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When one looks out on the quiet waters and forested hills of Quabbin Reservoir in west central Massachusetts, it is hard to imagine that the area was once dotted with buildings and farmlands or that it echoed with the activity of several villages and towns. Today, the daytime silence may be broken only by the cry of a hawk overhead or the slap of a plunging fish, and the evening calm, by the lonesome howl of a coyote. But in the nineteenth century, things were quite different.

In 1895, engineers for the Metropolitan Water Board began to search the state of Massachusetts for a site on which to construct a reservoir to supply water for the growing city of Boston. Sixty-five miles west of the city, in a region of high hills and running streams known as the Swift River Valley, they found what they were looking for. When Quabbin Reservoir was finally completed and filled in 1946, the engineers had created the third largest body of fresh water in New England and hand accomplished one of the larger public works projects of its time. They had also uprooted and displaced the valley's inhabitants, leveled and flooded four towns and six villages—and formed a magnificent wilderness on some 85,000 acres. 

The valley that was once known for its picturesque villages and mill ponds is now, over forty years later, home to a wide array of wildlife. Coyote, bobcat, and deer flourish, and Quabbin's eagle restoration project, begun in 1982, produced the first nesting pair of bald eagles in Massachusetts in almost a century. Today, the bald eagle population at Quabbin is estimated at forty-one birds.

But this accidental wilderness is being increasingly threatened. As early as the 1950s, the sounds of power boats occasionally intruded on the peaceful silence of the waters. In more recent years, acid rain, ozone and other pollutants, the ravages of a herd of hungry deer, and demands for increased recreational use are all jeopardizing Quabbin's waters and forests.

This book tells the story of Quabbin, tracing Quabbin's history, describing its natural resources, and discussing the environmental challenges it currently faces. The original edition, issued by the Massachusetts Audubon Society in 1981, has now been expanded and updated.

How girls of color from eight global communities strategize on questions of identity, social issues, and political policy through spoken word poetry.

Around the world, girls know how to perform. Grounded in her experience of “putting a mic in the margins” by facilitating workshops for girls in Ethiopia, South Africa, Tanzania, and the United States, scholar/advocate/artist Crystal Leigh Endsley highlights how girls use spoken word poetry to narrate their experiences, dreams, and strategies for surviving and thriving. By centering the process of creating and performing spoken word poetry, this book examines how girls forecast what is possible for their collective lives.

In this book, Endsley combines poetry, discourse analysis, photovoice, and more to forge the feminist theory of “quantum justice,” which forefronts girls’ relationships with their global counterparts. Using quantum justice theory, Endsley examines how these collaborative efforts produce powerful networks and ultimately map trajectories of social change at the micro level. By inviting transnational dialogue through spoken word poetry, Quantum Justice emphasizes how the imaginative energy in hip-hop culture can mobilize girls to connect and motivate each other through spoken word performance and thereby disrupt the status quo.

Queer Between the Covers presents a history of radical queer publishing and literature from 1880 to the modern day. Chronicling the gay struggle for acceptance and liberation, the book demonstrates how the fight for representation was often waged between the covers of books in a world where spaces for queer expression were taboo. The chapters provide an array of voices and histories from the famous, Derek Jarman and Oscar Wilde, to the lesser known and underappreciated, such as John Wieners and Valerie Taylor. It includes firsthand accounts of seminal moments in queer history, including the birth of Hazard Press and the Defend Gay’s the Word Bookshop campaign in the 1980s.

Queer Between the Covers demonstrates the importance of the book and how the queer community could be brought together through shared literature. The works discussed show the imaginative and radical ways in which queer texts have fought against censorship and repression and could be used as a political tool for organization and production. This study follows key moments in queer literary history, from the powerful community wide demonstrations for Gay’s the Word during their battle with the British government, to the mapping of Chicago’s queer spaces within Valerie Taylor’s pulp novels, or the anonymous but likely shared authorship of the nineteenth century queer text Teleny. Queer publishing also often involved fascinating creative tactics for beating the censor, from the act of self-publishing to anonymous authorship as part of a so-called “cloaked resistance.” Collage and repurposing found images and texts were key practices for many queer publishers and authors, from Derek Jarman to the artworks created by the Hazard Press.

This is a fascinating and topical book on publishing history for those interested in how queer people throughout modernity have used literature as an important forum for self-expression and self-actualization when spaces and sites for queer expression were outlawed.  

A new paradigm for queer theory

Michael Snediker offers a much-needed counterpoint to queer theoretical discourse, which has long privileged melancholy, self-shattering, incoherence, shame, and the death drive. Recovering the forms of positive affect that queer theory has jettisoned, Snediker insists that optimism must itself be taken beyond conventional tropes of hope and futurity and reimagined as necessary for critical engagement.

If a creative individual identifies as queer or trans, does that fact belong solely to the realm of biography, or does it pertain to their artistic achievement? In Queer and Trans Aesthetics, Lloyd Whitesell discusses literature, visual culture, audio-visual media, music, and performance from the 19th to the 21st century. Through this analysis, Whitesell develops a systematic framework to enrich our understanding of LGBTQ aesthetics and cultural production. He traces the history of queer aesthetic inquiry, develops a justification for a synthetic approach, identifies a fund of expressive strategies motivated by queer subjectivity, and highlights how such strategies create affinity across differences of gender, race, local context, and artistic media.

Rooted in a gender-inclusive theory of queer/trans subjectivity, the book draws on testimony from people of diverse backgrounds, genders, and races. Whitesell engages with debates in the existing scholarly literature while making connections between a wide range of artists: some from mainstream canons, some established subcultural figures, and others only now emerging as notable contributors to queer culture. The book explores five expressive archetypes or poses which have had profound significance in queer art traditions: the Monster, the Victim, the Trickster, the Dandy, and the Dreamer. Each offers a repertoire of creative responses to social oppression and configures queer subjective experience in a unique way. With its unique systematic approach, Queer and Trans Aesthetics enhances our knowledge of queer aesthetic traditions across genres and time.