Drawing on interviews with taco truck workers and his own skills as a geographer, Robert Lemon illuminates new truths about foodways, community, and the unexpected places where ethnicity, class, and culture meet. Lemon focuses on the San Francisco Bay Area, Sacramento, and Columbus, Ohio, to show how the arrival of taco trucks challenge preconceived ideas of urban planning even as cities use them to reinvent whole neighborhoods. As Lemon charts the relationships between food practices and city spaces, he uncovers the many ways residents and politicians alike contest, celebrate, and influence not only where your favorite truck parks, but what's on the menu.
Winner, Arab American National Museum's 2015 George Ellenbogen Poetry Award
Tahrir Suite is a book-length poem that contemplates immigration, homeland, and diaspora in the twenty-first century. The poem, inspired by recent events in Egypt, cycles through the journey of two Egyptians moving across borders, languages, cultures, landscapes, and political systems while their life in the U.S. diaspora evolves and their home country undergoes revolutionary change.
Written from a perspective and about a place that is virtually unexplored in contemporary American poetry, Tahrir Suite works to capture the complicated essence of what it means to be from a specific place that is experiencing such radical change and how our understandings of “home” and “place” constantly evolve. Tahrir Suite is a musical meditation on what it means to be a global citizen in contemporary times.
In 1967, Yvor Winters wrote of Helen Pinkerton, “she is a master of poetic style and of her material. No poet in English writes with more authority.” Unfortunately, in 1967 mastery of poetic style was not, by and large, considered a virtue, and Pinkerton’s finely crafted poems were neglected in favor of more improvisational and flashier talents. Though her work won the attention and praise of serious readers, who tracked her poems as they appeared in such journals as The Paris Review, The Sewanee Review, and The Southern Review, her verse has never been available in a trade book. Taken in Faith remedies that situation, bringing Pinkerton’s remarkable poems to a general audience for the first time.
Even her very earliest works embody a rare depth and seriousness. Primarily lyrical and devotional, they always touch on larger issues of human struggle and conduct. More recent poems, concerned in part with history, exhibit a stylistic as well as a thematic shift, moving away from the rhymed forms of her devotional works into a blank verse marked by a quiet flexibility and contemplative grace.
Like Virginia Adair, another poet who waited long for proper recognition, Pinkerton speaks as a woman who has lived fully and observed acutely and who has set the life and observations down in memorable verse. Taken in Faith represents a half-century of her poetic efforts.
David Clewell’s spirited poems cut through the noise we too often accommodate in our daily lives. Breath by surprising breath, this poet takes us into chambers of the heart that have never been mapped quite this way before. By turns raucous and strangely soothing, narrative and lyrical, Clewell traffics in unlikely and compelling details of our mostly discernible world: a school custodian’s role in the burgeoning Space Race, the vastness of abandoned missile silos, the first lawn flamingos, and the living fossil still using a typewriter.
Central Americans are one of the largest Latino population groups in the United States. Yet, Arturo Arias argues, the cultural production of Central Americans remains little known to North Americans.
In Taking Their Word, Arias complicates notions of the cultural production of Central America, from Mexico in the North to Panama in the South. He charts the literature of Central America’s liberation struggles of the 1970s and 1980s, its transformation after peace treaties were signed, the emergence of a new Maya literature that decenters Latin American literature written in Spanish, and the rise and fall of testimonio. Arias demonstrates that Central America and its literature are marked by an indigenousness that has never before been fully theorized or critically grasped. Never one to avoid controversy, Arias proffers his views of how the immigration of Central Americans to North America has changed the cultural topography of both zones.
With this groundbreaking work, Arias establishes the importance of Central American literature and provides a frame for future studies of the region’s culture.
Arturo Arias is director of Latin American studies at the University of Redlands. He is the author of six novels in Spanish and editor of The Rigoberta Menchú Controversy (Minnesota, 2001).
First published in 1938, this lively collection of over 150 tales and songs runs the gamut from joy to woe, from horror to humor. In forming the collection, Charles Neely required only that the tales and songs—whether home grown or transplanted from the great body of world lore— had taken root somehow in the area of southern Illinois known as Egypt.
Notable tales include "Bones in the Well," "A Visit from Jesse James," "The Flight of the Naked Teamsters," "The Dug Hill Boger," and "How Death Came to Ireland"; among the songs and ballads are "Barbara Allen," "Hog and Hominy," "The Drunkard’s Lone Child," "The Belleville Convent Fire," "Shawneetown Flood," and "The Death of Charlie Burger."
In the Latinx comics community, there is much to celebrate today, with more Latinx comic book artists than ever before. The resplendent visual-verbal storyworlds of these artists reach into and radically transform so many visual and storytelling genres. Tales from la Vida celebrates this space by bringing together more than eighty contributions by extraordinary Latinx creators. Their short visual-verbal narratives spring from autobiographical experience as situated within the language, culture, and history that inform Latinx identity and life. Tales from la Vida showcases the huge variety of styles and worldviews of today’s Latinx comic book and visual creators.
Whether it’s detailing the complexities of growing up—mono- or multilingual, bicultural, straight, queer, or feminist Latinx—or focusing on aspects of pop culture, these graphic vignettes demonstrate the expansive complexity of Latinx identities. Taken individually and together, these creators—including such legendary artists as Jaime and Gilbert Hernandez, Roberta Gregory, and Kat Fajardo, to name a few—and their works show the world that when it comes to Latinx comics, there are no limits to matters of content and form. As we travel from one story to the next and experience the unique ways that each creator chooses to craft his or her story, our hearts and minds wake to the complex ways that Latinxs live within and actively transform the world.
In her first book of poems, Patricia Dobler records her memories of the Ohio mill town where she grew up in the 1950s. but the poems range over time and the memories of others, as well: her immigrant Hungarian grandparents, her parent's tensions during hard times (”Years spilled on the kitchen table, / picked over like beans or old bills”), the dangers, losses, and occasional triumphs of hard-working men and women.
These never before collected or reprinted tales, were part of the original primary force that created the tall tale Davy Crockett.
The Nashville almanacs significantly contributed to the development of the Davy Crockett myths. Two-thirds of the tales found in this edition have never before been collected or reprinted in any readily accessible form.
The Tangled Fire of William Faulkner was first published in 1953. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Out of the tangled fire that is the genius of William Faulkner's fiction, this critical study draws as coherent and highly original view of the writer's achievement. By placing Faulkner in his Mississippi background and analyzing his novels and short stories in chronological sequence, O'Conner demonstrates a major thesis that sets this apart from other studies. It is his interpretation that Faulkner's fiction is not all of a piece, does not merely develop the conviction of the legend of the Old South, but is, rather, marked by diversity of theme.
Contemporaries were shocked when author Mary Noailles Murfree revealed she was a woman, but modern readers may be more surprised by her cogent discussion of community responses to unwanted development. Effie Waller Smith, an African American woman writing of her love for the Appalachian mountains, wove discussions of women's rights, racial tension, and cultural difference into her Appalachian poetry. Grace MacGowan Cooke participated in avant-garde writers' colonies with the era's literary lights and applied their progressive ideals to her fiction about the Appalachia of her youth. Emma Bell Miles, witness to poverty, industrialization, and violence against women, wrote poignant and insightful critiques of her Appalachian home.
In The Tangled Roots of Feminism, Environmentalism, and Appalachian Literature Elizabeth Engelhardt finds in all four women's writings the origins of what we recognize today as ecological feminism—a wide-reaching philosophy that values the connections between humans and nonhumans and works for social and environmental justice.
People and the land in Appalachia were also the subject of women authors with radically different approaches to mountains and their residents. Authors with progressive ideas about women's rights did not always respect the Appalachian places they were writing about or apply their ideas to all of the women in those places—but they did create hundreds of short stories, novels, letters, diaries, photographs, sketches, and poems about the mountains.
While The Tangled Roots of Feminism, Environmentalism, and Appalachian Literature ascribes much that is noble to the beginnings of the ecological feminism movement as it developed in Appalachia, it is also unyielding in its assessment of the literatures of the voyeur, tourist, and social crusader who supported status quo systems of oppression in Appalachia.
What was served at President James K. Polk’s White House dinners? What foods graced the table of John Sevier, Tennessee’s First Governor? In Taproots of Tennessee, Lynne Drysdale Patterson answers these questions and more, exploring nearly two centuries of Tennessee foodways. Readers will discover that Tennessee taste encompasses the exquisite, such as President Polk’s French-inspired Croquettes Poulet with Bechamel Sauce and General James Winchester’s spoils-of-the-hunt Roast Goode with Wild Rice and Wild Fox Grape Stuffing, to simpler fair, including Dr. Humphrey Howell Bate’s fried pies and Alex Haley’s boyhood menu of sweet tea and Southern staples.
Patterson takes readers on a historical and culinary tour of the Tennessee Historical Commission’s seventeen state historic sites with a collection of period foods from each site and menus with updated recipes for the twenty-first century food enthusiast. Patterson’s site histories provide readers with a journey through the accounts of Tennessee’s early settlers, their homesteads, cookery, schoolhouses, stage coach stops, and religious life. Her site recipes range from historic offerings, such as peaches from General Daniel Smith’s Rock Castle State Historic Site orchard fashioned into a delectable peach pound cake-potentially shared with neighbors Andrew and Rachel Donelson Jackson-to more modern representations of historic foodways, such as Scottish-influenced Scotch Barley Soup and Scotch Egg likely eaten by Sam Houston.
From homes of Tennessee’s first families to stagecoach stops in the 1830s, from Civil War command posts to rural schoolhouses, foodies and academics alike will delight in this compendium of Southern recipes, served with a generous helping of history.
Winner of the 2021 Gourmand Awards, Asian Section & Culinary History Section
Filipino cuisine is a delicious fusion of foreign influences, adopted and transformed into its own unique flavor. But to the Americans who came to colonize the islands in the 1890s, it was considered inferior and lacking in nutrition. Changing the food of the Philippines was part of a war on culture led by Americans as they attempted to shape the islands into a reflection of their home country.
Taste of Control tells what happened when American colonizers began to influence what Filipinos ate, how they cooked, and how they perceived their national cuisine. Food historian René Alexander D. Orquiza, Jr. turns to a variety of rare archival sources to track these changing attitudes, including the letters written by American soldiers, the cosmopolitan menus prepared by Manila restaurants, and the textbooks used in local home economics classes. He also uncovers pockets of resistance to the colonial project, as Filipino cookbooks provided a defense of the nation’s traditional cuisine and culture.
Through the topic of food, Taste of Control explores how, despite lasting less than fifty years, the American colonial occupation of the Philippines left psychological scars that have not yet completely healed, leading many Filipinos to believe that their traditional cooking practices, crops, and tastes were inferior. We are what we eat, and this book reveals how food culture served as a battleground over Filipino identity.
In its February 1926 issue, Good Housekeeping magazine introduced a column for its approximately one million subscribers called “Tasting and Testing Books.” The column’s author, Emily Newell Blair, would go on to produce ninety-one reading advice columns for the magazine between 1926 and 1934. During this period, Good Housekeeping became the most widely circulated periodical in the United States, doubling its circulation to over two million copies. Much of its popularity stemmed from its intensive promotion of its Seal of Approval for a variety of products, which brought consumers to it for utilitarian purposes. With her focus on regular books, Blair distinguished herself from highbrow literary critics, many of whom have been objects of study as High Modernists. She offered advice to help middle-class women readers make their own choices about the best books in which to invest time and money, rather than dictating what they should or should not read. She aligns herself with the average subscriber, outside the book publishing and reviewer industries, focusing on books that would now be termed middlebrow reading.
Blair’s time at Good Housekeeping covers the era from the heights of the “Roaring Twenties” to the depths of the Great Depression, and her recommendations offer a window into the uses of middlebrow reading during this period of dramatic economic and social shifts. Tasting and Testing Books argues that the consumer-first message of Good Housekeeping infused Blair’s advice column and validated a new attitude of proudly middlebrow pleasure reading in the mid-twentieth century. These columns shed new light on the reading lives of too-often overlooked women, often living outside of urban centers and away from elite literary circles, and present Emily Newell Blair, who strongly identified with her readers as a truly democratic tastemaker.
Through these essays—which deal with Bowles’s published as well as her unpublished work—Skerl seeks to generate serious critical attention for an important but neglected female experimental writer of the mid-twentieth century and to celebrate her originality, power, and craft.
Based in disciplines and theoretical approaches that range from feminist criticism to Middle Eastern studies, from postmodernism to queer theory, and from Victorianism to the Beat Generation, the essayists naturally approach Bowles’s fiction and drama from a wide variety of critical perspectives. All of these essays are unpublished and written for this volume.
Leonard Moore has been teaching Black history for twenty-five years, mostly to white people. Drawing on decades of experience in the classroom and on college campuses throughout the South, as well as on his own personal history, Moore illustrates how an understanding of Black history is necessary for everyone.
With Teaching Black History to White People, which is “part memoir, part Black history, part pedagogy, and part how-to guide,” Moore delivers an accessible and engaging primer on the Black experience in America. He poses provocative questions, such as “Why is the teaching of Black history so controversial?” and “What came first: slavery or racism?” These questions don’t have easy answers, and Moore insists that embracing discomfort is necessary for engaging in open and honest conversations about race. Moore includes a syllabus and other tools for actionable steps that white people can take to move beyond performative justice and toward racial reparations, healing, and reconciliation.
Gloria Evangelina Anzaldúa—theorist, Chicana, feminist—famously called on scholars to do work that matters. This pronouncement was a rallying call, inspiring scholars across disciplines to become scholar-activists and to channel their intellectual energy and labor toward the betterment of society. Scholars and activists alike have encountered and expanded on these pathbreaking theories and concepts first introduced by Anzaldúa in Borderlands/La frontera and other texts.
Teaching Gloria E. Anzaldúa is a pragmatic and inspiring offering of how to apply Anzaldúa’s ideas to the classroom and in the community rather than simply discussing them as theory. The book gathers nineteen essays by scholars, activists, teachers, and professors who share how their first-hand use of Anzaldúa’s theories in their classrooms and community environments.
The collection is divided into three main parts, according to the ways the text has been used: “Curriculum Design,” “Pedagogy and Praxis,” and “Decolonizing Pedagogies.” As a pedagogical text, Teaching Gloria E. Anzaldúa also offers practical advice in the form of lesson plans, activities, and other suggested resources for the classroom. This volume offers practical and inspiring ways to deploy Anzaldúa’s transformative theories with real and meaningful action.
Contributors
Carolina E. Alonso
Cordelia Barrera
Christina Bleyer
Altheria Caldera
Norma E. Cantú
Margaret Cantú-Sánchez
Freyca Calderon-Berumen
Stephanie Cariaga
Dylan Marie Colvin
Candace de León-Zepeda
Miryam Espinosa-Dulanto
Alma Itzé Flores
Christine Garcia
Patricia M. García
Patricia Pedroza González
María del Socorro Gutiérrez-Magallanes
Leandra H. Hernández
Nina Hoechtl
Rían Lozano
Socorro Morales
Anthony Nuño
Karla O’Donald
Christina Puntasecca
Dagoberto Eli Ramirez
José L. Saldívar
Tanya J. Gaxiola Serrano
Verónica Solís
Alexander V. Stehn
Carlos A. Tarin
Sarah De Los Santos Upton
Carla Wilson
Kelli Zaytoun
The Inspiring Story of Roberto Clemente's Greatest Season and One of the Most Important Teams in Sport History
In 1947, major league baseball experienced its first measure of integration when the Brooklyn Dodgers brought Jackie Robinson to the National League. While Robinson's breakthrough opened the gates of opportunity for African Americans and other minority players, the process of integration proved slow and uneven. It was not until the 1960s that a handful of major league teams began to boast more than a few Black and Latino players. But the 1971 World Championship team enjoyed a full and complete level of integration, with half of its twenty-five-man roster comprised of players of African American and Latino descent. That team was the Pittsburgh Pirates, managed by an old-time Irishman.
In The Team That Changed Baseball: Roberto Clemente and the 1971 Pittsburgh Pirates, veteran baseball writer Bruce Markusen tells the story of one of the most likable and significant teams in the history of professional sports. In addition to the fact that they fielded the first all-minority lineup in major league history, the 1971 Pirates are noteworthy for the team's inspiring individual performances, including those of future Hall of Famers Roberto Clemente, Willie Stargell, and Bill Mazeroski, and their remarkable World Series victory over the heavily favored Baltimore Orioles. But perhaps their greatest legacy is the team's influence on the future of baseball, inspiring later championship teams such as the New York Yankees and Oakland Athletics to open their doors fully to all talented players, regardless of race, particularly in the new era of free agency.
Stunning, highly original poems that celebrate the richness of the author's multicultural tradition, Teeth explores loves, wars, wild hope, defiance, and the spirit of creativity in a daring use of language and syntax. Behind this language one senses a powerful, inventive woman who is not afraid to tackle any subject, including rape, genocide, and love, always sustained by an optimistic voice, assuring us that in the end justice will triumph and love will persevere.
LOVE,
you be the reason why
we swagger & jive,
lift the guitar, & pick up the axe.
when it is i tilt my hat to the side,
wearing colors & perfumes, it's cause, love,
you did it to me. oh,
you do sure turn my tongue to fiddle,
& make the salt taste sweet. man,
i don't need a rooster, or peacock even,
to help me spend my time, nope,
just you, love, right & solid as
a line.
Finalist, 2019 PEN Open Book Award
Winner, 2019 American Book Award, Before Columbus Foundation
This casebook includes an introduction by the editor, a chronology of Olsen’s life, an authoritative text of “Tell Me a Riddle,” relevant essays by Olsen, seven critical essays, and a bibliography.
The contributors are: Joanne Trautmann Banks, Constance Coiner, Rachel Blau Duplessis, Mara Faulkner, Elaine Orr, Linda Ray Pratt, and Deborah Silverton Rosenfelt.
Tell This Silence by Patti Duncan explores multiple meanings of speech and silence in Asian American women's writings in order to explore relationships among race, gender, sexuality, and national identity. Duncan argues that contemporary definitions of U.S. feminism must be expanded to recognize the ways in which Asian American women have resisted and continue to challenge the various forms of oppression in their lives. There has not yet been adequate discussion of the multiple meanings of silence and speech, especially in relation to activism and social-justice movements in the U.S. In particular, the very notion of silence continues to invoke assumptions of passivity, submissiveness, and avoidance, while speech is equated with action and empowerment.
However, as the writers discussed in Tell This Silence suggest, silence too has multiple meanings especially in contexts like the U.S., where speech has never been a guaranteed right for all citizens. Duncan argues that writers such as Maxine Hong Kingston, Mitsuye Yamada, Joy Kogawa, Theresa Hak Kyung Cha, Nora Okja Keller, and Anchee Min deploy silence as a means of resistance. Juxtaposing their “unofficial narratives” against other histories—official U.S. histories that have excluded them and American feminist narratives that have stereotyped them or distorted their participation—they argue for recognition of their cultural participation and offer analyses of the intersections among gender, race, nation, and sexuality.
Tell This Silence offers innovative ways to consider Asian American gender politics, feminism, and issues of immigration and language. This exciting new study will be of interest to literary theorists and scholars in women's, American, and Asian American studies.
The finest essays from the newest generation of critics and poet-critics are gathered together in this volume documenting the growth in readership and awareness of avant-garde poetries.
This collection demonstrates the breadth and openness of the field of avant-garde poetry by introducing a wide range of work in poetics, theory, and criticism from emerging writers. Examining the directions innovative poetry has taken since the emergence and success of the Language movement, the essays discuss new forms and the reorientation of older forms of poetry in order to embody present and ongoing involvements. The essays center around four themes: the relation between poetics and contemporary cultural issues; new directions for avant-garde practices; in-depth explorations of current poets and their predecessors; and innovative approaches to the essay form or individual poetics.
Diverging from the traditional, linear argumentative style of academic criticism, many of the essays in this collection instead find critical forms more subtly related to poetry. Viewed as a whole, the essays return to a number of shared issues, namely poetic form and the production of present-day poetry. While focusing on North American poetry, the collection does reference the larger world of contemporary poetics, including potential biases and omissions based on race and ethnicity.
This is cutting-edge criticism at its finest, essential reading for students and scholars of avant-garde poetry, of interest to anyone interested in contemporary American literature and poetry.
Telling Narratives analyzes key texts from nineteenth- and early twentieth-century African American literature to demonstrate how secrets and their many tellings have become slavery's legacy. By focusing on the ways secrets are told in texts by Jessie Fauset, Charles W. Chesnutt, Pauline Hopkins, Frederick Douglass, and others, Leslie W. Lewis suggests an alternative model to the feminist dichotomy of "breaking silence" in response to sexual violence. This fascinating study also suggests that masculine bias problematically ignores female experience in order to equate slavery with social death. In calling attention to the sexual behavior of slave masters in African American literature, Lewis highlights its importance to slavery’s legacy and offers a new understanding of the origins of self-consciousness within African American experience.
In Ten Is the Age of Darkness, Geta LeSeur explores how black authors of the United States and English- speaking Caribbean have taken a European literary tradition and adapted it to fit their own needs for self-expression. LeSeur begins by defining the structure and models of the European genre of the bildungsroman, then proceeds to show how the circumstances of colonialism, oppression, race, class, and gender make the maturing experiences of selected young black protagonists different from those of their white counterparts.
Examining the parallels and differences in attitudes toward childhood in the West Indies and the United States, as well as the writers' individual perspectives in each work of fiction, LeSeur reaches intriguing conclusions about family life, community participation in the nurturing of children, the timing and severity of the youngsters' confrontation of adult society, and the role played by race in the journey toward adulthood.
LeSeur's readings of African American novels provide new insights into the work of Langston Hughes, James Baldwin, Toni Morrison, Paule Marshall, and Richard Wright, among others. When read as examples of the bildungsroman rather than simply as chronicles of black experiences, these works reveal an even deeper significance and have a more powerful impact. LeSeur convincingly demonstrates that such African American novels as Baldwin's Go Tell It on the Mountain, Wright's Black Boy, and Morrison's The Bluest Eye concentrate to a large extent on protest, while such African West Indian works as George Lamming's In the Castle of My Skin, Austin Clarke's Amongst Thistles and Thorns, Jamaica Kincaid's Annie John, and Erna Brodber's Jane and Louisa Will Soon Come Home reflect a more naive, healthy re-creation of what childhood can and should be, despite economic and physical impoverishment. She also gives a special space within the genre to Paule Marshall's BrownGirl, Brownstones and Ntozake Shange's Betsey Brown and the importance of "woman time," "woman voice," and mothers.
While enlarging our understanding of both the similarities and the differences in the black experiences of the Carribean and American youngsters coming of age, Ten Is the Age of Darkness also suggests that children of color in similar spheres share many common experiences. LeSeur concludes that the bildungsromane by black writers provide uniquely revealing contributions to the Afro-World literary canon and point the way for others to examine literary pieces in Third World communities of color.
The Tenant of Fire is about Queens, NY—its history, public and personal, real and imagined. Many of the people who populate this book—Irish Catholics, Italian-Americans—were once considered ethnic but now fall wholly under the banner of white. And from their anxieties a man like Donald Trump emerges. Born and raised in Queens, Trump is both the product and purveyor of a localized nativist politic.
The young white speaker of these poems works to record his parents’ and neighbors’, both white and of color, and his own attempts at navigating a shifting landscape. In poems on the homecoming of Vietnam vets, or the aftermath of Hurricane Sandy, or the firebombing of Malcolm X’s house, The Tenant of Fire explores how and why the plurality of a place like Queens, where now nearly two hundred languages are spoken, is viewed as a threat to national security.
Garrick Davis’s Terminal Diagrams may have been inspired by the illustrated maps in airport lounges, or perhaps they are the blueprints of the Apocalypse, with their subjects and objects representing the bitter fruits of either some future nightmare or the present world. Regardless, their vision is so bleak and unsparing, only a few will be able to savor them. Here, the art of poetry has been mechanized just as the world has been mechanized. Whether his subject is a car accident on the freeways of Los Angeles or the Book of Revelation transmitted by television, Davis’s stanzas conjure a kind of futuristic noir. In poem after poem, he examines the artistic possibilities of the machine, and its alterations of human experience, with a modern spirit that—as Baudelaire defined it—has embraced “the sublimity and monstrousness of something new.”
More than two centuries after his birth and almost a century and a half after his death, the legendary life and legacy of John Brown go marching on. Variously deemed martyr, madman, monster, terrorist, and saint, he remains one of the most controversial figures in America’s history. Brown’s actions in Kansas and in Harpers Ferry, West Virginia, were major catalysts for the American Civil War, and continue today to evoke praise or condemnation.
Through the prisms of history, literature, psychology, criminal justice, oral history, African American studies, political science, film studies, and anthropology, Terrible Swift Sword offers insights not only into John Brown’s controversial character and motives but also into the nature of a troubled society before, during, and after the Civil War. The contributors discuss reasons why Brown’s contemporaries supported him, analyze Brown’s behavior and his depiction in literature, and examine the iconography and mythology surrounding him.
The interdisciplinary focus brought by editors Peggy A. Russo and Paul Finkelman makes this collection unique. Terrible Swift Sword: The Legacy of John Brown will appeal to a broad audience of readers interested in this turbulent moment in American history.
Immigration politics has been significantly altered by the advent of America’s war on terror and the proliferation of security measures. In her cogent study, Terrorizing Latina/o Immigrants, Anna Sampaio examines how these processes are racialized and gendered and how they impose inequitable burdens on Latina/o immigrants. She interrogates the rise of securitization, restrictive legislation, and the return of large-scale immigration raids and describes how these re-articulate and re-inscribe forms of racial and gender hierarchy.
Terrorizing Latina/o Immigrants demonstrates how the ascendance of America as a security state serves as a template to scrutinize, harass, and encumber immigrants while also reconfiguring citizenship. Sampaio uses intersectional analysis coupled with theoretical and empirical approaches to develop a critical framework for analyzing current immigration politics.
Sampaio provides a sustained and systematic examination of policy and enforcement shifts impacting Latinas/os. Her book concludes with an examination of immigration reform under the Obama administration, contrasting the promise of hope and change with the reality of increased detentions, deportations, and continued marginalization.
Translated from Polish by Marta Erdman and Nina Dyke.
Polish émigrés have written poignantly about the pain of exile in letters, diaries, and essays; others, more recently, have recreated Polish-American communities in works of fiction. But it is Danuta Mostwin’s fiction, until now unavailable in English translation, that bridges the divide between Poland and America, exile and emigration.
Mostwin and her husband survived the ravages of World War II, traveled to Britain, and then emigrated to the United States. Mostwin devoted her scholarly career to the study of immigrants trapped between cultural worlds. Winner of international awards for her fiction, Danuta Mostwin here offers two novellas, translated by the late Marta Erdman, which are the first of her works published in English in the United States.
Deeply melancholic and moving in its unsentimental depiction of ordinary people trying to make sense of their uprooted lives, Testaments presents two powerful vignettes of life in immigrant America, The Last Will of Blaise Twardowski and Jocasta. This timely publication provides an introduction to Mostwin’s work that will ensure that she is recognized as the creator of one of the most nuanced and deeply moving pictures of emigration and exile in Polish-American literature.
The Texanist, Texas Monthly’s perennially popular back-page column, has become the magazine’s most-read feature. With an inimitable style and an unassailable wholesomeness, columnist David Courtney has counseled many a well-intentioned Texan, native or wannabe, on how to properly conduct him- or herself. Until the July 2016 issue, an original illustration by the late award-winning artist Jack Unruh, depicting the Texanist in a situation described in the column, accompanied the Texanist’s sage wisdom. Unruh’s peerless illustrations displayed a sly wit that paired perfectly with Courtney’s humorous ripostes.
The Texanist gathers several dozen of Unruh’s most unforgettable illustrations, along with the fascinating, perplexing, and even downright weird questions that inspired them. Curing the curious, exorcizing bedevilment, and orienting the disoriented, the Texanist advises on such things as: Is it wrong to wear your football team’s jersey to church? When out at a dancehall, do you need to stick with the one that brung ya? Is it real Tex-Mex if it’s served with a side of black beans? Can one have too many Texas-themed tattoos? The Texanist addresses all of these important subjects and more. Whether you heed the good guidance, or just enjoy the whimsical illustrations, The Texanist will both entertain and educate you.
With a bounty of locally grown meats and produce, artisanal cheeses, and a flourishing wine culture, it’s a luscious time to be cooking in Texas. From restaurant chefs to home cooks, Texans are going to local dairies, orchards, farmers’ markets, ranches, vineyards, and seafood sellers to buy the very freshest ingredients, whether we’re cooking traditional favorites or the latest haute cuisine. We’ve discovered that Texas terroir—our rich variety of climates and soils, as well as our diverse ethnic cultures—creates a unique “taste of place” that gives Texas food a flavor all its own.
Written by one of Texas’s leading cookbook authors, Terry Thompson-Anderson, Texas on the Table presents 150 new and classic recipes, along with stories of the people—farmers, ranchers, shrimpers, cheesemakers, winemakers, and chefs—who inspired so many of them and who are changing the taste of Texas food. The recipes span the full range from finger foods and first courses to soups and breads, salads, seafood, chicken, meat (including wild game), sides and vegetarian dishes, and sweets. Some of the recipes come from the state’s most renowned chefs, and all are user-friendly for home cooks. Finally, the authors and winemakers tell which recipes they turn to when opening their favorite wines.
This delicious compilation of recipes and stories of the people behind them, illustrated with Sandy Wilson’s beautiful photographs, makes Texas on the Table the must-have cookbook for everyone who relishes the flavors of the Lone Star State.
Tim Hunt’s The Textuality of Soulwork: Jack Kerouac’s Quest for Spontaneous Prose examines Kerouac’s work from a new critical perspective with a focus on the author’s unique methods of creating and working with text. Additionally, The Textuality of Soulwork delineates Kerouac’s development of “Spontaneous Prose” to differentiate the preliminary experiment of On the Road from the more radical experiment of Visions of Cody, and to demonstrate Kerouac’s transition from working within the textual paradigm of modern print to the textual paradigm of secondary orality. From these perspectives, Tim Hunt crafts a new critical approach to Beat poetics and textual theory, marking an important contribution to the current revival of Kerouac and Beat studies underway at universities in the U.S. and abroad, as reflected by a growing number of conferences, courses, and a renewal in scholarship.
Thaddeus “Thad” Mosley is a self-taught African American sculptor. Earning a living throughout his adult life as a postal worker in Pittsburgh, Pennsylvania, so that he could support his family by day and work as a sculptor by night, he has evolved an individual and powerful African American voice. He worked alone, patiently developing a sculptural language absolutely his own, yet traceable to his primary sources of inspiration, the vitality of African art and American jazz on the one hand, and on the other, two twentieth-century artists, the Romanian sculptor Constantin Brancusi and the Asian American sculptor Isamu Noguchi.
From the beginning Thad Mosley has been a carver. His materials have always been those “at hand,” logs from the trees of his native Western Pennsylvania, stones from the sites of demolished buildings in Pittsburgh, and metals from local scrapyards. Finding within each log or block of stone an essential vitality, his carvings invariably bear a syncopation of chisel marks evoking the rhythms and surging freedoms of jazz. Mosley’s perseverence and his pride in who he is offer an inspiring example of the unquenchable spirit of a true artists.
This short book introduces the life and work of this remarkable man. Davis Lewis, architect, writer, and painter, has been a friend of the artist for twenty-five years. His narrative is distilled from hours of taped interviews with Thad Mosley, as well as from a deep understanding of his art and influences. Lonnie Graham is a nationally known African-American photographer.
Crafted with lines from her late father’s letters, Jennifer Tseng’s Thanks for Letting Us Know You Are Alive is a portrait of an immigrant, a rootless person whose unspoken loss—that of his native geography, family, traditions, language—underlies every word. Though her father’s first language was Mandarin, for more than twenty years he wrote these letters in English, so that she could understand them. Some are riddled with errors, some nearly unintelligible. Lines from his letters appear as titles and are scattered throughout the poems, blending voices of father and daughter. This collection enacts what it means to lose someone and commune with them simultaneously—the paradox of grief and all it gives us.
James Cummins’s first book of poems, The Whole Truth, became known throughout much of the poetry world as the “Perry Mason sestinas.” His second book, Portrait in a Spoon, was chosen by Richard Howard for the James Dickey Prize Contemporary Poetry Series.
His latest and most accomplished work is collected in Then and Now, which reflects the same inventiveness and wit evident in his earlier books, with a deepening of tone and spirit. The result is a collection of poems filled with feeling and with Cummins’s signature anguished humor.
If the language of poetry is a way into a hall of mirrors of the self, it can be a way out, too. The voice that emerges in Then and Now is sane, imaginative, bemused, and sly, not only taking responsibility for the character of the writer put fully on display, but ironically and affectionately exploring how this process occurs.
Doing Lunch
You have lunch with a friend.
You put on a false face for him,
because he is your friend.
You want to spare him your
maunderings,
your lies and malfeasance.
But this is just what your friend desires,
because he is your friend.
He wants your face to fall open
in front of him and twitch
like a rabbit hit on the fly.
He says he wants the latest word
from the border region between
narcissism and an inner life.
And laughs.
Shamelessly, you tell him everything,
because he is your friend.
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