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When droughts hit northeastern Brazil, thousands of rural workers are forced to abandon their homes for the cities in search of work. The double impact of drought and corruption—with politicians taking advantage of drought to buy votes and pilfer government accounts—contributes to an endless cycle of human suffering.
 
In order to understand the impact of drought and the phenomenon of drought politics, Nicholas Gabriel Arons goes beyond traditional social-science scholarship to sources such as novels, poetry, popular art, and oral history. For many people in the region, these artistic renditions of life are, ironically, a better reflection of reality than political rhetoric, government archives, and newspaper accounts—even though they are infused with myth or hyperbole.
 
Drawing on interviews with artists and poets and on his own experiences in the Brazilian Northeast, Arons has written a poignant account of how drought has impacted the region’s culture. He intertwines ecological, social, and political issues with the words of some of Brazil’s most prominent authors and folk poets to show how themes surrounding drought—hunger, migration, endurance, nostalgia for the land—have become deeply embedded in Nordeste identity. Through this tapestry of sources, Arons shows that what is often thought of as a natural phenomenon is actually the result of centuries of social inequality, political corruption, and unsustainable land use.
 
Waiting for Rain dramatically depicts a region still suffering from austere social and political realities, where drought—even during rainy seasons—is ubiquitous in the hearts and minds of its residents. A book of hope and resistance, myth and reality, and suffering and salvation, it is also a personal narrative of self-discovery, tracing a young man’s struggle to understand how human tragedy on a grand scale can exist alongside natural beauty.

In Walk Till the Dogs Get Mean, Adrian Blevins and Karen Salyer McElmurray collect essays from today’s finest established and emerging writers with roots in Appalachia. Together, these essays take the theme of silencing in Appalachian culture, whether the details of that theme revolve around faith, class, work, or family legacies.

In essays that take wide-ranging forms—making this an ideal volume for creative nonfiction classes—contributors write about families left behind, hard-earned educations, selves transformed, identities chosen, and risks taken. They consider the courage required for the inheritances they carry.

Toughness and generosity alike characterize works by Dorothy Allison, bell hooks, Silas House, and others. These writers travel far away from the boundaries of a traditional Appalachia, and then circle back—always—to the mountains that made each of them the distinctive thinking and feeling people they ultimately became. The essays in Walk Till the Dogs Get Mean are an individual and collective act of courage.

Contributors:
Dorothy Allison, Rob Amberg, Pinckney Benedict, Kathryn Stripling Byer, Sheldon Lee Compton, Michael Croley, Richard Currey, Joyce Dyer, Sarah Einstein, Connie May Fowler, RJ Gibson, Mary Crockett Hill, bell hooks, Silas House, Jason Howard, David Huddle, Tennessee Jones, Lisa Lewis, Jeff Mann, Chris Offutt, Ann Pancake, Jayne Anne Phillips, Melissa Range, Carter Sickels, Aaron Smith, Jane Springer, Ida Stewart, Jacinda Townsend, Jessie van Eerden, Julia Watts, Charles Dodd White, and Crystal Wilkinson.

In this first-ever anthology of Indigenous science fiction Grace Dillon collects some of the finest examples of the craft with contributions by Native American, First Nations, Aboriginal Australian, and New Zealand Maori authors. The collection includes seminal authors such as Gerald Vizenor, historically important contributions often categorized as "magical realism" by authors like Leslie Marmon Silko and Sherman Alexie, and authors more recognizable to science fiction fans like William Sanders and Stephen Graham Jones. Dillon's engaging introduction situates the pieces in the larger context of science fiction and its conventions.

Organized by sub-genre, the book starts with Native slipstream, stories infused with time travel, alternate realities and alternative history like Vizenor's "Custer on the Slipstream." Next up are stories about contact with other beings featuring, among others, an excerpt from Gerry William's The Black Ship. Dillon includes stories that highlight Indigenous science like a piece from Archie Weller's Land of the Golden Clouds, asserting that one of the roles of Native science fiction is to disentangle that science from notions of "primitive" knowledge and myth. The fourth section calls out stories of apocalypse like William Sanders' "When This World Is All on Fire" and a piece from Zainab Amadahy's The Moons of Palmares. The anthology closes with examples of biskaabiiyang, or "returning to ourselves," bringing together stories like Eden Robinson's "Terminal Avenue" and a piece from Robert Sullivan's Star Waka.

An essential book for readers and students of both Native literature and science fiction, Walking the Clouds is an invaluable collection. It brings together not only great examples of Native science fiction from an internationally-known cast of authors, but Dillon's insightful scholarship sheds new light on the traditions of imagining an Indigenous future.

 

This collection charts three projects by performers who generate autobiographical writing by walking through inspirational landscapes. Included in the book are the full texts of The Crab Walks and Crab Steps Aside by Phil Smith, Mourning Walk by Carl Lavery, and Tree by Deirdre Heddon, each accompanied by photographs and contextual essays. Taken together or separately, the work of all three artist-scholars raises important issues about memory, the ethics of autobiographical performance, ritual, life writing, and site-specific performance.

Long before he was a celebrated poet, Walt Whitman was a working journalist. By the time he published the first edition of Leaves of Grass in 1855, Whitman had edited three newspapers and published thousands of reviews, editorials, and human-interest stories in newspapers in and around New York City. Yet for decades, much of his journalism has been difficult to access or even find. For the first time, Walt Whitman’s Selected Journalism thematically and chronologically organizes a compelling selection of Whitman’s journalism from the late 1830s to the Civil War. It includes writings from the poet’s first immersion into the burgeoning democratic culture of antebellum America to the war that transformed both the poet and the nation.

Walt Whitman’s Selected Journalism covers Whitman’s early years as a part-time editorialist and ambivalent schoolteacher between 1838 and 1841. After 1841, it follows his work as a dedicated full-time newspaperman and editor, most prominently at the New York Aurora and the Brooklyn Daily Eagle between 1842 and 1848. After 1848 and up to the Civil War, Whitman’s journalism shows his slow transformation from daily newspaper editor to poet. This volume gathers journalism from throughout these early years in his career, focusing on reporting, reviews, and editorials on politics and democratic culture, the arts, and the social debates of his day. It also includes some of Whitman’s best early reportage, in the form of the short, personal pieces he wrote that aimed to give his readers a sense of immediacy of experience as he guided them through various aspects of daily life in America’s largest metropolis.

Over time, journalism’s limitations pushed Whitman to seek another medium to capture and describe the world and the experience of America with words. In this light, today’s readers of Whitman are doubly indebted to his career in journalism. In presenting Whitman-the-journalist in his own words here, and with useful context and annotations by renowned scholars, Walt Whitman’s Selected Journalism illuminates for readers the future poet’s earliest attempts to speak on behalf of and to the entire American republic.

There is a tendency to regard African literature as a homogenous product. Certainly it is true that African writers have created a vibrant, modern literature. Nevertheless, they come from specific societies and reflect vastly differing worlds. Wanasema attempts to show some of the many faces of African literature. Dramatists, poets and novelists speak in these pages. They write in French, English, Portuguese, Arabic and indigenous languages. Some are Christian; others are Muslim. A variety of subjects are discussed, including the status of women, history, religion, politics, dress and education. Taken together, the interviews in Wanasema suggest that Western students of Africa would do well to learn the languages of Africa. They suggest, too, taht there is a need to investigate further the relationship between Islamic North Africa and Sub-Saharan Africa, and finally, that oral literature continues to be a vast marketplace for scholars. This book should interest African Studies specialists, of course, but also those whose concerns include literature, history and contemporary events in the non-Western world generally.

Austrian writer Ingeborg Bachmann (1926–73) is recognized as one of the most important novelists, poets, and playwrights of postwar German literature. As befitting such a versatile writer, her War Diary is not a day-by-day journal but a series of sketches, depicting the last months of World War II and the first year of the subsequent British occupation of Austria. These articulate and powerful entries—all the more remarkable taking into account Bachmann’s young age at the time—reveal the eighteen-year-old’s hatred of both war and Nazism as she avoids the fanatics’ determination to “defend Klagenfurt to the last man and the last woman.”

 

The British occupation leads to her incredible meeting with a British officer, Jack Hamesh, a Jew who had originally fled Vienna for England in 1938. He is astonished to find in Austria a young girl who has read banned authors such as Mann, Schnitzler, and Hofmannsthal. Their relationship is captured here in the emotional and moving letters Hamesh writes to Bachmann when he travels to Israel in 1946. In his correspondence, he describes how in his new home of Israel, he still suffers from the rootlessness affecting so many of those who lost parents, family, friends, and homes in the war.

 

War Diary provides unusual insight into the formation of Bachmann as a writer and will be cherished by the many fans of her work. But it is also a poignant glimpse into life in Austria in the immediate aftermath of the war, and the reflections of both Bachmann and Hamesh speak to a significant and larger story beyond their personal experiences.

“A minor sensation that will make literary history. Thanks to the excellent critical commentary, we gain a sense of a period in history and in Bachmann’s life that reached deep into her later work. . . . What makes these diary entries so special is . . . the detail of the resistance described, the exhilaration of unexpected peace, the joy of freedom.”—Die Zeit

Working in the fantastic satiric tradition of Wells, Orwell, and Vonnegut, Karel Čapek chronicles the discovery of a colony of highly intelligent giant salamanders on an Indonesian island. Čapek sardonically portrays the reactions of the civilized world-from horror to skepticism, from intellectual fascination to mercantile opportunism-and the ultimate destruction from which it (and the newts) might not escape.

Written when Anaïs Nin was in her twenties and living in France, the stories collected in Waste of Timelessness contain many elements familiar to those who know her later work as well as revelatory, early clues to themes developed in those more mature stories and novels. Seeded with details remembered from childhood and from life in Paris, the wistful tales portray artists, writers, strangers who meet in the night, and above all, women and their desires.

These experimental and deeply introspective missives lay out a central theme of Nin’s writing: the contrast between the public and private self. The stories are taut with unrealized sexual tension and articulate the ways that language and art can shape reality. Nin’s deft humor, ironic wit, and ecstatic prose display not only superb craftsmanship but also the author’s own constant balancing act between feeling and rationality, vulnerability and strength. Perhaps more than any other writer of the twentieth century, she mastered that act and wrote about it on her own terms, defying the literary and social norms of the time.

These stories precede all of Nin’s published work to date. In them are many sources of the more mature work that collectors and growing writers can appreciate.

Written when Anaïs Nin was in her twenties and living in Louveciennes, France, these stories contain many elements that will delight her readers: details remembered from childhood, of life in Paris, the cafés, theatres; characters including dancers, artists, writers, women who devote themselves to their work and visions as well as romance, strangers met in the night; themes such as the scruples of lovers, the search for brilliant, imaginative living; the writer’s experimentation with exotic words like “sybaritic” and “violaceous”. In the craft of these stories readers are treated to a deft sense of humor, ironic wit, much conversation as well as ecstatic prose, and surprise endings. Throughout all, the Nin personality shines, a wonderful mixture of feeling and rationality, of vulnerability and strength.

We Are All Zimbabweans Now is a political thriller set in Zimbabwe in the hopeful, early days of Robert Mugabe’s rise to power in the late 1980s. When Ben Dabney, a Wisconsin graduate student, arrives in the country, he is enamored with Mugabe and the promises of his government’s model of racial reconciliation. But as Ben begins his research and delves more deeply into his hero’s life, he finds fatal flaws. Ultimately Ben reconsiders not only his understanding of Mugabe, but his own professional and personal life. James Kilgore brings an authentic voice to a work of youthful hope, disillusionment, and unsettling resolution.

Customers based in the United States and Canada, please order from here: https://bit.ly/2GAV2YR The abolition of slavery was the catalyst for the arrival of the first Indian indentured labourers into the sugar colonies of Mauritius (1834), Guyana (1838) and Trinidad (1845), followed some years later by the inception of the system in South Africa (1860) and Fiji (1879). By the time indenture was abolished in the British Empire (1917–20), over one million Indians had been contracted, the overwhelming majority of whom never returned to India. Today, an Indian indentured labour diaspora is to be found in Commonwealth countries including Belize, Kenya, Malaysia, Sri Lanka and the Seychelles. Indenture, whereby individuals entered, or were coerced, into an agreement to work in a colony in return for a fixed period of labour, was open to abuse from recruitment to plantation. Hidden within this little-known system of nineteenth- and early twentieth-century Indian migration under the British Empire are hitherto neglected stories of workers who were both exploited and unfree. These include indentured histories from Madeira to the Caribbean, from West Africa to the Caribbean, and from China to the Caribbean, Mauritius and South Africa. To mark the centenary of the abolition of the system in the British Empire (2017–20) this volume brings together, for the first time, new writing from across the Commonwealth. It is a unique attempt to explore, through the medium of poetry and prose, the indentured heritage of the twenty-first century.

Even when we leave them, our cities never leave us. After her Dutch mother’s death, Sorayya Khan confronts her grief by revisiting their relationship, her parents’ lives, and her own Pakistani-Dutch heritage in a multicultural memoir that unfolds over seven cities and three continents. We Take Our Cities with Us ushers us from Khan’s childhood independence forged at her grandparents’ home in Lahore; to her adolescence in Pakistan’s new capital, Islamabad; to Syracuse and Ithaca, New York, where Khan finds her footing as the mother of young, brown sons in post-9/11 America; to her birthplace, Vienna, where her parents die; and finally to Amsterdam and Maastricht, the cities of her mother’s conflicted youth. In Khan’s gripping telling of her immigrant experience, she shows us what it is to raise children and lose parents in worlds other than your own. Drawing on family history, geopolitics, and art in this stunning story of loss, identity, and rediscovery, Khan beautifully illuminates the complexities of our evolving global world and its most important constant: love.

Welcome to Our Hillbrow is an exhilarating and disturbingride through the chaotic and hyper-real zone of Hillbrow—microcosm of all that is contradictory, alluring, and painful in the postapartheid South African psyche. Everythingis there: the shattered dreams of youth, sexuality and its unpredictable costs, AIDS, xenophobia, suicide, the omnipotent violence that often cuts short the promise of young people’s lives, and the Africanist understanding of the life continuum that does not end with death but flows on into an ancestral realm. Infused with the rhythms of the inner-city pulsebeat, this courageous novel is compelling in its honesty and its broad vision, which links Hillbrow, rural Tiragalong, and Oxford. It spills out the guts of Hillbrow—living with the same energy and intimate knowledge with which the Drum writers wrote Sophiatown into being.

How to live with difference—not necessarily in peace, but with resilience, engagement, and a lack of vitriol—is a defining worry in America at this moment. The poets, fiction writers, and essayists (plus one graphic novelist) who contributed to Welcome to the Neighborhood don’t necessarily offer roadmaps to harmonious neighboring. Some of their narrators don’t even want to be neighbors. Maybe they grieve, or rage. Maybe they briefly find resolution or community. But they do approach the question of what it means to be neighbors, and how we should do it, with open minds and nuance.

The many diverse contributors give this collection a depth beyond easy answers. Their attentions to the theme of neighborliness as an ongoing evolution offer hope to readers: possible pathways for rediscovering community, even just by way of a shared wish for it. The result is an enormously rich resource for the classroom and for anyone interested in reflecting on what it means to be American today, and how place and community play a part.

Contributors include Leila Chatti, Rita Dove, Jonathan Escoffery, Rebecca Morgan Frank, Amina Gautier, Ross Gay, Mark Halliday, Joy Harjo, Edward Hirsch, Marie Howe, Sonya Larson, Dinty W. Moore, Robert Pinsky, Christine Schutt, and many more.

How to live with difference—not necessarily in peace, but with resilience, engagement, and a lack of vitriol—is a defining worry in America at this moment. The poets, fiction writers, and essayists (plus one graphic novelist) who contributed to Welcome to the Neighborhood don’t necessarily offer roadmaps to harmonious neighboring. Some of their narrators don’t even want to be neighbors. Maybe they grieve, or rage. Maybe they briefly find resolution or community. But they do approach the question of what it means to be neighbors, and how we should do it, with open minds and nuance.

The many diverse contributors give this collection a depth beyond easy answers. Their attentions to the theme of neighborliness as an ongoing evolution offer hope to readers: possible pathways for rediscovering community, even just by way of a shared wish for it. The result is an enormously rich resource for the classroom and for anyone interested in reflecting on what it means to be American today, and how place and community play a part.

Contributors include Leila Chatti, Rita Dove, Jonathan Escoffery, Rebecca Morgan Frank, Amina Gautier, Ross Gay, Mark Halliday, Joy Harjo, Edward Hirsch, Marie Howe, Sonya Larson, Dinty W. Moore, Robert Pinsky, Christine Schutt, and many more.

Expanding the scope of American borderland and frontier literary scholarship, West of the Border examines the writings of nineteenth- and turn-of-the-century Native, African, Asian, and Anglo American frontier writers. This book views frontiers as “human spaces” where cultures make contact as it considers multicultural frontier writers who speak from “west of the border.”

James P. Beckwourth, a half-black fur trader; Sarah Winnemucca Hopkins, a Paiute translator; Salishan author Mourning Dove; Cherokee novelist John Rollin Ridge; Sui Sin Far, an Anglo-Chinese short story writer, and her sister, romance novelist Onoto Watanna; and Mary Austin, a white southwestern writer- each of these intercultural writers faces a rite of passage into a new social order. Their writings negotiate their various frontier ordeals: the encroachment of pioneers on the land; reservation life; assimilation; Christianity; battles over territories and resources; exclusion; miscegenation laws; and the devastation of the environment.

In West of the Border, Noreen Groover Lape raises issues inherent in American pluralism today by broaching timely concerns about American frontier politics, conceptualizing frontiers as intercultural contact zones, and expanding the boundaries of frontier literary studies by giving voice to minority writers.

The 2015 theme for Manifest West’s annual anthology is “Western Weird.” The works in this collection reflect both myths and suspected truths about the part of the United States we call “the West.” But this year’s edition focuses entirely on the tradition of the strange. To borrow from Jeff VanderMeer’s definition for speculative fiction’s “New Weird,” this volume creates a new parallel genre for work that subverts the traditional romanticized ideas about place, playing with clichés about the West in order to put these elements to discomfiting, rather than consoling, ends.

Topics included in this collection of poetry, fiction, and creative nonfiction range from the West’s numinous fascination with E.T., Bigfoot, and ghosts and its celebration of its indigenous fauna and deadly landscapes to its uncomfortable relationships with its own marginalized peoples and its unforgiving and sometimes violent traditions. The tone of these works ranges from light—even campy—to chilling, but all allow readers to gaze straight into the many faces of what makes the West a weird place.

For the first time in the series, this volume includes solicited work as well as open submissions, including a number of established and award-winning writers and serving its mission by giving voice to brand-new writers.
 

Western Weird is the fourth volume in Western Press Books’ literary anthology series, Manifest West. The press, affiliated with Western State Colorado University, annually produces one anthology focused on Western regional writing

The convergence of activists in Seattle during the World Trade Organization meetings captured the headlines in 1999. These demonstrations marked the first major expression on U.S. soil of worldwide opposition to inequality, privatization, and political and intellectual repression. This turning point in world politics coincided with an ongoing quandary in academia-particularly in the humanities where the so-called "death of theory" has left the field on tenuous footing.

In What Democracy Looks Like, the editors and twenty-seven contributors argue that these crises-in the world and the academy-are not unrelated. The essays insist that, in the wake of "Seattle," teachers and scholars of American literature and culture are faced with the challenge of addressing new points of intersection between American studies and literary studies. The narrative, the poem, the essay, and the drama need to be reexamined in ways that are relevant to the urgent social and political issues of our time.

Collectively urging scholars and educators to pay fresh attention to the material conditions out of which literature arises, this path-breaking book inaugurates a new critical realism in American literary studies. It provides a crucial link in the growing need to merge theory and practice with the goal of reconnecting the ivory tower elite to the activists on the street.

What Is What Was, Richard Stern's fifth "orderly miscellany," is the first to meaningfully combine his fiction and nonfiction. Stories, such as the already well-known "My Ex, the Moral Philosopher," appear among portraits (of the sort Hugh Kenner praised as "almost the invention of a new genre"): Auden, Pound, Ellison, Terkel, W. C. Fields, Bertrand Russell, Walter Benjamin (in both essay and story), Jung and Freud, Hannah Arendt and Martin Heidegger.

In the book's seven sections are analyses of the Wimbledon tennis tournament as an Anglification machine, of Silicon Valley at its shaky peak, of James and Dante as travel writers, a Lucretian look at today's cosmology, American fiction in detail and depth, a "thought experiment" for Clarence Thomas, a salvation scheme for Ross Perot, a semi-confession of the writer.

The book contains but isn't philosophy, criticism, opinion, reportage, or autobiography (although the author says it is as much of this as he plans to write). There is a recurrent theme, the ways in which actuality is made and remade in description, argument and narration, fictional and nonfictional, but above all, What Is What Was is a provocative entertainment by a writer who, as Philip Roth once said, "knows as much as anyone writing American prose about family mischief, intellectual shenanigans, love blunders—and about writing American prose."

What Night Brings focuses on a Chicano working-class family living in California during the 1960s. Marci—smart, feisty and funny—tells the story with the wisdom of someone twice her age as she determines to defy her family and God in order to find her identity, sexuality and freedom.

Based on either written or oral interviews with a dozen prominent environmental writers, What’s Nature Worth? explores how the art of storytelling might bring new perspectives and insights to economic and policy discussions regarding the "value" of nature and the environment. The diverse points of view explored, and the writers’ insistence on careful interpretation, demonstrate that environmental values are complex, rich, and deeply felt—far more so than mainstream economic methodology would have us believe. There is general consensus among the contributors that the narrative form allows for an exploration of the richness of what it means to "value" nature without being preachy or didactic. Following interviews with the twelve authors, examples of their work demonstrate how indirect expressions of value, in the words of Allison Hawthorne Deming, have an "emotional hue" that can replenish the energy depleted by the coldness of cost-benefit arguments.

India’s 1997 celebration of the Golden Jubilee marked fifty years of independence from British colonial rule. This anniversary is the impetus for Bishnupriya Ghosh’s exploration of the English language icons of South Asian post-colonial literature: Salman Rushdie, Vikram Chandra, Amitav Ghosh, Upamanyu Chatterjee, and Arundhati Roy. These authors, grouped together as South Asian cosmopolitical writers, produce work challenging and expanding preconceived notions of Indian cultural identity, while being sold simultaneously as popular English literature within the global market. This commodification of Indian language and identity reinforces incomplete and simplified images of India and its writers, and at times counteracts the expressed agenda of the writers. In When Borne Across, Ghosh focuses on the politics of language and history, and the related processes of translation and migration within the global network. In so doing, she develops a new approach to literary studies that adapts conventional literary analysis to the pressures, constraints, and liberties of our present era of globalization.

Both survivors of the Holocaust and those who were not there agree that it is impossible to tell what happened as the Nazi Final Solution was put into effect. No writing can adequately imagine the concentration camps, ghettos, and death camps. And that is precisely why writers must tell-and retell-what happened there.

In When Night Fell: An Anthology of Holocaust Short Stories, Linda Schermer Raphael and Marc Lee Raphael have collected twenty-six short stories that tell of the human toll of the Holocaust on those who survived its horrors, as well as later generations touched by its memory. The stories are framed by discussion of the current debate about who owns the Holocaust and who is entitled to speak about it.

Some of the stories included here are by internationally acclaimed authors. Others may be new to many readers. When Night Fell is a fitting memorial to this genocidal horror, putting eloquent voice to human endurance that is-almost-beyond words.

How do you survive when your world explodes? By the time she was seven, Amy Lee Scott had seen her world end twice: first as an infant, when adoption brought her from Korea to Ohio, and again when her adoptive mother died of cancer. Orphaned twice over, Scott confronts her personal chaos by investigating a litany of historic catastrophes and the disruptions that followed. Witnessing a Cabbage Patch Kid “born” at BabyLand General Hospital inspires a meditation on the history of Korean adoption and her own origins. Recalling her miscarriage as the streets of her Detroit neighborhood flooded, she asks what it means to mourn what would have been. And she remembers her mother’s illness and death amid the 1992 Los Angeles riots. In this haunting debut, Scott gets to the heart of what it means to wrestle with the grief, rage, and anxiety seething in this tender world. Ferocious and true, When the World Explodes probes the space between personal and global calamities—from Krakatoa to the emotional perils of motherhood—to unearth the sharp ridge of hope that hides beneath the rubble.