From country and blues to rap and punk, Texas music is all over the map, figuratively and literally. Texas musicians have pioneered new musical genres, instruments, and playing styles, proving themselves to be daring innovators who often call the tune for musicians around the country and even abroad. To introduce some of these trailblazing Texas musicians to a wider audience and pay tribute to their accomplishments, Michael Corcoran profiles thirty-two of them in All Over the Map: True Heroes of Texas Music.
Corcoran covers musicians who work in a wide range of musical genres, including blues, gospel, country, rap, indie rock, pop, Cajun, Tejano, conjunto, funk, honky-tonk, rockabilly, rhythm and blues, and Western swing. His focus is on underappreciated artists, pioneers who haven't fully received their due. He also includes well-known musicians who've been underrated, such as Stevie Ray Vaughan and Selena, and invites us to take a closer look at the unique talents of these artists. Corcoran's profiles come from articles he wrote for the Dallas Morning News, Austin American-Statesman, Houston Press, and other publications, which have been expanded and updated for this volume. His musical detective work even uncovers a case of mistaken identity (Washington Phillips) and corrects much misinformation on Blind Willie Johnson and Arizona Dranes. Corcoran closes the book with lively pieces on the Austin music scene and its most famous, if no longer extant, clubs, as well as his personal lists of the forty greatest Texas songs of all time and the twenty-five essential CDs for Texas music fans.
Maps may have been the stuff of his dreams, but they sometimes drew him away from places where he should have remained firmly rooted. In the Memory of the Map explores the complex relationship among maps, memory, and experience—what might be called a “cartographical psychology” or “cartographical history.” Interweaving a personal narrative structured around a variety of maps, with stories about maps as told by scholars, poets, and fiction writers, this book provides a dazzlingly rich personal and intellectual account of what many of us take for granted.
A dialog between desire and the maps of his life, an exploration of the pleasures, utilitarian purposes, benefits, and character of maps, this rich and powerful personal narrative is the matrix in which Norment embeds an exploration of how maps function in all our lives. Page by page, readers will confront the aesthetics, mystery, function, power, and shortcomings of maps, causing them to reconsider the role that maps play in their lives.
The first international anthology to explore women’s human rights from a literary perspective.
More than half a century after the United Nations Declaration of Human Rights, women throughout the world still struggle for social and political justice. Many fight back with the only tools of resistance they possess—words. A Map of Hope presents a collection of 77 extraordinary literary works documenting the ways women writers have spoken out about human rights issues.
Writers young and old, known and unknown, explore the dimensions of terror, the unspeakable atrocities of war, and the possibilities of resistance and refusal against all odds. Their poems, essays, memoirs, and brief histories examine issues that affect the condition of women in war, prison camps, exile, and as victims of domestic and political violence.
A Map of Hope presents diverse women writers who have created a literature of global consciousness and justice. Their works give a face, an image, and a human dimension to the dehumanization of human rights violations. The collection allows readers to hear voices that have decided to make a difference. It goes beyond geography and ethnic groups; writers from around the globe are united by the universal dimensions of horror and deprivation, as well as the unique common struggle for justice and solidarity.
The first international anthology to explore women’s human rights from a literary perspective.
More than half a century after the United Nations Declaration of Human Rights, women throughout the world still struggle for social and political justice. Many fight back with the only tools of resistance they possess—words. A Map of Hope presents a collection of 77 extraordinary literary works documenting the ways women writers have spoken out about human rights issues.
Writers young and old, known and unknown, explore the dimensions of terror, the unspeakable atrocities of war, and the possibilities of resistance and refusal against all odds. Their poems, essays, memoirs, and brief histories examine issues that affect the condition of women in war, prison camps, exile, and as victims of domestic and political violence.
A Map of Hope presents diverse women writers who have created a literature of global consciousness and justice. Their works give a face, an image, and a human dimension to the dehumanization of human rights violations. The collection allows readers to hear voices that have decided to make a difference. It goes beyond geography and ethnic groups; writers from around the globe are united by the universal dimensions of horror and deprivation, as well as the unique common struggle for justice and solidarity.
In this pioneering critical study of Jack Kerouac’s book-length poem, Mexico City Blues—apoetic parallel to the writer’s fictional saga, the Duluoz Legend—James T. Jones uses a rich and flexible neoformalist approach to argue his case for the importance of Kerouac’s rarely studied poem.
After a brief summary of Kerouac’s poetic career, Jones embarks on a thorough reading of Mexico City Blues from several different perspectives: he first focuses on Kerouac’s use of autobiography in the poem and then discusses how Kerouac’s various trips to Mexico, his conversion to Buddhism, his theory of spontaneous poetics, and his attraction to blues and jazz influenced the theme, structure, and sound of Mexico City Blues.
The poems that make up A Map of the Lost World range from tightly-wrought shorter lyrics to longer autobiographical narratives to patterns of homage (in several forms) of poets that Hilles admires and emulates (including Richard Hugo, James Wright, James Merrill and Larry Levis) to extended voice-driven meditations, one in the voice of a German Jewish woman, a prisoner who would escape a French concentration camp and go on to fight in the French resistance, to other efforts to confront history and not be devoured by history, and to locate, even resuscitate, friends lost to death, if only provisionally; though each poem in A Map of the Lost World is highly crafted and diversely rendered, in this collection, each poem finds its unifying impulse in it’s maker’s desire to span vast distances to reach loved ones, beloved others, the various families of friends, fueled by an almost gymnastic imagination that vaults itself into almost any space—going to almost any length—sustained by the various forms of love, which, after all, may be as close as any of us has come (in this or any life) to knowing and warming ourselves, if not also at times being scalded by, the immortal fires of the Infinite.
New Lines takes the pulse of a society increasingly drawn to the power of the digital map, examining the conceptual and technical developments of the field of geographic information science as this work is refracted through a pervasive digital culture. Matthew W. Wilson draws together archival research on the birth of the digital map with a reconsideration of the critical turn in mapping and cartographic thought.
Seeking to bridge a foundational divide within the discipline of geography—between cultural and human geographers and practitioners of Geographic Information Systems (GIS)—Wilson suggests that GIS practitioners may operate within a critical vacuum and may not fully contend with their placement within broader networks, the politics of mapping, the rise of the digital humanities, the activist possibilities of appropriating GIS technologies, and more.
Employing the concept of the drawn and traced line, Wilson treads the theoretical terrain of Deleuze, Guattari, and Gunnar Olsson while grounding their thoughts with the hybrid impulse of the more-than-human thought of Donna Haraway. What results is a series of interventions—fractures in the lines directing everyday life—that provide the reader with an opportunity to consider the renewed urgency of forceful geographic representation. These five fractures are criticality, digitality, movement, attention, and quantification. New Lines examines their traces to find their potential and their necessity in the face of our frenetic digital life.
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