders and studying them together with key literary works. She focuses on three prominent authors—Ida B. Wells-Barnett, Stephen Crane, and James Weldon Johnson—and shows how their own encounters with lynching influenced their analyses of it. She also examines a recently assembled archive of evidence—lynching photographs—to show how photography structured the nation's perception of lynching violence before World War I. Finally, Goldsby considers the way lynching persisted into the twentieth century, discussing the lynching of Emmett Till in 1955 and the ballad-elegies of Gwendolyn Brooks to which his murder gave rise.
An empathic and perceptive work, A Spectacular Secret will make an important contribution to the study of American history and literature.
Spectral America asserts that ghosts, whether in oral tradition, literature, or such modern forms as cinema have always been constructions embedded in specific historical contexts and invoked for explicit purposes, often political in nature. The essays address the role of "spectral evidence" during the Salem witch trials, the Puritan belief in good spirits, the convergence of American Spiritualism and technological development in the nineteenth century, the use of the supernatural as a tool of political critique in twentieth-century magic realism, and the "ghosting" of persons living with AIDS. They also discuss ghostly themes in the work of Ambrose Bierce, Edith Wharton, Gloria Naylor, and Stephen King.
Working against the background of magical realism, while simultaneously expanding notions of the supernatural within American and African American writing, Morrison peoples her novels with what Anderson identifies as two distinctive types of ghosts: spectral figures and social ghosts. Deconstructing Western binaries, Morrison uses the spectral to indicate power through its transcendence of corporality, temporality, and explication, and she employs the ghostly as a metaphor of erasure for living characters who are marginalized and haunt the edges of their communities. The interaction of these social ghosts with the spectral presences functions as a transformative healing process that draws the marginalized figure out of the shadows and creates links across ruptures between generations and between past and present, life and death. This book examines how these relationships become increasingly more prominent in the novelist’s canon—from their beginnings in The Bluest Eye and Sula, to their flowering in the trilogy that comprises Beloved, Jazz, and Paradise, and onward into A Mercy.
An important contribution to the understanding of one of America’s premier fiction writers, Spectrality in the Novels of Toni Morrison demonstrates how the Nobel laureate’s powerful and challenging works give presence to the invisible, voice to the previously
silenced, and agency to the oppressed outsiders who are refused a space in which to narrate their stories.
Melanie R. Anderson is an Instructional Assistant Professor of American Literature at the University of Mississippi.
A look at the violent “Red Summer of 1919” and its intersection with the highly politicized New Negro movement and the Harlem Renaissance
With the New Negro movement and the Harlem Renaissance, the 1920s was a landmark decade in African American political and cultural history, characterized by an upsurge in racial awareness and artistic creativity. In Spectres of 1919 Barbara Foley traces the origins of this revolutionary era to the turbulent year 1919, identifying the events and trends in American society that spurred the black community to action and examining the forms that action took as it evolved.
Unlike prior studies of the Harlem Renaissance, which see 1919 as significant mostly because of the geographic migrations of blacks to the North, Spectres of 1919 looks at that year as the political crucible from which the radicalism of the 1920s emerged. Foley draws from a wealth of primary sources, taking a bold new approach to the origins of African American radicalism and adding nuance and complexity to the understanding of a fascinating and vibrant era.
Shayla Lawz’s debut collection, speculation, n., brings together poetry, sound, and performance to challenge our spectatorship and the reproduction of the Black body. It revolves around a central question: what does it mean—in the digital age, amidst an inundation of media—to be a witness? Calling attention to the images we see in the news and beyond, these poems explore what it means to be alive and Black when the world regularly speculates on your death. The speaker, a queer Black woman, considers how often her body is coupled with images of death and violence, resulting in difficultly moving toward life. Lawz becomes the speculator by imagining what might exist beyond these harmful structures, seeking ways to reclaim the Black psyche through music, typography, and other pronunciations of the body, where expressions of sexuality and the freedom to actively reimagine is made possible. speculation, n. contends with the real—a refracted past and present—through grief, love, and loss, and it speculates on what could be real if we open ourselves to expanded possibilities.
speculation, n. won the 2020 Autumn House Poetry Prize, selected by Ilya Kaminsky.
Shayla Lawz’s debut collection, speculation, n., brings together poetry, sound, and performance to challenge our spectatorship and the reproduction of the Black body. It revolves around a central question: what does it mean—in the digital age, amidst an inundation of media—to be a witness? Calling attention to the images we see in the news and beyond, these poems explore what it means to be alive and Black when the world regularly speculates on your death. The speaker, a queer Black woman, considers how often her body is coupled with images of death and violence, resulting in difficultly moving toward life. Lawz becomes the speculator by imagining what might exist beyond these harmful structures, seeking ways to reclaim the Black psyche through music, typography, and other pronunciations of the body, where expressions of sexuality and the freedom to actively reimagine is made possible. speculation, n. contends with the real—a refracted past and present—through grief, love, and loss, and it speculates on what could be real if we open ourselves to expanded possibilities.
speculation, n. won the 2020 Autumn House Poetry Prize, selected by Ilya Kaminsky.
The Sphere of Birds, Ciaran Berry’s debut collection of poems, effortlessly moves back and forth between here and there, then and now, the personal and the historic, the modern and the mythic.
Berry imagines the transatlantic journeys of John James Audubonand reveals his own heartfelt experience moving from his first house. The poems take as their subject such varied experiences as an eye exam in Manhattan and chasing rabbits around a beach in Donegal. These poems have a strong sense of place, whether it’s the imagined space of Coney Island in 1903 or the playground of Berry’s childhood convent school.
The Sphere of Birds delights in forging unlikely links, earthed in the stuff of paintings and in the lives of poets, artists, and the occasional saint. Drawing on the poet’s life in Ireland and the United States, the poems explore the joy and grief found in those places.
Moving from rural Ireland to the heart of New York City, from local detail to historical specifics, and from the experienced occasion to the imagined or interpreted event, Berry’s poems effectively master shifts in both time and space. Berry delves into the lives of artists, obscure historical figures, and other poets for inspiration. He embraces elements of both Irish and American poetry, paying tribute as much to the spirit of Larry Levis as to that of W. B. Yeats.
Accessible, immediate, and visceral, The Sphere of Birds offers a musicality that is increasingly rare in contemporary poetry.
Illuminating a powerful intersection between popular culture and global politics, Spies and Holy Wars draws on a sampling of more than eight hundred British and American thrillers that are propelled by the theme of jihad—an Islamic holy war or crusade against the West. Published over the past century, the books in this expansive study encompass spy novels and crime fiction, illustrating new connections between these genres and Western imperialism.
Demonstrating the social implications of the popularity of such books, Reeva Spector Simon covers how the Middle Eastern villain evolved from being the malleable victim before World War II to the international, techno-savvy figure in today's crime novels. She explores the impact of James Bond, pulp fiction, and comic books and also analyzes the ways in which world events shaped the genre, particularly in recent years. Worldwide terrorism and economic domination prevail as the most common sources of narrative tension in these works, while military "tech novels" restored the prestige of the American hero in the wake of post-Vietnam skepticism. Moving beyond stereotypes, Simon examines the relationships between publishing trends, political trends, and popular culture at large—giving voice to the previously unexamined truths that emerge from these provocative page-turners.
Gathered in this anthology are critical writings on Spike Lee's films by leading scholars in the fields of cinema studies and African American studies. In sixteen new and reprinted essays, the contributors to The Spike Lee Reader consider the nexus of race, gender, and sexuality in Lee's work, and in so doing encourage readers to further explore the cultural, social, and political implications of Lee's films as well as his entire body of work.
Contributors include: Christine Acham, Toni Cade Bambara, Mark D. Cunningham, Anna Everett, Daniel Flory, Krin Gabbard, David A. Gerstner, Ed Guerrero, Keith M. Harris, bell hooks, Wahneema Lubiano, James C. McKelly, Tavia Nyong'o, Beretta E. Smith-Shomade, Michele Wallace, S. Craig Watkins, and the editor.
Spill is a book in contradictions, embodying helplessness in the face of our dual citizenship in the realms of trauma and gratitude, artistic aspiration and political reality. The centerpiece of this collection is a lyrical essay that recalls the poet’s time working at the Federal Penitentiary at Lewisburg in the 1960s. Mentored by the insouciant inmate S, the speaker receives a schooling in race, class, and culture, as well as the beginning of an apprenticeship in poetry. As he and S consult the I Ching, the Book of Changes, the speaker becomes cognizant of other frequencies, other identities; poetry, divination, and a synchronous, alternative reading of life come into focus. On either side of this prose poem are related poems of excess and witness, of the ransacked places and of new territories that emerge from the monstrous. Throughout, these poems inhabit rather than resolve their contradictions, their utterances held in tension “between the hemispheres of songbirds and the hemispheres of men.”
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